Musical language fret tempo tempo speaker timbre. Means of expressiveness in music (melody, mode, rhythm, tempo, dynamics, timbre, etc.)

The melody is the soul of the composition, it allows you to understand the mood of the piece and convey feelings of sadness or fun, the melody can be spasmodic, smooth or abrupt. Everything depends on how the author sees it. Pace

The tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. For their designation, terms are used that came to us from the Italian language. So, for the slow - adagio, for the fast - presto and allegro, and for the moderate - andante. In addition, the pace can be brisk, calm, etc.

Rhythm and meter as a means of musical expression determine the mood and movement of the music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Size is needed for musicians who determine how to play music. They are written in fractions in the form of quarters.

The fret in music determines its direction. If it is a minor, then it is sad, sad or pensive-dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The fret can also be variable when the minor changes

Timbre colors music, so music can be characterized as clear, dark, light, etc. Each musical instrument has its own timbre, just like the voice of a particular person

The register of music is subdivided into low, medium and high, but this is important directly to the musicians who perform the melody, or to experts who analyze the work. Means such as intonation, accent and pause allow you to clearly understand what the composer wants to say.

CHARACTERISTIC OF THE MEANS OF MUSICAL EXPRESSION,

THEIR ROLE IN CREATING AN ARTISTIC IMAGE OF A MUSICAL WORK.

Music is a specific form of artistic reflection of reality in a musical image. There is a hypothesis that music originated from expressive human speech. The musical image is created using the means of musical expression:

TEMP - the speed of music performance.

TEMBR - color of sound. When determining the timbre, words of associative meaning prevail (transparent, glassy, ​​juicy, velvet music).

INTONATION - carries the main semantic core in music, therefore it is most important. Intonation in a broad sense is the unfolding of the entire piece of music from beginning to end, the intonation of a piece of music. The intonation of a second determines the direction of a piece of music.

RHYTHM - a sequence of sounds, different in length.

LAD - emotional coloring of sounds, a combination of sounds in pitch (major, minor)

REGISTERS - high, medium, low.

GENRE - a type of artistic creation associated with the historical reality that gave birth to it, the life and everyday life of people (song, dance, march - "3 whales" - Kobalevsky).

Music is close to the emotional nature of the child. Under the influence of music, his artistic perception develops, experiences become richer.

Music is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his life, evokes an emotional response, emotion, desire for action. She is able to inspire, ignite a person, instill in him the spirit of vivacity and energy, but it can also lead to a state of melancholy, grief or quiet sadness.

Considering the enormous impact of music on emotions and the desire of a child to understand and feel its content, it is especially important to use musical works that artistically specifically reflect the reality that is close and accessible to him. It is known that one of the sources of the emergence of musical images is the real sounds of nature and human speech - everything that is perceived by the human ear in the surrounding world.

Developing in the process of sound communication, music was initially inseparable from speech and dance. She adapted to the rhythm of labor movements, facilitated them, united people with a single aspiration. As a painter imitates the forms and colors of nature, so the musician imitates sound - intonation, timbre, voice modulations. However, the essence of music is not about onomatopoeia and pictorial moments. The musical image is devoid of immediate, concrete appearance, but it is dynamic in nature and in general, through sound means it expresses the essential processes of life. "An emotional experience and an idea colored by feeling, expressed through sounds of a special kind, which are based on the intonation of human speech - this is the nature of a musical image." (Boreev Y.B.)

By influencing the feelings and thoughts of people, music contributes to emotional cognition of the surrounding reality and helps to transform and change it. With the help of its emotional language, music affects feelings, thinking, influences a person's worldview, directs and changes it.

One of the main means of creating a musical image is a melody organized rhythmically, enriched with dynamics, timbre, etc., supported by accompanying voices.

Musical images are created using a complex of means of musical expression and are an emotional reflection of the images of the real world.

The peculiarity of music, its emotional strength lies in the ability to show the rich world of human feelings that have arisen under the influence of the surrounding life. "Music through the disclosure of human experiences reflects the life that gave birth to them." (Vanslov V.V.)

The nature of the impact of a musical composition depends on how concretized its content. From this point of view, music with verbal text is distinguished, programmed and non-programmed purely instrumental music (programmed music is equipped with a verbal program that reveals its content).

Non-programmed music expresses only emotional content. But this content must be there. He determines the special cognitive possibilities of musical art.

Music does not give new concrete factual knowledge, but it can deepen the existing ones, emotionally saturating them.

3.Concept

Couplet (fr. Couplet) - a part of the song, which includes one stanza of the text and one melody (melody).

The verse is repeated throughout the song with new verses of the poetic text, while the melody may remain unchanged or slightly vary. As a result, the so-called couplet form is formed, which underlies the structure of most musical works of the song genre.

1) The beginning of singing; singing.

2) The beginning of a choral song or each of its verses, performed by a soloist.

3) The beginning of the epic, usually not associated with its main content, necessary to attract the attention of listeners; inception.

the part of the verse song, performed at the end of the verse, in the choral song - in chorus after the solo solo. Unlike the lead song, the text of which is updated in each verse, P. is usually sung to the same text. For P. is characterized by the simplicity of the melody, rhythmic clarity. Often P.'s text is an expression of a general idea, slogan, appeal (especially in revolutionary and popular songs). In many cases, P. is performed twice each time, which gives it special weight. The ratio "chorus - chorus" is carried over to instrumental music, - a two-part form appears, the second part of which is also often repeated, Rondo or ronda-like form (see Musical form).

No. 4. The concept of unwritten and written musical culture. Features of folk music art as a phenomenon, its features as a specific layer of musical culture: orality, variability and variability, the presence of typical tunes, syncreticity, etc.

The essence and specificity of folklore as a phenomenon, features of the musical language The problem of the formation of national identity as the basis for preserving the national identity of culture in modern conditions of world globalization undoubtedly deserves close attention already at the initial stage of comprehension of culture by a person - during preschool childhood. Both folklore (folk wisdom) and author's works of art are indispensable means of influencing the feelings and consciousness of a preschooler, therefore, any sphere of education, including the education of musical and aesthetic, involves the use of samples of national culture and, first of all, musical folklore. Musical folklore is a combination of song, dance, instrumental creativity of the people. Folklore is an older layer of musical culture than composer music. It is a non-written musical culture that differs significantly from a written one. Folklore has a number of features, the consideration of which makes it possible to effectively use it in the musical development of preschool children. 1. The folklore tradition is characterized by oral speech, transmission from person to person, from generation to generation. In connection with orality in works of folklore, frequent repetitions of melodic turns and texts are used (counting on the limited possibilities of a person's memory), a laconic musical form. These features make musical folklore accessible to preschool children. 2. As a result of orality in folklore, such features as variability, variance have developed. Variation implies the existence of many similar variants of the same sample in space (different regions) and in time. Variability - changing the sample during its execution (depending on the capabilities of the performer). These features of folklore make it possible to use his works as invaluable material for the development of musical and creative abilities of preschoolers. A folklore sample taught with preschoolers is a model on the basis of which a child can improvise, create his own versions, without conflicting with the very nature of folklore. 3. As a result of orality in folklore, typical melodies, rhythms, texts that are transferred from one sample of folklore to another, are often signs of the genre (the third mode in lullabies, the sung fifth syllable in the phrases of carol songs, text refrains “Shchodry vechar, kind evening "," Kalyada "," Aha, vyasna! " and etc.). Preschoolers, getting acquainted with a number of traditional tunes, learn the "vocabulary" and "grammar" of the national musical (as well as verbal) language. In this process, the child's musical intonation vocabulary is enriched, and folklore becomes recognizable for him (as a result of frequent repetition) and a close phenomenon. 4. Folklore (especially the early stratum) is characterized by syncretism - the fusion of all its elements (singing, movement, use of instruments, playfulness). The child's perception of the world is also syncretic, the types of musical activity of a preschooler are closely related. Thus, the folklore repertoire corresponds to the age capabilities and needs of the preschool child.

