Methodical development on music on the topic: Analysis of piano Pieces S. Prokofiev "Children's Music"

Twelve lighter plays for piano

"In the summer of 1935, simultaneously with Romeo and Juliet, I composed the lightweight play for children in which my old love for sonatinity awoke, which seemed to me, full of childishness. By the autumn they were gained by a whole dozen, which then came out the collection called "Children's Music", OR. 65. The last of the play, "walks the month over the meadows," is written on its own, not a folk topic. I lived then in Polenov, in a separate hut with a balcony on OKU, and in the evenings admired how a month was walking around the glades and meadows. The need for children was felt clearly ... "," the composer writes in Avtobiography.

"Twelve light plays", as I designated my "children's music" Prokofiev, is a software suite sketches about the summer day of the child. The fact that we are talking about the summer day is seen not only from her headlines; The orchestral transcription of the suite (more precisely, seven of its numbers) and is called the composer: "Summer day" (or. 65 BIS, 1941). Here, as it were, "twice" synthesized in the Creative Laboratory of Prokofiev's concrete impressions of the "Polenovsky summer" and distant memories of the summer in the sonlock, on the one hand, and the world of children's experiences and thoughtful, child fiction and "were" at all on the other. In addition, because the concept of "childhood" for Prokofiev is inextricably linked with the concepts of summer and sunny. Prokofiev is right, claiming that he achieved in this suite "Full Childhood." Twelve plays, op. 65 - an important milestone on the creative path of the composer. They open the whole world of his delicious creativity for children, the world in which he creates unstable on freshness and immediacy, for solar joy and sincerely sincereness of the masterpiece.

All this is quite natural and deeply symptomatic. Prokofiev - a man and artist - always passionately to the children's world, lovingly and sensitively listened to this psychologically delicate and peculiar world and, watching his charm himself. In nature, the composer lived - never fading, but, on the contrary, arguing more and more over the years - the tendency to perceive the surrounding youthful youth, in the spring, and in the opposite and directly. Therefore, the world of children's images of Prokofiev is always artistic, organically, is completely deprived of the elements of fake sysyukania or not inherent in a healthy children's psyche of sentimental beautifulness. This is one of the parties to the inner world of the composer himself, which at different times found and different reflection in his work. The desire for cleanliness and freshness of the children's worldview can be, however, only to a certain extent, explain the procopyva to the sonatin style.

It is easy to establish also known parallels between the world of children's images and the sphere of charmingly fragile virgin characters of his musical and scenic works. The seventh symphony and the ninth piano sonata, summarizing the creativity of the composer, are imbued with elegy memories of childhood.

"Sonatine style" Prokofiev was subjected to his cycle of children's plays, however, a significant transformation. First of all, it is completely freed from the elements of neoclassicism. The place of graphics comes a specific imaging, realistic software. Neutrality in the sense of national color is inferior to Russian melodism, the subtle use of folk revolutions. The predominance of soberness is embodied purity, serenity, calm images. Instead of the Issue with a "bearing" of the new simplicity, crystal appears in his clarity. A view of the world is widely disclosed, asking for the child. It is precisely the ability to transfer the globility of the child himself, and not to create music about him or for him, as many musicians noted, it is advantageous of this cycle from a number of children's plays, it would seem that the same focus. Continuing mostly the best traditions of the children's music of Shumanan, Mussorgsky, Tchaikovsky, Prokofiev does not just follow them, but creatively develops.

First Piece - " Morning" It's like the epigraph of suite: morning life. In comparison of the registers there is space, air! Melody is slightly dreaming and crystal clear. Handwriting is characteristic of Prokofievsky: parallel movements, jumps, coverage of the entire keyboard, game through the hand, clarity of the rhythm and the specificity of the partitions. Unusual simplicity, but not a primitive.

Second play - " stroll" Labor day Baby began. His walking is hurried, albeit a few with the collapse. Already in the first tactics, its initial rhythm was transferred. We must have time to see everything, not miss anything, in general, there are a lot of things ... The graphic contour of the melody and the nature of the continuous movement with the retrying of quarters is designed to create a flavor of children's naive concentrated "businesslike." However, the lightness of a slightly waltum rhythm immediately translates this "businesslikeness" into the appropriate framework by childish "diligence". (The contemplative topic of the second part of the fourth symphony is close to the music "Morning" and "walks" and, apparently, is their forerunner.)

