What sounds like a hurdy-gurdy. Musical instruments and toys: barrel organ

Romanova E.V.

PhD in Art History, Federal State Budgetary Educational Institution higher education“St. Petersburg State Conservatory named after N.A. Rimsky-Korsakov"

ABOUT COMPOSITIONDIMINUENDO IN TCHAIKOVSKY'S PLAY "THE organ grinder sings"

annotation

In the process of considering Tchaikovsky's play, the traditional criteria of the domestic theory of simple forms, on the one hand, and some criteria of the theory of mixed forms, on the other, were applied to its composition. The interaction of the structural-compositional, motive-intonational, harmonic, textural and dynamic aspects of development is shown, confirmed significant role compositional features in the embodiment musical image plays. The results can be used in the practice of teaching the analysis of musical works in the implementation of the main educational programs of higher education.

Keywords: simple two-part form, contrast-composite form, chorus, chorus, supporting form.

Romanova E.V.

PhD in Arts, Federal State Institution of Higher Education

Saint-Petersburg Rimsky-Korsakov State Conservatory

ABOUT COMPOSITE DIMINUENDOIN TCHAIKOVSKY'S PLAY "THE ORGAN-GRINDER SINGS"

Abstract

In the course of consideration of the play of Tchaikovsky traditional criteria of the domestic theory of simple forms on the one hand and some criteria of the theory of the mixed forms with another are applied to her composition. Interaction of structural and composite, motivno-intonational, harmonious, impressive and dynamic aspects of development is shown, the essential role of composite features in the embodiment of a musical image of the play is confirmed. Results can be used in practice of teaching the analysis of pieces of music at the implementation of the main educational programs of the higher education.

keywords: simple binary form, contrast and compound form, having started singing, a refrain, a form of the second plan.

The concept of a secondary form is mainly used in the compositional analysis of compositions based on varieties of variational forms, as well as forms usually defined as mixed. At the same time, the analysis of the compositional subtext of a miniature often reveals such a degree of individualization of the implementation of the principles of one or another simple form, which allows us to speak about the hidden action of the form of the second plan. The establishment of this form, as a rule, helps to clarify the results of the analysis. musical material not so much in the structural as in the content aspect. As one of clear examples Let us turn to the composition of the play "The Organ Grinder Sings" from " children's album» P.I. Tchaikovsky.

This piece (along with many other miniatures in the collection) is a musical sketch from nature, thus embodying the idea of ​​a "virtual" journey. In it, as in The Neapolitan Song, Tchaikovsky used the tune he heard in Venice from street performers. Within the framework of a contrasting-composite simple two-part form, this piece seems to draw a scene of a meeting with an organ grinder, conveying some of its nuances and details.

The ratio of the parts in the piece is similar to the ratio of the solo and chorus in the verse and corresponds to one of the typical options for constructing a two-part form. The expositional section (bars 1-16 of the piece, example 1) is a square period of repeated structure and, at the same time, has a number of expressive features. The most striking of them is the non-normative agreement of cadences, due to the deviation into the tonality of the second step at the end of the first sentence - the middle cadence thus turns out to be on a subdominant function. The romance-song genre nature of this major theme, which is generally very unpretentious, but at the same time not without some refinement, is expressively shaded by a deviation into a minor key, which enhances the impression of a spiritualized, open and direct statement, the beginning of which seems to be marked by an emotional outburst. Thus, the first part of the composition sounds especially bold and prominent.

Other features initial period, caused by the tonal deviation mentioned above, become the beginning of the second sentence at a different pitch (melody one second higher) and on a different harmonic function (II65). They give the utterance dynamism, and the period - great unity, based on the functional heterogeneity of sentences (the first is expositional and developing, the second is developing and final).

Rice. 1 - initial exposure period

The second part of the piece is also a period, but organized (in tonal and functional aspects) much more traditionally, due to which it is quite naturally perceived as a chorus. This square period of repeated structure (bars 17-32 of the piece, example 2) differs from the normative one only in the middle cadence on the tonic. Due to the absence of deviations, the strictly observed tonic-dominant functional-harmonic scheme (without the use of chords of the subdominant function), the exact repetition of sentences, the second part of the piece sounds like an emotional decline - the “sensitive romance revelation” is replaced by a calmer and more peaceful, summarizing intonation, clearly showing through repetitive phrases like an affectionate, gentle farewell.

Note some highly individualized features thematic material the second part, which significantly affect the perception of the form of the play as a whole.

First, the exact repetition of sentences is violated by the dynamics: p in the first sentence and pp - in the second. Idea diminuendo thereby finds a direct, immediate expression, obviously contributing to the effect of spatial removal, embodied in the play: the organ grinder's tune becomes less and less clearly audible, less distinguishable - whether the listener has passed the performer, or vice versa.

Secondly, a very striking feature of the second part is the dialogue of short motifs outlined in the melody (sometimes evoking associations with the technique of hidden two-voice): in this dialogue, on the one hand, the principle of dispersion, reduction in relief and the specificity of thematicism is manifested, and on the other hand, the idea register roll call, characteristic of the final sections of the musical form, based on the effect of recession, inhibition.

Finally, the organ point on the tonic fifth, sustained throughout its entire length, becomes the defining feature of the second movement. Its use clearly emphasizes the final compositional function in the sound of the second movement, which makes it possible to define it not so much as a contrast, but as the second part of the coda type.

Note also that the upper tone of the fifth is figured - a continuous alternation of sounds d– e like vibration, creating a soundographic effect of fuzziness, blurring of contours and further enhancing the effect of spatial removal mentioned above.

An essential touch, emphasizing the “descending” compositional orientation of the second movement and the piece as a whole, is the so-called written slowdown applied by Tchaikovsky in the last measure (bar 32, example 2): at this moment, the through pulsation of the eighths, which was previously invariably observed due to the complementary rhythm, ceases. The syncopated thirds of the accompaniment preserved in the middle layer of the texture pulsate thereby twice as slowly, which creates the effect of slowing down without the use of appropriate verbal remarks ( ritardando, ritenuto and so on.).

Rice. 2 - contrasting second part (second part of the coda type).

The form of the play as a whole can be defined, therefore, as a simple two-part contrast-composite with a distinct manifestation in the background of the signs of a simple two-part form with a second part of the coda type. At the same time, a gradually crystallizing idea becomes its individual feature. diminuendo, supported by rhythmic and dynamic means: painted in subjective-lyrical tones, emotionally vivid material of the initial period is opposed to more neutral, objective and less individualized, embodying emotional decline material of the second part (a decrease in relief, brightness and individual characteristic of the material explains the compositional relationship of the considered two-part form with the form period with addition), the deceleration written in the last measure and the decreasing dynamic nuance emphasize the fading effect. It is this feature that contributes to the brightness of the embodiment of the main image of the play, associated with the gradual slipping out of sight, as if dissolving in the space of its main character and with the peculiar disappearance-melting of the sound traces of his presence.

I recall the title "On Foreign Countries and People", given by Schumann to one of the plays included in his "Children's Scenes".

“In Venice, in the evenings, a street singer with a little daughter sometimes approached our hotel, and I really like one of their songs.”

In the classification of Yu.N. Tyulin, such forms are proposed to be expressed by the A + B scheme due to the thematic independence of the second part and the presence of new intonational elements in it.

In this case, an exact repetition of sentences arises, due to which the period acquires a resemblance to a strophic structure.