4 concept

Instrumental music is music performed on instruments without the participation of a human voice. Distinguish between solo, ensemble and orchestral instrumental music. Widespread in classical music, jazz, electronic music, new age, post-rock, etc.

I quarter

Elements of musical speech.

The nature of the theme. Development of the topic.

Lesson 1 ... Elements of musical speech.

Music surrounds us everywhere. We can say that we live in the musical world. Today, entertainment has become the leading role of music: we dance to it, relax, the background music has become common, often even unconscious. But music from ancient times has a much more important role in our lives. It educates a person, ennobles his inner world. Music helps: rock a child, organize a mass action or general work. Music heals. Music improves communication between people of different nationalities.

Music(from the Greek "muse") - art that reflects reality and affects a person with the help of organized sounds (in pitch, duration, volume and timbre).

Music is somewhat similar to speech. She is also addressed to the listener in order to influence him. In music, as in speech, the inner state of a person is expressed with the help of intonation, register, tempo, timbre, dynamics of their change and interrelation. Melody, accompaniment, scale, timbre, register, dynamics, tempo, strokes, rhythm, and meter are calledelements of musical speech .

Melody (from the Greek. "song, melody") -musical thought expressed in a monophonic voice ... Melody plays the most important role in the art of music. The melody happensvocal and instrumental ... There are two types of melody:cantilena (from Italian "singing") - melodious, smooth andrecitative (from Lat. "recite") - the desire to get closer to natural speech. In addition, melodies are distinguishedwide range and narrow range (the sound volume of a voice or instrument is the interval between the lowest and highest sound). The direction of the melody is of great importance for the expressiveness of the melody.Upward movement melody is usually associated with increased tension, anddownward - with relaxation (the influence of the patterns of breathing and the peculiarities of the work of the vocal cords). But sometimes, in order to achieve a special effect, composers use, for example, a downward movement to increase anxiety, tension, and vice versa. More often the melody movesundulating : wide up strokes fills in a smooth downward progressive movement, etc.

Accompaniment (from French) - melody accompaniment ... The division into melody and accompaniment is characteristic of homophonic-harmonictexture (from Lat. "processing, structure" - musical presentation), in contrast to monophonic, chordal or polyphonic. The accompaniment serves as a harmonic support for the melody (harmony from the Greek. "Harmony, proportion" - chords and their sequence). There are two types of accompaniment presentation:chord and figured .

Lad (from the Greek. "consent, harmony, order") -consistency of musical sounds in pitch. In classical music, two main modes are often used -major and minor .

Timbre - (from French "coloring") -sound coloration. The voices of the instruments, due to their special arrangement, have a unique sound. The voices in the choir also differ in timbre (from bottom to top):bass - tenor - alto - soprano.

Register (from lat. "list, list")- stretches of a range of different musical instruments. Distinguish: short , average and high registers.

Dynamics(from the Greek. "strength") - sound volume. Italian terms are used to refer to dynamics.

Pace(from lat. "time") - the speed of sounding a piece of music. Distinguish rates fast , moderate and slow. Italian terms are used to indicate tempo.

Hatch (from him. "line, line") -expressive element, way of execution. Also referred to in Italian terms.

Meter (from the Greek "measure") -even alternation of strong and weak beats. Meter and rhythm indicate a very long-standing relationship between music and verse and body movement.

Rhythm(from the Greek "flow") - alternation of long and short sounds. The combination of musical sounds of different duration forms a rhythmic pattern. The rhythmic pattern that is used throughout the entire work or part of it is calledrhythm formula ... Some dances can be recognized by the rhythm formula, for example, the mazurka -

Tasks:

Using the table inAnnex 1 find and write down the dynamic shades in a notebook in order: from very quiet to very loud.

Using the table inAnnex 2 find and write down moderate rates in a notebook.

Read the verses, highlighting the stress in the words, determine in which two-beat meter, and in which three-beat. What are these verse sizes called? Find your examples.

B. Zakhoder

Grandpa Roch

Grandpa Roch

Sowed peas

Plowed the land -

Sighed heavily

When I cleaned up -

He wiped off the sweat.

When he threshed -

I got it on the finger.

But when he ate,

Tongue swallowed -

It was delicious before!

G. Sapgir

How many legs?

Masha drew a cat.

Misha told her:

Look,

The cat has few legs

- Only three.

Let me paint on.

One two Three

Four five!

Lesson 2

Musical image. Musical theme.

The role of elements of musical speech in creating an image.

When we listen to music, we do not try to separate the melody, rhythm, register, timbre, etc., but perceive the whole. Before us there is a uniquemusical image that the composer wanted to convey to us. The whole difficulty lies in the fact that it is impossible to understand the language of music in the same direct sense as we understand the language of literature or specific images of painting. Music conveys emotions, moods, feelings.

By picking up epithets (from the Greek. "application") - definitions that convey impressions of the subject, we can describe our impressions of a piece of music.

A piece of music can have one or several images. They are embodied in musical themes.Music theme (from the Greek. "what is the basis")- the main idea of ​​the work, material for further development. By the nature of the topic, they can be close, complementary, or,on the contrary, distant, opposite -contrasting ... A similar or different sound of musical themes depends on those elements of musical speech that the composer has chosen for each of them.

Taking advantage of Annex 3 , we will select epithets for the Main and Side themes"Heroic" symphony by A. P. Borodin ... The themes are contrasting. We can describe the nature of the Main with epithets: significant, courageous, decisive, persistent, belligerent, heavy (it is necessary to select at least 5 words). And the character of the Side theme is affectionate, soft, friendly, light, calm. The selected epithets will help us later, with repeated listening, to find out the topics.

If we compare the elements of musical speech that make up the Main and Side themes, we will see that they also differ. Thus, the contrasting character of musical themes is created by various elements of musical speech. And, conversely, in topics similar in nature, we will certainly find common elements of musical speech.

Tasks:

1. Using the table inAppendix 4, find the dates of the life and death of A.P.

Borodin. What composers lived with him at the same time?

