Methods of learning musical works on the piano instrument

METHODS OF LEARNING MUSICAL WORKS ON THE PIANO INSTRUMENT.

Mamirova Odinakhon Karimjon daughter

Andijan State University (Uzbekistan)

Annotation: This article describes how to get to know music and text for the first time, how to use two hands in a row, how to restore memory by dividing the hands into separate parts for a piece of music.

Key words: teacher, pianist, note, key signs, composer, instrument, play, arpeggio, fingers, learn, concert, chords, fingering, inertia, exercises, dynamics, discipline.

Everything happens in life. Sometimes learning to play a piece of music seems like a matter of incredible complexity. The reasons here can be different - when laziness, when fear of a large number of notes, and when something else else. Just do not need to think that it is impossible to cope with a complex play, everything is not so scary. Indeed, complex, as the laws of logic say, consists of simple. So the process of learning a play for piano or for balalaika needs to be divided into simple stages. This will be discussed in our article.

First - acquaintance with music!

Before starting to learn a musical work, you can ask the teacher to play it several times. It's great if he agrees - after all, this is the best opportunity to get acquainted with a new play, to evaluate the complexity of its performance, pace, and other nuances[1].

If you study independently, or the teacher doesn’t play fundamentally (there are those who advocate that the student be independent in everything), then you also have a solution: you can find a recording of this work and listen to it several times with notes in your hands. However, this is not necessary, you can immediately sit down and start playing! Nothing will be lost from you!

Next step - introducing text.

This is the so-called analysis of a musical composition. First of all, we look at the keys, key characters and size. And then, it will be: “Yo-mayo, I’m not playing in that vein; yo-mayo, I’m not in that tone. ” By the way, don’t be too lazy to look at the title and at the name of the composer, who modestly lurks in the corner of the sheet of music[2]. This is so, just in case: it's good to still not just play, and play and know what you are playing? And further acquaintance with the text is divided into three stages.

First stage - playing a contract with two hands from beginning to end.

You have sat down at the instrument and want to play. Do not be afraid to play with both hands at once from beginning to end, do not be afraid to pick the text - nothing bad will happen if you play the play for the first time with mistakes and in the wrong rhythm. Another thing is important here - you have to lose the work from beginning to end. This is a purely psychological moment.

After you have done this, you can consider what has already been done. Now you know for sure that you can play and learn everything. Figuratively speaking, you “went around your possessions with keys in your hands” and you know where you have holes to be patched.

Second stage - “Considering text under the band”, disassembing with separate hands.

Now it’s important to take a closer look at the details. To do this, play separately with your right hand and separately with your left. And there is nothing to laugh, gentlemen of the seventh graders, even the great pianists do not disdain this method, for its effectiveness has long been proved.

We look at everything and immediately pay special attention to fingering and to difficult places - where there are many notes, where there are many signs - sharps and flats, where there are long passages on the sounds of scales and arpeggios, where there is a complex rhythm. So we created a set of difficulties for ourselves, we tear them out of the general text and teach them in all possible and impossible ways. We teach it well - so that the hand itself plays, for this we don’t hesitate to repeat difficult places 50 times at the fort (sometimes you need to turn on your brains and divide the difficult place into parts - it really helps).

A few more words about fingering. Please do not be fooled! So you think: “First I will learn the text with Chinese fingers, and then I will remember the correct fingers.” Nothing like this! With inconvenient fingering, you will memorize the text for three months instead of one evening, and your efforts will be in vain, because in those places where fingering is not thought out, blots will come out on the academic classification. So, gentlemen, do not be jerky, make friends with fingering directions - then, everything will be fine![3]

Third stage - assembling the whole of the parts.

Here we are for a long, long time fiddling with the analysis of the play with individual hands, but, anyway, you have to play it with both hands right away. Therefore, after some time we undertake to join both hands. At the same time, we monitor synchronism - everything should coincide. Look directly at your pens: here I press the keys here and here, and together I get some kind of chord, oh, how great!

Yes, it is especially necessary to say that sometimes we play at a slow pace. The games of the right and left hands must be learned both at a slow pace and in the original. The first connection of two hands will also not be superfluous to drive away in slow motion. You’ll have enough time to play enough at the concert.

What can help to learn?

It will be right to initially break a work into parts or semantic phrases: sentences, motives. The more complex the work, the smaller should be the parts that require detailed testing. So, having learned these small parts, then assemble them into one whole - a trifling matter.