Third Piece - " Tale"- The world of uncomplicated child fiction. There is nothing striking imagination, terrible, monstrous. This is a soft, good fairy tale-story, in which the sill and dream are closely intertwined. It can be assumed that the images are not embodied here, and their own ideas about the fantastic, always living in the consciousness of the deforms completely next to the seid and experienced. In essence, genuine fantasy appears only in the middle section on the remark of Sostenuto, and in the first and final sections the dreamy narration with a simple melody is dominated against the background of unchanged repetitive rhythmic revolutions. These rhythmic repetitions are "cementing" the form of "fairy tales", constrain its narrative trends.

Next comes " Tarantella", Genre dance, virtuoso play, expressing the perky temperament of the child captured by the musical dance element. Live and brisk rhythm, elastic accents, color of halftone tonal comparisons, shifts of single-tonalities - all this is fascinating, easily, joyful. And at the same time, childish simply, without a specific Italian acute, undoubtedly incomprehensible Russian defector.

Fifth play - " Repentance"- True and subtle psychological miniature, previously called the composer" ashamed ". As directly and touchingly sounds a sad melody, as sincere and "first-person" have been transferred to sensations and meditation, covering the child at the moments of such psychologically complex experiences! Prokofiev uses here the type of "clarifying" (by definition of L. Masel, "synthetic") melodies, in which an element of a cleatative expressiveness is not inferior to the expressiveness of cantilene.

But such a mood is fleeting about children. It is quite naturally replaced by contrasting. Six Piece - " Waltz", And in this kind of patterns, not only the logic of suite variety is felt, but also the logic of the musical and scenic thinking of Prokofiev, theatrical laws of contrasting the scenes. Fragile, gentle, improvisational direct la-major "Waltz" talks about the relationship of children's images with the world of fragile, clean and charming female images of theatrical music of Prokofiev. These two lines of his creativity, or rather two lines of his artistic ideals, crossed and mutually engraving. In his devilies there are children's directness. In his children's images there are feminine softness, charming love in peace and life. Those and others are affected by spring freshness and are embodied by a composer with extraordinary emotion and inspiration. It was in these two spheres that the domination of the lyrical principle was most clearly expressed in his work. From the naive charming children's "Waltz", OR. 65 You can spend a line to the brittle Walsa Natasha from the opera "War and Peace" - the top of lyrical cloves in the music of Prokofiev. This line passes through the ES-DUR "of the" Big Waltz "episode from Cinderella, even an intonational resembling Children's Waltz. It passes through the" Pushkin Walts ", or. 120 and" Waltz on Ice "from the" Winter Campfire ", and Through the "Tale of the Stone Flower", where the topic "Waltza", or. 65 is exactly embodied in the scene (No. 19), depicting the ownership of the hostess of the copper mountain. Finally, but already indirectly - it continues in the walfone third part of the sixth piano sonata, And in the Waltz from the Seventh Symphony. Prokofiev develops an in-depth lyrical and psychological line of Russian maturasis, characterized, for example, from Straussian, more brilliant, but also more narrow and external in its several one-sided joyfulness.

Despite the features of childhood, the Creative Handwriting of Prokofiev in this Waltz is felt very clearly. The traditional structure of the elegant affectionate waltz, as it were, updated, intonational and harmonic deviations are far from the stencil (for example, a very unusual completion of the period in the subdominant tonality), the texture is unusually transparent. This waltz quickly received widespread in pedagogical practice and successfully withstands competition with "generally accepted" works for children.

Seventh Piece - " Procession of grasshoppers" It is a fast and cheerful play of joyfully sticking grasshoppers, always causing interest among the guys with their striking jumps. The fantasticity of the image does not go out here outside the usual children's fictions and in this respect is noticeably different from, say, the mysterious fiction of the "Nutcracker" Tchaikovsky. In essence, it is a funny children's gallop, in the middle part of which the intonation of pioneer songs is heard.

Next is the play " Rain and Rainbow"In which the composer is trying - and very successfully - to paint the huge impression that makes every bright phenomenon of nature on the guys. Here and naturally sound bold sound "blots" (chord stain from two next to the underlying seconds), and, exactly falling droplets, slow rehearsals on one note, and just "theme of surprise" before what is happening (tender and beautiful melody, descending from height) .

