School-tutorial for playing the balalaika. Ch.1 Tutorial

03
oct
2009

A. Dorozhkin - Tutorial for playing the balalaika

Format: DjVu, Scanned pages
Released: 1963
A. Dorozhkin
Genre: textbook
Publisher: Soviet composer
Number of pages: 61
Description: This book will help those who want to learn how to play the balalaika.

08
Apr
2010

Tutorial for playing the button accordion (accordion) (Bazhilin R.N.)

Format: DjVu, Scanned pages ISBN: 5-89608-032-8
Release year: 2004
Author: Bazhilin R.N.
Genre: Tutorial
Publisher: V.Katansky Publishing House
Russian language
Number of pages: 113
Description: The proposed tutorial is a tutorial that will be of great help to all beginners, as well as those who already play and accompany songs on the button accordion (accordion), in selecting songs by ear and improvisation.
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sep
2012

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Release year: 2012
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Russian language
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01
dec
2009

Dragunkin A. A new cool English tutorial for beginners and beginners.

ISBN: 5-87852-151-2
Format: PDF, eBook (originally computer)
Release year: 2005
Author: Dragunkin A.
Genre: Textbook
Publisher: ANDRA
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Additionally: Tutorial By English language for beginners and beginners
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2008

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ISBN: 978-5-9775-0430-0

Author: G.E. Senkevich
Release year: 2011
Genre: Computer Literature
Publisher: BHV-Petersburg
Russian language
Number of pages: 336
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aug
2011

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ISBN: 978-5-9775-0616-8
Format: DjVu, Scanned pages
Author: Revich Yu. V.
Release year: 2011
Genre: Computer Literature
Publisher: BHV-Petersburg
Russian language
Number of pages: 576
Description: The book is as simple as possible, but in sufficient detail, it tells about how to communicate with a modern personal computer, how to set it up "for yourself", solve various problems and successfully overcome the difficulties that arise. Most of the described methods of work are illustrated with practical examples based on well-known, as well as free and freely distributed programs. In third...

08
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ISBN: 978-5-49807-574-7
Format: PDF, eBook (originally computer)
Author: A.Artemyev
Release year: 2010
Genre: Computer Literature
Publisher: Peter
Russian language
Number of pages: 400
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Format: PDF, eBook (originally computer)
Author: Sergey Vavilov
Release year: 2010
Genre: Computer Literature
Publisher: Peter
Russian language
Number of pages: 352
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dec
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Author: Alexey Gladky
Release year: 2013
Genre: Computer Literature
Publisher: Litres
Russian language
Number of pages: 130/75
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annotation

"School-self-teaching how to play the balalaika" by Gennady Andryushenkov is recommended by the Committee for Culture of the Administration of St. Petersburg as a teaching aid for children's music schools, music colleges and self-study.
The features of this manual, which distinguish it from other tutorials, are in the significant detail of the explanations, in the complexity of the course, in which the necessary information on musical literacy is acquired in parallel with musical and technical skills, in the lesson system, which contributes to the organization of classes in self-study.
The tutorial is subdivided into the Training Course (Part 1) and.

TRAINING COURSE Introduction

From the history of the balalaika

Balalaika device

Instrument handling and preparation

to classes

Elimination of tool defects

Preparatory exercises

Landing of the performer and setting of hands

Pizzicato with thumb

Sound pitch. Sound names

Balalaika tuning

Recording the pitch of sounds. Balalaika scale

Position of the fingers of the left hand. 1st position

Top-down rattling (I)

Record the duration of sounds. Tempo, rhythm, meter.

size, beat

Size 3 4

complex meters. Size 4 4

Clatter double strikes (I)

Clatter double strikes (II)

Arpeggio (I). Zatakt

Dynamics

Finger fluency development. reprise

Lesson 6

Clattering with double blows (III). Volts. Plan

analysis of the play

Outdoor game "in I position with transitions from string to string

Lad. Key. Major mode.

Key and random accidentals. Tonic triad

Gamma E major. Arpeggio

Alternating rattling and pizzicato large

Use of the thumb of the left hand (I)

Intervals

Application of the thumb of the left hand (III) Variations.

Sixteenths in melodic movement

Scales of I-VI positions

Gamma in A major. Transition to IV position

Minor mode. Parallel Keys

Gamma in A minor

Gamma in A major in double notes. Transitions to

thirds positions

Sixteenths in rattling

Tonality and scale in F major. I half position.

Double pizzicato (I)

Double pizzicato (II)

Large fraction

Transitions within I-IV positions in rapid

movement

Key and scale in B-flat major

Segno and "lantern". Accent

Splattering with alternating beats

Scales in C major and C minor. II-VI positions.

Double pizzicato when changing notes

Gamma in C major with double notes

The rattling of alternating syncopated beats.

Glissando on I string. Sforzando.. Tremolo (I)

Rhythmic points and connecting slurs. g size

Alternating arpeggio and pizzicato with the thumb

Tremolo (II). Phrasing leagues. climax

Variable size. alternating rattling and

Development of finger fluency (II)

Tremolo in a developed melodic movement.

Pizzicato with the left hand

and II strings (I)

Flapping with variable beats at a fast pace (I)

Tremolo in rich sonority

Jattering with variable beats at a fast pace (II)

Tremolo on II and III strings

Pizzicato left hand (II)

Development of finger fluency (III)

Scales in D major and D minor

Gamma in D major in sixths

Dotted rhythm. rattling variables

staccato strikes.

Alternating legato and staccato

Tremolo on II and III strings (II)

Double pizzicato on 2nd string

Vibrato (I)

Alternating large fractions, rattling variables

punches and pizzicato with the left hand

mixed meters. Size 5 4

Double pizzicato with alternating strikes on

I and II strings (II)

Vibrato (II)

small fraction

Size 7 4 . Tenuto

Double pizzicato with alternating strikes on

three strings

Alternating rattling and hooks

Pizzicato with index finger

Chromatic scale

Tremolo in alternation with other techniques

sound extraction. Fermata

Tremolo on one string

Special types of rhythmic division. Triol.

Glissando on three strings

Alternating rattling and tremolo

Short grace note. melismas

natural harmonics

Alternating double pizzicato, pizzicato

left hand and flageolets

Independent choice of game methods

and fingerings

Differences in the designation of game techniques

(control)

Addition

Double and triple vibrato. Short forshalag.

Artificial harmonics

Reverse dorby

Guitar playing techniques. Mordent, gruppetto, trill

Preface 3
I. Instrument, its qualities and tuning 5
II. Some questions of the position of the performer and the setting of hands 12
Sound extraction 13
Direction of impact when picking up 14
Left hand position 15
Fingering features when playing chords 23
III. Game techniques 24
Arpegjato 24
Pizzicato thumb 25
Pizzicato with fingers of the left hand 26
Clatter 30
Strumming the strings mi 31
Triplet performance 34
Rattle with a "hook" 35
Large, small and reciprocal fractions 37
Double pizzicato 39
Tremolo 42
Glissando 42
Single pizzicato 44
Tremolo on one string 46
Guitar tremolo 46
Vibrato 48
Flageolets 51
Conclusion 52
List of music examples given in brochure 54

The improvement of the balalaika at the end of the 19th century by V.V. Andreev and its entry into the concert stage ensured its recognition by a huge audience of listeners both in our country and abroad.
The activities of the popularizers of the balalaika - V.V. Andreev and his contemporary B.S. Troyanovsky - were approved and supported by the progressive public of that time. Outstanding Composers, conductors, writers and artists noted the peculiar charm of the sound of the balalaika and attached great importance to it in the promotion of Russian folk songs. “What a charm these balalaikas are! What an amazing effect they give in the orchestra: in terms of timbre, this is an indispensable instrument! - with these words, P. I. Tchaikovsky expressed his admiration after listening to the play of the balalaika ensemble under the direction of V. V. Andreev on one of Belyaevsky Fridays.
During the years of Soviet power in our country, much attention was paid to folk instrumental music. Original works have been written for the balalaika: concertos, sonatas, suites and other pieces, the performance of which requires a great professional culture from the musician.
Classes open in music schools, colleges, conservatories, arts and culture institutes folk instruments, producing a large army of highly qualified musicians-performers and teachers who worthily continue the work of V. V. Andreev.
The growth of performing skills and the great interest of listeners in folk instruments make serious demands on the methods of teaching special disciplines in music schools.
Among the urgent tasks for teachers teaching how to play the balalaika, an important place is occupied by the generalization of a rich practical experience leading mumykan goyim and the creation of teaching aids based on this experience.
This work is conceived as a textbook for teachers of music schools and colleges who teach a special instrument or method of teaching how to play the balalaika, as well as for students who independently study the psions of playing the balalaika. It provides for a theoretical part related to sequential training, methodically tested by many years of performing and pedagogical activity author, and also takes into account the huge contribution to the development of folk instrumental music by famous musicians and teachers, among them P.I. balalaika, unfortunately not fixed on paper.

