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About guitar art and training of guitarists. A brief outline of the history of the guitar Guitar art and its research

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Ministry of Culture of Ukraine

Kharkiv State Academy of Culture

for admission to study for the degree of "Master"

Guitar Art as a Historical Phenomenon of Musical Culture

Pikhulya Taras Olegovich

Kharkiv 2015

Plan

Introduction

1. Prerequisites for the formation and development of playing the classical guitar

1.1 The history of the emergence, development and improvement of guitar performance

1.2 The formation of guitar art in the USSR and Russia

2. The history of the emergence and evolution of pop jazz direction in art

2.1 Varieties of guitars used in pop-jazz art

2.2 The main directions of pop-jazz performance of the 60-70s

Bibliography

INconducting

Musical art of the XX century. developed rapidly and rapidly. The main characteristic features of this development were the assimilation of various styles and trends, the crystallization of a new musical language, new principles of composition, shaping, and the formation of various aesthetic platforms. This process involves not only composers, performers, art historians, but also millions of listeners for whom musical works are created.

The relevance of the topic is due to the consideration of classical and pop-jazz instrumental music from the point of view of the evolutionary development of guitar art, that is, the formation of new genres and trends.

The purpose of the study is to consider classical and pop-jazz instrumental music, their influence on the formation of new styles, performance skills and guitar culture generally.

Research objectives:

1) Consider the history of the emergence, development and formation of guitar culture in Europe, Russia, the USSR.

2) Consider the origins, origin and formation of new styles in pop-jazz art.

The object of the research is the formation of classical and pop-jazz instrumental music.

The methodological basis of the work is the method of intonational analysis, focused on the unity of musical and speech principles, as the basis of European, African and Russian artistic traditions.

The scientific novelty of the work lies in the fact that the work is a study of the formation and evolution of guitar art and its influence on the formation of guitar culture.

The practical value of the work lies in the possibility of using its materials in the process of studying historical and theoretical musical disciplines.

1. PrerequisitesformationAnddevelopmentgamesonclassicalguitar

1.1 The history of the emergence, development and improvement of guitar performance

The history of the origin, development and improvement of this musical instrument is so amazing and mysterious that it is more like a thrilling detective story. The first information about the guitar dates back to ancient times. On the Egyptian monuments of a thousand years ago, there are images of a musical instrument - “nabla”, which looks like a guitar. The guitar was also widespread in Asia, which is confirmed by the images on the architectural monuments of Assyria, Babylon and Phoenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, the wealthy families of Spain began to compete with each other in patronage of the sciences and art. The guitar, along with the lute and other plucked instruments, becomes a favorite instrument at courts. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - "salons", which took place regularly, played an important role. From that time on, the passion for plucked instruments penetrated the broad masses of the people, and special musical literature was created for them. The names of the composers who represented her make up a long string: Milan, Corbetto, Fuenllana, Marin i Garcia, Sanz and many others.

Having gone a long way of development, the guitar took on a modern look. Until the 18th century, it was smaller, and its body was rather narrow and elongated. Initially, five strings were set on the instrument, tuned in fourths, like on a lute. Later, the guitar became a six-string, with a tuning more suitable for playing in open positions to better exploit the sound of the open strings. Thus, by the middle of the 19th century, the guitar had acquired its final form. Six strings appeared on it with a system: mi, si, salt, re, la, mi.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How to explain such a widespread use of the guitar? Mainly because it has great potential: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the possibility of easy movement in space and, most importantly, an unusually melodious, deep and at the same time transparent sound justifies the love for this universal musical instrument by a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appeared in Spain

F. Sor and D. Aguado, simultaneously with them in Italy - M. Giuliani. L. Leniani, F. Carulli, M. Carcassi and others. They create an extensive concert repertoire for the guitar, ranging from small pieces to sonatas and concertos with an orchestra, as well as wonderful "Schools for playing the six-string guitar", an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publications of this pedagogical literature, it is still a valuable heritage for both teachers and students.

Composer Sor gives concerts in cities with great success Western Europe and Russia. His ballets Cinderella, The Lubok as a Painter, Hercules and Omphale, as well as the opera Telemachus have been staged many times in St. Petersburg, Moscow and large cities of Western Europe. Polyphonic style, rich imagination and depth of content characterize Sora's work. This is an educated musician-composer, a virtuoso guitarist who impressed with the depth of his performance and the brilliance of his technique. His compositions have firmly entered the repertoire of guitarists. The Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also a perfect violinist. When in 1813 Beethoven's seventh symphony was performed for the first time in Vienna under the baton of the author, Giuliani took part in its performance as a violinist. Beethoven held Giuliani in high esteem as a composer and musician. His sonatas, concertos with an orchestra are performed by modern guitarists, and pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country "School of Playing the Six-String Guitar" by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to the "School" the author says: "... I had no intention of writing a scientific work. I only wanted to make it easier to learn the guitar by laying out a plan that could make it possible to become more familiar with all the features of this instrument. According to these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for learning to play the guitar, and it is hardly possible at all. The "School" gives a number of valuable instructions on the technique of the left and right hands, various characteristic methods of playing the guitar, playing in different positions and keys. Musical examples and pieces are given sequentially, in ascending order of difficulty, they are written with great skill as a composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this "School" has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; the issues of development of fingering, melodic-harmonic thinking are practically not touched upon, we are only talking about the correct placement of the fingers of the left and right hands, which allows us to resolve many technical difficulties in performance, improve sound, phrasing, etc.

In the second half of the 19th century, a new bright name of the Spanish composer, virtuoso soloist and teacher Francisco Tarrega appeared in the history of the guitar. He creates his own style of writing. In his hands the guitar turns into a small orchestra.

The performance work of this remarkable musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works one can often hear imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. Among his best students are Miguel Llobet, Emelio Pujol, Domenico Prat, Daniel Fortea, Illarion Lelupe and other famous concert players. To date, the "Schools" by E. Pujol, D. Fortea, D. Prat, I. Lelupe, I. Ahrens and P. Rocha, based on the Tarrega teaching method, have been published. Let's take a closer look at this method using the example of the "School of Playing the Six-String Guitar" by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the "School" is a generous, detailed presentation of all the main "secrets" of playing the classical guitar. The most essential issues of guitar technique have been carefully developed: the position of the hands, the instrument, the methods of sound production, playing techniques, etc. The sequence of the arrangement of the material contributes to the systematic technical and artistic preparation of the guitarist. The "School" is entirely built on the original musical material: almost all the etudes and exercises were composed by the author (taking into account the methodology of F. Tarrega) especially for the corresponding sections.

It is especially valuable that this educational publication not only details the difficulties of playing the guitar, but also describes in detail how to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hand, as well as playing techniques in different positions, various movements, shifts of the left hand, which certainly contributes to the development of fingering thinking. The effectiveness of Pujol's "School" is confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

Of great importance for the development of world guitar art was the creative activity of the greatest Spanish guitarist of the 20th century. Andres Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also his abilities as an organizer and propagandist. The researcher M. Weisbord writes: “…to establish the guitar as a concert instrument, it lacked what, for example, the piano or violin possessed - a highly artistic repertoire. The historical merit of Andres Segovia lies, first of all, in the creation of such a repertoire…”. And further: “M. Ponce (Mexico), M.K. Tedesco (Italy), J. Ibert, A. Roussel (France) K. Pedrel (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden)…”. From this small and far from complete list of composers, it can be seen that it was thanks to A. Segovia that the geography of professional compositions for classical guitar expanded rapidly, and over time this instrument attracted the attention of many outstanding artists - E. Vila Lobos, B. Britten. On the other hand, there are whole constellations of talented composers who are also professional performers - A. Barrios, L. Brouwer, R. Dyens, N. Koshkin, etc.

1. 2 FormationguitarartVUSSRAndRussia

Today he has successfully toured a lot in many countries of the world, including four visits to the USSR (1926 and 1935, 1936). He performed works by classical guitarists: Sora, Giuliani, transcriptions of works by Tchaikovsky, Schubert, Haydn and original works by Spanish composers: Turin, Torroba, Tansman, Castelnuovo-Tedesco and other composers. Segovia had many meetings with Soviet guitarists, to whose questions he willingly answered. In conversations about the technique of guitar playing, Segovia pointed out the particular importance of not only setting hands, but also the correct use of fingering. The guitar left a bright mark in the musical art of Russia. Academician J. Shtelin, who lived in Moscow from 1735 to 1785, wrote that the guitar in Russia spread slowly, but with the appearance of virtuoso guitarists Tsani de Ferranti, F. Sor, M. Giuliani and others among other guest performers this tool is gaining sympathy and is widely used.

Acquiring in Russia from the second half of the 18th century an original seven-string variety with a G-major triad doubled to an octave and a lower string spaced a quart apart, the guitar turned out to be optimally suited to the bass-chord accompaniment of an urban song and romance.

The true flourishing of professional performance on this instrument begins thanks to the creative activity of the outstanding teacher-guitarist Andrei Osipovich Sikhra (1773-1850). Being a harpist by education, he devoted his whole life to the promotion of the seven-string guitar - in his youth he was engaged in concert activity, and then pedagogy and enlightenment. In 1802, A. Sikhra's Journal for the Seven-String Guitar began to be published in St. Petersburg, with arrangements of Russian folk songs and arrangements of musical classics. In the following decades, until 1838, the musician published a number of similar magazines that contributed to a significant increase in the popularity of the instrument, A.O. Sychra brought up a huge number of students, stimulating their interest in composing music for the guitar, in particular, variations on themes of folk song melodies. The most famous of his students are S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman and others - left a lot of plays and arrangements of Russian songs. The activity of Mikhail Timofeevich Vysotsky (1791-1837) was of great importance in the development of professional-academic Russian guitar performance. The first person to introduce him to the guitar was S.N. Aksenov, he also became his mentor.

Since about 1813, the name of M.T. Vysotsky became widely popular. His playing was distinguished by an original improvisational style, a bold flight of creative imagination in varying folk song melodies. M.T. Vysotsky is a representative of the improvisational auditory style of performance - in this he is close to traditional Russian folk music-making. Much can be said about other representatives of the Russian guitar performance, who contributed to the development of the national performing school, but this is a separate conversation. The genuine Russian school was distinguished by the following features: clarity of articulation, beautiful musical tone, focus on the melodic capabilities of the instrument and the creation of a specific repertoire, in many ways unique, a progressive method of using special fingering "blanks", trials and cadences, revealing the capabilities of the instrument.

The playing system of the instrument included playing musical functions, intonations and their addresses, which were memorized separately in each key and had an unpredictable movement of voices. Often such individual fingering, melodic-harmonic "blanks" were zealously guarded and passed on only to the best students. Improvisation was not specially studied, it was the result of a common technical base, and a good guitarist was able to combine the familiar intonations of a song with a harmonic sequence. A set of various cadences often surrounded a musical phrase and gave a peculiar coloring to the musical fabric. Such an inventive teaching method seems to have been a purely Russian discovery and is not found anywhere in foreign works of that time. Unfortunately, the traditions of Russian guitar performance of the XVIII-XIX centuries. were unfairly forgotten, and only thanks to the efforts of enthusiasts the situation in this direction is changing for the better.