The compositional relationship of the considered two-part form with the form of the period with the addition allows us to speak of a phenomenon related to the descending compositional modulation in the classification of V. Bobrovsky.

A similar compositional descent (the use of the second part of the coda type) is also found in the play from the "Children's Album" "In the Church". We also note some compositional analogies of the play under consideration with the play “ morning prayer”: both of them end with a section that clearly fulfills the final compositional function, but at the same time, “Morning Prayer” in form represents rather a period with an addition.

References / References

1. Bobrovsky V. Functional foundations of musical form. - M.: Music, 1978. - 332 p.
2. Tyulin Y. Musical form / Y. Tyulin, T. Bershadskaya, I. Pustylnik and others; general ed. prof. Yu.N. Tyulin. - 2nd ed., corrected. and additional - M.: Music, 1974. - 361 p.
3. P.I. Tchaikovsky - N.F. von Meck: correspondence, 1876-1890: in 4 vols. T. 1. 1876-1877 / comp., scientific and textual critic. ed., comments P.E. Vaidman. - Chelyabinsk: MPI, 2007. - 704 p.

References in English / References in English

1. Bobrovskij V. Funkcional'nye osnovy muzykal'noj formy. . – M.: Muzyka, 1978. – 332 p.
2. Tjulin Ju. Muzykal'naja forma / Ju. Tjulin, T. Bershadskaja, I. Pustyl’nik and others; general edited by Yu. N. Tyulin. – 2nd edition, corrected and top. – M.: Muzyka, 1974. – 361 p.
3. I. Chajkovskij – N.F. fon Mekk: perepiska, 1876-1890: v 4 t. T. 1. 1876-1877. / drawing up., scientific and textual edition, comments P.E. Vaydman. - Cheljabinsk: MPI, 2007. - 704 p.

barrel organ

Many of us in childhood read with enthusiasm the work of the remarkable French writer G. Malo “Without a Family”. A story that certainly could not leave anyone indifferent. In this touching story, the heroes who are in difficult life situations, helped to survive one interesting object, a mechanical musical instrument - a hurdy-gurdy. To play on it, it was not necessary to study and even know the notes, turn the knob - the melody sounds.

At present, the hurdy-gurdy is already a curiosity. We listen to music from digital media, which was preceded by turntables and tape recorders, and even earlier by gramophones and gramophones. The progenitor of all this technique was the hurdy-gurdy, which in former times was so popular that many great poets dedicated their poems to it.

The sound of a barrel organ is created using pipes placed in acoustic enclosure. A very important element in the tool is the roller, with studs built into it. Studs are placed in certain order corresponding to the tune we want to hear. If you rearrange the hairpins, then the music turns out to be completely different. The instrument begins to sound when you turn the handle of the hurdy-gurdy, which sets in motion a rather complicated mechanism.

Photo:

Interesting Facts

• Each country has its own name for the hurdy-gurdy. In Germany - Leierkasten, in England - Barrel organ, in France - orgue de barbarie, in Spain - organillo, and in Italy - organistro, in Bulgaria - laterna, in Hungary - kintorna.
• The French "Sun King" Louis XIV was the first of the monarchs to appreciate the barrel organ and introduced the fashion for the instrument.
• Many great Russian poets, including A. Vertinsky, A. Fet, P. Antokolsky, O. Mandelstam, I. Annensky, L. Semenov, M. Tsvetaeva, V. Bryusov, B. Okudzhava, dedicated their poems to the hurdy-gurdy.

• The musical instrument hurdy-gurdy is very often found in children's literature, for example, in the fairy tales of H.K. Andersen "Swineherd", K. Collodi "Pinocchio", A. Tolstoy "The Golden Key, or the Adventures of Pinocchio", in the works of A. Kuprin "White Poodle". O.F. Walton "Christy's Old Barrel Organ", G. Malo "Without a Family".
• All over the world, the instrument is treated with great respect. In many European countries such as Switzerland, France, Finland, Hungary, Estonia, Germany, Czech Republic regularly international festivals organ grinders. The most massive festival, which brings together more than one hundred performers, is held annually, usually in July in Berlin, the capital of Germany. An impressive procession of organ grinders dressed in ancient costumes, passing along the famous Kurfürstendamm boulevard, attracts attention and arouses keen interest not only for residents of the capital, but also for guests of the city.
• In Brazil, the tango was even danced to the sound of a hurdy-gurdy.
• In Denmark, it is still believed that if an organ grinder is invited to a wedding, then the newlyweds will be happy all their lives.
• In Vienna, the capital of Austria, the sound of a hurdy-gurdy can always be heard on St. Stephen's Square near the main city cathedral.
• In Prague, organ grinders can always be found at the main historical sights of the city - Charles Bridge and Old Town Square.
• Australia hosts many different, sometimes very eccentric and eccentric parades and festivals every year. They are, as a rule, bright and interesting, often accompanied by the sounds of hurdy-gurdies.
• Monuments to the barrel organ and organ grinders can be found in different cities around the world: Moscow (Russia), St. Petersburg (Russia), Kiev (Ukraine), Gomel (Belarus), Berlin (Germany), Newport (USA).
• In Russian, there is an expression "start a hurdy-gurdy", which means annoyingly talking about the same thing.
• Currently, the barrel organ is very popular in the form of a children's toy that develops the muscles and finger motor skills of the child, and also has a sedative effect.
• Radio amateurs call a barrel organ a radio transmitting device of their own manufacture.

Design

The design of the barrel organ is not as simple as it might seem. It consists of a handle, which is called a collar, a fur chamber, a pin, a sound roller, pins, levers, canes, valves and pipes.
The handle of the barrel organ makes the pin and sound roller move. With the help of a pin, air is pumped into the fur chamber located at the bottom of the tool. There are studs on the sound roller, upon contact with which the levers rise and fall. The levers in turn cause the reeds to move, opening and closing valves that control the airflow into the pipes that produce the sound.

Story

The barrel organ was once so popular that several European countries: France, Holland, Switzerland and Italy are still arguing and looking for evidence of which country the barrel organ was first born in. However, the history of the instrument is lost in ancient ages. The use of cam devices, which serve to produce sound in a hurdy-gurdy, has been known since ancient times. Even then they were used in the construction of various kinds of entertainment mechanisms. For example, in ancient Greece there were theaters representing self-moving figures, which were called androids and moved to the accompaniment of sounds extracted mechanically. And the famous Chinese philosopher Confucius, who lived in the 6th century BC, for a whole week, without interruption, listened to the sound of melodies extracted from a device called "tiger ribs" and consisting of plates that make sounds different heights. Perhaps this musical mechanism was the progenitor of the barrel organ. And even the pneumatic organ, invented in the 3rd century BC by the famous ancient Greek inventor Ktesibius, was indirectly related to the appearance of the barrel organ.

During the Renaissance, the mechanisms for extracting sound continued to improve, and for the joy of the nobility, mechanical musical instruments were already created that reproduced melodies: barrel organ, music boxes and snuff boxes.

The first instrument to survive and come down to us was a primitive copy created in France in the 17th century. It could play only one melody and served to teach songbirds, which is why it was called the "bird organ". The hurdy-gurdy was quickly adopted by wandering artists, because it was possible to play melodies on it without even knowing a single note, you just had to turn the handle of the instrument. For example, the inhabitants of Savoy, a region located in the south-east of France at the foot of the Alps, in times of famine let their children go on their own to earn a living. Children traveling through big cities, to the sounds of a hurdy-gurdy with the participation of their four-legged pet - marmots, arranged various street performances. Under the impression of one of these performances, the world-famous song "Marmot" appeared on the verses of the famous German poet I.V. Goethe and music L.V. Beethoven.

