Polyphonic work. Polyphony - what is it? Types of polyphony

Polyphony (from Greek. Poly - many; background - sound, voice; literally multifolithing) is a type of polyphony, based on the simultaneous combination and development of several independent melodic lines. Polyphony is called the melody ensemble. Polyphony is one of the most important means of musical composition and artistic expressiveness. Numerous techniques of polyphonies serve as a versatile disclosure of the maintenance of the musical work, the incarnation and development of artistic images. Polyphony can be modified, compared and combine musical themes. Polyphony relies on the patterns of melodics, rhythm, Lada, harmony.

There are various musical forms and genres used to create works of a polyphonic warehouse: a fugue, fugette, inventory, canon, polyphonic variations, in the XIV-XVIV. - Motet, Madrigal, and others. Polyphonic episodes (for example, Fugato) are found within the framework of other forms - larger, large-scale. For example, in Symphony, in the first part, that is, in a sophonal form, the development can be built under the laws of the Fugue.

The root feature of a polyphonic invoice, which distinguishes it from homophone-harmonic, fluidity, which is achieved by erasing the cesur, separating the constructions, the inconsistency of transitions from one to another. The voices of polyphonic constructions are rarely kalidated simultaneously, usually their kazdasses do not coincide, which causes a sense of continuity of movement as a special expressive quality inherent in the polyphony.

In polyphonies, 3 types of its varieties differ:

different (contrast);

imitation.

Polyphony - intermediate stage between monodic and polyphonic. Its essence is that all the voices simultaneously perform various options for the same melody. Thanks to the difference of options in multi-beams, the mergers of votes in unison and movement of parallel uninsions arise, then their discrepancies in other intervals. Bright example - folk songs.

Contrast polyphonia is the simultaneous sound of various melodies. There are voices with different direction of melodic lines, and differ in rhythmic patterns, registers, tones of melodies. The essence of the contrasting polyphony is that the properties of the melodies are detected in their comparison. An example is the Kamarinskaya Glinka.

Imitation polyphony - an unlimited, consistent entry of votes conducted by one melody. The name of the simulation polyphony comes from the word imitation, which means imitation. All votes imitate the first voice. Example - Invention, Fugue.

Polyphony - as a special type of multi-voice presentation - passed a long path of historical development. At the same time, its role was far from the same in certain periods; She agreed, it fell depending on the changes of the artistic tasks that put forward by one or another epoch, in accordance with the changes in musical thinking and with the emergence of new genres and forms of music.

The main stages of the development of polyphony in European professional music.

XIII-XIVB. Transition to more votes. Huge prevalence of three-chassis; The gradual appearance of four- and even five- and hexagonias. A significant increase in the contrast of jointly sounding voices. The first examples of simulation presentation and double counterpoint.

XV-XVIVV. The first in history of the heyday and the full maturity of the polyphony in the genres of choral music. The era of the so-called "strict letter", or "strict style".

XVIIV There are many polyphonic writings in the music of this era. But in general, the polyphony is postponed to the background, giving way to a rapidly developing homophone-harmonic warehouse. Especially intense the development of harmony, which is exactly at that time becomes one of the most important forms in music. Polyphony only in the form of various methods of presentation penetrates the musical tissue of opera and instrumental works, which inXVIIV. are leading genres.

The first half of the XVIIIV. Creativity I. S. Baha and G. F. Handel. The second in the history of music is the heyday of a polyphony based on the achievements of homophoneXVIIV. The polyphony of the so-called "free letter" or "free-style", based on the patterns of harmony and controlled by them. Polyphony in the genres of vocal and instrumental music (mass, oratoria, cantata) and purely instrumental ("HTC" Bach).

The second half of the XVIII-XXIIV. Polyphony is mainly an integral part of the complex polyphony, which it is subordinated along with homophone and heterophony and in which its development continues.

Literature:

Bonfeld M.Sh. History of music revealing: a manual at the rate of the "Fundamentals of theoretical Music Claim". M.: Vlados., 2011.