Try composing your own piece of music. Come up with and write down the name, the nature of the musical theme and the elements of the musical speech from which it was formed.

Compare the nature of the Main and Side Themes in the Overture to the opera Ruslan and Lyudmila by M. I. Glinka. Are there any common features? Are the elements of musical speech similar?

Lesson 3

Musical image.

Program music.

Sometimes a composer, wishing to be understood more accurately, uses the ability of music to convey not only mood, but also images of movement, as well as the ability to imitate various sounds, for example: singing birds, stamping horses, lapping waves. And before our inner gaze, whole pictures unfold, "painted" with musical sounds: image-portrait, image-scene, image-landscape, image-mood. And in order to clarify our impressions, to direct them, the composer gives the work a title or even describes in words what we need to understand from what we hear. This kind of music is calledprogrammatic .

Musical image"Flight of the Valkyries" by R. Wagner available to every listener - chase, battle and fall. This is what is conveyed exclusively by elements of musical speech. The belligerence gives the music a resemblance to a march: a clear dotted rhythm, a melody with intonations of signals, movement along the sounds of a triad. The timbres of brass instruments are reminiscent of a military band. Dynamic changes allow you to imagine heroes approaching from afar, zipping past and leaving. He also uses Wagner's sound quality: a jump, a whistle, an arrow cutting through the air, thunder of blows, a fall. Thus, the general idea is quite clear. And knowledge of the plot of the opera "Valkyrie" (2 part of the tetralogy "Ring of the Nibelungen"), where this symphonic intermission sounds (a musical fragment that precedes the action in the opera) allows us to further concretize its content: the warrior goddess, who violated her father's will, is trying to escape his wrath on his winged horse.

After listening to "Flight of the Valkyries" by R. Wagner, we will write a short essay in which we will recreate the picture that we presented. Let's not forget that vivid musical images need a vivid description.

Tasks:

1.Using the table inAppendix 4, find the dates of the life and death of R.

Wagner. What composers lived with him at the same time?

What does the German proverb mean: "A real musician can hear with his eyes and see with his ears"?

Write down the elements of musical speech that R. Wagner used in "Flight of the Valkyries".

works (possibly from the repertoire of the specialty).

Lesson 4

Development of the musical theme.

Sequence.

We learned that the theme takes a leading position in a piece of music. And not only thanks to a catchy melody or a vivid image, but also the ability todevelopment ( change). Each musical theme changes in whole or in part throughout its presentation. The development of the topic leads toclimax (from lat. "top")- the most intense moment of a piece of music, or part of it ... There are several methods of developing a musical theme: repetition, sequencing, variational development, imitation.

The simplest development technique isrepetition ... It is usually found in songs where the same melody is repeated with different words. Repetition is based on andsequence (from Lat. "I follow") - a method of development, which is complicated by the fact that the topic is repeated at different heights, at the same interval, exactly or approximately.

Let's listen to a fragment of the symphonic suiteN. A. Rimsky-Korsakov "Scheherazade" (1888) ... This music is programmatic. Everyone is well aware of the Arabian tales "1000 and One Nights". But Rimsky-Korsakov also precedes the symphonic suite with a program: “Sultan Shakhriar, convinced of the insidiousness and infidelity of women, gave a vow to execute each of the wives after the first wedding night; but Sultana Scheherazade saved her life by being able to occupy him with fairy tales, telling them to him during 1001 nights, so that, prompted by curiosity, Shahriar constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, citing poems of poets and words of songs, weaving a fairy tale into a fairy tale, a story into a story. "

Two important musical themes open the piece: Shahriar's Theme and Scheherazade's Theme - they are contrasting. Let's select epithets for each of them. Deploying the Scheherazade Theme smoothly brings us to the next theme - "Sea". We can easily find out where she "grew up" from - from the Shahriar Theme. The theme of the Sea sounds very broad at first, unhurriedly, swaying. Gradually, the nature of the topic changes, it seems that waves are rising on the sea, they are higher and higher, and now a real storm breaks out. This effect is achieved with the help of a sequence - the Theme of the Sea sounds higher each time, thanks to this, the tension will increase.

Tasks:

1. Using the table inAppendix 4, find the dates of life and death of N.A.

Rimsky-Korsakov. What composers lived with him at the same time?

2. Find the sequence in the works of the specialty.

3. Write a short essay on the Topic of the Sea. Reflect in the text those

changes that happen to her.

Lesson 5

Development of the musical theme.

Variational development.

Variational development - this is also a repetition, but modified, different from the first presentation of the topic. All elements of musical speech that make up the theme can undergo changes. Variational development is one of the oldest ways of changing a musical theme, and the main one in folk music. It is not surprising that in works written with the use of folk melodies, composers choose exactly this way of developing the theme.

Let's listen to the fragmentSymphonic fantasy "Kamarinskaya" by M. I. Glinka (1848) ... Two Russian folk themes are heard here. The first is the wedding song "Because of the mountains, high mountains", and the second is the dance song "Kamarinskaya". Variational development helps Glinka to get closer to the peculiarities of performing folk melodies. For example, often Russian folk songs begin with a monophonic solo, to which are gradually added voices that vary the basic melody. So the first theme of "Kamarinskaya" is presented at first in one voice. Then new timbres of various instruments are added to it, until the whole orchestra enters. The dance theme also sounds monophonic for the first time. Its development resembles a daring folk dance, in which dancers try to surprise us with more and more "knees". There even comes a moment when the composer removes the melody altogether, leaving only the accompaniment. But the dance theme has already engraved in our memory, and it seems to us that it continues to sound. Most surprising of all is the transitions between themes - completely different contrasting initially themes after development quite naturally combine with one another.

V final (4 parts) Symphony 4 by P.I.Tchaikovsky (1877). V the composer also uses a Russian folk song. She's so famous that she doesn't need to be reminded. We recognized her, of course. For its development, the composer also uses the variational method of development.

Variational development helps to reveal a musical theme in a new way, more fully, from different sides, and this greatly enriches the sound.

Tasks:

Using the table inAppendix 4, find the dates of life and death of M.I. Glinka. What composers lived with him at the same time?

Remember and write down what elements of musical speech changed in the first theme of "Kamarinskaya" by MI Glinka. What are the second?

Remember and write down 5 titles of PI Tchaikovsky's works.

Lesson 6

Russian folk musical creativity.

Calendar songs.

We have already started talking about folk melodies and the peculiarities of their development. And now let's dwell in more detail on this special art. The vocal and instrumental creativity of the people is called mmusical folklore (from the English "folk wisdom"). Folk songwriters are unknown, they are passed by word of mouth, and each performer adds something of his own. Thanks to this collective creativity, songs come in several varieties. In addition, repeated processing polishes the melody, leaving only the brightest melodic turns and intonations in it. The folk song is inextricably linked with the life of the people, their work, life, worldview. Maxim Gorky compared Russian folk song with Russian history.