The instrument, very much loved by the people, has constantly evolved. Masters from different countries constantly improved it. The Italian D. Barbieri, the Frenchman J. Wacanson and the Swiss A. Favre are mechanics and inventors who made very significant changes to the design of the barrel organ. The instrument became a small mechanical organ without a keyboard - a box in which sound tubes, fur and a roller with small protrusions - hairpins were located in rows. On the barrel organ, it was already possible to play not one melody as before, but six or eight or even more, since the roller could be removed independently, thereby changing the repertoire of the instrument. The scope of the hurdy-gurdy has expanded significantly. For example, in English churches it was used for voicing hymns and psalms.

In Russia, the instrument appeared from Poland at the end of the 18th century and in a short time was mastered by itinerant musicians, as well as artists of the big top circus. The melody first heard by the Russians in the performance of the hurdy-gurdy was the melody of a song, which in French was called "Charmant Katarina". There is a version that it was from this name in our country that the instrument received such an unusual name - a hurdy-gurdy, sometimes it was also called "katarinka". Another variant of the origin of the name of the instrument is also considered. Perhaps, initially it was called a shirmanka, from the word screen, since the performers on the instrument during their performances often teamed up with puppeteers who worked behind the screen during performances.

Thanks to organ grinders, the popularity of the instrument in Russia grew very quickly. Earning their livelihood, wandering musicians, sometimes accompanied by orphans, singing in pitiful voices, walked through the courtyards of houses. Organ grinders in their performances also involved small monkeys, who made faces to the sounds of the barrel organ, tumbled and even circled, dancing, as well as large parrots. The birds pulled folded papers out of the box, on which predictions of the future were written.

The hurdy-gurdy, being in great demand, was constantly modified. At the turn of the 19th and 20th centuries, several different types of instrument were created. Rollers have been replaced with perforated bands , each of which corresponded to a certain sound. This significantly increased the possibilities of the instrument and recording on it not only popular songs and dances, but even excerpts from operas. Such instruments are called aristons. Already in this form, the hurdy-gurdies existed until the 30s of the last century, and after the appearance of more advanced means of reproducing sounds: gramophones, gramophones, electric players, tape recorders, they were completely supplanted and became a thing of the past.

Nowadays, the hurdy-gurdy is a curiosity that can be seen more often in a museum than heard on the street. True, the inhabitants of Paris, Vienna, Berlin, Amsterdam and some other cities of the world still remember her, because there you can still meet organ grinders playing alone. And paying tribute to the hurdy-gurdy, which has passed the test of time, various holidays and festivals with the participation of ancient instrument, today greatly improved.

Video: listen to the barrel organ

MUSICAL INSTRUMENTS AND TOYS

barrel organ

Dmitri Shostakovich. barrel organ;
Peter Ilyich Tchaikovsky. The organ grinder sings.

1st lesson

Software content. To teach children to determine the nature of music (cheerful, playful, mischievous), to distinguish its figurativeness (imitation of the sounds of a hurdy-gurdy).

Lesson progress:

Educator: Children, you are already a little familiar with the work of Dmitri Dmitrievich Shostakovich. Remember what work of D. Shostakovich you listened to (performs a fragment).

Children. "March".

Educator: What is the nature of this march? (Performs a play.)

Children. Playful, funny, mischievous.

Educator: Why did you define the character of this music in such a way?

Children. The march sounds jerky, high, quiet, with accents, as if toy soldiers are walking.

Educator: Today you will hear another play by D. Shostakovich - "The Barrel Organ". Who knows what a barrel organ is?

Children. This is a musical instrument.

Educator: That's right, this is an old mechanical musical instrument that plays melodies when the organ grinder turns the handle. She can play one or more tunes repeated many times. Often the hurdy-gurdy melodies are plaintive, mournful. Organ grinders were poor people. They earned their living roaming the yards and streets, tirelessly turning the handle of their barrel organ. Her plaintive sounds carried around, and people threw change from the windows to the organ grinder. You all know A. Tolstoy's fairy tale "The Golden Key ..." Papa Carlo, who made Pinocchio from a log, was an organ grinder. You have seen organ grinders in films as well. Who does not remember what she looks like, look at her image (shows a picture). But there were also hurdy-gurdies that played cheerful, amusing melodies. Listen to D. Shostakovich's play "The barrel organ" and say what melody she plays (performs the play).

Children. Cheerful, playful, perky, funny.

Educator. That's right, the music is carefree, playful, dancing. She resembles a cheerful, mischievous ditty. How did D. Shostakovich portray the hurdy-gurdy in this play? Does it repeat anything? (Performs separate accompaniment.)

Children. Yes, the same sounds are repeated.

Educator. The accompaniment in the piece sounds unchanged from beginning to end (performs an accompaniment fragment). This conveys the monotony, the mechanical sound of this instrument. Listen to the play again (performs it).

2nd lesson

Program content. Distinguish the form of a musical work, the nature of individual parts, determine the means of musical expression that create an image (dynamics, register, accents, articulation), the nature of dance (a clear, jerky polka).

Lesson progress:

Educator: Children, now I will play you an excerpt from the play that you have already listened to. Remember its name and author (performs a fragment).

Children. Barrel organ by D. Shostakovich.

P e d a g o g. What is the nature of music? (Performs a play.)

Children. Cheerful, playful, playful, mischievous, dancing.

P ed a g o r. And what kind of dance does the barrel organ play?

Children. Polka.

P e da g o g. That's right. Why did you determine that this is a polka?

Children. The music is fast, jerky, bouncing, cheerful.

P e da g o g. That's right. The rhythm is clear and danceable. The melody is built on the alternation of smooth, sliding and jerky, sharp sounds. There are many humorous accents in the music that sound unexpectedly, provocatively. I will play the beginning of the piece, and you mark the accents with claps (performs the first holding of the theme, the children complete the task). How does the melody sound the second time? (Performs the first variation - bars 11-18.)

Children. Quiet, abrupt, easy.

Educator: That's right, the melody sounds easy, insinuating, but is interrupted by mischievous, cocky accents (performs a fragment). Mark them with claps (performs repeatedly, the children complete the task). The melody continues to change, and the accompaniment repeats all the time (performs the piece to the end). The first two times the melody sounded differently - at first quite loudly, cheerfully, provocatively, and then quietly, timidly, but still with playful, sharp accents. How does the melody sound next? (Performs the second half of the piece, starting from bar 19.)

Children. First smoothly, high, quietly, melodious, then loudly, cheerfully, loudly.

Educator. At the beginning and end, the melody sounds bright (performs the first and last holding topics), and in the middle it is quiet twice, but in different ways. Listen to the character of the theme for the second and third time (performs these variations).

Children. The second time - jerky, light, perky, and the third - smooth, gentle.

Educator: Listen carefully. Although last time the melody sounded smoothly, gently, it still did not lose its playful, perky, mischievous tone. Each time it starts affectionately, and ends with a short, abrupt sound (performs bars 19-26). Listen to the play again (performs it).