Uncle S. A., Uncle M. S. Analysis of musical works [Electronic resource]: electron. studies. benefit. Taganrog, 2010.

Nazaykin E.V. Style and genre in music: studies. Manual for students Higher. studies. establishments. M.: Vlados, 2003.

Basics of theoretical music science: studies. Location. For stud. Higher. MUZ. Ped. studies. Institutions / A. I. Volkov, L. R. Podjablskaya, T. B. Rosina, M. I. Royterstein; Ed. M. I. Routerstein. Moscow: Academy, 2003.

Holopova V. Theory of music. St. Petersburg., 2002.

Continuing our lessons on the theory of music, we gradually move to a more complex material. And today we will learn what polyphony, musical tissue, and what is the musical statement.

Music presentation

Musical tissue Call the totality of all sounds of the musical work.

The nature of this musical tissue is called texture, as well as musical outlining or letter warehouse.

• Monday. Mondia is a single-haired melody, most often it can be found in folk singing.
• Doubling. The doubling lies between one-sink and polyphony and represents the doubling of the melody to octave, the session or the policy. Also can double and chords.

1. Gomophony

Gomophony - consists of the main melodic voice and other melodically neutral votes. Often the main voice is the top, but there are other options.

Gomophony can be based on:

• Rhythmic contrast votes

• Rhythmic identity of votes (often found in choir singing)

2. Heterophony.

3. Polyphony.

Polyphony

We think you know the word "polyphony" itself, and perhaps you have an idea of \u200b\u200bwhat it could mean. We are all remembering the universal delight when phones appeared with polyphony, and we finally changed flat mono melodies on something more similar to music.

Polyphony - This is a polyphony based on the simultaneous sound of two or more melodic lines or votes. Polyphony is a harmonious merge of several independent melodies together. While the sound of several votes in speech will be chaos, in music such a sound will create something beautiful and caressing.

Polyphony can be:

2. imitation. Such a polyphony is developing the same theme that simulates the voice to the voice. This principle is based:

• Canon is a type of polyphony where the second voice repeats the first voice melody with a delay in tact or a few, while the first voice continues his melody. Canon can have several votes, but each next voice will still repeat the initial melody
• Fugue is the type of polyphony in which several votes sounds, and each repeats the main theme, a short melody that passes through the whole fugue. The melody is often repeated in a slightly modified form.

3. Contrast memory. In such a polfony, votes produce independent themes that may even refer to different genres.

Mentering above about Foug and Canon, I would like to show you more clearly.

Canon

Fuga to Minor, I.S. Bach

Strict style melody

It is worth staying on a strict style. Strict letter is the style of polyphonic music of the Renaissance (XIV-XVI Art.), Which was developed by the Netherlands, Roman, Venetian, Spanish and many other composer schools. In most cases, this style was intended for choral church singing A Capella (that is, singing without music), less commonly strictly met in secular music. It is to strict style that the imitation type of polyphony refers.

To characterize sound phenomena in the theory of music, spatial coordinates are used:

• Vertical when sounds are combined at the same time.
• Horizontal when sounds are combined to be blown up.

To make it easier for you to understand the difference between the free and strict style, let's look out of the difference:

Strict style is different:

• Neutral themes
• One epic genre
• Vocal music

Free style is different:

• Bright theme
• A variety of genres
• Combination and instrumental and vocal music

The structure of music in strict style is subject to certain (and, of course, strict) rules.

1. Melody need to start:

• with i or v
• with any counting share

2. The melody should end on the stage I stroke.

3. Moving, melody must be an intonational-rhythmic development that occurs gradually and may be in the form:

• repeat source sound
• return from the source sound up or down the steps
• intonation jump on 3, 4, 5 steps up and down
• moves on the sounds of tonic sober

4. It is often necessary to delay the melody on a strong proportion and use the syncopes (the shift of the accent with a strong share to weak).