Ninth Piece - " Potokashi"- close in style" Tarantelle ". It is written in the character of the rapid etud. So imagine enthusiastically catching up the guys, the atmosphere of a fun, mobile children's game.

The tenth play is inspired - " March" Unlike a number of other marches, Prokofiev in this case did not go along the path of grotesque or stylization. There is no puppet element here (like, for example, in the "march of wooden soldiers" Tchaikovsky), the play is quite realistic painting marching guys. Children's "march", op. 65 got widespread, became a favorite play of the domestic piano repertoire for children.

Eleventh Piece - " Evening"- with his widespread Russian song and a soft flavor again reminds of the great lyrical gift of Prokofiev, about the soil of his melodism. The music of this charming play is saturated with genuine humanity, cleanliness and nobility of feelings. Subsequently, the author used it as the topics of love Katerina and Danils in the ballet "Tale of the Stone Flower", making one of the most important leittems of the whole ballet.

Finally, the last, twelfth play - " Walks month behind meals"- organically connected with folk intonation. That is why the author found it necessary in Avtobiography to clarify that it was not written on folklore, but on his own topic.

MBOU DOD "GDD (YU) t him. N. K. Krupskaya

MHS "Vita"

Methodical development

Analysis of piano Pieces S. Prokofiev

"Children's Music"

Performed Tikhonov I. M.,

Piano teacher

2015

"Children's Music" S. Prokofiev

Piano works S. Prokofiev - one of the most interesting pages of his creativity. They are inherent in light and joy, youthful enthusiasm and energy, as well as deeply lyrical features.

Cycle "Children's Music", Opus 65, created in 1935, consists of 12 lung plays. "Children's music" is pictures of nature and children's fun, sketching the summer day from morning to evening. According to the example of children's plays R. Shuman and P. Tchaikovsky, they all have program headers, helping to better understand the content of works. Music attracts a novelty style, captivates the intonational system of melodies, harmonic paints, modulations characteristic of the mature composer. All plays are written in a three-part form with elements of sonatinality.

S. Prokofiev is very ingenious in creating a piano presentation. It uses jumps, intersecting, clusters, organ point, oily rhythmic figures.

The whole cycle is permeated with Russian song flavor, folk intonation turnover.

World Piano Children's Music has rich long traditions, so in front of Prokofiev tasks of large art complexity. He brilliantly coped with them. S. Prokofiev managed to convey the globility of the child himself, and not to create music about him or for him.

No. 1. "Morning".

The picture of the day filled with walks and games, stories and songs, which constitute the content of the "Children's Music" cycle, opens Piera "Morning". S. Prokofiev creates an expressive musical image by clear harmony and bright melodes. Silence, peace, joy from a meeting awakened after sleeping a child with a new day is such a content of this beautiful play.

The feeling of sound perspective is achieved here by using extreme piano registers. The right pedal plays an important role. It must be remembered that the pedal should be pressed after the sound or chord is heard, it is necessary to shoot the same pedal accurately with the removal of sound or chord.

Du-major sober in both hands should sound softly, but deep; The bass emphasizes the lower sound, in the party of the right hand - the top.

Expressive replicas in the second half of 1, 3, 5, 7th clocks are used strictly Legato.

The average episode is divided into two parts. The first is built on a color-ticial comparison of the rolling-eyed, slowly pouring melodies Gravemente in the bass and gently leaning background of gentle eighth on average and high registers. These eighth can be represented as if in violin sound. Leagues in two notes should not break the continuous melodic thread of the accompaniment: the creation of a wave-like and measuring movement is the purpose of execution.

The brush of the right hand in this episode should move smoothly and flexibly. Chopin loved to say in such cases: "The brush should breathe." The fingers gently touch the keys without plunging into them deeply. On the contrary, the fingers of the left hand leading the main melody, deeply penetrate the keyboard, feeling the bottom of the key.

It is necessary to ensure that every long note is not focused, the battery must have enough "breathing" to large melodic segments (they are marked by the leagues).

In the second part of the middle, the right and left hand are changing roles. Despite the low register and permanent pedalization should avoid aircraft.

No. 2. "Walk".

How wonderful to walk warm sunny in the morning! You can go for a long time to go along the paths, see a lot of things and interesting, you can even get lost a little and move in unfamiliar places, but then it is good to return home and tell me about your adventures with a laugh.

The work is permeated with live rhythm, creating a sense of movement.