The life of an ancient man directly depended on the manifestation of the forces of nature. It is not surprising that our ancestors not only deified these mysterious forces, but also noticed their features, patterns. All this was expressed in ceremonies, and the ceremonies were accompanied by songs and dances. There was an annual circle of holidays: Christmas, Christmastide, Shrovetide, Magpies (Larks), Easter, Egoriev's Day, Trinity, Ivan Kupala. It is curious that all of them were timed to coincide with even more ancient - pagan holidays dedicated to the days of the solstice and the solstice. This is how the oldest circle of songs was formed -calendar .

The year began in the spring, it was then thatfreckles ... All the actions of people were aimed at getting warm as soon as possible. Children ran around with dough-baked larks, scattering them in the field or swinging them on poles so that they seemed to fly. At dawn, women and girls climbed the hills or rooftops and called for spring. The melodies of these songs consist of persistently repeated exclamation intonations. A narrow range and variable mode are the features of the freckles. In addition, each stanza ends with a special cry - "whooping."

Carols (from Lat. "the first day of each month") - folk praise songs, timed to the winter ceremonial holidays: Christmas, New Year, Epiphany. Carols were sung by young people, often dressed up to scare away evil spirits. On the poles they carried a circle with ribbons - a symbol of the sun. Each carol has an obligatory part - a magnificence - a congratulatory one. For good wishes, the owners were supposed to present the carolers.

On Christmastide (time from Christmas to Epiphany), the youth wondered. Fortune-telling was often accompanied by special songs -under the people ... They consisted of couplets-riddles: about an imminent wedding, wealth, prosperity, illness, even death. Earrings and rings of all those present were folded onto a dish or bowl of water. During the song, the chosen girl took out the little things one by one - the owner of the ring or earring and the prediction was intended.

Round dance were originally one of the varieties of spring songs. Later they began to sound throughout the year. Round dances (caravods, caragods, circles) were circular and non-circular - song-games (tanks or gaits). In the song-games, the dancers imitated labor movements or acted out comic scenes. Round dance songs could be lyrical, flowing, unhurried, or fast, comic.

Tasks:

According to the beliefs of the ancient Slavs, Spring flew on the wings of birds. The most revered bird was the lark. Guess why it has such a name?

Why did the carolers dress up as a bear, a goat, the devil? Draw a costume like this.

Do you know divination? Ask adults and describe one thing.

Lesson 7

Russian folk musical creativity.

Family and household. Epics. Lyric songs. Chastushki.

Another vast circle of songs -family and household ... There were Russian folk songs for almost all occasions: Rodinnye, Krestbinskie, Lullabies, Wedding, Crying.

Lullaby the song serves to lull the child. A very simple, even monotonous melody sounds calm, measured, words and melodic turns are often repeated - the child must be put to sleep, not entertained.

An old Russian wedding consisted of traditional comedy and dramatic scenes, games, and the whole action was accompanied by variouswedding songs. This "performance", in which the "roles" were accurately painted and known, sometimes lasted for several days, drawing all the inhabitants into its participants. A man was in charge of everything - a matchmaker or a friend, who perfectly knew all the subtleties of the rite. Wedding festivities began in the bride's house: matchmaking, bride's show, bachelorette party, bride ransom, bride's farewell to her family. Then everyone went to church for the wedding. And the second part of the wedding took place in the groom's house. Tables were laid here and songs were constantly sounded: glorious, drinking, comic, dancing.

A special place in folk music iscry song - melodiously intoned poetic improvisation associated with the expression of grief, sorrow. They sang crying at funerals, at sad news, seeing off to an alien side or to the soldiers, and even at weddings - at the bride's farewell to her home. The melody of these songs is very simple, it consists of descending low-second intonations in a narrow range. The line sometimes breaks off with sighs, shouts or crying. Every Russian woman should have been able to cry, but there were mourners who did it with special skill.

The unwritten history of Russia isepics (antiquity, old-fashioned) - legendary poetic narratives about the distant historical past. Heroes of epics are heroes, bearers of the best features of the people, defenders of the Russian land. The epics had an effect in a chanting accompaniment to the measured accompaniment of the gusli. In the first place was the text, and the melody only added expressiveness to it. The storytellers of epics were called Boyans. They were professional musicians who kept a huge number of stories in their memory.

The people did not distinguish between the epic andhistorical song , calling both the one and the other antiquity. But the differences were also very significant. In historical songs, the events of Russian history were described more accurately. They were put together by direct participants in the Tatar-Mongol yoke, the capture of Kazan by Ivan the Terrible, the Polish interventionXVIIcentury, the uprisings of Ermak and Pugachev, the Napoleonic invasion, etc. Musically, historical songs are much more complicated than epics. Bright, catchy melodies with a clear structure emphasize the content of the text.

Lingering lyrical songs turned to the inner world of a person, his experiences, feelings. They are called lingering because syllables are widely sung in them - "a song from a whole mile away." Lyric songs have very complex melodies, free rhythm, variable meter and harmony. They are later - the heyday of lyrical drawn-out songs falls onXviiicentury. And they talk about their home side, bitter fate, separation, women's share, hard forced labor and, of course, about love. They are characterized by improvisation (improvisation - from the Latin "unexpected, sudden"), therefore in different regions the same song is sung in different ways.

The latest in XIX century appeared ditties (from "frequent" "fast") - comic songs, couplets, four lines, usually performed to the accompaniment of an accordion or balalaika. "Chorus", "pribaski", "shortwives", "taratorki", "pribyaski" - the names of ditties in different regions of Russia very accurately convey the essence of these songs. Lyrical ditties were called "suffering." Russian people still compose ditties, responding to the events of modern life with biting, comic poetry.

Tasks:

1. What epic heroes do you know? Write down their names.

   Remember and write down the names of historical songs known to you (or your parents). What events in Russian history do they tell about?

   Do you know ditties? Write down the words you know or compose your own ditty. Sing it.

Lesson 8

Folk song in Russian classical music.

The work of Russian composers is inextricably linked with folk songs. MI Glinka said: “Music is not created by us, the people are created: we only record andarrange "(From him." To put in order, arrange "- transcription processing of a piece of music). From the endXviiiFor centuries, professional musicians began to pay attention to folk melodies, using original songs in their works or imitating their sound. At the same time, the first collections of Russian folk songs appeared. But Russian folk art attracted special attention inXIXcentury, in the works of M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, composers of the "Mighty Handful" - M. A. Balakirev, N. A. Rimsky-Korsakov, A. P. Borodin, M. P. Mussorgsky and C. A. Cui. They recorded, processed and studied folk song melodies. The most famous collections of Russian folk songs arranged by M. A. Balakirev, N. A. Rimsky-Korskakov, P. I. Tchaikovsky and N. A. Lyadov.

MA Balakirev - Russian composer, musical and public figure, organizer of the association of musicians "The Mighty Handful" - after a trip along the Volga in 1860 released a collection of "40 Russian folk songs in arrangement for voice and piano."