I. INSTRUMENT, ITS QUALITIES AND SETTING



The body of the balalaika consists of staves, a back, a soundboard, springs, counter-feeds, lining, a circle and a saddle. Rivets form the bottom of the case. They are made from decorative maple (wavy or jet, bird's eye). Some craftsmen use birch, Karelian birch, rosewood for riveting. As the forms of the balalaika developed, the number of staves also changed. The first balalaikas, improved by V.V. Andreev, had five staves. The seven-riveted balalaikas of the master Galinis are known. Creator modern form balalaikas - an outstanding master nugget S. I. Nalimov. The instruments of his work are highly regarded by performers. S. I. Nalimov made a balalaika, which had six staves, which gave the instrument a beautiful shape and high musical merits. At present, the bottom of the case is assembled (knitted) from six to seven rivets (Fig. 1).
A circle on the back increases the strength of the body at the place where the buttons for fastening the strings are installed.
The lining and corners give the body of the balalaika a beautiful appearance. The edges of the deck and back are edged with a lining.
Inside the body there is a cleat that connects the rivets with the neck, and counter-sides, giving it rigidity and increasing the area for gluing the soundboard.
The saddle is located above the circle at the junction of the backboard with the soundboard. It is recommended to saw through the grooves for the strings on it, the distances between which should coincide with the grooves on the stand. This is done in order to avoid bending and displacement of the stand.
The soundboard is a critical part of the instrument. Perceiving the vibrations of the strings through the stand, it amplifies the sounds and gives them a certain timbre, strength and duration. The energy received by the soundboard from the string upon impact is spent partly on sound generation and partly on harmful losses, which consist in overcoming internal friction when sound waves propagate across the fibers in the soundboard, on the initial rocking of the soundboard and on friction at the junctions of the soundboard with the body.
Rice. 1: 1 - head, 2 - peg mechanics, 3 - nut, 4 - frets, 5 - dots, 6 - fret plates, 7 - shell, 8 - lining, 9 - deck, 10 - resonator hole, 11 - rosette, 12 - stand, 13 - corners, 14 - nut, 15 - circle, 16 - back, 17 - rivets, 18 - buttons.
Deku is made from resonant spruce. with the highest speed of propagation of sound waves. The deck thickness should not exceed 2 mm. Planks for dekp, selected by layer, color, are tightly glued together. It is better when the deck is made in a “homogeneous way”: a wide spruce plank, sawn in half in thickness, is unfolded and glued along the edges. Such a deck is more homogeneous, and the annual layers are arranged symmetrically. The processed, dried for a long time deck should be of the same thickness over the entire area, the upper part of which is covered with a special varnish that protects it from deformation when the temperature and humidity of the surrounding air change.
The resonator hole is used to increase the duration and strength of the sound of the instrument and to change the air cushion inside the body when the soundboard vibrates. The resonator hole is protected from stabbing by a mortise rosette, which is also an ornament of the instrument.
The shell protects the deck from mechanical damage during the game. It can be mortise and hinged.
Springs - spruce slats glued on the inside of the deck. They give the soundboard a convexity, mechanical strength and contribute to the propagation of string vibrations over the entire area of ​​the soundboard. Depending on the design of the balalaika, there are two or three springs, they are located on the deck perpendicular to the direction of the fibers, or at a slight angle (5 - 10 °). From their location, size and shape depends on the uniformity of the fluctuations of the deck and the sound output.
The stand serves to transmit the vibrations of the strings to the deck. It is made of maple with an insert of ebony under the first metal string. Grooves for strings are sawn on the stand, the distances between which are not the same. The first string is somewhat farther from the second than the second from the third. This is done so that when playing a double or single pizzicato, not to touch the second E string. The first string is not too far from the second, because with a large distance between the strings, the compactness of the simultaneous sounding of all strings is lost, especially when playing with tremolo (see the table below).

The sum of the distances between the strings on the stand slightly exceeds the width of the neck, so the third E string can go beyond the edge of the neck, since the thumb of the left hand, when playing towards the top edge of the neck, always presses this string to the desired fret.
To avoid slipping off the neck of the fingers of the left hand, the first string is above it at a distance of 2.5 - 3 mm from the edge.
Stands can also be made of other types of wood (ebony, boxwood, rosewood). The shape, size and material for the stand depend on the thickness of the soundboard, the slope of the neck, the tension of the strings and the location of the springs, so it cannot be standard and is selected for each instrument separately.
Stand limits working part strings. During the game, it can move, even fall from the pressure of the edge of the palm when playing with vibrato. To avoid such “accidents”, a little crushed rosin should be poured under the base of the stand and the stand should be placed on the deck with a slight slope towards the back.
The neck is a part of the instrument, on which the convenience of playing depends. The convenience of playing is one of the most important requirements of a musician for an instrument - it provides for certain dimensions of the neck (width, thickness and oval), the length of the working part of the string (scale), the height of the frets and strings, the material and quality of the neck and frets.
The neck must be durable and reliable in operation. It is unacceptable to cover the neck with varnish, which, when played, slows down the movement of the brush. Fretboard distortion, resulting in a rattling and off-key sound, is due to the following reasons: too thin neck, raw or weak material, wide cuts for fretboard legs. How even the neck is, check by attaching the edge of the ruler to the fret plates along the string. If there is a gap between the plates and the ruler, then either the neck is deformed or the frets are poorly processed. In both cases, you need to contact the master.
On the fretboard are metal frets, called fret plates, which serve to change the pitch,
and mother-of-pearl landmarks in the form of triangles, rhombuses, circles and other figures for finding frets during the game.
Frets - sections of the neck enclosed between two adjacent fret plates, dividing the neck into semitones. Fret counting starts from the nut. There must be at least twenty-four of them on a concert balalaika.
Pressing the string against the fret plates changes the length of the working part of the string, and hence the pitch. The consumption of muscle energy of the left hand depends on the height of the fret plates. To press the strings to the frets with thin, dry fingers, low fret plates are sufficient; for fingers with thick pads, higher fret plates are needed.
Fretboards made of nickel silver contribute to the melodious, silvery tone of the string, but wear out quickly due to the soft nature of the alloy. Plates are also used from harder alloys (stainless steel, silver). Steel fretboards give the string a drier, metallic tone. Despite the difference in sound with different metal fretboards, many players prefer to use carbide fretboards because they are more practical.
The nut is located at the junction of the headstock and neck at the first fret. It is the support and the beginning of the working part of the open strings. Grooves are sawn on it, spaced from each other at the same distance (10 - and mm) and to a certain depth, so that the strings do not touch the first fret plate and would be at a height of 0.6 - 0.8 mm from it. With more high position strings, additional muscle energy will be expended on pressing them to the first fret, and due to the additional tension of the strings at the moment they are pressed to the fret, as a rule, the semitone formed in relation to open strings sounds false (inflated). Some masters press a metal base plate into the neck at the nut. It is not included in the account of the frets and is an addition to the nut. In this case, the strings, passing through the grooves in the nut, lie on the base plate, which is slightly higher than the fret plates. This achieves an "effect" when playing on open strings, which does not differ in sound from the sound of strings pressed to the frets. In practice, the base plate at the nut has no special significance.
The head is used to fasten the peg mechanics. It is glued to the neck at an angle that provides optimal string pressure on the nut so that the sound is sufficiently clear and clean when the strings are struck. From the bottom of the head, a special nest is selected to place the mechanics in it, which is closed by a lid from pollution and damage.
The peg mechanism serves to tension the strings and tune the instrument. Good mechanics are smooth
rotation of the worm and column without backlash and idling and provides reliable “holding” of the tool system.
From the ability to pick up the strings, fix them on the peg mechanics and buttons, set the distance between them on the stand and the height above the neck and shell, the sound quality and the convenience of playing the instrument depend.
The strings are specially selected for each balalaika, taking into account its scale, neck slope, thickness and sound output of the instrument.
The first A string should be made of high quality steel wire with a cross section of 0.28 - 0.3 mm. The strings are attached to the instrument with a loop attached to the button. The free end of the string is fixed in the peg mechanics column and wound on it with a spiral downwards counterclockwise.
The second and third strings are veined, with a diameter of 1 - 1.1 mm. At present, the gut strings on the balalaika are almost never used - they were replaced by strings made of synthetic materials (kapron, nylon), which have high sound and physical and mechanical properties.
A string fixed at both ends vibrates when struck. The stronger the strike on the string, the greater the amplitude of the vibration of the string - the stronger its sound. The number of vibrations per second (or frequency) at different impact forces, but with the same length of the working part of the string, remains unchanged.
The entire string oscillates at the same fundamental frequency. In addition, it oscillates in separate parts, as if divided into two, three, four, etc. segments, limited by fixed points-nodes. These segments oscillate with the corresponding frequencies, exceeding the fundamental frequency as many times as the length of the segment is less than the length of the working part of the string. Therefore, we hear not only the main tone, but also weaker additional tones, the so-called overtones. If you easily touch your fingers to an open string at the point of dividing it into segments (7r, 7z, 74, etc. of its length), a light sound is heard, called a harmonic. Natural and artificial harmonics are quite often used when playing the balalaika.
The pitch of the sound depends on the frequency of the vibration of the string. The higher the frequency, the higher the sound and vice versa, the lower the frequency, the lower the sound. The frequency of a string's vibration depends on the tension, length, diameter, and material of which the string is made.
The timbre of the sound depends both on the quality of the instrument itself and on the degree of complexity of the vibrations of the strings, i.e., the overtones.
The strength of the sound depends on the tension of the strings, their length and diameter. The greater the tension of the string, its length and diameter, the more it swings the soundboard and, therefore, the stronger the instrument sounds.
The strings, after being pulled on the instrument, stretch somewhat. The faster the process of stretching the scabs, or their relaxation, the faster they will withstand a given voltage and, consequently, frequency. Core strings and strings made of synthetic materials are more prone to relaxation than metal strings. You can artificially accelerate relaxation by pulling the strings just set and tuned a little higher, and then adjusting them. This procedure is repeated several times until the strings stop stretching.
Before tuning the instrument, you should check whether the stand is installed correctly, the location of which is theoretically determined by a distance equal to the distance from the saddle to the twelfth fret plate. In practice, these distances are not equal. When the strings are pressed against the frets, especially in the upper register, there is an additional tension in the jet and, consequently, an increase in the frequency of oscillation, which leads to an overestimation of the tone. Therefore, the stand is displaced by a distance greater than the distance from the nut to the twelfth fret plate by 2.5 - 3.5 mm.
Usually, the location of the stand is checked by sounding octaves in relation to open strings, pressing them one by one to the twelfth fret. If the octave sounds low, then the stand is shifted towards the resonator hole; if too high, then the stand is shifted in the opposite direction. With a properly set stand, the sound of the strings pressed against the twelfth fret should match the pitch of the natural harmonics played above the same fret.
The tuning of the instrument begins with the first string, bringing its tension to the pitch of the sound of the first octave, by smoothly turning the lamb of the peg mechanics clockwise. The pitch of the sound la is checked by a tuning fork, the oscillation frequency of which is 440 Hz.
The first string can also be tuned to any instrument with a proven tempered tuning - piano, button accordion, etc. If the tuned string is too high in relation to the main tone, it should be pulled back. If, after pulling back, the string does not take on the desired tone due to relaxation, then its tension is loosened by rotating the lamb and adjusted again.
In a similar way, tune the second and third strings, in unison, bringing them to the height of the first octave note.
After tuning the free strings, they check their joint sound in unison by pressing the second and third strings to the fifth fret (sounds for the first octave) and into the octave, pressing the first string to the seventh fret (the first and second octaves sound mi).
If the sound of the unison la and octave mi is beyond doubt, then the tuning can be considered complete.
Sometimes, regardless fine tuning instrument, the strings pressed against the fret plates are “out of tune” - they do not give the desired sound pitch. In such cases, you should look for the cause in the strings themselves, which may be inaccurately sized or too worn.
A false sound can also be from inaccurately sawn sockets for fret plates. In this case, you need to contact the music master to align the scale of the instrument and, if necessary, replace the fret plates and stickers on the fingerboard.
A balalaika designed for solo playing, first of all, must have high sound qualities, consisting in a silvery timbre, strength, evenness, purity, depth and duration of sound when played on all strings throughout the entire range.
Equally important is the neat exterior finish of the instrument and the ease of playing it, depending on the shape and size of the neck, the finish of the fret plates, the length of the scale, the height and tension of the strings.
Samples of instruments with high sound and playing qualities are balalaikas created by famous music masters- S. I. Nalimov, S. I. Sotsky and others, which are valued by performers on folk instruments on a par with the works of the largest violin makers.