All the fourth notes, not united by the league, are performed by singers Non Legato, and the triols of the eighth, under which the league is not worth, are executed by nonetheless Legato.

An important condition for the good performance of this play is the feeling of the mixture nature of the musical material. Specifically, this means that the first share in 1, 3, 5th and other clocks is slightly accentuated, and in 2, 4, 6th and similar tacks are easy. Stressed long notes in the right hand should be gone. From the 20th tact in his right hand appears two-row; The first statement of the topic, sounding Piano, is interrupted in the 24th tact of the imitating voice entry, sounding Mezzo Forte. Both votes are executed extremely Legato with accurate observance of dynamic instructions.

The student's attention should be paid to the fact that the Episode A TEMPO (32-33rd Tracked), where the mild culoral replicas correspond to the singular expressive phrases of the alt.

The dies of the left hand party in the first part of the work is soft, the flight, the fingering fingers are easily played on the surface of the keys. A completely different feeling must be developed for the melodic line in the party of the right hand. The pads must be merged with the keys and not hit, and it is possible to rush together with the keys to possibly deep pressing.

№ 3. "Fairy Tale".

One of the favorite children's hobbies is to listen to fairy tales. How well sit down next to the grandmother and be held in dreams in another, the magic world, as if the reaches of surprising events, become one of the fabulous heroes!

"Fairy Tale" with Prokofiev is a really fairy tale in a children's understanding. Russians are dominated here by the nature of the melody, which is deployed against the background of a clearly ritenal movement. As strokes and laconic tribes, and how it is rightly drawn in the music of the rise of the threat that breaks down in the peace-narration!

When working on a work, you need to achieve the correct execution of the rhythmic figure two sixteenth and eighth. It should be a clear rhythm, but soft, unnewable. Each group should be separated by almost no needless removal of the hand. In 9, 10, 14, 22, 26, 27th tackas, the direction of Legato refers to all notes. The hand is not removed here anywhere.

In the 15th and 16th tacks of seconds in the batches of both hands are performed softly and on the pedals. Notes marked with a dash are especially deeply and fully sound.

The two last chord, the completion of the play played by Non Legato and Piano.

№ 4. "Tarantella".

Like P. Tchaikovsky, which included dances and songs of different peoples in his "children's album", S. Prokofiev pays a place in his collection of "Children's music" Taranttelle - People's Neapolitan dance.

Energetic, solar, the cheerful nature of this room is transmitted by the elastic rhythmic ripple of the age of the eighth and rapid pace.

Emphasis everywhere belongs to the author; Excess, additional accents should be avoided. After an accented sound, immediately reduce the power of the sound and execute the remaining sounds easily. Accents often do not coincide in the batches of both hands, which is some difficulty for the artist. The eighth marked with the Staccato sign are sharp, but easy.

A significant difficulty is the figures in the party of the left hand, when a continuous triol figuration is undergoing in the right hand (in the tacka 6, 18, 22, 26th and others). These places should be learned separately, following the exact coincidence of the eighth in both hands.

The middle part in no case should be slowed down, in the entire play, a single pace should be saved.

Final part - the solemn final of the national holiday; Joyfully sound fanfare.

№5. "Repentance".

"Restressing" is perhaps the only play of the play, affecting the area of \u200b\u200bserious, sad, even gloomy feelings. This miniature is fine and expressively draws a psychological drama, a difficult moment in the life of the child. He is ashamed and bitterly for his misconduct, but sincere repentance brings forgiveness and the play ends in peace and gently.

It should be warmed from the hobby of an excessive slow paced. Expressive, warmed by a warm feeling, the performance of this play does not imply sentimentality or stretching movement. In the 9-12-m tacka, the melody sounds in an octave doubling at a distance of two octaves. This technique loved Schuman. In such cases, the highlighting of the lower voice sounds beautifully.

Reprise varied somewhat. Through the movement of the eighth must clear the topic.

The last eight clocks express peace. Arf-like moves in the party of the left hand alternate with expressive replicas in the party of the right hand.

No. 6. "Waltz".

This captive, lyrical waltz is all penetrated by an extraordinary grade and freedom. This is a high lyrics. Amazing melody on the beauty is time to get a huge range. The middle part is greater intense, emotion, the melody in it becomes more fractional, in the form of sequences against the background of active eighth escorts.