Especially often he turned in his work to folk subjects, images and melodiesN. A. Rimsky-Korsakov ... In its opera "Sadko" (1896) , written on the plot of the Russian epic about the Novgorod guslar, the composer reflects on the great power of art - an idea that attracted the attention of composers, both past and present (recall at least the myth of the ancient Greek singer Orpheus). With his songs, Sadko conquered the formidable Sea Tsar, won the love of his daughter Volkhov, brought wealth and glory to his native Novgorod. The melodies and recitatives of the opera are very close to the tunes of Russian folk songs, for example, Sadko's aria from the second picture "Oh, you are a dark oak tree!" is a very subtle and precise stylization of a lingering lyric song. Lyrical and magical beginnings merge in the lullaby of the Sea Princess - the Volkhovs "A dream walked along the shore". Here Rimsky-Korsakov also uses genuine folk melodies - the chorus "Whether Heaven, Heavenly Height" is written to the melody of the epic "Budimerovich Nightingale". The composer has preserved here not only the melody, but also the folk words.

V opera "The Legend of the Invisible City of Kitezh and the Maiden Fevronia" (1907) Rimsky-Korsakov refers to a folk legend. Even during the Tatar-Mongol invasion inXIIIcentury, this surprisingly light legend was born among the people about the miraculous salvation of the Trans-Volga city of Kitezh from enemies. When the Tatars came out to the city of Kitezh, hidden in the impenetrable forests, only the empty shore of Lake Svetloyar was revealed to them. But its waters reflected the walls of the city, the domes of churches, the tower and the hut. Seeing this, the enemies, seized with terror, fled away. The symphonic intermission "The Battle of Kerzhenets" tells by musical means about the unequal battle between the defenders of Kitezh and the Tatars. Comparing two contrasting themes - Russian and enemy - the composer creates an image of a battle. In the theme of the Tatar invaders, Rimsky-Korsakov used (in a modified form) the melody of the historical song "About the Tatar is full".

Exercise:

Remember the pieces you listened to in the lesson, in which composers used Russian folk melodies.

Remember and write down the names of fairy tales, stories, novellas, or poems about musicians.

After listening to Rimsky-Korsakov's Symphonic Intermission "A Cut at Kerzhenets", write a short essay.

Basic elements of the musical language

“Do not be afraid of the words theory, harmony, polyphony, etc. Treat them friendly and they will smile at you. "
(R. Schumann)

The expressive means of music are rich and varied. If an artist in drawing and paints, a sculptor in wood or marble, and a writer and poet in words recreate the pictures of the surrounding life, then composers do it with the help of musical instruments. Unlike non-musical sounds (noise, grinding, rustling). Musical sounds have a precise pitch and a specific duration. In addition, they can have different colors, sound loud or quiet, and be performed quickly or slowly. Melody, rhythm, mode and harmony, register and timbre, dynamics and tempo are all expressive means of musical art.

Melody

The world of music is filled with beautiful melodies of Bach, Mozart, Grieg, Chopin, Tchaikovsky ...

You already know a lot of pieces of music. They remain in your memory. If you try to remember them, you will probably hum a melody. Alexander Pushkin remarkably followed the work of musical memory in the "little tragedy" "Mozart and Salieri". Mozart exclaims to Salieri:

Yes! Beaumarchais was your friend;
You wrote Tarar for him,
Glorious thing. There is one motive ...
I keep repeating it when I'm happy ...
La la la la ...

Tarar is an opera by the Italian composer Antonio Salieri to a libretto by Pierre Beaumarchais.

First of all, Mozart recalls a motive - an expressive particle of the melody. The motive can evoke the idea of ​​the whole melody, its character. What is a melody? Melody- a developed and complete musical thought, expressed in one voice.

The word "melody" comes from two words - melos - song, and ode - singing. In general, a melody is something that you and I can sing. Even if we have not memorized all of it in its entirety, we hum some of its motives, phrases. Indeed, in musical speech, as in verbal speech, there are both sentences and phrases.

Several sounds form a motive - a small particle of the melody. Several motives make up a phrase, and phrases form sentences. Melody is the main means of musical expression. It is the basis of every piece, it is the soul of a piece of music.

The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally withers. The life of a flower is short, but the life of a melody is even shorter. In a short time, it manages to emerge from the motive, "blossom" and complete. Each melody has a “blooming point”, the highest point of its development, the highest intensity of feelings. It is called the climax. The melody ends with a cadence - a steady turnover.

If we continue the comparison with a flower, then it should be remembered that flowers bloom at different times of the day. Some open their cups towards the first rays of the sun, others "wake up" on a hot afternoon, and still others wait until dusk to give their fragrance to the cool of the night.

Melodies also bloom at different times. Some immediately start from the top - the climax. In others, the climax is in the middle or near the end of the melody. A vivid example of this is E. Krylatov's song "Winged Swing" (words by Y. Entin) from the film "The Adventures of Electronics". Its melody, gradually developing, reaches a climax, emphasized by the sonorous repetitions of the highest note.

It is easy to see that the structure of the melody is similar to the structure of speech. As phrases are formed from words, from phrases of sentences, so in melody small expressive particles - motives - are combined into phrases. A musical phrase, as a rule, is formed from two or three motives. Its duration is determined by the duration of the breath of the performer singing or playing a wind instrument. (When playing music on bowed and keyboard instruments, the effect of breathing on the value of the phrase is not perceptible, but it is also taken into account.)

Usually one phrase is performed in one breath (exhalation). Several phrases connected by a common line of development form sentences, and sentences form an integral melody.

The culmination (from the Latin culminis - top) is usually located in bars 5-6 of the 8-bar period or in bars 12-13 of the 16-bar period (that is, in the third quarter of the period) and in these cases falls on the so-called point of the "golden section" ... The meaning of the "Golden Section" is in the beauty of strict proportions, proportionality and harmonious balance of parts and the whole. There is a "golden proportion" in the structure of the human body, in architecture, and in painting. The principle of the "golden section" was applied by the great Italian scientist and artist of the 15th - early 16th centuries Leonardo da Vinci, although the doctrine of proportions was successfully developed and put into practice in ancient Greece.

Folk musical creativity is an inexhaustible treasure of wonderful melodies. The best songs of the peoples of the world are distinguished by their beauty and expressiveness. They are different. Sometimes, it seems, there is no and there will not be an end to the chant. One sound fades into another, the song flows in a continuous stream. They say about such a melody: "the melody of the big breath." It is also called cantilena. The composers P. Tchaikovsky, S. Rachmaninov and others were distinguished by their ability to create such melodies.

Listen to the Russian folk song "Nightingale" performed by the Bolshoi Children's Choir. A wide melody flows slowly, melodiously.

And it happens the other way around. There are no long drawn-out sounds in the melody, it is closer to a simple conversation, the turns of human speech are felt in it. We can find similar melodies in epics. It is not for nothing that the people say that bylinas have an effect, and the performers of bylinas are called storytellers. Such melodies are called recitative.