Guitar art also developed in Soviet times, although the attitude of the authorities to the development of this musical instrument was, to put it mildly, cool. It is difficult to overestimate the role of the outstanding teacher, performer and composer A.M. Ivanov-Kramskoy. His school of playing, as well as the school of playing guitarist and teacher P.A. Agafoshina is an indispensable teaching aid for young guitarists. This activity is brilliantly continued by their numerous students and followers: E. Larichev, N. Komoliatov, A. Frauchi, V. Kozlov, N. Koshkin, A. Vinitsky (classical guitar in jazz), S. Rudnev (classical guitar in Russian style) and many others.

guitar classical pop jazz

2. StoryoccurrenceAndevolutionpop-jazzdirectionsVart

2.1 Varieties of guitars used in pop-jazz art

In modern pop music, four types of guitars are mainly used:

1. Flat Top (Flat Top) - the usual folk guitar with metal strings.

2. Classical (Classical) - classical guitar with nylon strings.

3. Arch Top (Arch Top) - a jazz guitar, shaped like an enlarged violin with "efs" along the edges of the soundboard.

4. Electric guitar - a guitar with electromagnetic pickups and a monolithic wooden deck (bar).

Even 120-130 years ago, only one type of guitar was popular in Europe and America. Different countries used different tuning systems, and in some places they even changed the number of strings (In Russia, for example, there were seven strings, not six). But in form, all guitars were very similar - relatively symmetrical upper and lower parts of the body, which converges with the neck at the 12th fret.

Small size, slotted palm, wide neck, fan-shaped springs, etc. - all this characterized this type of guitar. In fact, the above instrument in form and content resembles today's classical guitar. And the form of today's classical guitar belongs to the Spanish master Torres, who lived about 120 years ago.

At the end of the last century, the guitar began to gain popularity dramatically. If before that, guitars were played only in private houses and salons, then by the end of the last century, the guitar began to appear on stages. There was a need to amplify the sound. That's when there was a clearer division between the classics and what is now most often called folk guitar or western. Technology began to make metal strings that sounded louder.

In addition, the cabinet itself increased in size, which allowed the sound to be deeper and louder. Left alone serious problem- the strong tension of the metal strings actually killed the top deck, and the thickening of the shell walls, in the end, killed the vibration, and with it the sound. And then the famous X-shaped spring mount was invented. The springs were glued crosswise, thereby increasing the strength of the top deck, but allowing it to vibrate.

Thus, there was a clear division - the classical guitar, which has not changed much since then (only the strings began to be made from synthetics, and not from the sinew, as before), and the folk-western guitar, which had several forms, but almost always went with X-shaped springs, metal strings, enlarged body and so on.

At the same time, another type of guitar was developing - the “arch top” (arch top). What is it? While companies like Martin were tackling the problem of amplifying sound by attaching springs, companies like Gibson went the other way, making guitars shaped and built like violins. Such instruments were characterized by a curved top soundboard, a nut, which was like a double bass, and a tailpiece. As a rule, these instruments had violin cutouts along the edges of the soundboard instead of the traditional round hole in the center. These guitars featured a sound that was not warm and deep, but balanced and punchy. With such a guitar, every note was clearly audible, and jazzmen quickly realized which “ a dark horse appeared in their field of vision. It is to jazz that "arch tops" owe their popularity, for which they were nicknamed jazz guitars. In the 1930s and 1940s, the situation began to change - mainly due to the emergence of high-quality microphones and pickups. In addition, a new popular style of music, the blues, entered the arena and immediately conquered the world. As you know, the blues developed mainly due to the efforts of poor black musicians. They played it in every way with fingers, picks and even beer bottles (beer bottle necks were the direct forefathers of modern slides). These people did not have money for expensive instruments, they did not always have the opportunity to buy new strings for themselves, what kind of jazz guitars are there? And they played whatever they had to, mostly on more common instruments - westerns. In those years, in addition to expensive "archtops", the Gibson company also produced a large range of "consumer" folk guitars. The situation on the market was such that Gibson was almost the only company producing cheap, but high-quality folk guitars. It is logical that most of the bluesmen, for lack of money for something more perfect, took the Gibsons into their hands. So until now they have not parted with them.

What happened to jazz guitars? With the advent of pickups, it turned out that the balanced and clear sound of this type of instrument is the best fit for the amplification system of that time. Although the jazz guitar is absolutely nothing like the modern Fender or Ibanez, Leo Fender would probably never have created his Telecasters and Stratocasters. if I hadn't experimented with jazz guitars and pickups first. By the way, later electric blues was also played and is played on jazz instruments with pickups, just the thickness of the body in them was reduced. A vivid example of this is B.B. King and his famous guitar"Lussil" (Lussil), which many today consider the standard electric blues guitar.

The first known experiments with amplifying a guitar sound with electricity date back to 1923, when engineer and inventor Lloyd Loar invented an electrostatic pickup that recorded the vibrations of the resonator box of stringed instruments.

In 1931, Georges Beauchamp and Adolph Rickenbacker invented an electromagnetic pickup in which an electrical pulse ran through the winding of a magnet, creating an electromagnetic field in which the signal from a vibrating string was amplified. Towards the end of the 1930s, numerous experimenters began to incorporate pickups into more traditional-looking Spanish hollow-body guitars. Well, the most radical option was proposed by guitarist and engineer Les Paul ( Les Paul) -- he just made the soundboard for the guitar monolithic.

It was made of wood and was called simply - "Bar" (The Log). With a solid or almost solid piece, other engineers began to experiment. Since the 40s of the XX century, both individual enthusiasts and large companies have been successfully doing this.

The market of guitar manufacturers continues to develop actively, constantly expanding the range. And if earlier “trendsetters” were exclusively Americans, now Yamaha, Ibanez and other Japanese firms firmly occupy leading positions, making both their models and excellent copies of famous guitars among the leaders in production.

A special place is occupied by the guitar - and primarily electrified - in rock music. However, almost all the best rock guitarists go beyond the style of rock music, paying great tribute to jazz, and some musicians have completely broken with rock. There is nothing surprising in this, since the best traditions of guitar playing are concentrated in jazz.

A very important point is drawn to the attention of Joe Pass, who, in his well-known jazz school, writes: “Classical guitarists have had several centuries to develop an organic, consistent approach to performance - the “correct” method. The jazz guitar, the plectrum guitar, appeared only in our century, and the electric guitar is still such a new phenomenon that we are just beginning to understand its capabilities as a full-fledged musical instrument. In such circumstances, the accumulated experience, the jazz traditions of guitar mastery, are of particular importance.

Already in early form blues, “archaic”, or “rural”, often also called the English term “country blues” (country blues), formed the main elements of guitar technique that determined its further development. Separate techniques of blues guitarists later became the basis for the formation of subsequent styles.

The earliest recordings of country blues date back to the mid-20s, but there is every reason to believe that, in essence, it is almost no different from the original style that was formed among the blacks of the southern states (Texas, Louisiana, Alabama, etc.). ) back in the 70-80s of the XIX century.

Among the outstanding singer-guitarists of this style is Blind Lemon Jefferson (1897-1930), who had a noticeable influence on many musicians over late period, and not only blues Blind Blake (1895-1931) was a brilliant master of guitar ragtime and blues, many of whose recordings still amaze with excellent technique and inventive improvisation. Blake is rightly considered one of the initiators of the use of the guitar as a solo instrument. Huddie Leadbetter, commonly known as Leadbelly (1888-1949) was once called "the king of the twelve-string guitar". He sometimes played in a duet with Jefferson, although he was inferior to him as a performer. Leadbelly introduced characteristic bass figures into the accompaniment - the "wandering bass", which would later be widely used in jazz.

Stands out among the country-blues guitarists Lonnie Johnson (Lonnie Johnson, 1889-1970), a virtuoso musician, very close to jazz. They recorded excellent blues without vocals, and often he played as a mediator, demonstrating not only excellent technique, but also outstanding improvisational skills.

One of the features of the Chicago period in the development of traditional jazz, which became transitional to swing, was the replacement of instruments: instead of the cornet, tuba and banjo, the trumpet, double bass and guitar came to the fore.

Among the reasons for this was the emergence of microphones and the electromechanical recording method: the guitar finally sounded fully on the records. An important feature of Chicago jazz was the increased role of solo improvisation. It was here that a significant turn took place in the fate of the guitar: it becomes a full-fledged solo instrument.

This is due to the name of Eddie Lang (Eddie Lang, real name - Salvador Massaro), who introduced to the guitar playing many jazz techniques typical of other instruments - in particular, the phrasing characteristic of wind instruments. Eddie Lang also created that jazz style of playing as a mediator, which later became predominant. He first used a plectrum guitar - a special guitar for playing jazz, which differed from the usual Spanish in the absence of a round rosette. Instead, on the deck appeared efs, similar to violin ones, and a removable panel-shield that protects against pick strikes. Playing Eddie Lang in the ensemble was distinguished by a strong sound production. He often used passing sounds, chromatic sequences; sometimes he changed the angle of the plectrum in relation to the fingerboard, thus achieving a specific sound.

Characteristic of Lang's manner are chords with muted strings, harsh accents, parallel nonchords, whole-tone scales, idiosyncratic glissando, artificial harmonics, augmented chord progressions, and brass phrasing. We can say that it was under the influence of Eddie Lang that many guitarists began to pay more attention to bass notes in chords and, if possible, achieve better voice leading. The invention of the electric guitar was the impetus for the emergence of new guitar schools and trends. They were founded by two jazz guitarists: Charlie Christian in America and Django Reinhardt

(Django Reinhardt) in Europe

In his book “From Reg to Rock”, the famous German critic I. Berendt writes: “For a modern jazz musician, the history of the guitar begins with Charlie Christian. During the two years he spent on jazz scene He revolutionized guitar playing. Of course, there were guitarists before him, but it seems, however, that the guitar played before Christian and the one that sounded after him are two different instruments.”

Charlie played with a virtuosity that seemed simply unattainable to his contemporaries. With his arrival, the guitar became an equal member of jazz ensembles. He was the first to introduce a guitar solo as a third voice to an ensemble with trumpet and tenor saxophone, freeing the instrument from purely rhythmic functions in the orchestra. Before others, C. Christian realized that the technique of playing the electric guitar is significantly different from the methods of playing the acoustic one. In harmony, he experimented with increased and decreased chords, invented new rhythmic patterns for the best jazz melodies (evergreens). In passages, he often used add-ons to seventh chords, striking listeners with melodic and rhythmic ingenuity. He was the first to develop his improvisations, relying not on the harmony of the theme, but on passing chords, which he placed between the main ones. In the melodic sphere, it is characterized by the use of legato instead of hard staccato.