II. SOME QUESTIONS OF THE PERFORMANT'S POSITIONING AND HANDS POSITIONING
The correct landing of the performer and the position of the instrument largely determines the successful mastery of playing techniques and the principles of sound extraction. It should be comfortable for the performer, not embarrassing him when playing, and at the same time outwardly beautiful, fit. Its convenience lies in the natural free position of the performer on the chair and maintaining balance without straining the muscles of the legs when the body deviates to the sides. This is facilitated by the support of the legs, the feet of which are 8–12 cm apart from each other, and the left leg is somewhat pushed forward.
It is recommended to sit on a chair up to half of the seat - no deeper, with a slight tilt of the body forward, but without stooping, and keep your head straight with a half turn towards the bar.
The position of the instrument should provide the performer with free movement of the hands during the game. This freedom comes from observing the basic requirements of seating and holding the instrument, which are the correct fulcrum, the slope of the soundboard and the position of the neck.
The main points of support are the lower and upper corners of the tool. The lower corner is located at the level of the middle of the thighs (so that the deck is slightly turned towards the performer)
and adheres to them quite firmly so that the proper instrument does not change. The knees must be connected, as too low position of the instrument leads to slouching.
The upper corner of the instrument is held by the right shoulder, and the elbow of the right hand is not retracted from the body. The lower part of the chest is slightly adjacent to the upper part of the body of the instrument. The forearm of the right hand touches the body at the junction of the soundboard with the back of the strings.
The extension of the left leg forward is regulated by the position of the neck, the head of which should be approximately at the level of the left shoulder. The lower position of the headstock forces the performer to deviate the body to the left and in the future can lead to a curvature of the spine, a change in posture and, as a rule, the left shoulder becomes lower than the right.
The left hand removes the bar from itself at a distance equal to the forearm, so that the shoulder part of the arm in a free state is along the body of the performer. The elbow during the game is not retracted from the body of the performer and is not pressed against the body.
The left hand is adjacent to the neck, and the edge of the palm at the base of the index finger touches its lower edge, and the pad of the nail phalanx of the thumb, located opposite the index finger, touches its upper edge.
Of course, such a landing is not an unshakable canon for all performers. It may have various deviations from the proposed norms, depending on certain characteristics of the performer.

SOUND PRODUCTION
Sound production and education of the culture of sound are the main tasks of the performer from the first steps of learning to play the balalaika.
Their implementation requires an analytical approach to the principles of sound production under constant auditory control and, most importantly, systematic practice.
The balalaika is an instrument that is played with many different techniques. Each technique of the game corresponds to a certain method of sound production.
Striking is the extraction of sound with the help of a swing and a throw of the brush. Only with the rising pizzicato with the fingers of the left hand, the swing and strike on the string is carried out by the 2nd and 3rd fingers (finger strike).
Schipo k - the extraction of sound, carried out (without throwing a brush) with a finger placed on the string. The pinch is subdivided into "hook" and sliding.
"Hook" - extracting sound with the pad of the index finger along one string while moving the right hand from bottom to top.
Gliding - extracting sound with a smooth movement of the right hand along all or one string.
In addition to various types of sound extraction on the balalaika, it is possible to create certain timbre shades, change the color of the sound. For example, when extracting sound from the stand, you can get a sharp, dry timbre, and, conversely, the timbre becomes soft, melodious near the fretboard, and quiet, hidden above the fretboard. Playing with harmonics gives a fabulous, silvery sound, and using vibrato gives a soft, melodious, long sound, lyrical, and sometimes even an excitedly dramatic character (when extracting the vibrato sound with the thumb).
To give the balalaika the character of the sound of a snare drum, the fingers of the left hand only touch the strings without pressing against the fret plates.
The combination of various timbre options in the game gives the balalaika performer great expressive possibilities.

DIRECTION OF IMPACT AT SOUND PRODUCTION
The degree of entry of the finger into the strings at the moment of impact and the area of ​​its contact with the string have a great influence on the quality of the sound.
When a finger enters deep into the strings or a large area touches the string with the pad of the nail phalanx, the sound becomes rough, rattling, with an audible tap of the finger on the strings, and the finger itself is often injured. Therefore, it is very important for a novice performer to learn the principles of sound production and work on its quality from the first steps of training.
The rattling and tremolo techniques are played by striking the strings with the end of the index finger with a minimum entry of the nail phalanx into them. The blow should be made at a slight angle to the strings, with a slope to the first metal string (see Fig. 2a).
A similar bias in relation to the strings is also preserved when sound is produced by sliding the arpeggio and pizzicato technique with the thumb.
When playing the E strings with the first A string muted, the direction of the strike on the strings changes somewhat. To avoid the sound of a finger on a muffled string, the forearm turns the hand, changing the angle of its inclination to the strings. In this case, strikes against the strings should be made parallel to the strings (see Fig. 26).
The sound production by hitting the first string when playing double and single pizzicato is performed at an angle in order to avoid touching the second string, which, for insurance purposes, is farther away from the first than the distance between the second and third (see Fig. 2c).
Playing on the second string requires the same inclination, but the downward movement of the brush is limited by the first string.
When playing with the vibrato technique with the index finger, the direction of the sliding sound extraction goes from above the string with a tendency, when the finger is bent, to stroke the string towards the stand (see Fig. 2d).
Vibrato with the thumb is carried out by plucking when the finger moves downwards from the first string, followed by the brush moving upwards (see Fig. 2e).
Playing with a “hook” requires the direction of movement of the hand with the index finger bent and fixed in the middle joint from the bottom up with a pinch, bypassing the second string (see Fig. 2f).
The "hook" of the second string, associated with an unprepared pluck, presents some inconvenience, consisting in switching the movement of the hand from rectilinear to arcuate, bypassing the first string (see Fig. 2g).
When playing pizzicato with the fingers of the left hand, their movement is directed down from the neck.
Pinch with the thumb of the left hand of the free third string is carried out by hooking with the pad of the nail phalanx, followed by sound extraction upwards from the fretboard.