And one more thing in defense of what should be divided into parts of the play. Well-learned text needs to be able to play from anywhere. This ability often saves you at concerts and exams - no blots there will take you off the right path, and in any case you will finish the text to the end, even if you do not want to.

What should be considered?

Starting independent work while learning a musical work, a student can make gross mistakes. It’s not fatal, and it’s even normal, and it happens. The student's task is to learn without errors. Therefore, playing the entire text several times, do not turn off your head! You can not ignore the blots. You should not get carried away with imperfect playback, since the inevitable shortcomings (failure to get to the right keys, involuntary stops, rhythmic errors, etc.) can now be fixed[4].

Throughout the entire period of learning musical works, one should not lose sight of the fact that every sound, every melodic construction should serve to express the character of the work or its part. Therefore, never play mechanically. Always imagine something, or set some technical or musical tasks (for example, make bright crescendos or diminuendos, or make a noticeable difference in sound between a fort and a piano, etc.).

Work on the technology of the piano game - at speed.

The technique of playing the piano is a combination of skills, abilities and techniques with which an expressive artistic sound is achieved. The virtuoso possession of the instrument is not just technically competent performance of the work, but also the observance of its stylistic features, character, pace. The piano technique is a whole system of techniques, the main components of this system: large equipment (chords, arpeggios, octaves, double notes); small equipment (gamma-like passages, various melisms and rehearsals); polyphonic technique (the ability to play several voices together); articulation technique (correct execution of strokes); pedalization technique (the art of pedaling).

Work on the technique of playing music, in addition to traditional speed, endurance and strength, implies purity and expressiveness. It includes the following steps: Development of the physical capabilities of the fingers. The main task of novice pianists is the liberation of the hands. The brushes should move smoothly and without tension. It is difficult to work out the correct setting of hands on weight, so the first lessons are performed on a plane. There is a simple exercise to strengthen the fingers: put your elbows on the table, freely extend your arms. Raise your index finger as high as possible and easily tap it on the table. A simple movement must be repeated alternately with all fingers of both hands, achieving tremors of equal strength. Only the phalanges are strained, the hands remain relaxed[5].

Game development exercises.

Inertia. The next step will be to play along one line - scales and simple passages. It is important to remember that the faster the pace of the game, the less weight is on hand.

Synchronization. The ability to play harmoniously with the whole brush begins with the study of trills. Then it is necessary to establish the work of two non-neighboring fingers, with the help of thirds and broken octaves. At the final stage, you can move on to arpeggiato - a continuous and full-bodied game with a change of hands.

Chords There are two ways to extract chords. The first - “from the keys” - when the fingers are initially located above the desired notes, and then a short, energetic push the chord is removed. The second - “on the keys” - the passage is made from above, without preliminary fingers. This option is technically more complex, but it is it that gives the light and quick sound of the work.

Fingering. The alternation order of the fingers is selected at the initial stage of learning the work. This will help in further work on the technique, fluency and expressiveness of the game. The author and editorial instructions given in the musical literature must be taken into account, but it is much more important to choose your own fingering, which will be comfortable for performance and will allow you to fully convey the artistic meaning of the work. Beginners should follow simple rules:

• For any exercise or passage, fingering must be recorded

• The load on the fingers must be uniform. In fast sequences, care must be taken to ensure that repetitions occur as rarely as possible.

• Discipline. Young pianists are tempted to replace the weaker fingers, the ring finger and the little finger, with a strong middle one. It is necessary to pay due attention to the training of harmonious development of the entire brush.

Dynamics and articulation. You need to learn the work immediately at the indicated pace, given the signs of expression. There should not be any “training” rhythms. Having mastered the technique of playing the piano, the pianist acquires the skill of playing music naturally and naturally: the works acquire completeness and expressiveness, and fatigue disappears.

Used literature:

1.       Feezell M. Music Theory Fundamentals. High-Yield Music Theory, vol.1

2.       Muhammadjanova Z. Methods of teaching piano. Textbook. New edition-2006.

3.       Schapov A.P. Piano pedagogy / A.P. Schapov. - M., 1960.

4.       Sorokina G.A. Piano tutorial. Astrel – 2010.

5.       Tsypin G. M. Learning to play the piano / G. M. Tsypin. -M., 1984.

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