3rd lesson

Program content. To consolidate the ability of children to distinguish between the introduction and the conclusion, parts of the play due to the change in the nature of the music. Determine the timbres of musical instruments that correspond to the nature of the sound of the parts of the piece. Play these instruments, emphasizing the rhythmic and timbre originality of the music.

Lesson progress:

Educator Children, try to find out what I'm playing for you (performs the conclusion).

Children. This is D. Shostakovich's Barrel Organ. The end of the play.

Teacher Tell me if the play has an introduction and a conclusion (performs it in its entirety).

Children. Eat.

Educator How does the introduction sound? (Performs it.)

Children. Repeating sounds of a hurdy-gurdy are heard.

Educator. And the conclusion? (Performs it.)

Children. At first smoothly, quietly, and then loudly, cheerfully.

Educator: And at the end of the play, the music sounds playful, amusing. It begins affectionately, slyly, and is suddenly interrupted by a loud chord that ends the piece. The conclusion is similar to the smooth passage of a melody that sounds in a high register (performs a fragment). We said that the melody is repeated in the play in different ways. It varies. How does it sound the first and last time? (Performs excerpts.)

Children. Loudly, fervently, with accents.

Educator: We marked accents with claps, and today we use a tambourine for this. It will emphasize the accents and give the sound sonority. Let's mark the accents in the music first with claps, and then with tambourines (performs the first part, the children complete the task). Now compare this part of the play with the last (fourth). Does it have as many accents as the first one, or not? (Performs excerpts.)

Children. No.

Educator How many accents are in this melody? (Performs the fourth part.)

Children. Two.

Educator Let's celebrate them with claps (performs a variation, the children complete the task). And now we will hit the tambourine during accents (twice); this will give the music sonority, brightness. Let's sing this part together (plays it with the children). And now let's think about what instruments can be used in the second and third performance of the melody (performs them). How does the music sound?

Children. Quiet, gentle. In the second part abruptly, and in the third smoothly.

Educator The music in the second part sounds quiet, transparent, easy. You can use gentle bells, and the accents will still emphasize the tambourines. Mark the accents in this part of the play with claps (performs the second holding of the theme, the children complete the task). Now let's play this part on both bells and tambourines (performs it again with the children). And in the smooth part, when the music sounds very high, what instrument can be used? (Performs a fragment.)

Children. Triangle.

P e da g o g. That's right. There are no accents in this part, and the triangle will emphasize the high, sonorous sound of the music. Let's perform the whole play (divides the children into groups, distributes musical instruments, performs the play with them).

4th lesson

Program content. Strengthen the ability of children to orchestrate music. Distinguish the emotional-figurative content of plays with the same name.

Lesson progress:

Educator: Children, today let's play D. Shostakovich's play "Bar-organ" more confidently, expressively. The accents in the music will mark the tambourines. The gentle, transparent and jerky sound of the melody will be conveyed by the bells, and the smooth one by the triangle. What tools can be used in conclusion? (Snippet plays.)

Children. Triangle, and at the end of the tambourine.

P e da g o g. That's right. When the melody sounds gentle, smooth, a triangle will play. And for the final chord - all the instruments are fun, provocatively (performs the conclusion with the children). And now we will perform the whole play (play it). What fervent, mischievous music we have turned out, how cheerfully the barrel organ plays!

And now I will perform for you another piece with a similar title, "The Organ Grinder Sings." It was written by the great Russian composer Pyotr Ilyich Tchaikovsky. Listen to the play and say what feelings, moods the music conveys (performs it).

Children. The music is sad, sad.

Educator: That's right, this hurdy-gurdy plays a mournful, melodious, sad melody, in contrast to the play we know. And how is the monotonous sound of a hurdy-gurdy conveyed in the new work? Are there repetitive sounds that remind her of playing? (Performs the second part.)

Children. Eat. The sounds are repeated.

The teacher The play consists of two parts. I played the second part for you. The repetitive sounds of the hurdy-gurdy are especially audible in it. The music sounds mournful, mournful. Despite the fact that in both pieces the imitation of the sounds of an ancient musical instrument - a barrel organ - is conveyed, what different feelings and moods are expressed in them! Listen to both pieces again (performs them).

5th lesson

Program content. To convey the character of music in motion, to determine different character danceability of contrasting pieces (polka, waltz).

Lesson progress:

Educator Children, listen to two plays you know and name them (performs works).

Children. These are D. Shostakovich's Barrel Organ and P. Tchaikovsky's The Organ Grinder Sings.

Educator Why is P. Tchaikovsky's play called "The Organ Grinder Sings"?

Children. It sounds like a song - smoothly, humming.

P edagogue. That's right, in the music of P. Tchaikovsky one can feel the songlikeness of the melody, smoothness, unhurriedness. Is there any dance in this music? (Performs the beginning of the piece.)

Children. This is a waltz.

Educator. That's right, the hurdy-gurdy in P. Tchaikovsky's play plays a monotonous, plaintive waltz. And in D. Shostakovich's play, what kind of dance does the hurdy-gurdy play? (Performs a fragment.)

Children. Polka.

Educator. In D. Shostakovich's play, a mischievous ditty sounds, which can be performed along with the dance - a light, perky polka. Let's try to convey in movement the different nature of these pieces, using elements of dance - polka and waltz (call children in groups, perform pieces, discuss successfully found movements).

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Chaikovsky. The organ grinder sings. Children's album, mp3;
Shostakovich. Barrel organ (three versions: piano, symphonic orchestra, song), mp3;
3. Accompanying article - abstract of classes, docx;
4. Notes for independent performance by the teacher, jpg.

Municipal budget institution

additional education

Children's Art School No. 8

Ulyanovsk

Methodical development

"Methodological analysis of plays from

"Children's Album" by P.I. Tchaikovsky"

higher education teacher qualification category

piano class

MBU TO DSHI No. 8

Chevachina Galina Alexandrovna

201 6 G.

annotation

The paper presents the history of the creation of the most famous and popular composition for children in close relationship with the biography of the composer. In the main part of the work, a figurative description of the plays and methodological recommendations for teachers in working on works are given. .

1.Introduction……………………………………………..………….………….2-4

2.Main part……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

3.Conclusion……………………………………………………………………….20

4. Literature…………………………………………………………………….20-21

"Methodological analysis of plays from

"Children's Album" by P.I. Tchaikovsky"

I. Introduction

musical language very good at conveying feelings and moods. In order to “draw” something with the help of music or “tell” about something, composers resort to the help of ordinary, verbal language. It can be just one word in the title of the play.

But this word guides our imagination. For example, in the play "Song of the Lark" small figures with triplets and grace notes convey the chirping of birds.

All names and verbal explanations for musical works called a program. And music that has a program is called program music. All works of the collection "Children's Album" are programmatic.

The first outstanding collection of music for children in Russian piano literature was "Children's Album" by P.I. Tchaikovsky. The appearance of this collection is not an accidental phenomenon in creative biography composer. Tchaikovsky devoted much time and effort pedagogical activity. In addition to working at the Moscow Conservatory, he wrote a textbook on harmony and translated several works by Western European musicians that could be useful in educating Russian students.

The "Children's Album" is not only of great artistic value, but also extremely useful for the education of students.

Returning to Russia after a trip abroad in the spring of 1878, Tchaikovsky visited in the village. Kamenka his sister Alexandra Ilyinichna Davydova, who had 7 children. Pyotr Ilyich adored his nephews and nieces, he walked with them, arranged fireworks, musical performances, dance evenings, took part in games, enjoyed the spontaneity of children.