LEFT HAND POSITIONING
Position - the position of the left hand on the neck of the instrument, which allows you to perform a series of sounds without moving your hand. It is customary to divide the neck into I, II, III, IV, etc. positions. The position number is determined by the index finger and the fret on which it presses the string. So, for example, I position is determined by the index finger placed on the second fret, II position - on the third fret, III position - on the fifth fret, etc.
Intermediate semitones between two adjacent positions are called half positions. The difference between position and semi-position determines the tone. So, for example, in the key of C-sharp minor II, the position starts from the note C-sharp on the fourth fret, and in C minor or major, C-sharp is a half-position, etc.
On the balalaika, positional playing is rarely used due to the different sound of the strings and the inconvenience of sound extraction on the second string in fast pace.
The fingers of the left hand during the game perform various motor functions, which largely determine not only the technique of the performer, but also the literacy of the performance of the musical text.
A vertical or falling motion in which the fingers of the left hand, while above the fretboard, press the string against the frets in a vertical motion, such as:
Horizontal or sliding movement is used when moving from position to position and when playing glissando, which involves moving the fingers from note to note along the fretboard without removing them from the strings.
A sliding-falling motion is used when substituting fingers, when one finger with a sliding motion gives way to another - falling.
The sliding motion is used when playing pizzicato with the left hand with a descending series of sounds, in which the plucking finger slides off the string in a downward motion towards the edge of the fretboard.
For a list of music examples, see the end of this booklet, pages 54 - 55.
A falling movement with a strike on the string is used when playing pizzicato with the fingers of the left hand of the ascending scale.
The perpendicular falling movement is used when the fingers of the left hand move from string to string.
The perpendicular sliding movement is used when playing vibrato with the left hand. Vibration is carried out by a slight frequent displacement of the string along the fret plate.
The tangential movement is carried out by touching the fingers to the strings without pressing them against the fret plates.
All chords enclosed in brackets are played on half-strings.
A tangential movement with the removal of fingers from the string is used when playing natural harmonics.
The tangential movement with pressing the strings is used when playing a group of repeated sounds with a staccato stroke. In this case, the fingers are not removed from the strings after sound extraction, but their pressing to the frets is only weakened.
The position of the left hand and the position of the fingers on the fretboard should begin with the acquisition of motor skills in the first position on the first string to play arpeggio or pizzicato with the thumb.
When playing in the 1st position, the neck of the instrument is located between the index and thumb of the left hand with the points of contact of the lower edge of the neck at the base of the index finger of the palm turned to the neck at the first fret and the pad of the nail phalanx of the thumb to the upper edge of the neck slightly in front of or opposite the index finger. The fingers alternately, starting from the first, press the first string on the second, fourth, fifth and seventh frets (the sounds of si, c-sharp, re and mi), and at the beginning of training, the fingers pressed to the frets should not be removed during an upward movement (up to the appearance of a feeling of independence and the exact location of the fingers in position), and with a downward movement, the fingers released from playing should be held above the neck not high from the strings, without bending the hand and not pressing the palm to the neck (Fig. 3).
The transition from position to position is carried out by a quick movement of the forearm and hand of the left hand at the moment before sound extraction. The thumb during the jump without lagging and tension slides freely along the neck and after the jump is strictly in its place - opposite or slightly ahead of the index finger.
To avoid a perceptible pause during the jump, the finger on which the sound production ended is not removed from the string, but only weakened by pressing it on the fret and, sliding along the string, without an audible glissando, move to another position. After the jump, you should beware of a false accent, especially if the note falls on a weak beat of the measure after it.
When playing intervals with free strings, the position of the left hand remains the same as when playing on one string.
The execution of double notes with strings pressed to the frets is associated with a change in the position of the brush on the fretboard. It bends in the wrist joint so much as to allow the pad of the nail phalanx of the thumb to simultaneously
just press the second and third strings. The main phalanx of the index finger is completely adjacent to the neck of the neck. The introduction of the thumb and the deflection of the hand contribute to pressing the palm to the neck of the neck, which slows down the movement of the hand and leads to an uncomfortable position of the fingers on the frets. Pressing the palm against the neck of the neck is also facilitated by the incorrect position of the thumb, which often in beginner performers lies along the entire plane along the neck in the direction of the nail phalanx towards the nut. Such a position of the finger and pressing the palm to the bar is unacceptable, as it quickly tires the arm muscle and hampers its movement along the bar during transitions from position to position.
Fast playing at different intervals is associated with difficulties due to the low mobility of the thumb of the left hand, which simultaneously presses two E strings and leads the lower sound of the interval, which requires additional muscle effort. Therefore, when working on the technical fluency of the left hand, the thumb should be given maximum attention, achieving lightness and mobility in its movements along the fingerboard, both when playing staccato and legato.
Unison and small second - harmonies are not always easy to perform in terms of fingering, especially when playing on all strings, but quite often used by composers in compositions for balalaika. There is only one fingering option that is acceptable for playing these intervals on all strings, in which three fingers are involved: the 1st presses the first string, the 4th - the second string and the 3rd - the third string.
As an exception, in the upper register, the unison and the small second are taken with two fingers - forefinger and thumb.
Much more often these consonances are used when playing on the mi strings, where the thumb presses only the third string, and the second string - the 1st, 2nd and 3rd fingers. The la string is muted with the 4th finger.
Some players use only the thumb when playing the E strings, which is irrational due to the increase in muscle tension required to press the two strings, and their clear sound when moving from note to note.
A major second is an interval that is inconvenient for playing only in the lower register due to the large spacing and unnatural position of the fingers - the thumb pressing two E strings and the index finger pressing the first string and spaced three frets from the big one. However, with regular practice and sufficient performance experience, this inconvenience becomes easily overcome.
Thirds are an interval to which students do not always pay enough attention, especially when playing at moving tempos.
In methodological manuals and educational literature for the balalaika, the issue of performing not only thirds, but also other harmonies is almost not touched upon.
Meanwhile, in many original works and arrangements for balalaika, especially violin pieces, thirds playing, both in slow and fast movements, is quite common.
The continuity of the movement of the hand along the fingerboard at a fast pace when playing thirds must be ensured by the appropriate non-stop preparation of the fingers for transitions from note to note. The complexity of such a game lies in the braking movement of the thumb leading the lower sounds of thirds. Upper sounds lead the 1st and 2nd fingers.
Playing more than two sounds in a row on the first string with one finger leads to a loss of sound clarity and rapid hand fatigue.
Quarts. Playing fourths when playing on all strings is associated with the same difficulties as playing thirds. IN printed literature for the balalaika, quarter harmonies following in a row throughout the whole musical construction are rare.
IN this example the sound extraction of quarts is carried out by plucking the first and second strings with the middle and index fingers, and the sound mi - on the third free string with the thumb.
Quarter harmonies are more often used in the game when alternating with other intervals, where the thumb presses the sustained note to the frets, providing the rest of the fingers with technical freedom of movement.
Quints. The use of a series of successive fifth harmonies, as well as fourth harmonies, is rare, but their performance at a slow pace is quite possible.
The upper sounds of fifths are taken on the first string with the 1st, 2nd, 3rd and 4th fingers, alternating among themselves depending on the construction.
Sixths in fast motion are used only when alternating with other intervals.
The fingering when playing the sixth includes the participation in pressing the strings of all the fingers of the left hand.
In slow movement when playing with a legato stroke, difficulty arises in the transition from sixth to sixth due to the stiffness of the thumb.
To partially release the thumb from tension and stiffness, a variant of a sliding movement from sixth to sixth is possible, pressing the strings with three fingers: the 4th finger presses the first string (the upper sound of the sixth), the 1st finger - the second string (the lower sound of the sixth) and thumb - the third string (unison with the second string).
Sevenths - an interval used sporadically in a group of different, alternating intervals, or in the form of sustained consonances.
The execution of sevenths, alternating in fast movement, is almost impossible due to the stiffness of the thumb, which is at the utmost distance from the 3rd or 4th finger, which takes the upper sound of the interval.
Octaves are the limiting interval for stretching the fingers, the execution of which, when played on all strings, is possible only in the upper register and is associated with the same inconvenience as the performance of the seventh.
A group of octaves is usually played on the first and second strings, extracting the sound with a pizzicato or vibrato technique. The first string is pressed by the 4th finger, the second - by the 1st finger.
The position of the left hand on the fingerboard when playing chords, as well as double notes, largely depends on the position of the thumb. Playing chords with an open third E string does not cause significant changes in the position of the brush. When the thumb is introduced into the game, the hand bends in the wrist joint, but the palm does not touch the neck.
On the balalaika it is possible to play a chord consisting of three sounds in a close arrangement, the top note of which should not be lower than the first octave A and not higher than the third octave D.
The performance of chords in a mixed arrangement is possible if the interval between the extreme sounds of the chord does not exceed an octave.
Chords in a mixed and wide arrangement, the interval between the extreme sounds of which is greater than an octave, is used only with a free string mi.
The sounds of major and minor triads and quartsextakkor-yes, as a rule, are taken with the 2nd, 3rd and thumbs of the left hand, and the sixth chord - with the 4th, 3rd and thumbs. Since the lower sound of the chord almost always takes the thumb, the symbol (b - thumb) is omitted.
In practice, there are examples when the sixth chord is inconvenient or impossible to perform with the fingering given above.
In this example, the sixth chord enclosed in brackets is taken by the barre technique, in which the 3rd finger of the left hand presses two strings simultaneously to the fret - the first and second (Fig. 4).
Playing with the barre technique in the initial period of training is associated with some inconvenience in the position of the hand and fingers of the left hand. The inconvenience is created by the fact that the third finger, bent at the middle joint and straightened by the middle and nail phalanx, requires additional muscle effort when playing to press two strings to the fret at the same time with one finger, which leads to hand stiffness and a deterioration in sound quality.2
As you acquire the practical skill of playing with the barre technique, the feeling of inconvenience and stiffness disappears.
The main difficulty in playing chords with a legato stroke arises during the transitions from consonance to consonance. These transitions must be accurate in time, without audible passages from chord to chord, and also without perceptible pauses between them and false accents on the chords that follow after the transition.
When playing legato at the moment of changing chords, it is not recommended to move your fingers from string to string.

III. ARPEGJATO TECHNIQUES
Extracting sound with the thumb of the right hand by sliding along the strings from top to bottom is called arpeggio and is indicated before the interval or chord by a perpendicular wavy line (example 34).
1 barre is a guitar playing technique in which one finger of the left hand presses several strings to the fret at the same time. There are two types of barre - full and incomplete. Full involves pressing all the strings, incomplete - part of the strings. On the balalaika, an incomplete barre is used and the first and second strings are usually pressed against the fret with the 3rd finger.
2 The reason for the poor quality of the sound is the insufficiently tight pressing of the first or second string to the fret plate with the pad of the nail phalanx of the 3rd finger.
They begin learning to play the balalaika with mastering the arpeggio technique, because the setting of the hand and sound extraction are the simplest and most accessible compared to other playing techniques.
Attach the pads of the nail phalanges of slightly bent fingers in the right hand, except for the large one, to the lower edge of the shell. Put the pad of the nail phalanx of the thumb on top of the third E string at the eighteenth - nineteenth fret. The hand should be bent at the wrist joint and be in a free state. The movement of the hand while sliding the thumb along the strings is combined, consisting of the rectilinear movement of the forearm and the movement of the hand, which helps the thumb to extract sound.
When sliding the thumb along the strings, the remaining fingers attached to the lower edge of the shell exert counterpressure on it. Gliding should be done with a calm, uniform movement with a tendency to increase sonority towards the first, melodic string. Good sounding is achieved with a small area of ​​touch of the thumb pad to the third E string, and as you approach the first string, this area increases, in short, sliding occurs with a gradual deepening of the finger pad into the strings. After sound extraction, the thumb pad touches the shell below the first string, then the hand returns to its original position (Fig. 5).
If you want to play with the thumb without arpeggio, then the movement of the hand is activated.
Sometimes performers resort to sound extraction with the thumb on all strings with a blow, which is carried out by swinging a bent brush without support on the edge of the shell and a rather sharp throw down to carry out the sound extraction.

PIZZICATO WITH THE THUMB
Making a sound by plucking one string with the thumb of the right hand from top to bottom is called pizzicato with the thumb.
When playing pizzicato with the thumb on the first string with support on the lower edge of the shell, significant changes
there is no new hand and sound production compared to arpeggio. The only thing is that the amplitude of movement of the forearm and hand is reduced, but the combined movement of the hand, as in arpeggio, remains, especially at slow tempos. At a fast pace, the range of motion of the hand and forearm is minimal (Fig. 6).
When playing the second E string, thumb movement is restricted to the first A string. Prolonged playing at a fast pace when placing the hand against the edge of the shell leads to muscle fatigue and, consequently, to stiffness of the hand movement, which worsens the sound quality and breaks the rhythm.
In this example, pizzicato is best played with the thumb without support on the edge of the shell. With such a game, the movement of the forearm changes from rectilinear to rotational, the hand makes throws, and the thumb, fixed in the main joint, extracts sound along the string with a blow.
Learning to play with the thumb without support is recommended after mastering the double pizzicato technique (see below).