5. Racing need to be combined with smooth motion.

As you can see, a lot of rules are quite, and these are only basic.

Strict style has an image of concentration and contemplation. Music in this style has a balanced sound and is completely deprived of expression, contrasts and any other emotions.

You can hear a strict style in Choral Bach "AUS Tiefer Not":

As well as the effect of strict style can be heard in late works of Mozart:

In the XVII century, a strict style was replaced by a free style, which we mentioned above. But in the XIX century, some composers still used a strict style technique to give an antique color and a mystical shade with their works. And, despite the fact that a strict style in modern music does not hear, he became the founder of the existing rules of compositions, techniques and techniques in music today.

French suite: №2 to Minor-Sarabanda, Aria, Menuet. Little preludes and Fugues. Letter.1: to Major, F Major; Tetr.2: D Major.

Selected works. M..1. Cost. and ed.l.Ruzisman: Allemandra Re Minor, Aria Sol Minor, three plays from tetradi V.F. Baha.

Handel G. 12 Lungy Pieces: Sarabanda, Liage, Prelude, Allemanda.

Selected works for piano. Cost. and ed. L. Troyzan.

Six small fugues: №1 to Major, No. 2 to Major, No. 3 D Major;

Large form:

Gendel G. Sonata to Major "Fantasy". Concert Fa Major, Part 1.

Graceings of Sonata Salt Major.

Clement M. Op.36 Sonatina Re Major, Part 1. Op.37 Sonatina: Mi-Bf Major, D Major. Op. 38 Sonatine: Sol Major, Part 1, Si-Bf Major.

Martini D. Sonata Mi Major, Part 2.

Reineke K. Obs.47 Sonatina №2, Part 1. Ryginskaya Yu. Rondo (Collection of pedagogical places of Ukrainian and Soviet composers).

Schuman R. Op.118 Sonata Sol Major for Youth, Part 3, Part 4. Sonatas, Sonatina: La Minor, Si-Bf Major.

Kethebelt D.rono to major.

Pieces:

Berkovich I. Ten lyrical Pieces for Piano: Ukrainian Melody (№4). Beethoven L. Allemanda, Elegy.

Dargomyzhsky A. Wals "Tabakcoque".

Tubrionas B. Little Suite: Waltz La Minor.

Kyu C. Allegretto D Major.

Ladukhin A. Op.10, №5, play.

Prokofiev S. Og.65. Children's music: Fairy tale, walk, procession of grasshoppers.

Rakov N. 24 Pieces in different tones: Snowflakes, sad melody.

Memeners: Waltz Fa-Dieze Minor.

8 plays on the theme of Russian folk song: Waltz Minor, Polka, Tale of La Minor.

Ashpai A. "Quail"

Etudes:

Bertini A. 28 Selected Etudes from Op.29 and 42: №№ 1,6,7,10,13,14,17.

Geller S. 25 melodic etudes: №№ 6,7,8,11,14-16,18.

Zhubbinskaya V. Children's album: Etude.

Luck T. 20 Selected Etudes from Op. 75 and 95: №№ 1,3-5,11,19,20.

Leshgorn A. Op.66.Teyda: №№ 6,7,9,12,18,19,20. Op. 136.Chokol fluity. Tetrov.1 and 2 (optional).

Selected Etudes of foreign composers for piano. N.5 (optional).

Selected etudes and plays of Russian and Soviet composers. Tetr.3 (optional).

Forms and methods of control

Certification:

Assessment of the quality of the implementation of the "Piano" program includes current supervision control, intermediate and final student certification. Academic concerts, listening, technical standings can be used as the current monitoring of academic performance.

1. Material and technical conditions for implementing the program

The material and technical conditions for the implementation of the Music Hearing Program should provide the opportunity to achieve students established by these federal state requirements.

The material and technical base of the educational institution must comply with sanitary and fire provisions, labor protection standards. The educational institution must comply with the timely time of the current and overhaul.