Tchaikovsky often listened to the guys making music, especially 7-year-old Volodya Davydov. He wrote N.F. with great warmth about his nephew. von Meck: "For the sake of his inimitably charming figure, when he plays, looks at the notes and considers, you can dedicate entire symphonies."

It was to this Volodya Davydov that P.I. Tchaikovsky dedicated his “Children's Album”, which enriched children's musical literature. Cycle piano pieces"Children's Album", op. 89 was written by P.I. Tchaikovsky in May 1878 and published by P. Jurgenson in October of the same year. On the title page of the first edition, the full name of the cycle: “Children's Album. Collection of light plays for children (imitation of Schumann). Composition by P. Tchaikovsky.

Indeed, one can trace the connection of the "Children's Album"

P.I. Tchaikovsky with a similar work by R. Schumann "Album for Youth". This is expressed not only in the choice of plots (“March of Soldiers” - and “March of Wooden Soldiers”, “First Loss” - “Doll Funeral”, “Folk Song” - “Russian Song”, etc.), but also in the choice of means of musical incarnation. Both composers speak to children surprisingly clearly and simply, and at the same time seriously, without any "adjustment". Collections captivate with their lyricism. Like Schumann, Tchaikovsky in most of his plays enriches the musical fabric with elements of polyphony. But even in these works for children, the composers do not deviate from the basic principles of their piano style. Therefore, Tchaikovsky's "Children's Album" is perceived as Russian music, as a series of pictures dedicated to the life and life of Russian children. Pyotr Ilyich strove to ensure that his music was lively and exciting, so he showed interest even in the external design of the edition of plays - in pictures, in the format of the collection.

Schumann's influence on Tchaikovsky's piano style can be seen in the similarity of texture, rhythm and dynamics. In the "Album for Youth" and "Children's Album" the pieces are intonationally memorable, accessible to the child, contrasting in character, but united by one idea. Each play is a small story from the life of children. Lined up together, they reflect the whole world. The programmatic nature of the collections makes them understandable and interesting for beginning pianists. With extraordinary sensitivity and subtle understanding of child psychology, the composer reflected in the "Children's Album" the life and life of the children of the environment that surrounded him every day.

The "Children's Album" by P.I. Tchaikovsky contains 24 plays that are not connected by a single theme. Each play contains a specific plot, a lively poetic content. The collection captures a wide range of images. These are pictures of nature - "Winter Morning", "Song of the Lark", children's games - "Game of Horses", "Doll Disease", "Doll Funeral", "New Doll", "March of Tin Soldiers", the characters of Russian folk tales are outlined - "Nanny's Tale", "Baba Yaga", Russian folk art- “Russian song”, “A man plays the harmonica”, “Kamarinskaya”, songs of other nations - “Old French song”, “Italian song”, “German song”, “Neapolitan song”, European dances - “Waltz”, “ Mazurka, Polka.

The works of the collection are written for children, so the texture, fingering, harmony, articulation, dynamics and pedalization take into account the performance capabilities of the child. Tchaikovsky wrote 19 pieces out of 24 in major keys, the chords are intended for children's hands, the dynamics are from pp to f. Most of the plays are written in simple two-part or three-part form.

Purpose of writing the work:

To analyze the program works of Russian composers for children on the example of P.I. Tchaikovsky.

Work tasks:

analyze the relevance of the appearance of the collection;

reveal the figurative characteristics of the album's pieces;

II. Main part

"Morning Reflection"

In the first edition, the piece was called "Morning Prayer", it resembles a sarabande - a strict four-voice, a rhythmic figure - a quarter with a dot - an eighth.

A bright and serious mood, as it were, warns that the story about children will go in a serious tone. The piece is written in the key of G major. The character is calm, thoughtful, the texture with elements of polyphony, the form of an extended period with a large addition on the tonic organ point.

Articulation and dynamics should emphasize the expressiveness of the piece. It is important to achieve a soft, melodious legato sound in all voices.

Particular work should be done on the tonic organ point.

"Winter morning"

The play captures a picture of a snowy, frosty winter morning and at the same time conveys the psychological mood of the child. The work begins in a joyful D major, which soon modulates into a parallel minor, as if the joy is overshadowed by cloudy weather.

The play is written in a simple 3-part form. The agitated, assertive extreme parts are contrasted by the middle, where pleading, plaintive intonations appear.

At the beginning of the piece, a sequence of falling seconds at a fast pace creates a feeling of liveliness, the bustle of a day that has just begun. And in the middle, the rhythmic regrouping, the sound of the interval of an increased second and the change of the upward direction of movement to the downward one create the impression of a child's plaintive intonation. In the reprise, active and pleading intonations seem to be combined.

The texture of the piece is chordal. The pedal in the first part of the piece is straight, short: it is taken on the first beat, and in the middle - on the first beat of every second measure.

"Mother"

The title itself contains the meaning of the work, which is emphasized by the author's remark - "With great feeling and tenderness." An affectionate, gentle, light melody sings, and the whole texture sings with a “melodized” lower voice. When working on a melody, it is necessary to achieve a beautiful, deep, cantilena sound (it is better to extract it with the pad of a slightly outstretched finger with a slight unifying movement of the brush for every three notes).

In the middle of the piece, a “shadow cloud” comes up, melodic echoes appear. It is important to hear the melodic bass line well. It must be taught separately and legato.

"Horse Game"

This brisk, pictorial, sunny scherzo is provocatively boyish, with a stubborn ostinato rhythm. This is the tempo of a small toccata, which is characterized by a fast theme, ease of execution. The student can imagine actor riding a stick or a toy horse. The whole piece should sound very distinct and sharp.

The piece is written in a simple three-part form in the form of a toccata with the same type of rhythmic pulse, imitating the clatter of the hooves of a galloping horse. The play is consonant with R. Schumann's miniature "The Bold Rider".

From beginning to end, the piece is written in a four-voice quartet chord structure. The student needs to be helped to achieve the sound harmony of the chords. Therefore, it is necessary to work on staccato at a slow pace: staccato is performed with the smallest movements of the brush with the fingertips matched. The teacher must ensure that the student does not make any unnecessary movements, and with repeated notes, uses a double rehearsal of the piano.

It is useful to learn the melody and accompaniment separately, you can also work out the right hand part at a slow tempo, playing it with both hands.

When the sonority is increased, the hand “connects” to the fingers, and then the forearm. When moving to a fast tempo, you need to maintain pianistic techniques.

In the middle part of the piece (from the 25th bar) a change of mode is clearly felt (first in B minor, and then everything repeats in E minor). In the chord texture, echoes appear. After a running shadow, D major sounds especially light and assertive in the reprise.

"March of the Wooden Soldiers"

This piece is a funny march, to the sounds of a “toy” orchestra with flutes and a drum, a toy army of wooden soldiers seems to mint a step. Therefore, the main difficulties in this piece are rhythmic. The whole piece must be played extremely clearly, evenly, strictly, in moderate pace. First, it is important to teach the piece at a slow pace with strong fingers. It is important to achieve from the student the simultaneous removal of hands during pauses, the exact execution of the rhythmic pattern, and pay attention to the fingering.

The play is written in a simple three-movement form. The middle of the piece sounds secretive and even a little threatening, thanks to the change of mode (A minor) and the use of Neapolitan harmony.

