Direction of higher music education - a method of working about studies with students in the class of piano

DIRECTION OF HIGHER MUSIC EDUCATION - A METHOD OF WORKING ABOUT STUDIES WITH STUDENTS IN THE CLASS OF PIANO.

Mamirova Odinakhon Karimjon daughter

Andijan State University (Uzbekistan)

Annotation: The methodological development talks about the methods of work in piano lessons in the piano class.

Key words: pianist, preparation, technique, character, teacher, study, exercises, teaching practice, training, reading from a sheet.

The achievement of executive mastery is primarily associated with the general musical development of the student, with the upbringing of his artistic taste, with an understanding of the contents of the works performed and the tasks of their interpretation. Performing art, however, requires systematic work on mastering the necessary technical skills, since the accuracy, speed and variety of movements that a pianist must master go beyond the limits of motor skills acquired in the course of everyday life practice. Just as a person who has not been involved in ballet art since childhood cannot perform the movements accessible to a ballet dancer, so without a special training, especially important during the years of study, a pianist cannot master the technique of playing the piano. Studying only works of art and not engaging in technical work, the student will inevitably lag behind in mastering the technical side of performance. The methodology of teaching the piano includes instructive material (studies and exercises) for students to master various types of piano texture and prepare for the performance of difficult places in various works.

Etudes, in particular, serve as preparation for mastering the texture elements characteristic of various styles of piano literature. At Czerny-Hermer sketches, a student, for example, prepares to perform the sonatas of Mozart, Clementi, Beethoven, Kramer's sketches, Klementi Czerny (Op. 279, 740, etc.), serve as preparation for a wider mastery of classical style techniques, Moszkowski's etudes and various concert etudes types are the material for mastering the virtuoso works of the romantic style[1].

The sketches of Russian composers used in music schools and schools - Alensky, Lyadov, Glazunov and others, which are highly artistic, instructive works, at the same time introduce the student to the stylistic features of Russian piano music. Thus, work on sketches is considered not only as a technical exercise in the narrow sense of the word (i.e., as development of finger fluency, sleight of hand movements, etc.), but also as the accumulation of executive experience, the development of certain elements of performing skills.

In piano teaching practice, a special place also occupies a special work on etudes. It should be noted that the method of learning a particular study is closely related to the material itself, i.e. with the type and structure of the sketch, and also depends on the degree of mobility, age and individual characteristics of the student. Therefore, the teacher should not adhere to any universal stamps and techniques in the methodology of working on sketches.

The first and indispensable task of the teacher is to thoroughly explain to the student when choosing the study's sketch. The teacher should tell what the main purpose of this study is, as a material for the development of a technical skill, how a study is constructed in the sense of the form and development of the material, what is the general nature of its sound image. The student must be given a clear and precise plan of work on the study, indicate how and in what sequence one or another method of learning particular difficult places, or the whole study as a whole, should be used. The degree of detail of such preliminary explanations depends on the mobility and development of the student. Naturally, with novice students, this preliminary stage of work should be given more space than with more experienced and mature students. In the first year of study, it is necessary not only to carefully explain the tasks, but also to devote time to analyzing the study in the lesson, the exercises and techniques with which the student will have to continue to study this study[2].

Along with this, the teacher should gradually accustom the student to more and more independent work based on the experience gained. It is very useful, for example, to set for this purpose from time to time studies, similar in type to those previously learned, indicating to the student that this study should be learned in the same way.

After a preliminary acquaintance with the sketch and determining the plan of work on it, the student must first begin to carefully study the musical text, playing the sketch at a slow pace and observing the maximum accuracy in performing musical notation.

From the very first years of training, the student should be accustomed to attentive and accurate reading of notes, the observance of the necessary fingering, the implementation of all copyright instructions. While playing a sketch slowly, the student must simultaneously think over and remember its structure, details of the text, fingering. When the sketch is well disassembled, you should begin to learn it from memory. It is extremely important to demand from the student not the mechanical, basic on motor memory, memorization of the material, but conscious analytical work[3].

Realizing the harmony, the structure of the texture pattern, the details of the parties and the left hand, the student will learn the text of the sketch more quickly and more firmly. It is useful to use the advice of A.B. Goldenweiser does not play a sketch or a play as a whole, but dividing it into separate episodes, to learn from small passages.

Pointing to the advisability of such work, A.B. The Goldenweiser recommends not proceeding to the next passage until you have carefully disassembled and remembered the one that is currently being unlearned. By working in this way, the student can easily remember a sketch in a few days, even without having an exceptionally good memory.

The need to develop memory in relation to sketches is especially important, since, playing for a long time on notes, the student will not be able to focus on the technical side of the performance, on the development of the necessary motor sensations. When working on individual phrases, the student must teach them not only with his hands together, but also separately with each hand.