PIZZICATO WITH THE FINGERS OF THE LEFT HAND
Pizzicato with the fingers of the left hand is a rather spectacular playing technique used as a kind of sound paint in many works of balalaika literature. A characteristic feature of this technique lies both in the sound itself and in the transfer of sound extraction to the left hand, and the right hand gives only the starting points for pizzicato with the fingers of the left hand.
In practice, there are three types of this technique: descending pizzicato, ascending pizzicato and thumb pizzicato.
It is indicated by pizzicato with the fingers of the left hand with a plus sign (+) above the notes.
With a descending pizzicato, the sequence of sounds goes down. The principle of sound production is to simultaneously press the strings with your fingers to the frets corresponding to the written notes. Then the right hand extracts only the sound of the first note, the remaining notes, over which there are plus (+) signs, are sounded with the help of pre-placed fingers of the left hand on the frets and alternately removing them from the previous note to the next by hooking the string with the fingertip and sliding it down from neck.
The descending pizzicato is the starting point for:
1) arpeggio
2) pizzicato with your thumb
3) rattling
5) vibrato
Quite often, the note after the grace note is played pizzicato with the fingers of the left hand.
When switching from a triplet to a tremolo or continuous rattling, the pizzicato of the left hand is used on the last beat of the triplet.
With an ascending pizzicato, the sounds rise in succession. This type of pizzicato is rather difficult to play, requiring a large finger swing and a strong blow with a pad on the fret corresponding to the note, so that the string from this blow sounds. The blow must be swift, and the position of the finger after the blow must be precise and quite firmly pressing the string against the fret plate. Usually, ascending pizzicato is sounded by the next of two tied notes, the interval between which is no more than a third.
The sound appears not only from a strike with the 2nd or 3rd fingers, but also from the preservation of the vibrations of the string when the sound is extracted with the right hand of the previous note.
Rising pizzicato is used in combination with vibrato:
with thumb pizzicato:
Pizzicato with the fingers of the left hand perform some triplets and mordents.
The interval between two adjacent notes, greater than a third, it is possible to play a glissando from the previous note to the next.
The descending and ascending pizzicato on the second string is used less frequently due to the shorter duration and dullness of the sound of strings made of synthetic materials, and is used if necessary only in the lower register or when playing on a free string.
Fingering with pizzicato on the second string involves playing G-sharp notes with the 3rd finger, and F-sharp with the 1st in order to create the greatest leverage, which contributes to better string hooking and stronger sound quality.
Playing pizzicato with the thumb of the left hand is used only on the third free string. The sound is extracted by the pad of the nail phalanx of the thumb by hooking the string and sliding it up from the fretboard.

RATTLE
The method of playing by uniformly sequential alternation of blows from top to bottom and from bottom to top with the index finger of the right hand on all strings has two names - rattling and stroke technique.
The improvement of the balalaika, associated with the establishment of a certain system, an increase in the playing range, a change in the size of the body and neck, and most importantly, with an improvement in sound quality, attracted many fans of the game to it and opened the way to professional performance. Tutorials and Schools began to appear with a specific definition of the methods of the game and their designation. So, in one of the first manuals for the balalaika - the School of Playing Great Russian Instruments by D. I. Minaev, edited by V. V. Andreev - the main technique of the game is called stroked: “The main technique of the balalaika game is a stroke game, when the index finger is struck back and forth all three strings at once.
The definition of a stroke technique has survived to this day, and at present, many balalaika and domrist players call the game a uniform alternation of strikes on the strings with a stroke, or a double stroke. However, the word stroke, literally translated from German meaning a line or line, among musicians indicates the nature and color of the sound, which is not entirely correct and accurately determines the essence of the main technique of playing the balalaika.
The term rattling is derived from the words rattling, strumming. IN explanatory dictionary V. Dahl words - rattling, rattling, strumming, strumming means playing the strings with your fingers. These definitions also applied to playing the primitive, unimproved balalaika, which was common among the people until the end of the 19th century. At present, the term "rattling" sounds somewhat archaic, but still quite figuratively and accurately characterizes the specifics of the main technique of playing the balalaika.
Rattling is a game technique, in the process of working on which novice performers acquire motor skills of the right hand, which are derivatives for mastering other techniques - double pizzicato and tremolo.
The finest nuances, strokes, tempo and character of the performed work depend on the movements of the right hand of the performer. Therefore, from the very first steps of learning to play the instrument, one should carefully delve into the meaning of work on mastering the principles of sound production and strive to achieve high quality performance with the least expenditure of energy.
When playing by rattling, the forearm performs the main motor function. Its movement is rectilinear, the amplitude of which at slow rates should be quite wide ( extreme points the positions of the hand during the movement of the forearm are before the blow down just above the chin, after the blow - at the hip).
At a fast pace, the rectilinear movement of the forearm is reduced to a minimum and turns into rotational. During the movement of the forearm, one should not strain the shoulder muscle and fix the elbow joint, and also take the elbow away from top corner tool.
When making sound, the hand should be bent and freely perform an oscillatory function in a combined movement with the forearm. The thumb and forefinger are in a natural position, the rest are slightly bent at the joints of the middle phalanges so that the pads of the nail phalanges, when hitting the strings with the index finger, do not touch the scab, but are not pressed against the palm. A free, bent hand, without fingers clenched into a fist, creates the necessary weight and leverage, which provides a compact, strong blow to the strings when thrown.
The starting position before extracting the sound with a blow from above is the forearm lowered down and a free, bent hand (Fig. 7).
To strike the strings, the forearm calmly rises, reaches the highest point and suddenly,
with a swift downward movement, he turns and throws the brush (see Fig. 8).
When alternating several strikes on the strings from above, the constancy of the amplitude and the uniform sequence of hand movements are of great importance. The speed of the return of the hand to the upper position for the next throw of the hand must be measured, in time corresponding to the duration of the intervals performed, being a kind of aftertaste.
The index finger, which extracts the sound, should not go deep into the strings and strike with the edge of the nail. The brightest, deepest, richest sound is obtained with a tangential strike on the strings with the end of the index finger with a bias towards the first melodic string above the twentieth - twenty-second fret.
At primary education strikes from above should be carried out at intervals equal to half the duration at a moderate pace on free strings, accentuating each beat.
Then the beats are made in quarter notes at the same tempo, accentuating the first and third quarters in the measure. The second and fourth quarters, performed without an accent, are carried out with passive blows without a sharp throw of the brush.
And, finally, strikes are carried out at the same tempo with eighth notes, emphasizing the 1st and 5th eighth notes in the measure.
The alternation of blows from above with half, quarter and eighth durations can be combined into one exercise.
The sound extraction with a blow from below is made with the pad of the index finger at the moment of raising the forearm up. The student should be warned against the tendency to fix the wrist joint and the joints of the index finger - at the beginning of training, it is enough just to touch the strings with your finger, following the rhythm of the performance. In the future, when alternating blows from above and below, the brush should be activated, controlling not only the uniform sequence of blows, but also the sound of strings of equal strength and duration.
When working on continuous rattling, it is advisable to play exercises on open strings, alternating four or two blows from above with continuous blows from above and below.
Exercises on open strings give the performer the opportunity to focus to control the coordination of the movement of the right hand and the sound quality of the strings.
Having achieved a uniform, high-quality sound with strikes on open strings, you should move on to playing the exercise and the first position.
The introduction of the thumb of the left hand into the game must be started with the consonances available to the novice performer and then gradually complicate its motor functions.
The next stage of work on rattling is a change of position, in which, at the moment before sound extraction, you should quickly move your left hand with a sliding movement, accurately place your fingers on the frets and make another blow in time. When changing positions, especially on a weak beat of a measure, one should beware of a false accent, which leads to the inability to control various movements of the left and right hands at the same time. With fast, sharp movements of the left hand, the right hand, as a rule, involuntarily seeks to respond with the same movement (parallelism of hand movements). These parallelisms lead to false accents.
When playing with continuous rattling, all the durations of the musical text, depending on the tempo and nature of the performance, are divided into eighths, sixteenths, and the blows from above fall on odd beats, and from below - on even ones.
In practice, an abbreviated designation of the reception of the game is used, by crossing the calms with one, two or three lines, respectively, indicating crushing by eighth, sixteenth and thirty-second.
Along with continuous rattling, which requires constant alternation of the direction of strikes on the strings, mixed strikes are used, without observing a strict sequence.
Mixed strokes are used when playing folk songs of a dance character and tunes, the performance of which requires emphasizing individual weak beats, accents and syncopations, which are not always indicated in the musical text, but must be identified by the performer.
To emphasize the weak beat of the measure, syncopation or acceptance, the strike should be carried out from above with a more rapid downward movement of the forearm and an activated throw of the hand. If the accented note falls on a blow from below, then the latter must be replaced by a blow from above.
The second and third strings, made of synthetic materials, unlike the first sounding bright, metal string, have a muted, matte finish. Their use in the game should be very careful, taking into account the timbre of the sound.
In addition to using playing on the E strings to give the sound a certain timbre coloring, quite often there are individual consonances in musical construction, the performance of which is impossible without muting the A string. Such harmonies are located below the sound la of the first octave.
Mastering the rattling of the mi strings does not cause any special changes in the movement of the right hand. It performs the same functions as when playing along all the strings (the rectilinear movement of the forearm, the position and amplitude of the hand, and the force of impact are preserved).
To mitigate the impact with the index finger on the first string, the direction of impact is slightly changed (see the section “Direction of impact during sound production”).
The first string is muted by touching it without pressing the pads of the nail phalanx of the 4th finger of the left hand to the fret. In the initial learning to play the two strings, this "unnatural" position of the 4th finger on the fretboard creates a feeling of discomfort, which, with sufficient training, passes.

TRIOLE PERFORMANCE
Triplet - a three-part rhythmic figure formed by dividing into three equal parts of some rhythmic unit, a simple two-part measure, a complex measure (for example, or its part.
The sound of triplet beats on auditory perception different: the first share is strong, the second and third are weak. The highlighting of the strong beats of triplets is carried out due to active strikes on the strings, followed by a weakening of the sonority by the second and third beats.
At slow tempos, all beats of triplets fall on beats from above, at fast tempos, beats alternate (down and up). The main task when playing a group of triplets in moving tempos is to distinguish their first parts with equal sound strength. It should be borne in mind that if the first part of the triplet is performed by a blow from above and its selection occurs naturally,
then, when struck from below, it requires artificial selection due to the active tossing of the brush upwards. After the toss of the wrist, the hand tends to make a return throw down with the same return, which is an obvious prerequisite for performing a false accent on the second part of the triplet. It is possible to avoid a false accent only with a passive blow from above with relaxation of the muscles of the hand and a free fall of the hand down.
The performance of triplets surrounded by different durations is associated with certain rhythmic and stroke difficulties, and great attention should be paid to this when playing with the rattling technique.