"Doll Disease"

Tchaikovsky wrote a cycle about dolls, which included: "The illness of the doll", "The funeral of the doll", "The new doll".

How much P.I. Tchaikovsky has a lively observation, well-aimed sketches of a capricious childish psyche with characteristic transitions from sadness to joy, from tears to laughter and fun.

"The Doll's Illness" is a sad play: the doll is sick, suffering, groaning, complaining. It is necessary to work with the student on a melodious melody, expressive bass and harmonies following one after another. You can learn the melody separately, without pauses at a more mobile pace, in order to better feel its development. Vertical harmonies need to be assembled into a chord so that they are easier to hear.

On this piece it is good to teach the child of the delayed pedal. Take it to a quarter with a dot in the part of the left hand and listen to it together with the melodic note until the end of the measure, and then smoothly remove it. And so in each next cycle.

In the music you can hear sighs, and tears, and fitful breathing.

7. "Funeral doll"

First losses little man, serious experiences, meeting with death are consonant with R. Schumann's play "The First Loss".

In a solemn funeral procession, a gloomy C minor, a funeral march sounds. With dynamics, the composer depicts either the approach of the funeral procession, or the removal. Rhythmic figure: half, eighth with a dot, sixteenth and again half - characteristic of the funeral march.

The gloomy nature of the music is emphasized by heavy chords and intervals in the accompaniment.

The child needs to be explained that in this play the funeral is puppet and they need to be treated, how to play.

"Waltz"

Waltz is pair dance, it is based on smooth whirling. Waltz is one of the favorite genres of P.I. Tchaikovsky. This waltz has features of both ballroom and lyrical mood in the first part, and becomes characteristic, brilliant in the second part. And you can imagine the first part as a “smile of a child”, and the second part as a “sobbing”. After all, only children can smile and sob at the same time.

This play is written in a complex three-part form. Along with the waltz itself, it has sections with elements of a characteristic dance (in the middle part). To reveal the features of the work, you need to come up with figurative comparisons. For example, imagine New Year's celebration and children dancing near the Christmas tree. One merry dance follows another. The smooth, graceful waltz is replaced by the dance of a little ballerina performing intricate steps (bars 18-38), which is replaced by an awkward and funny dance of mummers (bars 38-52).

It is better to start working on a waltz with accompaniment - legato, with a slightly noticeable reliance on the bass.

When working on a melody, you need to achieve melodiousness and plasticity, pay attention to syncopations in 2-4 measures.

In the middle part, you need to help the student to feel the polymetry - a combination of a three-part waltz accompaniment with a two-part part of the right hand, to feel the two-voice.

Pedalization will help to identify danceability: connecting a delayed bass pedal with chords.

"New Doll"

This is a subtle psychological sketch - the joy of a girl about a wonderful gift - a new doll.

The play is based on the waltz genre. The lightness of the flexible intermittent movement of the melody creates an atmosphere of childish happiness.

The feeling of a “flying” melody to the “G” note of the sixth measure makes it possible to play the entire first formation “in one breath”.

The student should explain that the leagues in the middle part are not phrasing, but dashed, they reflect excitement and impatience.

Take the pedal short, at the expense of "times".

"Mazurka"

Polish name folk dance"Mazurka" comes from "mazur" - the name of the inhabitants of Mazovia. The mazurka is characterized by a tripartite meter and rhythm, with a frequent shift in emphasis to the second and third beats of measures.

A distinct, precise touch of the fingertips on the piano keyboard, a slow tempo, a clear hearing of harmony, comfortable fingering, pedalization that helps to mark either a strong beat or a syncopation - this is what will help the student learn the mazurka in the right character.

"Russian song"

“Russian Song” is built on a genuine folk melody “You’re Head, My Little Head”, included by the composer in his collection “50 Russian Folk Songs for Piano in 4 Hands”. .

With the same melody, the music varies due to the moving bass and undertones.

When working on a play, you need to ensure that the student hears a combination of voices. For this purpose, two-voice in one hand must be taught with two hands.

The man plays the harmonica

The play is extremely imaginative. The image of a man on a mound trying to learn how to play the harmonica. As if unwillingly, unhurriedly, with laziness, the peasant breeds harmonica furs - he obviously knows how to play only this one motive and repeats it endlessly. There is no development here.

In form it is a theme of variations. The miniature ends with repeated repetition of its main harmony - the dominant seventh chord, which acts as a tonal foundation. Despite its simplicity, the piece sounds fresh and picturesque.

13. Kamarinskaya

This play has gained the greatest popularity. In it, Tchaikovsky uses the natural everyday intonation of the dance.

“Kamarinskaya is written in D major, this is the tone of the hero of the cycle, the result of the development of the hero, his formation as a Russian person.

In "Kamarinskaya" you can hear a folk song - a dance with a daring, perky character.

"Kamarinskaya" imitates folk methods of variation. On the theme (12 measures) of the left hand part, the humming D-bass sound and the upper voice are reminiscent of the sound folk instrument bagpipes, on which you can play both a melody and a stretching bass at the same time. The upper voice sounds like a balalaika. Staccato should be played very short, with a "pinch".

The climax of the play is in the second variation. Massive chords set out in two octaves sound thick and rich. To achieve the required sonority, they must be removed with the whole hand, with a movement “from the key.” This variation in sonority resembles a harmonica.

The pedal is straight, short, for each chord.

14. "Polka"

Polka is a graceful and cheerful dance with perky humor in the extreme parts and with a touch of comic angularity and clumsiness in the middle. In polka, you need to achieve a light, elegant sound. It is necessary to work on the accompaniment, achieving a light staccato with small “pricks” of bass notes, it is better to perform staccato with a small push “from the key”.

15. "Italian song"

Written in the key of D major. It was created as a household sketch while traveling abroad. In a letter from Florence, the composer wrote that once he and his brother heard a ten-year-old boy singing a tragic song with a guitar. He sang in a beautiful thick voice with such warmth that he touched Pyotr Ilyich's heart. And this song was included in the collection called "Italian Song".

The play is written in a simple two-part form. The light melody flows calmly, unhurriedly.

When learning this piece with a student, one should focus on the waltz nature of the musical image. It is necessary to work separately on the melody (moving, graceful in the first part, and cantilena in the second) and the accompaniment (light, waltz, with a slightly noticeable reliance on the bass).

In the second part, the texture becomes more complicated. The melody and accompaniment are transferred to the right hand, and in the left, a monotonous “mechanized” movement of quarters appears on the sustained bass.

Care must be taken to ensure that the accompaniment in the right hand sounds very quiet and does not drown out the melody.

16. "An old French song"

This is a melancholic, soulful song, like a memory of a distant past.

The piece is written in three-movement form, in G minor. The melody in the first part should sound deep, drawn out. There are two voices in the left hand.

The middle movement begins secretly, on a "cello" staccato accompaniment, and then quickly comes to a climax. In melody, despite the short leagues, you must try to avoid crushing. The accompaniment is best performed with light brush movements, but strong fingers. Before the culmination, it is appropriate to make a small ritenuto and caesura, so that after it the wonderful melody of the reprise sounds even more penetratingly.

17. "German song"

"German song" - cheerful, with a "bouncing melody". It is based on the intonations of the Tyrolean song, and the rhythm resembles the old Lendler dance popular in Germany and Austria.