Before the student, not only sound, but also technical tasks. The waltza characteristic formula of the accompaniment must be carefully worked out: the bass sound is always taken by the movement of the hand from top to bottom and as if he sticks to the finger, and chords are taken with a slight movement of the hand from the keyboard up.

The feeling of melodic phrase causes the first sound of the sixth tact by the end of the first phrase, and the end of the second phrase is the second sound of the twelfth tact. The sounds of the melodies marked with a dash should be particularly singers and long.

Much attention should be paid to cesuras. In the middle part, it is desirable to phase with large segments, feeling the eight-contact length of phrases.

№ 7. "Procession of grasshoppers."

The composer draws a picture of the fabulous procession of grasshoppers. The extreme parts are similar to the rapid mass march; In the middle, the total rapid movement goes into a solemn procession.

Brightness, shine, energy, humor - all these qualities characteristic of Prokofiev are presented here in full.

In the execution of the first topic, it is necessary to feel the fourth tact of each phrase and do not focus the previous strong stakes.

The teacher's attention should also include monitoring the exact transfer of the acute rhythmic pattern of musical tissue; Oso-benno it is important to briefly execute the sixteenth in 1-2th, 9-10 and other similar tackas.

To create a clear and easy character in extreme parts, a short direct pedal is required.

No. 8. "Rain and Rainbow".

In this musical picture there is nothing from traditional techniques in the music of rain; There is no stream alternating in both hands of eighth staccato, there are no rapid passages throughout the keyboard and other non-hard attributes of naturalistic school. Here the author rather transmits the spiritual state of the child into a sad, rainy weather and a joyful children's smile, with which the child meets the appearance of a beautiful rainbow, hailing the sky.

This piece is very unique with its fifteen effects and bold layers of spots. Numerous cases of consumption by a composer of dissonating chords, intervals should be perceived as a means of coloring effect on the listener. These consonances should not be taken abruptly, but singers.

The play reveals in front of the executor interesting colorful features of the instrument.

№9. "Snacks."

The spots are a cheerful children's game. She brings a lot of joy to the children, everywhere laughter, bustle, running ...

This number is essentially a highly artistic etude, in which the component put a number of certain technical tasks in front of the executor. In the "spots" many strokes of Prokofiev pianism with its bold jumps and using different registers. Here, mostly two tasks: mastering the rehearsal technique in a rapid movement by replacing the fingers on one key and the development of the cloud type with the elements of jumps and crossing the hands. The play is useful for the development of finger fluency.

For a satisfactory solution to both problems, a prerequisite is a rhythmic excerpt. The pace of the play is determined according to the possibility of a student to fulfill the work, having heard each sound of the sufficiently clearly distinctly and clearly.

№ 10. "March".

"Marsh" - the masterpiece of the laconicity and the accuracy of intonation - belongs to the best pages of the collection. He is full of vigor, clarity, a kind of proofievsky humor.

To transfer the character of this play, it is necessary to achieve marginal accuracy in the fulfillment of all, even the most minor details of the tank text. The disciple must be clear all the applicate instructions, the distribution of large and small accents, the peculiarities of the speakers.

The opponent's hands movement should be subordinate to the sound image of this episode. For example, in the 7-8-m tacks, some small leagues in two notes (with a focus on the first) are fulfilled by immersion of the hand to the keyboard (on the first merged note) and the removal of the hand (on the second).

The median episode is divided into two phrases of 4 times in each. Wayless so that the underlined notes are not focused exaggerated, and the composition would be a melodic line.

№ 11. "Evening".

The last two numbers of the collection "Children's Music" are transferred to the interior of the evening landscape. Unusually good play "Evening"! The melody of this play S. Prokofiev made one of the leitmotifs of his ballet "Tale of the Stone Flower". Calm-singing, clear melody, selected by unexpected turns, at first glance, complicating a tonality, but in reality by emphasizing it and strengthening it.

In order to ponder, a tender topic sounded beautifully, you need to take care of the second sound plan. The student has to seriously engage in the party of the left hand, which in the first twelve tacks should remind the tempering the choir, singing quietly behind the scene.

Little intermedia with a replica imitating each other (follow-up eight-contact) prepares more vivid maintenance of the main melody, and the party of the left hand is given in a somewhat varied form.

The middle part is built on long-term organs, which should not be annoying, but at the same time must be constantly felt by creating the impression of a wide expanser and calm contemplation.

No. 12. "Walks over the meadows."