Studying the part of each hand separately, the musical text is fixed in the memory and makes it possible to properly adjust the movement, to provide the desired character of sound. This kind of work, despite the apparent complexity of the process of learning the material, is extremely justified, contributing to greater confidence and accuracy of execution. Students who do not work on the parts of each hand separately often play sloppy, which especially affects the performance of accompaniment voices: for example, in sketches built on continuous melodic figuration on the background of chord accompaniment, chord accompaniment can be very inaccurate and uneven in sound.

The first stage of the work should lead the student to confidently perform the etude at a slow pace, and then on average, while observing the required sonority of the dynamic and other instructions of the author. Only after such careful work is it advisable to proceed with various tasks of a training nature for further technical improvement of performance. The aforesaid should be emphasized, because often the opposite can be observed in practice: the student still does not know the text well, and the teacher already requires him to play in various ways, technical options, etc.

When a student can already play the studied sketch at a slow pace for memory, teachers should be advised to pay attention to the dynamic side of performance. Often in pedagogical practice it is observed that the teacher turns to dynamic shades at the final stage of work, wanting to achieve more brightness of phrasing. Meanwhile, it is in the initial stage of learning to study an etude that it is extremely important to accustom the student to the motor sensations that are associated with the implementation of the dynamic line of the sound pattern. Otherwise, even a well-studied sketch will sound dull and monotonous. Therefore, when playing a sketch at a slow pace, the student should be required to clearly identify dynamic shades. Focusing on the dynamic side and sound quality contributes to the technical mastery of the material and its fixing in memory.

Playing at a slow pace is of great practical importance, since a common mistake is a wrong view of the meaning and tasks of slow playback. Often, teachers force students to play student etudes slowly, with a distinct sound (and sometimes with maximum force, punching out the necessary keys with each finger), without any phrasing.

This kind of "physical education" is sometimes necessary to strengthen the fingers, but for this it is better to use special exercises. When studying a sketch, it is necessary to play it, as already mentioned, precisely with those movements, with that phrasing and with those dynamic shades that will be needed for its quick performance. A study learned in this way should not be played only at a slow pace, but gradually accelerating the movement, accustom the student to performance at a moving pace. If the exercise is reduced only to slow playback, then when you try to play the sketch quickly, it turns out that the student is not prepared for this. Thus, before playing the sketch at a fast pace, the student must have a good grasp and knowledge of the musical text, to achieve a confident performance of the sketch not only at a slow, but also at an average, fairly mobile pace. Practice, however, shows that this rule is far from always respected. It is often observed that the student, not having yet learned the musical text and not having developed the necessary performance skills, tries to play the sketch as quickly as possible.

Somehow coping with the fast pace and knowing how to play the sketch from beginning to end, such students show helplessness and ignorance of the text when playing the sketch in slow motion. In this case, one more common phenomenon should be noted: the idea of ​​a fast pace in inexperienced students is not understood in terms of the permissible limits of this pace. By a fast pace, a student often means the pace at which he cannot play the sketch smoothly and without errors, and the pace that is accessible to him is for him extremely fast, he understands how slow. Therefore, it is extremely important pedagogically to accustom the student to the correct understanding of what is slow, medium and fast pace for him and what serves as a criterion for determining the possible speed of execution. This question is important not only for the stage of learning a study, but also for its performance in the evening or exam.

Observing the failure to perform studies in exams, we often hear that the teacher explains such failures by the fact that the student (drove), i.e. from excitement began to play faster than it was in his power. Often, such cases are the result of not only excitement, but also the student’s insufficiently clear understanding of the pace at which he must play. It can be concluded that the main and main thing when working on sketches (also when working on any other work) is to think over and clarify the general task, specific goals that you should strive for, and, in accordance with this, carefully study the musical text.

“G. G. Neigauz - while learning a work, I play it very slowly and accurately with respect to the musical text, imagining how it should sound in its final form and achieving accordingly a certain sonority, nuance and phrasing. With such work, the musical text gradually “comes to life”, and the hands, so to speak, enter the text. ” The way of work, GG Neigauz points out, should be this: awareness of the structure of the passage, and then finding and adjusting to it comfortable positions of the fingers and hands, the right sensations. Therefore, speaking about how to perform this passage, I’m ready to immediately make the student repeat the same place 20 times until he reaches the desired sonority[4].

One of the common types of technical studies is studies on the development of finger fluency, built on a gamma-like pattern in the part of the right or left hand accompanied by chord accompaniment, sometimes with the transition of a figurative movement from one hand to another, or using such movement in both hands.

In the first 1-2 years of training of this type of studies, it is advisable to study studies in a slow and even motion, observe dynamic nuances, achieving good sound quality and gradually increasing the tempo.