C. Christian's performance has always been distinguished by its extraordinary power of expression, combined with intense swing. Jazz theorists claim that with his playing he anticipated the emergence of a new jazz style bebop (be-bop) and was one of its creators.

Simultaneously with Christian, an equally outstanding jazz guitarist Django Reinhardt shone in Paris. Charlie Christian, while still performing in clubs in Oklahoma, admired Django and often repeated note for note his solos recorded on records, although these musicians differed sharply from each other in the manner of playing. Many well-known musicologists and jazz artists spoke about Django's contribution to the development of the jazz style of playing the guitar and his mastery. According to D. Ellington, “Django is a super artist. Each note he takes is a treasure, each chord is evidence of his unshakable taste.

Django differed from other guitarists in his expressive, rich sound and peculiar playing style, with long cadences after several measures, sudden rapid passages, stable and sharply accented rhythm. At moments of climax, he often played in octaves.

This type of technique was borrowed from him by C. Christian, and twelve years later - by W. Montgomery. In fast pieces, he was able to create such fire and pressure, which had previously been found only in performance on wind instruments. In the slow ones, he was prone to preluding, and rhapsody, close to the Negro blues. Django was not only an excellent virtuoso soloist, but also an excellent accompanist. He was ahead of many of his contemporaries in the use of minor seventh chords, diminished, augmented and other passing chords. Django paid great attention to the harmony of the harmonic schemes of the pieces, often emphasizing that if everything is correct and logical in the chord sequences, then the melody will flow by itself.

As an accompanist, he often used chords that imitated the sound of the brass section. The contribution of Charlie Christian and Django Reinhardt to the history of jazz guitar is invaluable. These two outstanding musicians showed the inexhaustible possibilities of your instrument not only in accompaniment, but also in improvisational solo, predetermined the main directions of development of the technique of playing the electric guitar for many years to come.

The increased role of the guitar as a solo instrument led to the craving of performers to play in small ensembles (combos). Here the guitarist felt like a full-fledged member of the ensemble, performing the functions of both an accompanist and a soloist. The popularity of the guitar was expanding every day, more and more talented jazz guitarists appeared, and the number of big bands remained limited. In addition, many leaders and arrangers of large orchestras did not always introduce the guitar into the rhythm section. It suffices to say, for example,

Duke Ellington, who did not like to combine the sound of guitar and piano in the accompaniment. However, sometimes the "mechanical" work, which serves to maintain the rhythm in a big band, turns into a genuine jazz art. It's about about one of the leading representatives of the chord-rhythm style of guitar playing, Freddie Green.

A virtuoso chordal technique, a wonderful sense of swing, a delicate musical taste distinguish his playing. He almost never played solo, but at the same time he was often compared to a tugboat, entailing the entire orchestra.

It is Freddie Green who, to a large extent, owes the big band of Count Basie an unusual compactness of the rhythm section, emancipation and conciseness of the game. This master had a great influence on guitarists who prefer accompaniment and chordal improvisation to the game of long passages and monophonic improvisations. The work of Charlie Christian, Django and Freddie Green forms, as it were, three branches family tree jazz guitar. However, one more direction should be mentioned, which stood somewhat apart, but in our time is gaining more and more recognition and distribution.

The fact is that not all guitarists found Ch. Christian's style acceptable, in whose hands the guitar acquired the sound of wind instruments (it is no accident that many, listening to Charlie Christian's recordings, mistook the voice of his guitar for a saxophone). First of all, his style was impossible for those who played fingers on acoustic guitars.

Many of the techniques developed by C. Christian (long legato, long improvisational lines without harmonic support, sustained notes, bends, rare use of open strings, etc.) were ineffective for them, especially when playing instruments with nylon strings. In addition, guitarists appeared who combined classical, guitar playing, flamenco and elements of Latin American music with jazz in their creative manner. These primarily include two outstanding jazz musicians: Laurindo Almeida (Laurindo Almeida) and Charlie Byrd (Charlie Byrd), whose work has influenced many classical guitarists, demonstrating in practice the unlimited possibilities of the acoustic guitar. With good reason, they can be considered the founders of the "classical guitar in jazz" style.

Negro guitarist Wes John Leslie Montgomery is one of the brightest musicians to appear on the jazz scene since C. Christian. He was born in 1925 in Indianapolis; He became interested in the guitar only at the age of 19 under the influence of Charlie Christian records and the enthusiasm of his brothers Buddy and Monk, who played the piano and double bass in the orchestra of the famous vibraphonist Lionel Hampton. He managed to achieve an unusually warm, “velvety” sound (using the thumb of his right hand instead of a pick) and developed octave technique to such an extent that he performed entire improvisational choruses in octaves with amazing ease and purity, often at fairly fast tempos. His skill impressed the partners so much that they jokingly nicknamed Wes "Mr. Octave." The first disc with W. Montgomery's recording was released in 1959 and immediately brought the guitarist success and wide recognition. Jazz lovers were shocked by the virtuosity of his playing, refined and restrained articulation, melodiousness of improvisations, a constant feeling of blues intonations and a vivid sense of swing rhythm. It is very interesting for Wes Montgomery to combine a solo electric guitar with the sound of large orchestra, which includes the string group.

Most of the subsequent jazz guitarists - including such famous musicians as Jim Hall, Joe Pass, John McLaughlin, George Benson, Larry Coryell - recognized the great influence of Wes Montgomery on their work. Already in the 40s, the standards developed by swing ceased to satisfy many musicians. Established clichés in the harmony of the song form, vocabulary, often reduced to direct citation of outstanding jazz masters, rhythmic monotony and the use of swing in commercial music became a brake on the further development of the genre. After the "golden period" of swing, it's time to search for new, more advanced forms. There are more and more new directions, which, as a rule, are united by a common name - modern jazz (Modern Jazz). It includes bebop ("jazz-staccato"), hard bop, progressive, cool, third current, bossa nova and Afro-Cuban jazz, modal jazz, jazz-rock, free jazz, fusion and some others: Such diversity, mutual influence and mutual penetration different currents complicates the analysis of the work of individual musicians, especially since many of them at one time played in a variety of manners. So, for example, in Ch. Byrd's recordings one can find boss nova, blues, swung themes, arrangements of classics, and country rock, and much more. In the game of B. Kessel - swing, bebop, bossa nova, elements of modal jazz, etc. It is characteristic that jazz guitarists themselves often react quite sharply to attempts to classify them as one or another jazz direction, considering this a primitive approach to assessing their work. Such statements can be found in Larry Coryell, Joe Pass, John McLaughlin and others.

2 .2 Maindirectionspop-jazzperformance60-70 - Xyears

And yet, according to one of the jazz critics, I. Berendt, on the verge of the 60s-70s, four main directions have developed in modern guitar performance: 1) mainstream (main stream); 2) jazz-rock; 3) blues direction; 4) rock. The most prominent representatives of the mainstream can be considered Jim Hall, Kenny Burrell and Joe Pass. Jim Hall, the "poet of jazz" as he is often called, has been known and loved by the public since the late 50s and up to the present day.

"Jazz Guitar Virtuoso" is called Joe Pass (Joe Pass, full name Joseph Anthony Jacoby Passalaqua). Critics put him on a par with such musicians as Oscar Peterson, Ella Fitzgerald and Barney Kessel. His duet records with Ella Fitzgerald and Herb Ellis, the trio with Oscar Peterson and bassist Nils Pederson, and especially his solo discs "Joe Pass the Virtuoso" enjoy great success. Joe Pass was one of the most interesting and versatile jazz guitarists in the tradition of Jacgo Reinhardt, Charlie Christian and Wes Montgomery. His work is little influenced by the new trends of modern jazz: he preferred bebop. Along with concert activities, Joe Pass taught a lot and successfully, published methodological works, among which his school "Joe Pass Guitar Style" occupies a special place "2E

However, not all jazz guitarists are so devoted to the "mainstream". Among outstanding musicians gravitating towards the new in the development of jazz, it should be noted George Benson, Carlos Santana, Ola di Meola. Mexican musician Carlos Santana (Carlos Santana, born in 1947) plays in the style of "Latin rock", based on the performance of Latin American rhythms (samba, rumba, salsa, etc.) in a rocky manner, combined with elements of flamenco.

George Benson was born in 1943 in Pittsburgh and as a child he sang the blues and played the guitar and banjo. At the age of 15, George received a small electric guitar as a gift, and at 17, after graduating from school, he formed a small rock and roll band in which he sang and played. A year later, jazz organist Jack McDuff arrived in Pittsburgh. Today, some experts consider his first recordings with Jack McDuff to be the best in Benson's entire discography. Benson was greatly influenced by the work of Django Reinhardt and Wes Montgomery, especially the latter's technique.

Among the new generation of guitarists playing jazz-rock, and developing a relatively new jazz style - fusion, Ol di Meola (AI di Meola) stands out. The young musician's passion for jazz guitar began with listening to a recording of a trio featuring Larry Coryell (who, by coincidence, Al di Meola replaced in the same line-up a few years later). Already at the age of 17 he participates in recordings with Chick Corea. Ol di Meola masterfully plays the guitar - both with his fingers and with a plectrum. The textbook "Characteristic methods of playing the guitar by a mediator" written by him was highly appreciated by specialists.

The innovators of our time also include the talented guitarist Larry Coryell, who went through a difficult creative way-- from the passion for rock and roll to the newest trends in modern jazz music.

In fact, after Django, only one European guitarist achieved unconditional recognition throughout the world and influenced the development of jazz in general - the Englishman John McLaughlin. The heyday of his talent falls on the first half of the 70s of the twentieth century - a period when jazz rapidly expanded its stylistic boundaries, merging with rock music, experiments in electronic and avant-garde music, and various folk musical traditions. It is no coincidence that not only jazz fans consider McLaughlin “their own”: we will find his name in any encyclopedia of rock music. In the early 1970s, McLaughlin organized the Mahavishnu (Great Vishnu) orchestra. In addition to keyboards, guitar, drums and bass, he introduced the violin into its composition. With this orchestra, the guitarist recorded a number of records, which were enthusiastically received by the public. Reviewers note the virtuosity of McLaughlin, innovation in arrangement, freshness of sound, due to the use of elements of Indian music. But the main thing is that the appearance of these discs marks the establishment and development of a new jazz trend: jazz-rock.

At present, many outstanding guitarists have appeared who continue and increase the traditions of the masters of the past. Of great importance for the world pop-jazz culture is the work of the most famous student of Jimm Hall - Pat Mattini. His innovative ideas have greatly enriched the melodic-harmonic language of modern pop music. I would also like to note the brilliant performing and teaching activities of Mike Stern, Frank Gambal, Joe Satriani, Steve Vai, Joe Pass' student Lee Ritenour and many others.