With students, it is useful to teach accompaniment separately: take the bass deeper and the second and third beats are easier. Take the delayed pedal to the “one” count. "German song" is written in three-part form.

18. "Neapolitan song"

"Neapolitan song" is full of bustling revival of Italian squares. It should be performed easily, accurately observing all the strokes.

The temperamental, graceful piece resembles the national Italian dance tarantella - full of energy, flaring up with fun towards the end. In the melody and rhythm of the piece, the characteristic turns of the Italian folk music- repetitive rhythms and intonations, accents after pauses, imitation of the sounds of folk musical instruments.

A common performance flaw is the fuzzy sounding of a rhythmic figure typical of castanets or guitars - two sixteenth and two eighth notes, in which the second sixteenth is not always clear.

Another disadvantage is the heaviness of the accompaniment, which significantly reduces the expressiveness of the performance of the piece. To overcome these technical difficulties, it is useful to practice the left hand part with a wrist movement upwards on an accentuated second beat. When performing a melody, it is necessary to perform all the strokes indicated by the composer: leagues, pauses, accents.

The play is written in three parts. It consists of three periods, each of which consists of two sentences. The second period (bars 20 and 36) develops the first, but sounds more lyrical and soft. The third, on the contrary, is more temperamental and bright: the tempo, dynamics, and texture change. The performance of the accompaniment of this part causes some difficulties because of its dispersion. It is necessary to unite the bass and chord (constantly alternating) in one movement. This avoids fussiness, heaviness, gives the game accuracy and confidence.

Repeating sounds of the melody after the leagues should sound easy, but clear. When performing a piece, it is necessary to avoid dense pedal sonority.

19. "Nanny's Tale"

Among vivid impressions childhood, captured by Tchaikovsky, one can note the images of folk tales. It takes place late in the evening. It's time to put the baby to bed and "frighten". This is where the original plays sound: "Nanny's Tale" and "Baba Yaga" - a very rare and expressive example of Tchaikovsky's fantasy.

In this play, one can imagine an old nanny who immediately transforms in our imagination into the image of a fantastic sorceress.

(for example, Pushkin's Naina). Some angularity, "prickly" presentation, rhythmic quirkiness, intricate placement of accents contribute to creating an atmosphere of fabulousness, the bass line reminds of children's fears.

The original image of the nanny's fairy tales opens a new page in the "children's" romance, completely different from Mussorgsky's, both in expression and in form. In "Nanny's Tale" unusual harmonies, something whimsical, fantastic is heard in the music.

The play is written in three parts.

"Nanny's Tale" and "Baba Yaga" are two symphonic transiences among the visual pictures of the children's world and the lyrical images of the "Children's Album".

20. Baba Yaga

Baba Yaga is fabulous fantastic image. Dry staccato creates the impression of hardness and pricklyness, inextricably linked in our imagination with the image of a ferocious witch. In the music, you can hear how the "Baba Yaga" rushes after someone in pursuit. And, it seems, you believe how she flies over the forests and dales in her mortar, "drives the sixth, sweeps the trail with a broomstick."

Furious attacks of eighth notes, as if breaking on sforzando chords, give this image a shade of dullness (a similar impression is created in Mussorgsky's "Hut on Chicken Legs" by a steady return to the sound "salt").

Learn staccato with a student on legato, and then at a slow pace portamento.

Plays a significant role harmonic language plays. P.I. Tchaikovsky, like Mussorgsky, used the triton to characterize Baba Yaga.

The play is written in a simple three-movement form. The angular sound of the beginning of the work is similar to a limping gait fairy tale character. In the movement of eighths in the middle part, a fantastic flight seems to be accompanied by a “whistle of the wind”, a stroke of “staccato” gives the characterization of the music an ominous quirkiness.

21. "Sweet dream"

This play is written in the genre of romance lyrics. Every child wants his mother to tell or sing something very pleasant in the evening, then the dreams will be pleasant. "Sweet Dream" is written in three-part form.

In order for the child’s game not to be static and monotonous, it is necessary to teach him to disassemble the construction of a melodic line, to feel the mutual attraction of sounds within phrases. Working with a student on the melody of the 1st part, you need to explain to him the nature of the main intonation of the piece (the first two-bar), expressing a tender spiritual desire. Show the aspiration of the melody to the sound “mi”, and then a slight decline to the half note “la”. Further work on the development of the melodic line. Tchaikovsky arranged all the dynamic shades himself: the sound gradually grows towards the 6th measure of each of the two sentences, and the main climax of the entire period is in the second sentence (14th measure). The climax should be played not only with a brighter sound, but also wider, as if placing the sounds somewhat apart. The student needs to explain the meaning of some phrases so that he catches the changes in the main intonation, which either becomes persistent and energetic, or somewhat sad.

The main climax of "Sweet Dream" is in the second construction of the middle section. In the middle part of the piece, the melody passes into the lower “cello” register, and therefore should sound especially rich. Then (in measures 22-24, 31-32) two voices lead the melody: the upper "violin" and the lower "cello". The main climax of the middle part contributes to a greater relief of the sound of the reprise.

The accompaniment in the piece takes place in the middle voice. It should sound very soft and even. To do this, it is necessary to teach the part of the left hand with both hands in the extreme parts: the left legato leads the lower voice, and the right one, with a small touch on the instrument, performs eighths.

The pedal must be taken for each note of the melody, it serves as a means of coloring.

"Sweet Dream" is excellent legato material.

22. "Song of the Lark"

"Song of the Lark" - light, clear, as if ringing in azure music conveys the feeling of awakening spring nature. For children, a lark is a bird above the field, and for a composer it is a symbol of the flight of his imagination, inspiration. This is the enlightenment of the Hero in the "Children's Album". Return in memory to the morning of life, because the lark sings early in the morning. This is a counterweight to "Winter Morning". This piece is the culmination of the whole cycle. The “Song of the Lark” is, as it were, permeated with “bird singing”. This is a picturesque sketch with a bright and joyful mood, and only in the second part, a touch of sadness is heard in the grace of the waltz.

And so, Lark is the composer, singer and creator himself.

The piece is written in a simple three-part form, with chordal accompaniment, with an overtone in the upper voice. The texture of the piece is based on small figures in triplets and grace notes, which are located in the upper register. The continuous chain of grace notes evokes associations with the cheerful chirping of birds.

When working with a student on a positional figure, it is necessary to explain to the student that three sixteenths should be directed to the eighth, rhythmically accurately played and sound clear, crumbly, not crumpled.

Grace notes must be taught separately so that they sound very clear and loud.

When working on a left hand part, it is useful to play it legato and then in the form of tenacious short chords.

23. "The organ grinder sings"

P.I. Tchaikovsky, remembering Italy, which he loved with its barrel-organs and street singers, wrote the play "The Organ Grinder Sings", which was included in the "Children's Album". This piece is written to the melody of one of the songs, sung by a little Italian girl.

“The Organ Grinder Sings” is a musical picture where a wandering musician with a barrel organ and a monkey sings his songs while traveling around the world, and for the composer it is himself, traveling in his creations around the world.

The play is written in a simple two-part form, in the rhythm of a waltz, like the "Italian Song". The melody is light, flows calmly, unhurriedly. In order for the student to play the initial melodic line without breaking and pushing, he needs to show the rise of the sound wave to the note “mi”.