It is necessary to pay special attention to the division of the material into separate phrases, the calm and timely transition from one phrase to another without bumping into a new phrase, or “playing” the last sounds of the previous phrase. To strengthen your fingers, it’s useful, for example, to play a sketch based on a passive finger technique, clear, loud, or, conversely, light ctaccato. It is very advisable to play a sketch at an average pace of legato and pianissimo, playing "with one finger" and achieving maximum flatness of the sound line. It is also very useful to apply the method of work recommended by Leshetitsky: playing an etude at an average pace in rhythmically free movement. At the same time, the pace slightly slows down in those moments where there are any uncomfortable positions for the hand, or technically difficult combinations associated with a change in the figure pattern or with a change in the direction of movement, which contributes to the development of a feeling of freedom of the hand and fingers. This acquires not only the habit of smooth, free and uninhibited movements, but also fosters an attitude towards fast figurative passages as a flexible and rhythmically live zyukov line. On the contrary, the passage without any rhythmic deviations and dynamic diversity, dries the performance, leads to bare finger motility. At the same time, the student often involuntarily strains his hands in technically uncomfortable places.

Playing in a more free rhythm, the student should strive for flexible movements of the hand, which should guide the fingers while bringing them to the desired keys. When explaining the meaning and tasks of this kind of execution, it is necessary to pay special attention to the division of the material into separate phrases, a calm and timely transition from one phrase to another, without bumping into a new phrase, or playing the last sounds of the previous phrase.

Pedagogical practice convinces of the need, starting from the first years of learning to play the piano, to pay attention to the systematic work on etudes. This work can not be limited only to the elementary tasks of performing musical text and technically clean play at a fast pace. The teacher must approach each sketch with the same exactingness as the work of art with respect to the nuance and sound quality, phrasing, and the general nature of the interpretation of this sketch as a whole.

If a technical study of an instructive type does not constitute a truly artistic work in the sense of ideological and emotional content, then in any case, any good study has a certain sound image and sound character (light and elegant, strong-willed and swift, lyrical and melodious, rhythmically emphasized, or on the contrary, calm and smooth in its movement, etc.). To determine and explain to the student the nature of the given study and to achieve its appropriate execution is the task of the teacher. It is this kind of careful work on the sketch that is beneficial, preparing the student for more complex tasks of performing works of art. An equally important role is played by the selection of studies for each student. When choosing studies, the teacher should keep in mind the need for the gradual and consistent development and accumulation of a variety of executive skills in the student. Therefore, it is imperative that, in terms of the educational work of students, etudes of various types and character on various types of equipment be provided. Along with such planned “accumulation” of technical skills, one or another study should be included in the list of envisaged studies, given in connection with the proposed work on a specific play, where difficulties are encountered that require appropriate preparation to overcome them.

The choice of studies, therefore, should not be random, and, conversely, should be the result of serious consideration of the individual characteristics of each student and the entire plan of work with him for several months. In studies, one should accustom the student to hold the learned material for a more or less long period in memory and in the “fingers”. With regard to studies, this is important not only for accumulating as much as possible learned in the repertoire, but also so that the acquired technical skills are firmly entrenched in practice. In addition, the ability to play four, five sketches for various types of equipment in a row serves as a training for the development of physical endurance, preparing the student for the execution of a relatively large program in exams, and subsequently in concerts.

If, on the contrary, often there is no time for thorough work on sketches, for checking work on scales, in all likelihood the teacher will notice a lag in the student’s motor skills over time. The fault will lie in both cases only with the teacher. It is more advisable to start the lesson with work on a work that is currently the most difficult for the student. The teacher should never lose sight of his main goal - ensuring the comprehensive development of the student - and he must also remember that any task of him as a teacher can be solved only through long systematic work in one direction or another.

In addition to working on works, plays, sketches, which occupy a leading place in the lesson, students also include the performance of the training material of the arpeggio scale, the work on reading from the sheet raler and arpeggio are studied in accordance with the programs of the music school and music school.

During classes at the school, the teacher gradually passes with the student all scales and arpeggios, explaining a particular new type in the lesson, showing the student carefully controlling his work. Good sheet reading skills are of great importance both for the freedom of acquaintance of a student with musical literature, and for faster mastery of the studied works. Therefore, it is important that the teacher pay attention to this area of ​​the student’s development, giving her systematically at least a little time.

For training and reading from a sheet, you can ask simple works to parse at home, checking the tasks in the lesson. It is also useful for students to perform four-handed works from the worksheet with the teacher. Performing four hands with a teacher or with another student of children's plays of a young student will also contribute to his musical enrichment.

If the teacher has a pianist of all the qualities he needs, the success in solving his tasks depends on his ability to organize work with the student in the lesson. In the lesson, the teacher directs the entire musical and pianistic development of the student. In the lesson, in an organic connection with the whole process of classes, the teacher directs his upbringing. Therefore, it is necessary that the teacher not only understands the whole enormous significance of the task of preparing the young pianist assigned to him, but also recognizes the importance of each individual lesson for the student.

Used literature:

1.   Alekseev A. “Methods of teaching the piano”, State Music Publishing House - M. 1961

2.   Hoffman I. “Piano game. Answers to questions about the piano game ”, Classic - XXI - M.2002

3.   Grokhotov S.V. “Learning to play the piano according to Leiman-Gieseking”, Classics - XXI century, Moscow 2009

4.   Neygauz G. “On the art of the piano playing”, Music - M.1982

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