As for the development of the art of playing the pop-jazz (electric and acoustic) guitar in our country, it would not have been possible without many years of successful educational and educational work by V. Manilov, V. Molotkov, A. Kuznetsov, A. Vinitsky, as well as their followers S. Popov, I. Boyko and others. Of great importance is the concert-performing activity of such musicians as: A. Kuznetsov, I. Smirnov, I. Boyko, D. Chetvergov, T. Kvitelashvili, A. Chumakov, V. Zinchuk and many others. Having gone from blues to jazz-rock, the guitar not only did not exhaust its possibilities, but, on the contrary, won leadership in many new directions of jazz. Achievements in the field of acoustic and electrified guitar playing techniques, the use of electronics, the inclusion of elements of flamenco, classical style, etc. give reason to consider the guitar one of the leading instruments of this genre of music. That is why it is so important for the new generation of musicians to study the experience of their predecessors - jazz guitarists. Only on this basis is it possible to search for an individual performing style of playing, ways of self-improvement and further development of pop-jazz guitar

conclusions

In our time, the topic of developing performing skills on a 6-string guitar remains relevant, since at the moment there are many schools and training systems. They include different directions, from the classical school of playing, to jazz, Latin, blues schools.

In the development of jazz stylistics, a very significant role is played by a specific instrumental technique, which is characteristic of the jazz use of the instrument and its expressive capabilities - melodic, intonational, rhythmic, harmonic, etc. The blues played an important role in the formation of jazz. In turn, "one of the decisive factors in the crystallization of blues from earlier and less formalized types of Negro folklore was the 'discovery' of the guitar in this medium."

The history of the development of guitar art knows many names of guitarists-teachers, composers and performers who created numerous teaching aids for learning to play the guitar, many of them directly or indirectly related to the problem of developing fingering thinking.

Indeed, in our time, the concept of a guitarist includes mastery of both the main classical techniques, both the base, and the ability and understanding of the style that accompanies the function, the ability to play and improvise on digital, all the subtleties and features of blues and jazz thinking.

Unfortunately, in recent times, the media have given very little influence not only to serious classical, but also to non-commercial types of pop-jazz music.

Listusedliterature

1. Bakhmin A.A. Self-instruction manual for playing the six-string guitar / A.A. Bakhmin. M.: ASS-center, 1999.-80 p.

2. Boyko I.A. Improvisation on the electric guitar. Part 2 "Fundamentals of chord technique" - M.; Hobby Center, 2000-96 p.;

3. Boyko I.A. Improvisation on the electric guitar. Part 3 "Progressive method of improvisation" - M.; Hobby Center, 2001-86 p.

4. Boyko I.A. Improvisation on the electric guitar. Part 4 "Pentatonic and its expressive possibilities" - M.; Hobby Center, 2001 - 98 p.; ill.

5. Brandt V.K. Fundamentals of the technique of a pop ensemble guitarist / Educational and methodological guide for music schools - M. 1984 - 56 p.

6. Dmitrievsky Yu.V. / Guitar from blues to jazz-rock / Yu.V. Dmitrievsky - M.: Musical Ukraine, 1986. - 96 p.

7. Ivanov-Kramskoy A.M. School of playing the six-string guitar / A.M. Ivanov-Kramskoy. - M.: Sov. Composer, 1975. - 120 p.

8. Manilov V.A. Learn to accompany on the guitar / V.A. Manilov. - K .: Musical Ukraine, 1986. - 105 p.

9. Pass, D. Guitar style of Joe Pass / Joe Pass, Bill Thrasher / Comp.: "Guitar College" - M .: "Guitar College", 2002 - 64 p.; ill.

10. Popov, S. Basis / Comp.; "Guitar College" - M.; "Guitar College", 2003 - 127p.;

11. Puhol M. School of playing the six-string guitar / Per. and the editorial office of N. Polikarpov - M.; Owls. Composer, 1987 - 184 p.

12. Al Di Meola "Technique of playing with a mediator"; Per. / Comp.; GIDinform

13. Yalovets A. Django Reichard - "Krugozor", M.; 1971 No. 10 - p. 20-31

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Municipal budgetary educational institution

additional education for children

Children's art school p.Novozavidovsky

ADDITIONAL PRE-PROFESSIONAL

GENERAL EDUCATIONAL PROGRAM IN THE REGION

MUSICAL ARTS

"Folk Instruments"

GUITAR

Subject area

W.00. VARIANT PART

V.03.UP.03. HISTORY OF PERFORMANCE ON CASSIAN GUITAR

On musical development in the system of additional education for children of children's music schools and music departments

children's art schools

Compiled by: Bensman Vera Igorevna,

Lecturer MBOU DOD DSHI

P.Novozavidovsky

P.Novozavidovsky 2014

Program approved Approved

Pedagogical Council ________________ Saperova I.G.

MBOU DOD DSHI Director of MBOU DOD DSHI

P. Novozavidovsky p. Novozavidovsky,

Minutes No. 2 dated October 30, 2014. Konakovsky district,

Tver region.

Compiled by: Teacher Bensman Vera Igorevna

Reviewer: Lecturer of the highest category Bensman L.I.

1. Explanatory note.

Characteristics of the subject, its place and role in the educational process;

The term for the implementation of the subject;

The amount of study time provided for by the curriculum for the implementation of -a subject;

Form of conducting classroom training;

Purpose and objectives of the subject;

The structure of the curriculum of the subject;

Teaching methods;

Description of the material and technical conditions for the implementation of the subject;

Information about the cost of study time;

Syllabus.

3. Requirements for the level of training of students.

4. Forms and methods of control, grading system:

Certification: goals, types, form, content; final examination;

Criteria for evaluation.

5.Methodological support of the educational process.

6. List of references.

EXPLANATORY NOTE

The guitar is one of the most popular musical instruments used in professional and amateur practice. A diverse guitar repertoire includes music of different styles and eras, including classical, popular, jazz.

The guitar is not only an accompanying and solo musical instrument, it is a whole world: performers, composers, arrangers, teachers, guitar masters, historiographers, collectors, enthusiasts, admirers, amateur guitarists... It is a worthy part of world culture, the study of which will be of interest to many.

The guitar was dedicated to music, paintings, songs, research, prose, teaching and artisan talent, historical works, and poetry. M.Yu. dedicated the admiring lines to her. Lermontov:

What sounds! I am still

Sweet sounds I.

I forget heaven, eternity, earth,

Himself...

Characteristics of the subject, its place and role in the educational process;

In children's art schools, in the process of teaching students of instrumental departments, insufficient attention is paid to the most important component of musical education, as the history of instrumental performance.

At the lessons of musical literature, the work of composers is studied, and the performers are only mentioned. Very little coverage is given to the topic of folk instruments and especially the guitar instrument. Extra-curricular activities conducted by teachers are diverse and partially compensate for this deficiency. But this is not enough.

Children's School of Art students should have a more voluminous and systematized knowledge in the field of the history of the development of the instrument and musical performance (of domestic and foreign schools).

The introduction of the subject into the curriculum of the general developmental educational programs of the Children's School of Art is relevant at the present stage, especially for pre-professional programs.

The subject involves highlighting the main stages in the development of the guitar instrument, reviewing the work of outstanding performers, composers, familiarization with musical works created for this instrument, listening to and viewing recordings of guitar performers, laureates and diploma winners of competitions (including children's, youth)

The subject "History of playing the classical guitar" is proposed to be included in the "Variable part" section of the additional pre-professional general developmental program in the field of musical art "Instrumental Art", "Folk Instruments", "Guitar". You can also enter an item in educational plans general developmental programs implemented in a particular children's art school.

The author's program of the subject "History of Classical Guitar Performance" was developed on the basis of the Federal State Requirements for an additional pre-professional general educational program in the field of musical art. (2012) The program is part of the instrumental performance curriculum. "Folk Instruments" Guitar.

The following materials were used in the preparation of the program:

Educational-methodical complex "Istrian performance on folk instruments" Specialty 071301 "Folk artistic creativity". Compiled by Zhdanova T.A., Professor of the Department of Orchestral Conducting and Folk Instruments of the Tyumen State Academy of Culture and Art and Social Technologies. Tyumen, 2011

Chupakhina T.I. "A course of lectures on the history of performance on folk instruments". Omsk, 2004

Charles Duckart School of the Guitar.

Deadline for the implementation of the subject:

The implementation period for this item is 1 year, (35 weeks)

With 5 (6) term of study - in the 5th grade.

At the 8th (9th) term of study - in the 8th grade.

The amount of study time provided by the curriculum:

The total labor intensity of the subject is 70 hours.

Of these: 35 hours - classroom lessons, 35 hours - independent work.

The number of hours for classroom studies is 1 hour per week.

Number of hours for independent work(extracurricular workload) - 1 hour per week.

The form of conducting classroom training.

Goals and objectives of the subject.

The subject "History of classical guitar performance" is an integral part of the preparation of a graduate of the Children's Art School in the guitar class. Guitar art is a part of world artistic culture. It can be traced from ancient times to the present day and is organically connected with the performing and repertory instrumental culture. It becomes clear how wide range of issues includes the study of the history of performance.

The purpose of this subject is to show the historical conditionality and sequence of development of the art of performing, to comprehend the process of development and formation of the guitar instrument; to study the historical patterns of formation and the main features of the repertoire, the features of the performing arts on the guitar.
The purpose of the subject is also to ensure the development of creative abilities and individuality of students, sustainable interest in independent activities in the field of musical art.
To instill in students the need to know, study, listen and analyze.
Achieving a level of education that allows the graduate to independently navigate the world musical culture;

Subject objectives:

One of the main tasks of studying this subject is to encourage students to understand the issues of history and theory of development of the instrument they are learning to play;
the acquisition of knowledge in the field of the history of musical culture, the expansion of the artistic horizons of students, as well as the development of their ability to navigate various aspects of guitar art, musical styles and directions.
Equipping with a system of knowledge, skills and methods of musical activity, which in its totality provides a basis for further independent communication with music, musical self-education and self-education.
formation of conscious motivation among the best graduates to continue their professional education and prepare them for entrance exams to a professional educational institution.

Structures of the curriculum of the subject.

The problems covered in this program are considered in the context of the development of guitar art, taking into account the principle of historicism and chronological periodization.

The program includes the following sections:

Information about the cost of study time;

Syllabus;

Requirements for the level of training of students;

Forms and methods of control, grading system, final certification;

Methodological support of the educational process;

In accordance with these directions, the main section of the program "Subject content" is being built.

Teaching methods.

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal: lecture, story, conversation.

Visual: showing, illustrating, listening to the material.

Practical: Working with audio and video materials. Writing reports, abstracts. Preparing presentations.

Emotional: artistic impressions.

Description of the material and technical conditions for the implementation of the subject.