The word "recitative" comes from the Latin recitare, which means - reading aloud, recitation. Recitative - half-fluff, half-conspiracy.

Especially often composers turn to recitative in opera, where it serves as one of the means of musical characterization of the characters. For example, in the unhurried and majestic melody of Susanin's recitative, the courageous image of the hero of the opera M. Glinka rises.

In instrumental works, the melodies sometimes differ significantly from the vocal ones, that is, those intended for singing. For musical instruments, you can create melodies with a very wide range and large jumps. Remarkable images of instrumental melodies can be found in the piano works of the great Polish composer F. Chopin. In his nocturne in E flat major, broad melodiousness is combined with the complexity of the melodic pattern.

The inexhaustible melodic wealth of classical music. Songs by F. Schubert and romances by S. Rachmaninoff, piano pieces by F. Chopin and operas by G. Verdi, works by W. Mozart, M. Glinka and P. Tchaikovsky and many other composers have become popular among listeners due to their bright expressive melodies.

Harmony

This is one of the main means of expression. It gives color to music, and sometimes carries on itself most of the semantic and emotional load. Euphonious chords create harmony that leaves the impression of harmony, beauty, fullness. And sometimes it plays even a bigger role than the melody. Listen to the famous Prelude No. 20 by F. Chopin. There is practically no detailed melody in it. Harmony creates the general mood.

The chord progression along with the melody is called harmony.

Thanks to harmony, the expressiveness of the melody is enhanced, it becomes brighter and richer in sound. Chords, accords and their sequence make up harmony closely interacting with the melody.

In Chopin's Polonaise in A major, the powerful "orchestral" sound of the grand piano is achieved thanks to the polyphonic chords that accompany the melody of a solemn heroic character.

There are many pieces in music that sound light and graceful. For example, dancing. Chords in simultaneous sounding here would be perceived too heavy and awkward. Therefore, in the accompaniment of dances at a strong beat of the measures, the lower sound of the chord (bass) sounds separately, and then its other sounds are played simultaneously. This kind of presentation of harmony is used in Waltz in A flat major by F. Schubert, which gives the music lightness and elegance of sound.

In works of a melodious lyrical character, in order to achieve a soft, "string" sound of harmony, chords are often used decomposed by sounds. In L. Beethoven's Moonlight Sonata, such a sounding of the accompaniment, combined with the unhurried movement of a sad melody, gives the music smoothness and creates a sublime noble mood.

Possibilities of combinations of chords, accords are infinitely varied. Their unexpected and abrupt changes create the impression of something unusual and mysterious. Therefore, when composers write fabulous music, harmony becomes one of the most important elements of the musical language. For example, the miracle of the magical transformation of swans into red maidens in N. Rimsky-Korsakov's opera "Sadko" occurs with the help of a colorful change of "magic" chords.

There are pieces of music in which harmony prevails, determines the character, mood of the play. Listen to the prelude in C major from the first volume of the Well-Tempered Clavier by J. Bach.

In the unhurried and smooth change of the decomposed chords, in the alternation of tensions and declines, in the steady movement towards the solemn climax and in the subsequent completion, a complete and harmonious work is formed. It is imbued with a mood of sublime peace. Fascinated by the magic play of harmonic colors, we do not notice that there is no melody in this prelude. Harmony fully expresses the mood of the play.

Rhythm

Rhythm is the organizer of musical sounds in time. Rhythm means the ratio of the durations of sounds to each other... A piece of music cannot exist without rhythm, just as a person cannot live without the work of the heart. In marches, dances, fast plays, the rhythm organizes, orders the movement, the nature of the work depends on it.

Can a piece of music be expressive without melody and harmony? The answer is given by the original play "Panic" by S. Prokofiev from the music for the play "Egyptian Nights". The action takes place in the palace of the legendary Egyptian queen Cleopatra.

...Night. The palace is surrounded by enemies - the troops of the Romans. The inhabitants of the palace are threatened with captivity or death. Distraught with fear, people run out of the distant chambers of the palace. They rush to the exit in a crowd. And then the last steps freeze ...

Illustrating this episode, the composer uses the tremendous power of expressive rhythm. The peculiarity of music lies in the fact that it is performed only by percussion instruments: snare and big drums, timpani, tomtoms. Each instrument part has its own rhythm pattern. In the culmination, a clot of rhythmic energy of tremendous strength and tension is formed.

Gradually, the tension dissipates: the tomtam falls silent, then the timpani, the snare drum, the big drum also fades ... So, using meager musical means, Prokofiev created a bright piece, in which rhythm plays the main role.

The expressive role of rhythm is especially vividly manifested in the famous orchestral piece by the French composer M. Ravel "Bolero". The invariable rhythmic formula of Spanish dance is sustained here throughout the entire piece (it is written in the form of 12 variations). The "iron rhythm" seems to hold the melody in a grip and gradually increases the tremendous tension in the development of the restrained passionate Spanish dance. The rhythmic "formula" of the bolero is performed by the drummer solo.

Recall that in music harmony means the consistency of sounds of different heights... These sounds combine around the main sound - tonics... In European music, the most common modes are major and minor... Most of the pieces that you play and that are discussed in our book are also written in these two modes. Is the dependence of the character of music on the scale strong? Let's listen to the play "Spring and Autumn" by G. Sviridov.

The composer painted the same landscape with sounds at different times of the year. In the first movement, light transparent chords and a fragile melodic line recreate a spring landscape. Listening to music, we imagine the gentle colors of the greenery that clothed the trees, the light aromas of blossoming gardens, the sonorous voices of birds. The piece sounds in a major scale, raised, light.

But now the mood changed, the pace slowed down. The colors of the familiar landscape faded. You seem to see the black silhouettes of naked trees through the gray mesh of rain. It was as if the sunlight had disappeared from the music. The spring colors of the major scale faded away, they were replaced by the minor. In the melody, the intonations of dissonances-tritones were sharply marked. The slow tempo heightened the expressiveness of the sad minor chords.

Listening to the second part of the play, we can easily notice that it is just a version of the first. But the change of mode creates the impression that a new piece is being played, which is opposite in character and mood to the first one.

Pace

Of course, you are well aware that this word means speed of movement. True, this term does not come from the word speed, but from the word time (Latin tempus). The character and mood of the play depend on the tempo. The lullaby cannot be performed at a fast pace, and the canter cannot be performed at a slow pace.

Let's remember the basic musical tempos. It is customary to designate them in Italian.

Largo - very slow and wide.
Adagio (adagio) - slowly, calmly.
Andante(andante) - at the pace of a calm step.
Allegro (Allegro) - fast.
Presto - very fast.

There are often variations of these tempos:

Moderato (moderato) - moderate, restrained.
Allegretto (allegretto) - quite lively.
Vivace (vivache) - alive.

Listen to a fragment of the main theme of the famous Fantasy in D minor by the great W. Mozart. Hear how the soft pulsating texture of the accompaniment has been successfully matched to this delicate, fragile melody.