RATTLING WITH "HOLD"
In the example above, plucking from bottom to top on one string alternates with plucking from top to bottom on all strings. Similar examples in the literature for the balalaika are quite common and they are performed by the rattling technique with a “hook”.
Pick-up is a term used by plucked string players to refer to the extraction of sound by striking upwards on an adjacent string.
When playing the balalaika, the functions of the hook expand - it is used both when playing on the second string and on the first.
The alternation of the hook with strikes on all strings requires fixing a bent index finger in the middle joint, which makes it possible for him to extract a bright, dense sound with a pinch from below, but with a subsequent strike from above on all strings, the position of the finger should be natural (Fig. 9).
The hook occurs both on the strong beat of the bar and on the weak one.
In combination with rattling, it creates the impression of the sound of two instruments: one playing a melody (pick), the other accompanying (hit from above).
The hook is also used when playing some triplets, after which the sound production starts from above (tremolo, rattling).
Fraction - extracting sound by sliding strikes on the strings, fingers of the right hand continuously following each other.
By the nature of the sound, it resembles an arpeggio and is indicated by a double vertical wavy line or the abbreviated word Dr. The disadvantage of these designations is that neither one nor the other indicates the type of shot and the direction of impact.
A positive resolution to this issue was given by the Department of Folk Instruments of the Kyiv Conservatory named after P.I. In the new system of strokes developed by the department, the crob is indicated in the same way as the arpeggio - by a wavy line, but with a conditional indication of the type of fraction and the direction of impact above it with slanted lines:
arpeggio
big fraction small fraction
reciprocal fraction.
Big fraction. Extracting sound by sliding strokes on all strings, continuously following each other with five fingers of the right hand, moving from top to bottom, starting with the little finger and ending with the big one, is called a big fraction and is performed as a quadruple grace note to consonance.
The starting position before sound extraction with a large fraction is the hand raised above the strings, bent and fixed in the wrist joint with activated fingers, except for the thumb, laid upward (Fig. 10).
Carrying the brush over the strings, alternately hit them with your fingers, starting with the little finger. The thumb completes the sound production with a short active strike on the strings with the help of a sharp downward movement of the forearm. After hitting with the thumb, the brush should be relaxed
Small fraction. The extraction of sound by sliding strokes on all strings, continuously following each other with four fingers of the right hand, starting from the little finger and ending with the index finger, is called a small fraction and is performed as a triple grace note to consonance.
The principle of sound extraction is the same as when playing with a large fraction. The only thing is that when finishing a small fraction with a sliding blow with the index finger, the forearm remains in place, followed by a sharp downward movement if it is followed by a strike on the strings with the thumb, or an upward movement for striking with the index finger.
Inverse fraction. The extraction of sound by sliding strikes on the strings from the bottom up, continuously following each other with four fingers of the right hand, without the participation of the thumb, is called a reverse fraction and is performed as a triple grace note to consonance.
The reverse fraction has an undoubted advantage over the small fraction, which consists in a brighter, rhythmically clear sound and, most importantly, in saving muscle energy consumption when moving the forearm, since after sound extraction it directly prepares the initial position of the hand for the subsequent strike on the strings with the thumb or forefinger above. Sound extraction during reverse fractions can begin both with the index finger and with the little finger.
The first option is performed by alternately sliding along the strings of the pads of the nail phalanges, straightened, laid aside from each other and fixed in the joints of the fingers, starting with the index and ending with the little finger. In this variant, the hand, bent and fixed in the wrist joint, performs a turn from the bottom up with the help of the rotational movement of the forearm. The joints of the fingers and hand should be fixed only at the moment of sound production (Fig. 11).
The second option also begins by sliding along the strings of pads, fingers straightened and laid aside from each other, but starting with the little finger and ending with the index finger.
At the moment of sound production, the fingers are alternately pressed, the hand is bent, helping the fingers to slide along the strings, and the elbow is slightly retracted from the instrument, eliminating the unnatural position of the hand after sound production (Fig. 12).
Fraction should be used with a sense of proportion; where required, emphasize the strong beat of the bar, syncopation, the beginning or end of a phrase, etc. Sometimes a whole musical construction is played with a fraction.
In this case, it is called a continued fraction.
The abuse of the fraction, its use to cover up rhythmic and technical negligence, speaks not only of the performer's bad taste, but also of poor command of the instrument.

DOUBLE PIZZICATO
Extracting sound by uniform strikes on one string alternately with the thumb and forefinger of the right hand is called double pizzicato.
This technique of playing is derived from rattling, but due to the fact that the sound is produced by hitting one string, the amplitude of the oscillation of the hand is reduced and the rectilinear movement of the forearm is maximally limited.
Mastering the technique of double pizzicato begins with acquiring the skills of sound extraction with the thumb by hitting the first string from top to bottom without hitting other strings. The sound is extracted over the twenty-second - twenty-fourth fret. The thumb after hitting the string slides over the shell, then the hand returns to its original position for the next hit.
After acquiring the skills of sound extraction with the thumb, they move on to alternate sound extraction with the thumb and forefinger. To do this, the nail phalanx of the index finger is bent at the middle joint, bringing it closer to the nail phalanx of the thumb. The remaining fingers, adjacent to each other, are in a naturally straightened state and, when sound is produced, slide along the lower edge of the shell (Fig. 13).
Straightened, adjacent to each other fingers (little, ring and middle) are a lever that gives additional weight and strength to the hand when hitting the string, which is a necessary condition for extracting a compact, bright sound. Some performers tighten their fingers, as in rattling (Fig. 14).
This position of the brush is more lightweight, and the sound when playing is less dense - superficial.
After sound extraction with the thumb, when the brush moves up, the index finger slides over the shell with a small pad and strikes the string from below. It should be remembered that when playing the double pizzicato technique, only the forearm (small rectilinear movement) and the hand (oscillatory movement) are in motion.
At a fast pace, the rectilinear movement of the forearm turns into rotational. The thumb and forefinger must be secured when playing.
Further work on this technique is to achieve an equivalent, high-quality sound of the string, both when struck from above and from below, and in the ability to extract sound on various strings and in various combinations.
In pieces for the balalaika, there are often figurations and passages, the execution of which requires the extraction of the sound by a double pizzicato, but on different strings.
In this example, eighths are taken on the second string, and thirty-seconds on the first.
To avoid unnatural stretching of the fingers and performing several jumps in a row, broken intervals larger than thirds and jumping passages are best played by alternating sound production on the second and first strings.
Playing double pizzicato alternately on the second and first strings does not cause changes in the position of the right hand and the principle of sound extraction, if the sound extracted on the second string falls on a blow with the thumb from above.
Playing a double pizzicato on the second string is associated with some inconvenience for the free movement of the right hand due to the first string, which limits the movement of the thumb after hitting from above and when hitting back from below, interfering with the natural sound extraction with the index finger. Therefore, the hand is fixed in the wrist joint, its amplitude is limited, and the thumb and forefinger are included in the movement.
The hook when playing a double pizzicato on the first string (example No. 70) is associated with the sound extraction with the index finger by hitting the second string in an upward movement.
To carry out sound extraction with a hook on the second string, the first string is bypassed by slightly turning the hand, fixing it at the moment of picking up and turning on the index finger.
The double pizzicato on the second string is sometimes replaced by alternate playing on the third and second strings, in order to make it more technically convenient and create a clear staccato sound of the E strings.
When playing on the third and second strings, the brush occupies a position parallel to the soundboard, without a slope to the first string.

TREMOLO
The technique of playing, in which the sound is extracted by frequent alternation of strikes on the strings with the index finger, is called tremolo.
When playing tremolo, the technical problem is to reproduce a sound that is perceived by the ear as continuously flowing. This is facilitated by strikes of equal strength on the strings from above and below.
Excessive frequency of strikes leads to a deterioration in sound quality, since the strings, before they have time to sound, are muffled by the next strike.
The principle of sound production and the position of the right hand when playing tremolo is similar to rattling, but the movement of the forearm and hand changes. The forearm moves from a rectilinear movement to a rotational one, and the hand speeds up the oscillatory movement and limits the amplitude.
When playing tremolo on the E strings, the A string is muted, just as when playing by strumming the E strings. To avoid knocking on a muffled string during sound extraction, the brush should be turned slightly, so that the index finger striking the strings does not touch the first string.

GLISSANDO
The sliding movement of the fingers of the left hand along the fretboard without loosening the pressed strings with an audible intermediate sound is called glissando.
This peculiar, spectacular technique, which requires a certain dexterity of hand movement, should not become an end in itself, it can only be used in accordance with the nature of the music. “The impression of glissando is directly proportional to the rarity of its use,” wrote the famous musician L. Auer.
The continuity of the sound of glissando during the transition from sweat to note is carried out along the chromatic scale in ascending and descending movement in two ways - sounding from a blow or pinch and subsequent sliding, and continuous sound extraction when sliding.
In an upward movement, glissando is easier to do than in a downward one. This is due to the fact that during an upward movement down the neck, the instrument has a natural support on the thigh of the right leg, while in a downward movement, a special effort is required to hold the instrument.
A light glissando, sounding from a blow or a pinch when playing on one string of pizzicato with the thumb, or vibrato, is carried out immediately after the sound is extracted by smoothly sliding along the string of the nail phalanx of the 1st or 2nd finger of the left hand, placed vertically and unfolded in relation to the fretboard fingernail along the neck towards the bridge.
The time slide must match the duration of the note from which it starts. The hand makes the same movement as when moving from position to position. The finger sliding along the string does not loosen its pressure and stops at the final glissando note exactly at the fret plate.
The completion of the ascending glissando is possible from the previous sounding of the string on the next note after the sliding or by the next sound extraction.
The descending glissando ends with the note following it only with the next sound extraction with the right hand or pizzicato with the fingers of the left hand.
In performing practice, when playing fast passages, sometimes instead of a written series of sounds, due to fingering inconveniences, a measured glissando is used, in which the number of strokes on the string with the right hand at the moment of sliding with the left should coincide with the number of notes included in this passage.
A measured glissando is also used when playing all the strings with a rattling technique.
It is most difficult for beginners to glissando when playing all the strings with a tremolo technique, since the fingers pressing the strings against the frets slow down the uniform sliding along the fretboard, which affects the sound quality. Of particular difficulty is the downward glissando, the execution of which requires additional efforts to hold the instrument, since the left hand, when sliding towards the headstock, can shift the balalaika from its natural position and deprive it of stability.