Ensuring the teaching of this subject: the presence of an audience that meets sanitary standards and fire safety requirements. Computer or laptop, TV, music center, multimedia projector + demo screen - desirable. Photo, audio, video materials with the active involvement of Internet resources.

The library fund is completed with printed, electronic publications, educational and methodical literature

Each student is provided with access to library funds and funds of audio and video recordings. During independent work, students use the Internet to collect additional material to study the proposed topics.

Information about the cost of study time;

Table 1

table 2

"Guitar" The term of study is 5(6) years.
Variable part
Item name	1 class	2 cells	3 cells	4 cells	5 cells	6 cells
History of classical guitar playing

Intermediate certification

Table 3

Table 4

"Guitar" The term of study is 8(9) years.
Variable part
Item name	1 class	2 cells	3 cells	4 cells	5 cells	6 cells	7 cells	8 cells	9 cells
History of musical performance

Number of weeks of classroom studies
Intermediate certification

SYLLABUS

NAME OF TOPICS	classroom	Independent work
From the history of guitar art. Origin and development.
The origin of the guitar. Five distinct periods in its history: formation, stagnation, revival, decline, flourishing.	1 hour	1 hour
Instruments forerunners of the guitar. Guitar and lute. Guitar in Spain (XIII century) The period of the revival of the guitar is associated with the Italian composer, performer, teacher Mauro Giuliani (born in 1781).
Fernando Sor (1778-1839) was a famous Spanish guitarist and composer. He was one of the first to discover polyphonic possibilities in the guitar. Works by F. Sor for guitar. His Treatise on the Guitar. Aguado Dionisio (1784 - 1849) - an outstanding Spanish performer - virtuoso, composer. A native of Madrid. It was a huge success in Paris.
Carulli Fernando (1770 - 1841) - a famous teacher, author of the "School of Playing the Guitar", a composer who composed about four hundred works, an Italian virtuoso guitarist.Giuliani Mauro (1781 - 1829) - an outstanding Italian guitarist - performer, composer, teacher. I. Fortea??????? ??
Matteo Carcassi (1781–1829) - the most important Italian guitarist-performer, author of the School of Guitar Playing,composer. Regondi Giulio (1822 - 1872) - famous Italian guitarist - virtuoso, composer.
Tarrega Francisco Eixea (1852 - 1909) - famous Spanish guitarist, founder of the modern guitar school Brilliant concert performer, composer, author of the most famous works for the guitar.

Legend of the 20th century - Andres Segovia(1893-1987), Tarrega's student and successor. The most famous guitarist of the 20th century.
Intermediate certification (1 quarter)
Flamenco guitar. Flamenco style.Paco de Lucia is a Spanish flamenco guitarist.
Guitar in Europe. famous performers.
Latin American guitarists. Brazilian composer E. Villa-Lobos (1887-1959). The compositions of Villa-Lobos are an integral part of the repertoire of modern guitarists. Cuban guitarists. A bright representative is Acosta. Anido Maria Luisa (born 1907) is an outstanding Argentine guitarist. Concert performer, composer, teacher. Hawaiian guitar and its features.
Seminar classes.
Intermediate certification (first half of the year)
Guitar in Russia. Russia in the 19th century and early 20th century.			3rd quarter
The emergence of the art of playing the seven-string guitar in Russia. Acquaintance with the guitar through the Italian guitarists Giuseppe Sarti, Carlo Conobbio, Pasquale Gagliani. Songs and romances of prominent composers of the 19th century (A.E. Varlamov, A.L. Gurilev, A.A. Alyabiev, .I. Dubuc., P.P. Bulakhov.)
The heyday of domestic professional art A.O. Sikhra (1773-1850) - the patriarch of the Russian seven-string guitar, a brilliant composer, a famous teacher who brought up a galaxy of highly talented guitarists. Andrei Sikhra and his music publishing house. Followers of A. Sikhra, his students: F. Zimmerman, V. Sarenko, V. Markov, S. Aksenov. Seven-string guitar and Russian song, cruel romance.
The first guitarist who played the six-string guitar was N.P. Markov (1810- ) techniques for playing the guitar. Competition in Brussels, organized by Markov in order to revive the fading interest in the guitar. M.D. Sokolovsky (1818-1883) famous concert performer, the only representative of the domestic guitar school of his time, who won European fame. His activities in the popularization of the guitar.
Isakov P. I. (1886 - 1958) - guitarist - concert player, accompanist, teacher, initiator of the creation of the Society of Leningrad Guitarists. Yashnev V.I. (1879 - 1962) - guitarist-teacher, composer, author (together with B.L. Volman) of the school of playing the six-string guitar. Agafoshin PS (1874 - 1950) - a talented guitarist, famous teacher, author of the best domestic "School" for a six-string guitar. Student V.A. Rusanov. . Meetings of Segovia and Agafoshin.
Ivanov - Kramskoy Alexander Mikhailovich (1912 - 1973) - the famous guitarist - concert player, composer, teacher. Honored Artist of the RSFSR. Pupil P.S. Agafoshina.N.A. Ivanova - Kramskaya
Famous guitarists of our time.
Russian guitar school. Creativity of Alexander Kuznetsov. Creativity V. Shirokogo, V. Derun. A. Frauchi, A. Zimakova. Guitarists: V.Kozlov, Alexander Chekhov, Nikita Koshkin, Vadim Kuznetsov, N.A.Komolyatov, A.Gitman, E.Filkshtein, A.Borodina.Vladimir Tervo…………Dervoed A. V., Matokhin S. N., Vinitsky A. E. , Reznik A.L.
Foreign guitarists of the classical direction.
Seminars
Final lesson 3rd quarter

International competitions. Russian competitions. Laureates, diplomats. Festivals.
Guitar in chamber ensembles. guitar orchestras.
Classical guitar in Tver and Tver region. A.M. Skvortsov, E.A. Baev; Instrumental duet "Musical Miniatures" - E. Baev - guitar, E. Muravyova - violin; "Art Duet" Natalya Gritsay, Elena Bondar.
Classical Jazz Guitar. Jazz guitar. Other directions in the field of guitar art. Country technique. Fincherstyle. Fusion. …….Performers of various directions.
How is the guitar built? Leading guitar makers. Guitar upgrade. How many strings does a guitar have? Narciso Yepes and his ten-string guitar. New in the art of classical guitar performance.
Seminar-consultation.
final examination
TOTAL AT THE RATE TOTAL

3. Requirements for the level of training of students.

The level of training of students is the result of mastering the program of the subject "History of classical guitar performance", which involves the formation of the following knowledge, skills, such as:

* the student's interest in the history of musical performance;

* ability to navigate in various aspects of guitar art, musical styles and directions;

* a well-formed complex of knowledge, skills and abilities that allow assessing, characterizing the listened work, the style and manner of the performer;

* knowledge that allows you to independently use Internet resources.

*the graduate should know the main topics of the course

4. Forms and methods of control, evaluation system.

Certification: goals, types, form, content;

Criteria for evaluation;

The control of knowledge, skills and abilities of students provides operational management of the educational process and performs training, testing, educational and corrective functions. Various forms of monitoring the progress of students make it possible to objectively assess the success and quality of the educational process. The main types of control of progress in the subject

"History of classical guitar performance" are: current control, intermediate certification. Final examination.

Current attestationis carried out in order to control the quality of mastering the section of educational material and is aimed at identifying attitudes to the subject, at the responsible organization of homework and is stimulating. The current certification is carried out in the form of a survey, a conversation on a topic prepared by students, and a discussion of listened performances. Possible current control tasks in the form of tests, as well as music quizzes.

Classes on the "History of instrumental performance" are held in the form of a lecture by a teacher, conversations with students on a topic prepared by them, a survey of students;

A large place in the work is given musical illustrations, listening, and viewing relevant materials. It is recommended to conduct seminars on topics chosen by the teacher or students. Possible current control tasks in the form of tests, as well as music quizzes. Based on the results of the current control, quarterly estimates are derived.

Intermediate certification(offered at the end of the first and second semesters) determines the success of the development of students and the degree to which they master the learning tasks at this stage. Forms of intermediate certification: control lessons, tests, reports, abstracts, presentations.

final examination

When passing the final certification, the graduate must demonstrate knowledge, skills and abilities in accordance with the program requirements. The forms and content of the final assessment for the subject "History of Classical Guitar Performance" are established by the organization independently (at the suggestion of the teacher). Recommended forms: a test with an assessment or an examination in writing or orally in the form of an answer to pre-prepared questions.

For the certification of students, funds of evaluation tools are created, which include control methods that allow you to evaluate the acquired knowledge, skills and abilities.

Criteria for evaluation

5 ("excellent");

4 ("good");

3 ("satisfactory").

Evaluation - "unsatisfactory" in this subject is undesirable, because regardless of the level of development of students, the teacher has the opportunity to find an individual approach to each student and maximize his creative abilities.

5. Methodological support of the educational process

This subject is taught by a guitar teacher.

Of course, we cannot hear the recordings of the great performers of the past. The 20th century gives us this opportunity. We can talk about the traditions and continuity of the performance of music from different eras through students and followers. (For example: F. Tarrega, Segovia, A.M. Ivanov-Kramskoy, A. Frauchi……….).

The forms of conducting lessons are varied, but with the obligatory inclusion in the work of the whole group. Joint listening and viewing of recordings, creative assignments - reports, abstracts, impressions of listening to recordings in class and independently. The presentation of the material includes: a lecture by the teacher himself with listening and viewing audio and video materials; performance of specific homework within the framework of the studied material by all students with subsequent discussions. A large place in the work is given to musical illustrations, listening, as well as viewing relevant materials.It is important for the teacher to accurately select a variety of musical material for listening and setting specific tasks in order to: teach concentration, activate hearing, thinking, make you pay attention to details, the performing style and the embodiment of the composer's intention by the performer. This will develop the students' own taste and make them more consciously approach the performance of works.

Tests are recommended to be carried out in the form of seminars, reports, abstracts, short references that students can complete on their own using online resources. And as homework, students can listen to the work in different performances and make comparative analysis heard, i.e. complete a creative task.

Also, a creative form of work in this direction is joint trips (if possible) of students with teachers, parents to instrumental music concerts, followed by discussion in the classroom. (In our school, such events are organized regularly due to the convenient location of the village to the concert organizations of Tver, Klin, Moscow. Also, performers from Tver come to us)

A great place is occupied by the preparation of the teacher and students for classes. It is a laborious and creative process. You have to work a lot with text materials, audio, video, Internet resources. It is necessary to encourage students to work daily for at least an hour. With regular independentclasses, there will be an increasing interest not only in this subject, but also the need for independent painstaking work majoring in guitar.