The last play of the Cycle "Children's Music", belongs to the number of Poetic Pages of Prokofiev. The day ended, the night fell to the ground, the stars were made by the sky, the sounds, they were falling asleep. This play is close to the previous one. Her singing melody is perceived as truly folk song.

Ligature does not carry a phrase character here. The end of the league does not always mean the end of the phrase and is necessarily associated with the removal of the hand from the keyboard. The teacher must find the borders of phrases, guided by the musical smallness; So, the cesura is naturally felt at the end of 5, 9, 13th cycles. So, it is necessary to "remove" the hand, "sigh" before the beginning of a new phrase.

First clock plays - a little accession. Here is the beginning of a measuring, leaning movement, which goes into the party of the left hand.

Sinking the theme in the 22-15-m tactics from the end is very difficult for execution. When complying with the maximum Legato, it is necessary to be attentive to the smoothness of the melodic line and avoid the jokes on separate chords.

Work on the play "walks a month over the meadows" will bring great benefit for the development of the student's musicality and its sound skills.

References

1. Disson V. Yu. Piano Creativity and Pianism Prokofiev. M., 1973.

2. Nestlev I. V. Prokofiev. M., 1957.

3. Music encyclopedic dictionary. M., 1990.

Collection of 12 plot plays for children, which is called - "Children's Music". (OP.65) It is interesting that all twelve plays have a clearly pronounced three-partnership structure. It is clear that the three-part form, combining contrast and repetition in the presentation of major musical thoughts, contributes to the "convenience" of the perception of music intended for small listeners and performers. "Children's music" can be viewed as music pictures of the child's day - in the morning and before the evening. All plays entering the collection have program headers. These are watercolor landscape sketches ("Morning", "Evening", "Rain and Rainbow"), living scenes of children's games ("March", "Snacks"), dance places ("Waltz", Tarantella), Thin psychological miniatures, Transferring children's experiences ("fairy tale", "repentance"). Fairy tale. Touchingly simple, the melody's melody resembles a Russian plaintive naigrysh, expressively shaded by the "Piece" polyphonic tissue. Tarantella. The music of its extreme sections is marked by elasticity of rhythm and rapidness inherent in temperamental Italian dance. A bright contrast brings into the music of this play. The charming melody of the middle episode, full of soft humor and smiles. At the same time, the pulse of the lively movement remains as continuous, tirelessly energetic. ( Tarantella - It is an Italian folk dance accompanied by a guitar, Tamburin and Kastaniet (in Sicily); Musical size - 6/8, ³ / 8. A characteristic feature of the tarantella is a rhythmic pattern saturated with triolis. This rapid dance is performed by one or more pairs, sometimes accompanied by singing). Repentance. The fifth play dominates the psychologist of the musical narration, the deep disclosure of the inner world, the child. The municipal melody of this miniature is not deprived of expressive declaration. The following are plays - "Procession of grasshoppers", "rain and rainbow" and "spots" Forming a peculiar little triad inside "Children's Music". "Rain and Rainbow" - Little intermezzo, which is an interesting example of Coloristic sounding Prokofiev. Spots.Spots - Russian folk game. According to the nature of the music and melodic pattern, as well as on the texture of the presentation of the "Snacks", seems to be echoing with Tarantella. March. "Puppetity" is not the dominant expressive music quality here. In the "Marsh", some "toy" coloring (especially in the middle section) with subtly rejected intonations of the removal of the soldiers' song are witty. Two light miniatures are completed. "Evening" Reminds a small poetic nocturne, characterized by watercolor tenderness of musical paints. Subsequently, this play also gained a new sound in the ballet "Tale of the Stone Flower", where it became one of the characteristics of the heroine - Katerina. Walks a month over the meadows."Walking over the meadows," wrote Prokofiev, "written on his own, and not on the folk theme. I lived then in Polenov, in a separate hut with a balcony on Oka, and in the evenings admired how the month was walking around the glades and meadows. " Considering Suit in general, one interesting pattern of this cycle can be seen. Many of it seems to be echoed by their figurative content. So the music of "evenings" with its soft "watercolor" flavor, in something close "morning"; The "fairy tale" and "walks over the meadows" thin and unbelievably introduce a small listener into the magical world of Russian fabulousness and a song. This "roll call" of the extreme parts of the cycle (two initial and two final) forms its peculiar "double" framing.