SINGLE PIZZICATO
Extracting sound by evenly alternating blows from above and below with the index finger on one string is called a single pizzicato.
This technique is used when playing fast technical passages, mostly scale-like construction.
When playing single pizzicato, the brush is in a free, bent position. The index finger at the base of the nail phalanx is attached to the large and middle fingers. The remaining fingers are closed and tucked in (but not clenched into a fist). The nail of the little finger touches the shell, being a fixator for the fold of the hand and the constant depth of the index finger entering the string during sound extraction.
The movement of the forearm and hand is combined. The forearm performs a rotational function, and the brush oscillatory. The sound is extracted by the pad of the nail phalanx of the index finger with a slope towards the shell when the string is struck from above.
At the initial stage of mastering this technique, the sound is extracted only by hitting the first string from above with slow, uniform throws of the brush. Moreover, at a slow pace, the rectilinear movement of the forearm is switched on, the amplitude of which decreases with the increase in throws per unit time and the movement turns into rotational.
In performing practice, playing with a single pizzicato and with straightened fingers (little, ring and middle fingers) is used. In this case, the hand assumes the position as when playing a double pizzicato. The pad of the thumb is adjacent to the base of the nail phalanx of the index finger on the side - the remaining fingers are straightened, closed and, when sound is extracted, slide with pads along the lower edge of the shell.
When playing with a single pizzicato, a passage requiring a transition from string to string can be performed without changing the position of the brush if the string change occurs on an odd beat, i.e., on a blow from above.
Sometimes there are passages, one sound of which must be played on the second string, and the rest on the first.
In this example, the note G-sharp is played on the second string by hitting the thumb from above, and the note A by hitting the index finger on the first string from below.
The most difficult thing when playing with a single pizzicato is to perform hooks that require a change in the position of the brush.
In the above example, the use of fingering placed on top causes the need for a hook (i.e., switching the sound production to the second string), which has to
to the even (fourth) sixteenth by hitting the index finger from the bottom up. The use of fingering set from below eliminates the pbdtsep, since the transition to the second string is carried out on an odd (third) sixteenth.

TREMOLOS ONE STRING
Tremolo on one string is a playing technique derived from a single pizzicato. As one of the most difficult to achieve a clean, melodious, bright sound of a string, it requires systematic work on its development under constant auditory control of the quality of sound production.
Tremolo, both on the first string and on the second, is used when playing legato or individual sustained durations.
Tremolo with vibrato. Currently, many performers use the technique of playing tremolo on one string simultaneously with vibration, for which the base of the hand at the wrist joint is applied to the first string behind the stand. The index finger bent and fixed in a perpendicular direction to the first string extracts sound by frequent alternation of sliding strikes on it with the pad of the nail phalanx. Vibration is carried out by increasing the sound by additional tension on the string with pressure on it from an adjacent brush.
The occasional use of tremolo with vibrato undoubtedly gives a peculiar coloring to the sound of the string, but through? measured application of this technique only speaks of the bad taste of the performer.

GUITAR TREMOLOS
Alternately extracting sound with four or five fingers of the right hand with uniform strikes on the string is commonly called guitar tremolo.
This technique allows you to perform, with the least expenditure of energy, some melodic and harmonic figurations, consisting of notes of small durations, short trills, groupetto, triple and quadruple grace notes.
Mastering the technique begins with acquiring the skills of alternate sound extraction with uniform finger strokes.
along the string by a bending movement of the phalanges from the bottom up, with the exception of the thumb, which extracts the sound by hitting the string from top to bottom.
Opened and spread fingers, starting with the little finger, with the pads of the nail phalanges, alternately squeezing, strike the string. Considering that the little finger and the ring finger are connected by one tendon and when playing pizzicato with five fingers they often simultaneously produce a sound, the little finger should be taken away from the ring finger at a slightly greater distance than the distance between the unclenched middle and index fingers, and slightly bent. During sound production, the hand is bent and the elbow is slightly retracted from the body, eliminating the unnatural position of the bent hand after sound production. The forearm rises in a smooth motion, allowing the fingers to produce sound with uniform, alternate strikes on the string.
When playing a continuous tremolo alternately with four fingers, starting with the thumb, the elbow can not be taken away from the body. The thumb produces a sound by hitting from above on any string, or arpeggio on all strings, and the remaining fingers by hitting from below only on the first string.
Pizzicato with four fingers begins by hitting the string from below with the ring, middle, index and thumb, finishing with a hit from above. With this technique, it is possible to perform triple grace notes and triplets.
Pizzicato with five fingers begins with uniform, alternate strikes on the string from below with the little finger, ring, middle, index and thumb, finishing with a strike from above. With this technique, it is possible to perform quadruple grace notes, short trills, a group of five sweats.

VIBRATO
Ownership various types playing vibrato gives the performer the opportunity to significantly enrich the sound palette of the instrument. Depending on the nature of the music, the sound with the help of vibrato can be expressively melodious or rapidly excited, light, transparent or deep, saturated.
UR In performing practice, several types of playing with this technique are used: 1) vibrato when playing with the index finger, 2) vibrato when playing with the index and middle fingers, 3) vibrato when playing with the thumb, index and middle fingers, 4) vibrato when playing with the thumb vibrato when sounding tremolo with the index finger along one string, 6) vibrato with the fingers of the left hand.
Mastering the technique of playing vibrato when sounding with the index finger begins with acquiring the skills of a uniform rotational movement of the forearm and a straight hand of the right hand without sounding. The edge of the palm is adjacent to the strings behind the stand with a fulcrum on the first string at the base of the little finger. The hand is a direct continuation of the forearm and should not bend at the wrist joint during sound production. The pad of the nail phalanx of the thumb rests laterally on the middle phalanx of the slightly bent index finger (Fig. 15).
Vibration is carried out by a uniform increase and decrease in sound. The decrease in sound occurs when the brush is tilted towards the strings. At this moment, the edge of the palm exerts pressure on the stand, which bends the soundboard, thereby weakening the tension of the strings. When the brush is moved away from the strings, the edge of the palm exerts pressure on the string behind the bridge, increasing its tension.
The sound is extracted with the pad of the index finger with a smooth, sliding movement from top to bottom towards the soundboard and at the same time towards the stand, as if stroking the string. Then the brush is moved upwards from the string with a calm movement to vibrate and perform the next sound extraction.
Care must be taken to avoid pulling the hand up sharply after picking and overstretching the edge of the palm of the hand, as this leads to false accents, false intonation and poor sound quality.
Prolonged playing of vibrato with the index finger at moving tempos tires the hand, leads to stiffness and loss of sound quality. In such cases, the game of vibrato is used with alternate sound extraction with the index and middle fingers.
When using this technique, the load on the muscles of the index finger and forearm is reduced, since with one downward movement of the brush two sounds are alternately extracted by striking the string of the index and middle fingers. The movements of the forearm, hand and fingers are similar to the movements when playing vibrato with one index finger.
Alternately extracting the sound with the index and middle fingers can also be used on two strings.
Simultaneous sound production with the index and middle fingers is used when playing intervals.
When playing with vibrato on three strings, the thumb, index and middle fingers are involved in the sound extraction. Each finger corresponds to a certain string: the thumb extracts the sound by pinching the third string, the index finger - the second and the middle finger - the first. The sequence of finger movement during sound production can be different and depends on the construction of the figuration being performed.
In this example, the sound is alternately extracted with the middle, thumb and forefinger.
In the following example, thumb plucking alternates with middle and index finger plucking at the same time.
Some arpeggiated chords are played vibrato by alternately sliding the third, second, and first strings of the thumb, index, and middle fingers.
Thumb vibrato differs from previous techniques in a different point of support on the strings behind the stand, the movement of the brush and the direction of the strike on the string when sound is produced.
The edge of the palm at the wrist joint rests on the first string behind the stand. After sound extraction with the thumb, the hand is moved upwards from the string without participation in the movement of the forearm. At the moment the brush is retracted, the edge of the palm exerts pressure on the string behind the bridge, which leads to the vibration of the sound only in the upward direction (Fig. 16).
This game technique is used in the performance of emotionally rich, culminating figures. 16 moments in music.
Sometimes thumb vibrato is used when playing arpeggiated chords.

FLAGHOLES
Playing with harmonics, which give lightness and silvery transparency to the sound of a string, is quite common in performing practice.
Due to the different method of sound extraction, harmonics are divided into natural and artificial.
Flagolets are revealed overtones, i.e., sounds obtained from partial vibrations of the string, the height of which depends on the place where the finger of the left hand touches the string. The lajo-lets are located at the points dividing the string into 2, 3, 4, 5 and 6 equal parts. In relation to the fundamental tone, they form a certain interval sequence that remains unchanged for any fundamental tone in height. So, for example, by touching half of the sounding string with your finger, you can extract the octave harmonic in relation to the fundamental tone, to the third - fifth through an octave, to a quarter - through two octaves, to Vs - third through two octaves, etc.
The harmonics, which are more distant in terms of intervals from the main tone, sound weak, dull and are rare in the literature for the balalaika.
Natural harmonics, practically extracted over the 5th, 7th, 12th, 19th and 24th frets of the first string and over the 12th and 19th frets of the second or third strings, are reproduced at the moment of sound extraction by touching string over the metal fret of the pad of the finger of the left hand and quickly removed from it.
Natural harmonics are indicated by a circle above the note and sound especially good and long when played with vibrato.
When playing artificial harmonics, the fingers of the left hand press the string against the frets that determine the fundamental tone. The right hand performs the function of sound extraction and reproduction of the harmonic. To do this, the nail phalanx of the thumb, taken away from the index finger bent at the middle joint, should be placed on the string from above, and the edge of the nail phalanx of the index finger should be attached to the same string from below, opposite the metal fret from which the harmonic is removed. The thumb extracts the sound with a downward movement, and the index finger, after the sound extraction, is quickly retracted from the string.
Artificial harmonics are conventionally denoted by a rhombus above the main note from which they are played, and the location of the rhombus on the stave indicates the fret from which it is extracted. For example, if you press the first string on the 2nd fret with the first finger of your left hand, you can extract artificial harmonics at the 7th, 9th and 14th frets and the harmonics will sound in an interval ratio to the fundamental tone B of the first octave, for two octaves higher, a fifth through an octave and an octave.
In a similar way, you can extract artificial harmonics from any note.