Averin V.A. The history of performance on Russian folk instruments. Krasnoyarsk, 2002
Agafoshin P.S. New about the guitar. M.,
Bendersky L. Pages of the history of performance on folk instruments. Sverdlovsk, 1983.
Weisbord C. Andres Segovia. M., Music, 1980.
Weisbord M. Andrea Segovia and the Guitar Art of the 20th Century: Essay on Life and Work. - M.: Sov. composer, 1989. - 208 e.: ill.
Weisbord M. Andrea Segovia. - M.: Music, 1981. - 126s. from ill.
Weisbord M.A. Andres Segovia and the Guitar Art of the 20th Century: Essays on Life and Work. M., 1989
Weissboard. Andrei Segovia and guitar art of the 20th century. -M., Soviet composer, 1989.
Vasilenko S. Pages of memories., M., L., 1948.
Vasiliev Yu., Shirokov A. Stories about Russian folk instruments. M., Soviet composer, 1976.
Vertkov K. Russian folk instruments. L., Music, 1975.
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Its cradle was the countries of the Near and Middle East, where it appeared several millennia ago.
But its appearance in its traditional form was preceded by a long way of development. According to a number of researchers, the primitive hunter's bow could be used not only as a weapon, but also as a musical instrument. So, if several bowstrings are pulled on a bow, then due to their different lengths, tension forces and thicknesses, the pitch of the sound emitted changes. Probably, this was the appearance of the musical instrument, which became the prototype of the Assyro-Babylonian and Egyptian cithara. In turn, the ancient citharas became the "ancestors" of the guitar.

On the ancient Egyptian pyramids and Assyrian architectural monuments, there are hieroglyphs depicting the nablu instrument, vaguely resembling a guitar in shape. Interestingly, the ancient Egyptians used the same hieroglyph to designate the concepts of "good", "good", "beautiful".
In Mesopotamia and Egypt, some varieties of cithara (including the Egyptian nabla and the Arab el-aud) received further constructive development and spread throughout the Mediterranean coast as early as the 3rd - 2nd millennia BC. new era. Until now, in the countries of Asia Minor, there is a musical instrument "kinira", related to the guitar.

In ancient Greece, the most popular musical instruments were kitara (kitarra), lyre, harp, pandora.
In the first centuries of the new era, the Latin guitar, related to the Greek, was widespread in the Mediterranean countries of Europe. The closest relative of the guitar, the lute, was also known. The very name "lute" comes from the Arabic word "el-aud", which means "wooden" or "euphonious".
There is an assumption that the lute and the guitar were brought to Europe by the Arabs - through Spain conquered by them and in the 8th century. Most likely, however, these instruments spread to Europe through Ancient Greece - thanks to its cultural ties with the countries of the Near and Middle East.

Until the 16th century, the guitar was three- and four-stringed. They played it with fingers and a plectrum (a bone and tortoise record).
In the 16th century, a five-string guitar appeared in Spain, and since that time it has become known as the Spanish guitar. The strings were doubled, sometimes the first string ("singer") was single. Of all European countries, the guitar was most widely used in Spain, where it became a truly folk instrument.
With the advent of the fifth string and the increase in its artistic and performing capabilities, the guitar begins to successfully compete with the lute and vihuela, its predecessor, and gradually displace them from musical use.
A number of talented virtuosos and composers appear who have raised the art of playing the guitar to a very high level. high level. Among them are F. Corbetta (1620-1681), court guitarist of the kings of Spain, France and England, his student R. de Vize (1650-1725), court guitarist of King Louis XIV of France, F. Campion (1686-1748), G. Suns (1640-1710) and many others.
The first tablature collections and teaching aids for the guitar began to appear: "Guitar Book" by R. de Vize (1682), "New Discoveries of the Guitar" by F. Campion (1705) and many others.

They printed old spanish dances- pascals, chaconnes, sarabandes, folios and other pieces.
In the second half of the 18th century, a six-string guitar appears (according to historians, again in Spain). With the advent of the sixth string and the replacement of double strings by single strings, the triumphal procession of the guitar across countries and continents begins; still exists in this form. The musical possibilities of the six-string guitar turned out to be so great that it becomes one of the most beloved instruments.
The "golden age" of the guitar begins. It is associated with the names of Spanish composers and guitar virtuosos F. Sora (1778-1839), D. Aguado (1784-1849) and Italian F. Carulli (1770-1871), M. Giuliani (1781-1829), M. Carcassi (1792-1853).

Performers

Spain

SOR José Fernando (Fernando Sor 1778 - 1839)

Spanish guitarist, composer and teacher. In early childhood, he showed exceptional abilities and received a musical education in one of the Catholic monasteries, improving his guitar playing on his own. Sora's guitar playing created a real sensation in London, where he went after a short stay in Paris. In the autumn of 1823, Sor with his wife, a French ballerina, went to Russia, where his performances were a great success. In Moscow, at the Bolshoi Theater, Sora's ballet "Sandrillon" was staged. In 1826 Sor returned to Paris and remained there until the end of his days. Nicknamed "The Beethoven of the Guitar", his deep and emotional music and the soft, velvety sonority of his playing made him one of the greatest guitarists of his time.
Sor was born in Barcelona. At the age of five, he was already composing songs, accompanying himself on his father's old guitar. He received his musical education at the Catholic monastery of Montserrat near Barcelona and at the age of 13 he was already composing complex music. Once his teacher was ordered to compose a solemn mass for soloists, choir and organ, but due to illness he could not prepare it by the deadline. Sor helped his teacher by completing the order brilliantly in one night.
After completing his musical education and finding patrons, Sor settled in Madrid and devoted himself entirely to composing music and improving his guitar skills. In 1813 he went to Paris, where he soon gained a reputation as one of the best virtuosos, captivating Berlioz, Cherubini and other musicians living in the French capital with his playing. In 1815, Soar went to London, where he made a real sensation with his guitar playing. In 1823, Sor was already in Russia, where he was also given an exceptional reception. During one of his trips to St. Petersburg, Sor was invited to the court of Empress Elizaveta Alekseevna, wife of Alexander I, who showed great favor to the guitarist. Proximity to the court promised Sor brilliant prospects, and he intended to stay in Russia forever, but was forced to leave it after the death of the empress.
After returning to Western Europe, Sor continued to enjoy unprecedented success. His authority among guitarists was extremely high. However, by the 1930s, the guitar was no longer a fashionable instrument, and Sor, both as a guitarist and as a composer, also went out of fashion. In June 1839 Sor died, half forgotten even by his fellow musicians.
Sora's music has become a part of history, many of his guitar compositions continue to live on the concert stage, and his "School for the Guitar" (1830) is considered by many to be the most outstanding composition dedicated to guitar performing technique.

Italy

Giuliani Mauro (GIULIANI, Giuseppe Sergio Pantaleo 1781-1829)

Outstanding Italian virtuoso guitarist, composer recognized by such authorities as J. Haydn and L. Beethoven. Born near Naples. As a child, he learned to play the violin and flute, at the same time he self-taught the guitar: by the age of twenty he had already achieved such brilliant results that he gained fame in Italy as the best guitarist. Since 1800, his concert activity began, initially taking place in Italy and France. In 1807 he came to Vienna with concerts, where music critics unanimously recognized him as the greatest guitarist in the world.
Having settled in Vienna, Giuliani took up concert and teaching activities. Among his friends are L. Beethoven and J. Haydn, violinists L. Spohr and J. Mayseder, pianists I. Hummel, I. Moscheles and A. Diabelli.
In 1816, Giuliani toured Germany with great success. In 1819 he performed in Rome in concerts with D. Rossini and N. Paganini.
Brilliant performances Giuliani and his performance of his own concertos for guitar and orchestra proved the equal rights of the guitar as a concert instrument with the violin, cello and piano. "Little Orchestra" - this is how Beethoven characterized the sound of Giuliani's guitar.
In 1821 Giuliani returned to Italy and settled in Rome. In the last years of his life, he toured Germany, Poland, Russia and England, everywhere causing delight and amazement with his art.
M. Giuliani died in 1829 in Naples.

Carulli Ferdinand (Fernando 1770-1841)

Italian guitarist, teacher and composer. Initially, he studied cello. After learning to play the guitar on his own, he became a professional guitarist. Beautiful tone, purity and fluency in playing the guitar ensured his success in Naples, and then in Paris, where he became a favorite of the salons. Carulli settled in Paris in 1818. Having gained fame as the best guitarist of his time, he shared the championship with Matteo Carcassi and held it until the return of Fernando Sor.
A prominent teacher and brilliant performer, Carulli published about three hundred of his compositions: pieces for solo guitar, concertos for guitar and orchestra, chamber works, which are distinguished by high instrumental and technical skill. Two of his theoretical works have received wide recognition; these are "School of playing the lyre or guitar" (1810) and a study on accompaniment "Harmony as applied to the guitar" (1825). Carulli's "School" gained particular popularity: it went through five editions at once and was published many times after the author's death.

Carcassi Matteo (1792 -1853)

One of the most famous Italian guitarists of his time, composer and teacher, follower of F. Carulli. In the history of the guitar, he is known as the author of "The School of Playing the Guitar" (1836) and pedagogical works. His studies for the guitar have survived to this day, making up the training material for any modern guitarist and are considered classical.
Matteo Carcassi studied guitar from an early age in his native Italy. He was not yet twenty when he already gained a reputation in Italy as a guitar virtuoso. In 1815 he took up teaching guitar and piano in Paris. During a concert trip to Germany in 1819, Carcassi met the French guitarist Meissonier, who in 1812 founded his publishing house in Paris. The two guitarists became close friends and Meissonier published most of Carcassi's work.
In 1822 in London, after only a few concerts, people started talking about Carcassy as an exceptional guitarist and teacher. He soon returned to Paris, but visited London every year, where his guitar talent was highly appreciated, and where he was always expected and revered.
When Carcassi first appeared in Paris, his talent was for some time in the shadow of another, older Italian virtuoso guitarist Ferdinando Carulli, but after a few years Carcassi achieved recognition and huge success. He gave concerts every year in most of the main cities of Europe. In 1836, Carcassi briefly returned to Italy, but Paris remained his permanent residence until his death in 1853.

France

Coast Napoleon (Napolón Coste / Claude Antoine Jean George Napolón Coste 1805 - 1883

French guitarist and composer. Born in Franche-Comte. Being quite young, he already begins the activity of a performer and teacher. In 1830 he moved to Paris, where he became friends with F. Sor, D. Aguado, F. Carulli and M. Carcassi, who lived there at the same time with him, who had a great influence on his work. In 1856, at the international competition for the best composition and the best instrument, organized in Brussels by the Russian guitarist N. Makarov, he received the second prize for his composition "The Great Serenade".
Cost is one of the finest French performers of the 19th century and is often compared to Sor. Due to a hand injury as a result of an accident, he was forced to interrupt his concert activities. Costa's own work is relatively small, but testifies to an outstanding composing talent. He wrote about 70 works for guitar: waltzes, variations, "Concert Rondo", "Great Serenade", the cycle "Autumn Leaves", "25 Etudes" (op. 38), pieces for oboe and guitar, etc. In his even small pieces always feel harmonious harmony and orchestral polyphony.
The name of Costa is also associated with a new, revised and enlarged edition of Sor's School for the Guitar, in which Cost included a transcription of the suite by Robert de Wiese. Died in Paris.