The musical language of Prokofiev works for children, in no way, cannot be called primitive or simplified. But at the same time the composer "is not going to sacrifice any of the characteristics of his style. On the contrary, the style features are exacerbated, as if focused on a small space of a children's play.

Sergey Sergeevich Prokofiev's collection "Children's music", consisting of 12 light plays, continues the tradition of children's piano collections. Prokofiev is the composer of the twentieth century, and his musical language is noticeably different from the Language of Shuman and Tchaikovsky.

The music of the twentieth century boldly uses colorful, sometimes dissonating chords, more freely refers to the Lada, in which chromatic, "other people" sounds appear often, often applies a bizarre invoice, retreats from the "rules" of the musical form.

The collection "Children's music" was written in 1935. There are pictures of nature in it and the pictures of nature ("morning", "rain and rainbow", "evening"), and sketching the guys life ("Walk", "Spots"), and dancing (Tarantella, Waltz), there are two comic march, about whom we once said ("Cousners' procession", march), there are "fairy tale", and a "repentance" play, affecting serious children's experiences, and variations in a melody, a close Russian folk song ("walks the month over the meadows" ).

"Tappy" - One of the easiest plays of this collection. Although it is very short, it can be found in it several different musical images, each of which has its own musical material. Her two-party form with inclusion is not quite usually. The first period consists of three, not from two proposals.

Example 110.

The first two clocks are entry. What is the melody or accompaniment? Sometimes students take these two clocks for the main melody and play the sound, sweeping. In fact, this is a quiet background, on which events unfold, and it is necessary to play it carefully, without highlighting any sounds. But still it is not a completely familiar accompaniment. It is one-haired and filled with intonation as a melody. It has already been concluded by one of the musical images: a quiet monotonous speech of the story. Against this background, the singing melody, similar to the Russian folk song, unfolds. This is another musical image: a Russian fairy tale of old, long forgotten times. And the voice telling her, everything sounds and sounds.

In the second sentence, the Russian melody goes to the lower voice, the intonation of the narrator is heard clearer, they become richer, more diverse and finally merge with the events of the fairy tale. As in the movies: first we see a storyteller, then the events of his story are playing, then again the narrator's expressive face close-up. Recall that Prokofiev lived in the era of the cinema, and he himself wrote wonderful music to the films.

In the third sentence again appear "Frames" with the events of the fairy tale.

The unusualness of this period is not only that he has a "unnecessary" proposal, but also how suggestions are connected. There are no kadans in them. They are "mounted" in each other. We learn a new offer only by changing the "floors" of textures. And the last sound of the period (the first note in a two-fourth touch) is the first sound of the next section: Again a sharp "Mounting junction".

The second section opens with a new topic. Another musical image.

Example 111.

There are no melodies. The quiet stons run through all registers, buzzing on the pedals. Does this bubrels ring in the far road, or festive bells of squeezed, or the casket magic opens? Those interesting is the musical language that it allows us to imagine a lot. One thing is clear: there is something new, mysterious, interesting.

I ran a light breeze with a short gamut, and disappeared, a magical vision was evaporated. Again, we hear a wide Russian song against the background of a monotonous story. Both sound reservoirs now sound the octave below. At the very end, the bright picture was unexpectedly flashed ... disappeared ... That's the fairy tale.

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Listen to the play "Fairy Tale" whole (executes Frederick Chiu)

Another little pidset: "Rain and Rainbow".

Two images and in the title, and in music. Simple two-part form with small code.

The music of the first partition is unusual. There are no melodies. Even the tonality is almost impossible. Some chord stain clusters from large seconds. All this sound "confusion" is tightly collected by a measuring, "drumming" rhythm. But everything is very clear: it's raining. And it's not easy rain, but the last of his droplets. At the end of each phrase, the chord "fog" is dissipated in the sounds of clean octave, separated by different registers. It seems that we really see between closures of a clear blue sky. First salt, then before. And now we are already clear that it is bright, sunny to major.

Example 112.

And suddenly a clean, bright melody appears in a high-high register - rainbow. Right seconds of rain have changed beautiful soft flares in accompaniment to rainbow melodies. The flasmen alternate with deep bass, which are somewhat octave. It is necessary to practice well to get on the right notes! But when you learn, then suddenly find so much air, so much expanser!

And in the code - the latest funny droplets of warm summer rain.

Example 113.

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Listen to the play "Rain and Rainbow" entirely (performs Love Timofeeva)