In the second part, the texture becomes more complicated. The melody and accompaniment are transferred to the right hand, and in the left, on a sustained bass, a monotonous movement of quarters appears (this resembles the uniform movement of an organ grinder's hand). With the student, you need to work more on the expressiveness of the melody and the quiet sound of the accompaniment, which does not drown out the melody.

24. Chorus

Tchaikovsky's "Children's Album" begins with "Morning Reflection" and ends with the play "Choral" (in the first edition, both plays had different titles - "Morning Prayer" and "In the Church"). The music of "Morning Reflection" is filled with a bright and serious mood, as if warning that the story about children will go in a serious tone. "Choral" sounds more concentrated, harsh, sad.

Both pieces have much in common: a calm, thoughtful character, a texture with elements of polyphony, an extended period form with a large addition on the tonic organ point. They are also brought together by the kinship of keys (G major and E minor). In Chorale, Tchaikovsky refers to the canon of the evening service. This play sounds like a call to seek "the road to the temple." Tchaikovsky addresses children with the hope that any difficulties in life can be overcome. You can get out of life's conflicts with the help of close people - the play "Mom", turning to art - "Waltz", in unity with the people - "Kamarinskaya", and, finally, in own creativity- "Song of the Lark".

The play is written in two parts. The character of the first part is concentrated in depth on the earth. Accordion texture. You need to work with the student on the harmony of the chords, and for this, explain to the child that it is necessary to highlight the upper voice and bass in the chords.

In the second part, the chords are written in a high register, and the basses on the tonic organ point (the sound “G”) sound more intense (symbolizes the inexorably passing time).

The music of this piece is reminiscent of the church canon "Lord, have mercy ..." The pedal is delayed (it is advisable not to take it to the bottom).

III. Conclusion.

The subtle semantic connections that exist between the extreme pieces of the collection "Morning Prayer" and "In the Church" (titles in the first edition) contribute to the compositional harmony and completeness of the "Children's Album". His 24 plays are like a sketch of the colorful impressions of the day.

"Children's Album" is aimed at both the formation of the performer and the education of the personality of the child. Works that are understandable for children are guides to "adult" music.

"Children's Album" by P.I. Tchaikovsky is the first Russian piano collection written specifically for children.

"Children's Album" is included in the gold fund of the world musical literature for children.

In one of his letters, P. I. Tchaikovsky wrote: “Art is equally capable of touching the soul of both a child and an adult, therefore the path to art to creativity becomes the theme of the Children's Album. Through the "Children's Album" we received brilliant samples of plays - both musical and educational material for children, but also wise life lessons for all of us.

IV. Literature

1.B. Asafiev Russian music about children and for children // Selected Works, vol. IV. Moscow: Academy of Sciences of the USSR, 1955

2.P.I. Tchaikovsky Letters to relatives. Favorites. Moscow: Muzgiz, 1955

3.A.D. Alekseev History of piano art M.: Music 1988.

4. A. Alshvang P. I. Tchaikovsky - M: Muzgiz, 1959.

5.G.G.Neigauz "Notes of a teacher". M., 1961; 1982.

6.G.Dombaev Creativity P.I. Tchaikovsky. in materials and documents. M.: Muzgiz, 1958.

7. P.I. Tchaikovsky "Children's Album" - a piano cycle of 24 pieces. Moscow "Music" 1981

Today we will continue the topic of interesting musical instruments (remember lesson No. 014 ""). Papa Carlo from the fairy tale "Pinocchio" was an organ grinder! We will listen with the children to "The Organ Grinder Sings" by Pyotr Tchaikovsky and "The Barrel Organ" by Dmitry Shostakovich. Turn the handle of an imaginary hurdy-gurdy, draw the sounds of a hurdy-gurdy and fantasize, create and immerse yourself in the wonderful world of classical music.

Barrel organ! Barrel organ! Organ grinder! Look! He turns the handle and music sounds, what a miracle, what a miracle! Let's remember the fairy tale Golden Key". Who worked as Papa Carlo, who made Pinocchio out of logs? He was an organ grinder.

Sharmanka is an ancient mechanical musical instrument that plays melodies when an organ grinder turns a crank. The hurdy-gurdy can play one or more melodies. Often the hurdy-gurdy melodies are plaintive, mournful. Organ grinders were poor people. They earned their living roaming the yards and streets, tirelessly turning the handle of their barrel organ. Her plaintive sounds carried around, and people threw change from the windows to the organ grinder.

"... An old man entered the yard with a colorfully painted box on his shoulder, often a monkey sitting on it. It was an organ grinder. He took off his burden from his shoulder, began to steadily rotate the handle of the hurdy-gurdy, and the sounds of waltzes and polkas were heard with a whine and sobs, often discordant and false..."(L. Mikheeva).

"The organ grinder sings" Pyotr Ilyich Tchaikovsky (a play from the "Children's Album") - This play is a genre-characteristic sketch, the sounds of which depict an old man. He twists the handle of the hurdy-gurdy and beautiful drawn-out sounds pour out of it. The play "The Organ Grinder Sings" is based on the Italian (Venetian) motif. An unpretentious, but wisely calm theme dispels the gloomy thoughts of a child. The music is like a waltz. The music is sad, sad. The hurdy-gurdy plays plaintively, melodiously, sadly.

Barrel organ Dmitry Dmitrievich Shostakovich- carefree, playful, cheerful, playful, perky, funny, peppy music, similar to a polka dance. The same sounds are repeated, imitating the twisting of a hurdy-gurdy handle, monotonously and monotonously.

The course of our lesson:

1. Tell in your own words, what is a hurdy-gurdy, show how the organ grinder turns the organ grinder, at what times the organ grinder was used and for what. Show illustrations hurdy-gurdy, hurdy-gurdy. The key here is in your own words! No need to read definitions from dictionaries. Read the poem, quote, but the main text, please tell in your own words.
2. Listen to "The Organ Grinder Sings" by Pyotr Tchaikovsky. Remind the children that this piece is from the "Children's Album", which you have already met in previous classes. Try to pick up as many adjectives as possible to describe the music, character and mood.
3. Listen to Dmitri Shostakovich's Barrel Organ. This is a new composer for us. Ask the children about the mood of the music. Compare with "The Organ Grinder Sings", discuss the differences and why.
4. Dance to the music, move under the "organ grinder sings" and "organ grinder". Move freely. Spin the hurdy-gurdy, dance on the streets of the city, dream by the window on the mournful song of the organ-grinder.
5. Draw pencils, paints, crayons, pens, felt-tip pens. Whatever your little listeners desire. Discuss the images you have drawn while describing the music again. Ask which piece you liked more and why, which one you would like to listen to again.

Afanasy Afanasyevich Fet

Organ grinder

I clung to the window in the dark -
Well, right, it can not be more inappropriate:
Again in the lane the old man
With your incessant song!

Those sounds whistle and sing
Awkward-dreary-awkward...
Rise before me, rise
Behind the frame are two bright heads.

Above them the glass surface
During the month it is bright-crystal.
One is so briskly cheerful
The other is so languidly sad.

And it's an old song! - with sadness
We gently cherish the past
And I'm sorry for both
And I'm glad for both of them.

Between them is visible
Still a young head
And all he is good, as one,
And all he is sad, like another.

He is forever devoted to one
And sadness is tormented by bait ...
Will you leave, gray-haired gaer,
With your persistent hurdy-gurdy? ..

Download music and illustrations for classical music lessons with children "Under the oak - 365" in our Vkontakte group at the link -