And the next example is also from the music of W. Mozart - the most popular finale of his piano sonata, also known as the Turkish March or Turkish Rondo. Incendiary music, completely different. Here W. Mozart does not feel sad, does not dream, but is contagiously having fun.

Previously, the pace in music was determined approximately, according to the mood. But sometimes composers wanted to define the tempo very precisely. At the beginning of the 19th century, the German mechanic I. Melzel invented the metronome specially for this. The required speed is easily found by the metronome.

Dynamics

No less important is the dynamics of the performance, that is, the strength of the sound. You've probably noticed that during the performance, the musicians play either loudly or softly. This is not happening because the musician wants it so much. So the composer conceived and indicated with the help of what dynamic shades it is possible to reveal his intention.

There are two main dynamic shades, and you know them very well: forte - loud and piano - quiet. In notes, they are written in Italian letters: F and P.

Sometimes these shades intensify. For example, very loud - FF (fortissimo) or very quiet - PP (pianissimo). Often during the course of a piece, the strength of the sound changes more than once. Let's remember the play by P. Tchaikovsky "Baba Yaga". The music begins barely audible, then its sonority increases, reaching very loud, and gradually subsides again. It was as if a stupa with Baba Yaga appeared from afar, swept past us and disappeared into the distance.

Here's how dynamic hues can help a composer create a vibrant musical image.

Timbre

The same melody can be played on the piano, and on the violin, and on the flute, and on the guitar. And you can sing. And even if you play it on all these instruments in the same key, at the same tempo, with the same nuances and strokes, the sound will still be different. With what? The very coloring of the sound, its timbre. This word comes from the French timbre, which means a bell, and also a mark, that is, a distinctive sign.

Timbre- a special coloration of the sound peculiar to each voice and instrument. By this coloration, we distinguish different voices and instruments from each other.

Listen to a Russian folk song performed by the Im. Pyatnitsky "I walk with a loach."

The variety of singing voices is especially noticeable in the opera, where for each character the composer selects the most suitable timbre of his character. In N. Rimsky-Korsakov's opera "The Tale of Tsar Saltan" the part of the Swan Princess is written for the soprano, and Baba Babarikha's matchmaker is for the mezzo-soprano. The performer of the role of Tsarevich Guidon is a tenor, and Tsar Saltan is a bass.

Register

Wander all over the piano keyboard. Hear how the lowest sounds differ from the highest.

When you just started to get acquainted with the instrument, you were probably told that below “the bear lies in a den”, and above “the birds are singing”. But the keys in the middle sound the most melodic. They are most commonly used in music. And not because it is more convenient to reach them, but because they are richer than others in musical expressiveness. But if you need, for example, to depict a thunderstorm, then how can we do without thunder in the bass and sparkling zigzags of lightning in the “bird” register?

What is the piano key row? A number of sounds. And if it's shorter - the scale. This means that the register is part of the scale. This is correct, but it does not tell us anything about the registers themselves - about their nature, features.

Here, for example, is the middle register. The one in which we sing and speak. Our ear is best tuned to the "spoken" wave. And besides, whether you know about it or not, we listen to music not only with our ears, but also with our vocal cords. When we listen to a melody, our chords sing it silently, whether we like it or not. Therefore, when a singer gets sick with ligaments, he is not allowed not only to sing himself, but also to listen to other singers.

Hence the conclusion suggests itself: the one who sings better and cleaner, hears music better and gets more pleasure from it. It is no coincidence that R. Schumann, already known to you, wrote in his "Rules for Young Musicians": "Sing diligently in the choir."

The middle register is the most familiar to us. And when we listen to music written in this register, we pay attention not to the register itself, but to other details: melody, harmony and other expressive details.

And the lower and upper registers are sharply distinguished by their special register expressiveness. The lower case looks like a magnifying glass. He makes musical images bigger, more important, more significant. He can scare. And say, "Shh, it's a secret."

E. Grieg's play "In the Cave of the Mountain King" begins mysteriously and unusually. And here is the frightening theme of the formidable king Shahriar from N. Rimsky-Korsakov's symphonic suite "Scheherazade".

The upper register, on the contrary, seems to "reduce" what sounds in it. In P. Tchaikovsky's Children's Album, there is a March of Wooden Soldiers. Everything in it is like in a real military march, but small, "toy".

Now we can say that register- this is a part of the scale that has a certain sound color. There are three registers: upper, middle and lower.

We listened to examples written in the same register. But there is not much such music. Composers often use all registers at once. As, for example, E. Grieg in the piano piece Nocturne. Nocturne means night. In Norway, in the homeland of E. Grieg, summer nights are the same as in St. Petersburg. The music of Nocturne by E. Grieg is colorful and picturesque. Register colors play an important role in this sound painting.

Presentation

Included:
1. Presentation - 30 slides, ppsx;
2. Sounds of music:
Bach. Prelude in C minor (Spanish harpsichord) Beethoven. Sonata "Moonlight", part I - Adagio sostenuto (fragment), mp3;
Glinka. Susanin's recitative "Feel the Truth" from the opera "Life for the Tsar", mp3;
Grieg. "In the Cave of the Mountain King" from the suite "Peer Gynt" (fragment), mp3;
Grieg. Nocturne from "Lyric Suite" (fragment), mp3;
Mozart. Rondo in Turkish style (fragment), mp3;
Mozart. Fantasia in D minor (fragment), mp3;
Prokofiev. "Panic", from the music for the play "Egyptian Nights", mp3;
Ravel. "Bolero" (fragment), mp3;
Rimsky-Korsakov. "The miracle of the transformation of swans into red maidens" from the opera "Sadko", mp3;
Rimsky-Korsakov. Shahriar's theme from the "Scheherazade" symphonic suite, mp3;
Sviridov. "Spring and Autumn", mp3;
Tchaikovsky. "Baba-Yaga" from "Children's Album", mp3;
Tchaikovsky. "March of Wooden Soldiers" from "Children's Album", mp3;
Chopin. Nocturne in E flat major, Op. 9 No. 2 (fragment), mp3;
Chopin. Polonaise in A major, op. 40 No. 1 (fragment), mp3;
Chopin. Prelude in C minor, op. 28 No. 20, mp3;
Schubert. Waltz in A flat major, mp3;
"I walk with a loach", mp3;
"Nightingale" (in Spanish), mp3;
3. Accompanying article - lesson synopsis, docx.

Music, as the end result of mixing sounds and silence in time, conveys the emotional atmosphere, the subtle feelings of the person who wrote it.

According to the works of some scientists, music has the property of influencing both the psychological and physical state of a person. Naturally, such a piece of music has its own character, laid down by the creator either purposefully or not consciously.

Determination of the nature of music by tempo and sound.