Guitar in Russia

The history of the guitar in Russia is interesting and very original.
In its development, it went through approximately the same stages as in the countries of Western Europe.
The Russian historian N. Karamzin wrote that back in the 6th century, the Slavs loved to play the cithara and the harp, not parting with them even in harsh military campaigns. Played in Russia and the four-string guitar.
In 1769, Academician Shtelin wrote about the appearance in the reign of Empress Elizabeth of the Italian five-string guitar, for which special musical magazines were published.

At the end of the 18th century, a six-string guitar appeared in Russia. Soon she becomes popular in all walks of life. The first Schools of playing this instrument and various musical editions are printed. The oldest school published in Russia is "Improved Guitar School for Six Strings, or Self-Taught Guitar Playing Guide" by Ignatius von Geld. She went out to early XIX century in Russian and German.
In the same period, "Etudes" and "Four Sonatas" for piano and six-string guitar by the famous virtuoso, composer and teacher P. Galyani, "New magazine for six-string guitar" by A. Berezovsky, "Concerto for six-string guitar accompanied by orchestra" were published in St. Petersburg composer Ashanin (1815).
In 1821 - 1823 "Music Academies" were opened in Moscow and Nizhny Novgorod, in which boys and girls learned to play the guitar. Outstanding Russian guitar virtuosos appear - M. Sokolovsky, N. Makarov, V. Lebedev.

Vysotsky Mikhail Timofeevich (about 1791-1837)

Russian virtuoso guitarist and guitar composer. He studied guitar with S. N. Aksenov. He was fond of the classics, especially Bach, whose fugues he tried to transcribe for the guitar. This was reflected in the serious and noble style of his guitar compositions: mostly fantasies and variations on Russian folk themes(cycles of 4-5 variations, framed by "screensavers" and "endings"), there are also arrangements for the guitar of pieces by V.A. Mozart, L. van Beethoven, J. Field (with whom the musician was close), and others. Of these, 83 were printed; his "Practical and Theoretical School for the Guitar" (1836) was also published.

Makarov Nikolai Petrovich (1810-1890)

Russian virtuoso guitarist, active propagandist of guitar art.
Born in the city of Chukhloma, Kostroma province. He spent his childhood on the estates of his father and aunt M.P. Volkonskaya. Served as an officer in the army.
Played the violin since childhood. At the age of twenty-eight, he became interested in the guitar and, practicing ten to twelve hours a day, soon achieved significant success.
Makarov's first concert took place in 1841 in Tula, in the Hall of the Nobility Assembly, where he played the first part of Giuliani's 3rd Concerto.
In 1852, Makarov traveled abroad, where he met with the largest guitarists in Europe: Tsani de Ferranti, Carcassi, Kost, Mertz, guitar master Scherzer. In 1856, in Brussels, he organized the 1st International Competition for the best composition for guitar and the best instrument, on which he performed as a soloist with great success. The 1st prize for the best composition was given to J.K. Mertz, the 2nd prize to N. Kost, the 1st prize for the best instrument to the Austrian master I. Scherzer, the 2nd prize to the Russian master I. Arhuzen. N. Makarov died in the village of Funtikovo-Rozhdestvenskoye, Tula Region.

Sokolovsky Mark Danilovich (1818-1883)

Born in Ukraine near Zhytomyr. I learned to play the guitar on my own, following the Giuliani, Leniani and Mertz Schools.
In 1841 he gave his first solo concert in Zhitomir, where he performed the Concerto in E Minor by F. Carulli. In 1846 he gave a solo concert in the hall of the Noble Assembly. The concert was a great success and was attended by over a thousand people.
In 1858 Sokolovsky went abroad. With great success are his concerts in Vienna. In 1863-1868 he made a triumphal tour of the major cities of Europe: Paris, London, Berlin, Brussels, Dresden, Milan, Krakow, Warsaw. They call him "Great Artist" in Germany, "Paganini of the Guitar" - in England, "Kosciuszko of Guitarists" - in Poland.
On January 25, 1869, Sokolovsky gave a concert in the crowded hall of the Bolshoi Theater. His farewell concert (due to illness) took place in 1877 in St. Petersburg, in the hall of the Court Singing Chapel.
Sokolovsky spent the last years of his life in Vilna (Vilnius), being engaged in pedagogical activities. A big blow for him was N. Rubinstein's refusal to open a guitar class at the Moscow Conservatory.
Mark Sokolovsky died in 1883 in Vilna and was buried at the Rasu cemetery in Vilna; not far from it, the famous Lithuanian artist and composer Mikaelius Konstintinis Čiurlionis was subsequently buried.

Lebedev Vasily Petrovich (1867-1907)

Born in the Samara province. A student of the famous Russian guitarist I. Dekker-Schenk.
Successfully gave concerts in St. Petersburg and other cities of Russia. In 1900 he performed with the orchestra of Russian folk instruments VV Andreev in Paris, at the World Exhibition. The press noted the great success of the artist. Lebedev was the first performer of the guitar part in N. Paganini's Quartet for Guitar, Violin, Viola and Cello. He taught in St. Petersburg at the Pedagogical Museum and in parts of the military district. Died in Petersburg.

decline

In the second half of the 19th century, the guitar art declined. Opera, symphony and instrumental music, which reached its full flowering, relegated the guitar to the background and delayed its development for many decades. But to an even greater extent contributed to this petty-bourgeois fashion and tastes that have spread in all strata of society. According to the figurative expression of Segovia, the largest guitarist of the 20th century, "the guitar was hung on the walls of hairdressers", its main purpose was a primitive accompaniment to songs and romances, the musicians ceased to consider the guitar a serious instrument. Many old traditions have come to naught, countless rare notes and manuscripts have perished; talented performers and composers became less and less - amateurishness and ignorance swept the guitar art.
The decline spread to all European countries, but less than others, it touched Spain, in which a new revival of the guitar began.
The musician who returned the good name to the guitar and raised its art to a new, hitherto unseen height was Francisco Eschea Tarrega, an outstanding Spanish virtuoso guitarist, composer, founder of the modern school of guitar playing.

rebirth

Tarrega-Eshea Francisco (1852 - 1909)

Outstanding Spanish virtuoso guitarist and composer, founder of the Spanish school of guitar playing. Born November 21, 1852, died December 5, 1909. He has been playing the guitar since early childhood. Tarrega's musical abilities attracted attention, and with the support of a wealthy family, he managed to go to Madrid and in October 1874 enter the conservatory, from which he graduated brilliantly in two specialties - piano and composition. Despite his good pianistic abilities, Tarrega preferred the guitar, in playing which he improved so much that he decided to give his own concert at the Alhambra theater in Madrid. The huge success that accompanied this performance decided the issue completely - Tarrega became a guitarist. Concert trips to France, Italy, Austria, Holland and other countries confirmed the outstanding abilities of the guitarist. The press compared Tarrega with the largest contemporary performers - the violinist Pablo de Sarasate and the pianist Anton Rubinstein.

Barrios (Mangori) Augustine (Agustin Barrios Mangore 05/23/1885-08/07/1944)

A brilliant Paraguayan virtuoso guitarist, whose importance was fully appreciated almost 50 years after his death. Born into a family of musicians, in which, in addition to Augustine, there were seven more children. He started playing the guitar very early. The first teacher was Gustavo Escalda, who introduced the young guitarist to the world of music by Sor, Tarrega, Aguado and other composers whose works formed the basis of the traditional guitar repertoire. At the age of 13, noting the remarkable talent of the child, which had already manifested itself in many areas (he was excellent at drawing, had amazing mathematical abilities and literary talent), he was sent to study at the National College in Asuncion.
In 1910, Barrios, who by that time had already become known as a virtuoso guitarist, left Paraguay and went to Argentina. For the next 34 years he toured the South American continent, giving concerts in the cities of Argentina, Uruguay, Brazil, Venezuela, Costa Rica and El Salvador. He also traveled to Chile, Mexico, Guatemala, Honduras, Panama, Colombia, Cuba and Hawaii. Between 1934 and 1936 his trip to Europe took place - he played in Spain, Germany and Belgium.
In 1932, Barrios himself began to call himself "Nitsuga Mangori - Paganini guitars" (Nitsuga is the reverse reading of Augustine, and Mangori is the name of the legendary leader of the Guarani Indians). Around the middle of the 30s, Barrios began to develop health problems - a sick heart no longer allowed him to make long and strenuous concert trips. He spent the last years of his life in San Salvador, the capital of the small Central American state of El Salvador, teaching and composing music, only occasionally performing solo guitar concerts.
Mangori was not only an outstanding performer, but also a composer, who owns over 300 works for guitar, many of which are considered today among the best works ever written for solo guitar.

Vila-Lobos Heitor (Heitor Villa-Lobos 1887 - 1959)

Outstanding Brazilian composer, connoisseur of musical folklore, conductor, teacher. Born March 5, 1887, died November 17, 1959. Took lessons from F. Braga. In 1905-1912 he traveled around the country, studied folk life, musical folklore (recorded over 1000 folk melodies). From 1915 he performed with author's concerts.
In 1923-30. lived mainly in Paris, communicated with French composers. In the 1930s, he did a great job of organizing a unified system of musical education in Brazil, founded a number of music schools and choirs. Vila-Lobos is the author of special teaching aids ("Practical Guide", "Choral Singing", "Solfeggio", etc.), the theoretical work "Musical Education". He also acted as a conductor, promoted Brazilian music in his homeland and in other countries. He received his musical education in Paris, where he met A. Segovia and to whom he later devoted all his compositions for the guitar. Vila-Lobos' compositions for guitar have a pronounced national character, modern rhythms and harmonies in them are closely intertwined with the original songs and dances of Brazilian Indians and blacks. Head of the National Composer School. Initiator of the creation of the Brazilian Academy of Music (1945, its president). Developed a system of musical education for children. He wrote 9 operas, 15 ballets, 20 symphonies, 18 symphonic poems, 9 concertos, 17 string quartets; 14 "Shoros" (1920-29), "Brazilian Bahian" (1944) for instrumental ensembles, an innumerable number of choirs, songs, music for children, arrangements of folklore samples, etc. - in total over a thousand of the most diverse compositions.