CONCLUSION
In working on the brochure, the author proceeded from the principles of teaching the balalaika that exist in the Leningrad performing school, closely associated with the name of the famous teacher and performer, State Prize laureate, Honored Artist of the Republic Pavel Ivanovich Necheporenko? lived and worked in our city for many years.
The rich performing and teaching experience of the gifted musician left a deep mark on the teaching methods of the Leningrad musical institutions in which he worked and now his pupils and followers work. The author, being a student of the music school. M. P. Mussorgsky, studied under the direct guidance of this remarkable teacher, communication with whom prompted the creation of this brochure.
Many of the methodological provisions covered in the work are based and confirmed in practice and do not cause any controversy. Some issues related to the direction of movement of the fingers and hands, the direction of striking the strings during sound production, are considered in the brochure for the first time and, undoubtedly, require a rather thorough study. Therefore, the author will gratefully accept all comments and suggestions regarding not only controversial issues, but also directly the methods of teaching how to play the balalaika.

1. Exercise
2. Russian folk song"From village to village". arr. P. Necheporenko
3. A. Duran. Waltz. Arranged by A. Dobrokhotov
4. Russian folk song "I'm sitting on a pebble." arr. B. Troyanovsky
5. B. Golts. Humoresque
6. Exercise
7. V. Beletsky and N. Rozanova. March Grotesque
8. Russian folk song "From village to village". arr. P. Necheporenko
9. Russian folk song "Ay, all gossips go home." arr. M. Kraseva
10. P. Kulikov. Concert Variations
11. V. Beletsky and N. Rozanova. Sonata, 1 hour
12. S. Vasilenko. Waltz from the suite, op. 69
13. N. Rimsky-Korsakov. Flight of the Bumblebee. Arranged by P. Necheporenko
14. S. Vasilenko. Toccata from the suite, op. 69
15. I. Dont. Etude. Arranged by E. Blinov
16. F. Kreisler. Viennese caprice. Arranged by P. Necheporenko
17. P. Sarasate. Fantasy on themes from the opera "Carmen". Arranged by N. Osipov
18. S. Vasilenko. Serenade from the suite, op. 69
19. Russian folk song "Ivushka". arr. N. Uspensky
20. C. Saint-Saens. The dance of death. Arranged by N. Osipov
21. P. Sarasate. Fantasy on themes from the opera "Carmen". Arranged by N. Osipov
22. Exercise
23. A. Varlamov. Red sundress
24. Exercise
25. S. Vasilenko. Malaguena
26. S. Vasilenko. Concert, III
27. C. Saint-Saens. The dance of death. Arranged by N. Osipov 28 - 32. Exercises
33. B. Goltz. lingering
34. Exercise
35. F. Liszt. Hungarian Rhapsody No. 2. Arranged by N. Osipov
36. P. Sarasate. Gypsy tunes. Arranged by N. Uspensky 37 - 39. Exercises
40. F. Liszt. Hungarian Rhapsody No. 2. Arranged by N. Osipov
41. C. Saint-Saens. The dance of death. Arranged by N. Osipov
42. S. Vasilenko. Romance from the suite, op. 69
43. Russian folk song "Kamarinskaya". arr. B. Troyanovsky
44. N. Shulman. Bolero
45. S. Vasilenko. Romance from the suite, op. 69
46. ​​I. Albeniz. Serenade. Arranged by B. Troyanovsky
47. I. Albeniz. Seville. Arranged by N. Vasiliev.
48. Sh. Ours. Gypsy dance. Arranged by N. Lukavikhin
49. Russian folk song "Ay, all gossips go home." arr. M. Kraseva
50. P. Necheporenko. Variations on a Theme of Paganini
51. C. Saint-Saens. The dance of death. Arranged by N. Osipov 52 - 54. Exercises
55. Russian folk song "Oh you, evening." arr. B. Troyanovsky
56. Russian folk song "Across the village of Katenka." arr.B. Troyanovsky
57. S. Vasilenko. Concert, III
58. Russian folk song "Oh you, evening." arr. B. Troyanovsky
59. Russian folk song "The moon shines". arr. B. Troyanovsky
60 - 61. S. Vasilenko. Concert, III
62 - 64. Exercises
65. A. Dobrokhotov. Trepak
66. Russian folk song "Play, my bagpipes." arr. B. Troyanovsky
67. P. Kulikov. Concert Variations
68. S. Vasilenko. Toccata from the suite, op. 69
69. K. Myaskov. Toccata
70. K. Myaskov. Toccata
71. J. Rameau. Tambourine. Arranged by B. Troyanovsky
72. C. Saint-Saens. The dance of death. Arranged by N. Osipov
73. V. Beletsky and N. Rozanova. March Grotesque
74. Russian folk song "From village to village". arr. P. Necheporenko
75. A. Corelli - F. Kreisler. Folia. Arranged by A. Shalov
76. Russian folk song "From village to village". arr. P. Necheporenko
77. N. Rimsky-Korsakov. Flight of the Bumblebee. Arranged by P. Necheporenko
78. Yu. Shishakov. Concert, II part
79. N. Shulman. Bolero
80. N. Rimsky-Korsakov. Flight of the Bumblebee. Arranged by P. Necheporenko
81. K. Myaskov. Toccata
82. N. Shulman. Bolero
83. Russian folk song "Dark cherry shawl". arr. A. Shalova
84 - 87. Exercises
88. P. Necheporenko. Variations on a Theme of Paganini
89. S. Vasilenko. Romance from the suite, op. 69
90. S. Vasilenko. Gavotte from the suite, op. 69
91. P. Tchaikovsky. Dance of the Pellet Fairy from the ballet The Nutcracker. Arranged by A. Shalov
92. S. Vasilenko. Concert, II part
93. S. Vasilenko. Toccata from the suite, op. 69
94. P. Kulikov. Concert Variations
95. S. Vasilenko. Romance from the suite, op. 69
96. J. Tartini - F. Kreisler. Variations on a Gavotte by A. Corelli. Arranged by N. Osipov
97. Exercise
98. Russian folk song "An hour and an hour". arr. P. Necheporenko
99. Exercise.

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Book text recognition from images (OCR) - creative studio BK-MTGC.

The tutorial consists of 10 lessons that will help you learn the basics of playing the balalaika. In addition, the tutorial includes a repertoire supplement - sheet music for balalaika with piano, guitar and button accordion accompaniment.

• Foreword
• Lesson 1 Task: to learn what notes are, how the height and duration of sounds are recorded, as well as the duration of pauses, what is a beat, beat or count unit, remember the names of musical sounds
• Lesson 2 Task: set up the instrument, work out the correct fit, remember the names of the notes of the first exercises and their correspondence to the frets of the balalaika, learn how to make sound on the balalaika with a pinch and rattling, learn to play the exercises and songs “Quail”, “Whether in the garden, in the garden”
• Lesson 3 Task: improve playing the balalaika with a pinch and rattling, play the given exercises and the song “Like from a hill, from a mountain”
• Lesson 4 Task: play these exercises and the song “Like ours at the gate”
• Lesson 5 Task: learn the first position fingering, play exercises and songs “Listen, guys”, “Just like a bridge, bridge”, “On a green meadow”, using techniques: rattling, single and double pinch
• Lesson 6 Task: study the scale of the fourth position, learn how to combine the first and fourth positions, play the given exercises, the songs “Polyanka” and “Kucheryava Katerina”
• Lesson 7 Task: get an idea of ​​the full scale of the balalaika, learn how to play major scales in all keys, variations on the Belarusian theme "Kryzhachok" and Polka by S. Rachmaninov
• Lesson 8 Task: learn to play minor scales in all keys
• Lesson 9 Task: learn to play chromatic scales, exercises, arpeggios and the song “Ah, Nastasya”
• Lesson 10 Task: master the techniques of playing tremolo (on one, two and three strings), arpeggio, fraction, vibrato, pizzicato with the left hand and glissando, get an idea of ​​​​melismas and their performance, learn how to extract natural and artificial harmonics, play the songs “Steppe and steppe all around ”, “Oh, I’m unhappy” and “Annushka”

repertoire application

For balalaika and piano

1. A. Ilyukhin. You guys listen to what the string says. Variations on a theme of a Russian song
2. A. Ilyukhin. Ihav a Cossack to viynonyka. Variations on the Ukrainian theme
3. A. Ilyukhin and M. Krasev. Hopachok. Variations on the Ukrainian theme
4. A. Ilyukhin and M. Krasev. Fossa. Variations on the Belarusian theme
5. B. Troyanovsky. Flowers bloomed. Variations on the theme of the song of the Vologda region
6. B. Troyanovsky. At the gate, gate. Variations on a theme of a Russian song
7. M. Glinka. Be famous. Final chorus from the opera "Ivan Susanin"
8. A. Glazunov. Grad. Variation from the ballet "The Seasons"
9. M. Mussorgsky. Gopak from the opera " Sorochinskaya Fair". Concert arrangement by A. Ilyukhin
10. D. Kabalevsky. clowns
11. D. Shostakovich. Gavotte
12. A. Shalov. Siberian field. Concert variations on a theme by Y. Shchekotov
13. I. Dunayevsky. Gallop from the movie "My Love". Arranged by N. Shchuchko
14. D. Verdi. Introduction to the 3rd act of the opera "La Traviata"
15. I. Svendsen. A golden star shines high in the blue distance. Norwegian song. Arranged by A. Ilyukhin
16. M. Moshkovsky. spanish dance. Op.12, No. 2
17. V. Abaza. Pizzicato. Arranged by A. Ilyukhin
18. N. Fomin. Auvergne dance. Arranged by B. Troyanovsky
19. V. Andreev. Polonaise No. 1 Edited by A. Ilyukhin

For balalaika and six-string guitar

1. M. Rozhkov. Concert variations on a theme old romance"I met you"
2. A. Petrov. I walk around Moscow. Arranged by M. Rozhkov
3. V. Ditel. Fantasy on the theme of the Russian song "Peddlers". Arranged by M. Rozhkov and G. Minyaev

For balalaika and button accordion

1. V. Motov. round dance
2. N. Polikarpov. Rowan. Arranged by V. Azov and O. Glukhov
3. O. Glukhov and V. Azov. Concert fantasy on the theme of the Russian song "Oh you, carpenters"