From the works of V.I.Petrushin, a Russian musician and educational psychologist, the following foundations of a musical character in the work can be distinguished:

1. the sound and the slow pace convey the emotion of sadness. Such a piece of music can be characterized as sad, conveying grief and despondency, bearing in itself regret about the irrevocable bright past.
2. sounding and slow paces bring a state of calmness, contentment. The character of a piece of music in this case includes serenity, contemplation and poise.
3. Minor sounds and fast tempo suggest emotions of anger. The nature of the music can be described as passionate, agitated, intensely dramatic.
4. Major coloring and fast pace, undoubtedly, convey the emotions of joy, indicated by an optimistic and life-affirming, cheerful and exultant character.

It should be emphasized that such elements of expressiveness in music as dynamics, timbre and means of harmony are very important for the reflection of any of the emotions; the brightness of the transfer of musical character in a work strongly depends on them. If you conduct an experiment and play the same melody in a major or minor sound, at a fast or slow tempo, then the melody will convey a completely different emotion and, accordingly, the general character of the piece of music will change.

The ratio of the character of a piece of music and the temperament of the listener.

If we compare the opuses of classical composers with the works of modern masters, then we can trace a certain trend in the development of musical coloring. It is becoming more and more complex and multifaceted, but the emotional background, character, does not significantly change. Consequently, the character of a piece of music is a constant that does not undergo changes over time. The works written 2-3 centuries ago have the same effect on the listener as during the period of popularity among contemporaries.

It was revealed that a person chooses music for listening not only based on his mood, but unconsciously taking into account his temperament.

1. Melancholic - slow minor music, emotion - sadness.
2. Choleric - minor, fast music - emotion - anger.
3. Phlegmatic - slow major music - emotion - calmness.
4. Sanguine - major, fast music - emotion - joy.

Absolutely all musical works have their own character and temperament. They were originally laid by the author, guided by feelings and emotions at the time of creation. However, the listener is not always able to decipher exactly what the author wanted to convey, since the perception is subjective, passes through the prism of the listener's feelings and emotions, based on his personal temperament.

What is rhythm in music, we study and master the rhythm

Rhythm is a fundamental element in the performance of a piece of music. In this case, we can talk about the independence of the rhythm from the melody. So each person could observe thousands of examples of separate existence around him, ranging from the beating of the heart and ending with percussion instruments that do not have a pitch component. There can be practically no melody without rhythm.

Regardless of the degree of professionalism, each musician must reckon with the basics of rhythm, know the specific terminology, and also be able to reproduce a piece or piece of music in the proposed rhythm. This page explains the basic concepts and terminology required for practice.

Rhythm, duration and pause

Let's see what is rhythm... A musical term is a clear organization of music in time space. A structure is formed from a sequence of durations and pauses. The table shows the durations, as well as their designation.

Duration name	Write designation		Number of accountsfor one duration
	On the stave	Outside the staff
Whole			1 and 2 and 3 and 4 and
Half			1 and 2 and
Quarter			1 and
Eighth		or
Sixteenth		or	Half the eighth

There is a special table showing the ratio of durations to each other.

It is worth dealing with such a concept as pause in a musical rhythm. A pause is a time period in music that is filled with silence. There are the following pauses in size:

1. A whole pause. The duration is equal to a whole note. It is indicated by a black filled rectangle above the third line of the staff.
2. Half pause. Equal to a half note. It is indicated by a black rectangle located on the third line of the staff.
3. A quarter pause is equivalent to a quarter. It is indicated figuratively for almost the entire staff.
4. The eighth pause is similar in duration to the eighth pause. By designation, it resembles the capital letter "h".
5. The sixteenth rest is equal to the corresponding note. On the letter, it is similar to the previous duration, the difference is the doubling of the tail.

It should be noted that some musicians perceive pauses as stops, as a result of which they go astray from the general rhythmic outline. A pause is a sign of silence that plays a big role in a piece. It is strongly discouraged to eat pauses at the expense of another preceding note, lengthening its duration. Otherwise, the musical thought is lost. It is especially important to take this principle into account when playing in an orchestra, ensemble or group. After all, if pauses are not taken into account, then the sounds will be superimposed on each other, creating cacophony.

Basic terminology

Rhythm in professional music cannot do without such concepts as bar, meter, tempo and time signature.

• Meter is a uniform alternation of accents in a piece of music.
• Tact is a unit of measurement of the meter, which is counted in notes or rests. At four quarters, the first note in the bar is the strong beat, the second is weak, the third is relatively strong, and the fourth is weak. The bars are divided among themselves by a line. The work is closed by a double line.

• The size- two numbers, located one above the other, standing at the beginning of the staff. The upper figure shows the number of durations in a measure, and the lower figure which prevails. The designation is located after the key and key signs. It is noteworthy that the indicator is duplicated only once at the beginning of the work, on the following lines you do not need to indicate the size again. The exception is a change to a new one.

Picture shows size 4/4 (four quarters)

Specifying quarters does not mean that only duration data will be used in the measure. Durations of different lengths can be used, but their sum should not exceed the size. Let's look at right and wrong examples.

It is worth considering that the sizes are simple, complex, mixed and variable.

The first simple group includes mainly two or three-beat sizes, in which there is only one emphasis on the strong beat. The most common sizes are two quarters, two half, two eighths, three quarters, three eighths and three half.

Complex sizes appear when two simple ones merge, usually they have an additional relative emphasis to the main emphasis on the strong beat. This group includes: four quarters, six eighths, twelve eighths, six quarters, etc.

Mixed constitutes a special category. They are formed from the connection of several simple unequal sizes to each other. The group includes units such as five quarters, five eighths, as well as seven quarters and seven eighths.

Variable metering is typical primarily for folk music, primarily for Russian folk songs. A striking example is the song "Vanya sat".

The popular four-quarter size is depicted as a capital C, so don't be intimidated by this designation.

• Pace Is a musical characteristic that determines the speed at which a musical instrument is played. Usually the tempo is placed at the beginning of the piece above the staff, and is written in Italian. There are three groups of slow, moderate and fast tempos. Depending on the value set, the piece may sound differently. Usually the tempo is set on a special device called a metronome. The higher the value, the faster the pace will be.

Additional signs

There are some notation marks that are actively involved in the formation of rhythm. If two notes that are at the same pitch level are lined up, then this means that the first sound should hold for a total amount of time. This is usually required to maintain grouping in complex sizes.

For example, let's take a size four quarters. It is complex and has one strong emphasis on the first beat and one relatively strong emphasis on the third beat. Thus, there should be notes on the first and third beats of the measure. To record the quarter, half and quarter rhythm, you must follow the basic grouping rules.

So if there is a dot after a note, then this increases its sound by exactly half. For example, a quarter with a dot is equal in sound to a quarter with an eighth.

Often, the dotted duration goes next to such a concept as the dotted rhythm. The term denotes a rhythmic figure consisting of a duration with a dot and its logical completion. So the most common options are quarter with a dot and eighth, eighth with a dot and sixteenth. Let's consider a musical example.

As you can see from the picture, the dotted rhythm is used mainly on strong or relatively strong beats of a measure.

Another of the additional signs can be called fermata.

This musical sign indicates that a performer can sustain a note marked with fermata for an unlimited amount of time.