Segovia Andres (1893-1987)

Outstanding Spanish guitarist and teacher. He was born in Andalusia, in the city of Linares, on February 21, 1893, and a few weeks later the family moved to Jaen. The wonderful art of improvisation of Andalusian folk guitarists and the original culture of this ancient land greatly influenced his attitude.
In 1910, the first public concert of Andres Segovia, organized by his friends, took place in the "Artistic Center" of Granada.
In 1915, Segovia met the guitarist Miguel Llobet, thanks to whom he was able to give a concert in Barcelona in January 1916. However, they did not seek to let the guitar into large halls. She was not a popular instrument, and everyone felt that the power of her sound was not enough, and she simply would not be heard in a large room.
The turning point in the fate of the guitar was a concert at the Palau Chamber Music in Barcelona, where Segovia finally received permission to perform. The beauty of the sound of an acoustic guitar literally bewitched the listeners.
The atmosphere of Renacimiento, the movement for the revival of folk traditions in the music and culture of Spain, contributed to the further success of Segovia. Over the next six years, the guitarist won recognition for his instrument not only in the concert halls of Madrid and Barcelona, but also in other cities in Spain. To this must be added the success of two tours to South America in 1919 and 1921.
The 20s of the 20th century became the time of the birth of a new era in guitar art and the beginning of the world recognition of Segovia. Each performance of Segovia was perceived as a miracle, as the discovery of something new. He sought to overcome stereotypes and establish the guitar as a solo instrument.
Three times, in 1926, 1927, 1935-1936, he came to the USSR and with constant success gave concerts in Moscow, Leningrad, Kyiv and Odessa. Segovia performed not only with concerts, but also met with local guitarists, listened to their game, conducted methodical conversations and open lessons. This also affected the development of guitar art in the Soviet Union: after the tour, many professional musicians began to look at the guitar as an instrument worthy of serious study. The result was the opening of guitar classes in music schools (then technical schools), as well as in individual music universities. P. S. Agafoshin was an ardent supporter of Segovia, who was the first in the USSR to create the "School of Playing the Six-String Guitar", based on the methodological guidelines of the outstanding guitarist. Thus, Segovia was not only an artist, but also an active promoter of his instrument.

Guitar in Russia 2

Agafoshin Petr (1874-1950)

A wonderful Russian guitarist, one of the first teachers of the six-string guitar. P.S. Agafoshin was born in the village of Pirogovo, Ryazan province, into a peasant family. Passion for the guitar inherited from his father (originally played the seven-string guitar). Having moved to Moscow, Petr Agafoshin improved his playing on his favorite instrument on his own, only occasionally using the advice of teachers, among whom was V. Rusanov, editor of the Moscow magazine "Guitarist. A significant role in artistic development Agafoshin was played by his friendship with the artists V. I. Surikov and D. E. Marten, passionate fans of the guitar. Participated as a performer in many concerts. Accompanied outstanding singers F. Chaliapin, D. Smirnov, T. Ruffo. The recognition of Agafoshin's performing art was an invitation to participate in Massenet's opera "Don Quixote" at the Bolshoi Theater in 1916, where he accompanied F.I. Chaliapin.
The meeting in 1926 with Segovia inspired Agafoshin. He did not miss a single concert of the Spanish artist, personally met with him. “After the departure of Segovia,” wrote Agafoshin, “I immediately reorganized, made the necessary adjustments to my production, to the methods of the game. By his next arrival in the spring of 1927, my condition was more balanced, since by this time I myself was already somewhat Therefore, my further observations of his playing were much more productive, I could focus them on individual moments and details of his performance, especially those pieces that were in the process of my study.
P.S. Agafoshin worked as an orchestra performer at the State Maly Theater for more than 40 years. In 1930-1950 he taught a guitar course at the Musical College. October Revolution and the Moscow State Conservatory. Many famous Soviet guitarists were his students (A. Ivanov-Kramskoy, E. Rusanov, I. Kuznetsov, E. Makeeva, Yu. Mikheev, A. Kabanikhin, A. Lobikov and others).

Alexander Ivanov-Kramskoy (1912 - 1973)

Outstanding Russian Soviet guitarist, composer, conductor, teacher, author of the "School of Playing the Six-String Guitar", one of the few Soviet guitarists who were awarded the title of Honored Artist of the RSFSR (1959). Born July 26, 1912 in Moscow. Studied at the Music College named after October revolution with Petr Spiridonovich Agafoshin (six-string guitar), then at the Moscow Conservatory (training courses). He played a huge role in the development of the six-string guitar in Russia.
He performed as a soloist and in an ensemble with singers (N. A. Obukhova, I. S. Kozlovsky). Since 1932 he worked at the All-Union Radio. In 1939 he received the 2nd prize at the All-Union Competition for Performers on Folk Instruments. In 1939-45. conductor of the Song and Dance Ensemble of the NKVD of the USSR. In 1947-52 he was the conductor of the Russian Folk Choir and the Orchestra of Folk Instruments of the All-Union Radio.
Author of plays and school for six-string guitar. His guitar compositions (including two concertos for guitar and orchestra) are very popular among guitarists.
The pedagogical activity of A. M. Ivanov-Kramskoy proceeded at the Academic Music School at the Moscow Conservatory, where from 1960 to 1973 he headed the guitar class, having trained many talented musicians. Then he taught at the Institute of Culture.
Alexander Mikhailovich Ivanov-Kramskoy was a prominent musical and public figure who devoted all his energies to the promotion of guitar art. After for long years oblivion, thanks to an outstanding performer and teacher, the guitar regained the status of a professional concert instrument and began to be taught in secondary and higher musical institutions of the country. Died A.M. Ivanov-Kramskoy in Minsk during a tour. He was buried in Moscow at the Vvedensky cemetery.

Komoliatov Nikolai (b. 1945)

One of the best contemporary Russian guitar players, teacher. Born in 1945 in the city of Saransk, in 1962-70. studied at the school, and then at the Institute. Gnesins in the class of the famous Russian guitarist A. M. Ivanov-Kramskoy. Graduated from the Ural State Conservatory. M. P. Mussorgsky. Since the opening of the guitar class at the RAM. Gnesinykh works as a teacher, having prepared many laureates of various competitions over the years. Currently he is a professor of the guitar class of the Russian Academy of Music. Gnesins.
In 1996 he became a laureate of an international competition at the Latin American Arts Festival. He is the first performer of many works by contemporary composers. Firma "Melody" released two solo discs of the performer. The first disc consisted of etudes and preludes by E. Vila-Lobos, and the second included works by P. Panin (Two etudes, Two preludes, Dance of the Shaman and Humoresque) and I. Rekhin's suite "In Memory of E. Vila-Lobos".
In reviews of N. Komoliatov's concerts, the press notes the timbre richness of his instrument and virtuoso technique, the elegance and subtlety of the musician's artistic taste.
For outstanding achievements in the field of guitar art, N. Komoliatov was awarded the title of Honored Artist of Russia. For more than 25 years he has been a soloist of the Moscow State Philharmonic.

YerzunovV Viktor (b. 1945)

guitarist, composer, music teacher. Born in 1945 in Saransk. Father died at the front. Musical abilities showed up early, but there was no opportunity to study.
He started learning to play only at the age of 17, in the yard. We were content with three main chords... The turning point was the acquaintance with Nikolai Komoliatov, the only person in Saransk who went to study with Alexander Mikhailovich Ivanov-Kramskoy. I still remember Vila-Lobos' first prelude, which he played during our first meeting.
And then the training went on with the help of a self-instruction manual for playing the guitar and "by correspondence". Nikolai Komoliatov, who then served as a sailor and played in the ensemble of the Pacific Fleet, recorded on a tape recorder in his own performance those works, the notes of which Victor had, and sent them by mail from Vladivostok. So, "by ear", he understood the notes, playing on the model of his distant teacher. In 1963, after graduating from school, he went to work as an assembly fitter at the Elektrovypryamitel plant. He managed to play the guitar even during the lunch break, and after work - until dark at night. I prepared the program for entering the music school on my own. I did not get into the school at the Moscow Conservatory, since according to the order of the Ministry of Culture that year there was a set of students from Kazakhstan and Uzbekistan. But in the same year, a small class of six-string guitar was opened at the Gnessin School in the Department of Folk Instruments. Two of the thirty applicants were accepted. One of them is Viktor Erzunov. After 3.5 months of study, Viktor was drafted into the ranks of the Soviet Army, where he served in the combat unit for three years. Upon returning to the school, he studied ten hours a day to catch up. At the same time, he began to acquire his first teaching experience. He himself selected the repertoire for the students in order to instill in them a good musical taste.
V. Yerzunov's teacher Boris Khlopovsky left to play at the Mosconcert and recommended his best student for a teaching job. The vacant position of a guitar teacher was held for six months for Viktor Alekseevich, while he was completing his studies. In 1971 he began working at the Musical College. Gnesins. At the same time, at the invitation of Marina Davydovna Khidekel, he opened a guitar class at the Chernogolovskaya School of Arts.
The first pieces belonging to an already mature master, selected after many years of testing by time, were published in 1989 in the "Collection of Pedagogical Repertoire for Guitar" along with the works of the classics. A completely author's collection of Viktor Yerzunov's own compositions "Guitarist's Album" for children's music schools has also been released.

Vinitsky Alexander
(b. 1950)

Russian guitarist, composer, music teacher. Laureate of international competitions. Graduate of the Russian Academy of Music. Gnesins. He teaches at the State Musical College. Gnessins classical guitar, performs solo concerts, writes music for the guitar, conducts seminars and master classes on the topic "Classical guitar in jazz". Participates in international festivals guitar and jazz music, successfully performs abroad and in large cities of Russia. In the concert programs of Alexander Vinitsky, author's compositions sound, combining different styles, as well as arrangements of music by Gershwin, Jobim, Bonff, Gilberto, Powell, Porter, Rodgers and other composers. Recorded 7 discs. He publishes his works in major music publishing houses of the world. He has repeatedly been chairman and jury member of international classical guitar competitions in France, Poland, and Russia.

Frauchi Alexander (b. 1954)

One of the best Russian classical guitarists-performers. Born in Rostov in 1954. He began to take his first steps in music under the guidance of his father, Camille Arturovich Frauchi, a famous violinist and, as they say, a wonderful guitarist and teacher. He studied at the Central Music School at the Conservatory. Tchaikovsky in Moscow in the class of N. A. Ivanova-Kramskaya and at the Conservatory. Mussorgsky in Sverdlovsk with G. Mineev. In 1979 he won the first prize at the national musical competition of performers in Leningrad, and in 1986 - the first prize at the International Guitar Competition in Havana (Cuba). He has given solo concerts and conducted master classes in Germany, France, Belgium, Great Britain, USA, Austria, Italy, Yugoslavia, Poland, Cuba, Hungary, Czech Republic, Bulgaria, Turkey and Greece. Alexander Frauchi was repeatedly invited as a member of the jury at international competitions guitarists. A record was released by the Melodiya company, as well as a CD-ROM (1994) with a recording of the works of Nikita Koshkin.
Honored Artist of Russia, music teacher, professor at the Russian Academy of Music (former Gnessin Musical and Pedagogical Institute) in Moscow.