The minimum necessary for implementation within the program "Listening Music" The list of audiences and logistical support includes:

training audiences for melographic classes with piano;

educational furniture (tables, chairs, racks, cabinets);

visibility-didactic means: visual methodological manuals, magnetic boards, interactive boards, demonstrative models;

electronic educational resources: multimedia equipment;

room for phono, video school (class).

The educational institution should create conditions for maintenance, modern maintenance and repair of musical instruments.

Creative Mester "Music Without Borders"

piano

Head

Yulia Gennadievna Tuyugashev
Methodical development "Principles of work on polyphonic works in the piano class of deh"

1. Entry.

For general musical education, students of children's music school, the development is extremely important. polyphonic hearing. Without ability to hear all the musical fabric work, follow during the game for all lines of musical outlines, their coordination, coencing each other, the performer cannot create a artistic full image. Whether the student is playing homophone harmonic or polyphonic playHe always needs to understand the logic of the movement of elements of invoice, find the main and minor line, to build a musical perspective of different sound plans.

2. Views polyphonies.

With elements polyphonies Students are already facing the initial period of study. Need to know what kinds are polyphony and what is their essence. « Polyphony» - Greek word. Translated into Russian it means "polyphony". Each Voice B. polyphonic Music is melodically independent, so all the voices are expressive and planar.

Podicide view (polyphony Russian songs) At the heart - the development of the main voice (in the song - Seveva). The remaining voices of his branch more or less independent. They contribute to an increase in the overall mission of melodic development (a new example Rus. Nar. Song "And I'm on the meadow").

Contrast polyphony based on the development of independent lines for which the generality is not characteristic origin from one melodic source (Bakhovskiy writings). On the fore, one is one, then another voice (a tight example I. Bach "Minuet")

Imitation polyphony Based on a consistent conduct in various voices, or the same melodic line (canon, or one melodic passage - themes (Fug). All voices are generally equivalent, but in a fug (Variety of Fugette, Invention) - the leading role in the voice with the topic, in the canon at the vote containing the most individualized part of the melody (a new example I. Bach "Two-eye Invention" Re Minor).

3. Work principles Over various types polyphonies in the younger class of deh.

For beginners, the most intelligible educational material is the melodies of children's and folk songs in one-haired arrangements. Songs need to choose simple, but meaningful, with bright intonation expressiveness, with a clear climax. Next are attracted purely instrumental melodies. Thus, in the center of attention of the student of the melody that must first be felt first, then expressively play on piano. First work is carried out over polyphonic treatments Folk songs of the Podonic Warehouse. Tell: I started the song sainted, then picked up the choir ( "Podonic", Variating the same melody. It is necessary to divide the roles. The student sings and plays a spawn, teacher-choir party on piano. Then to change the roles, having learned all the voices by heart. The student feels an independent life of each party and hears the whole play entirely, combined both votes. Further, both parties play a student, it creates a figurative perception of votes. Also learned a number of other Pieces of Podpo polyphonies. The concept of imitation should be disclosed on the examples of an affordable student. "On a green meadow ..." Pumping repeats the octava above - as "echo"The melody plays a student, an echo teacher, then the opposite. This is especially useful when imitation is accompanied by a melody in another voice. Immediately teach the student to clarity in alternate votes and the clarity of their holding and end. Upper voice - F, echo - p, i.e., a contrast dynamic embodiment of each voice is necessary. In order for the student to hear not only the combination of two votes, but also different painting them. After mastering a simple imitation (repetition of motive in another voice) begins work Over the plays of the canonical warehouse, built on a strint imitation, which comes to the end of the melody imitated. It is already simulated not one phrase or motive, but all phrases to the end work. Overcoming this new one polyphonic difficulty - working in stages:

First, rewrite the play in simple imitation, setting the pause in accordance with the appropriate voices;

Then the whole text is played in the ensemble, but already in the author, then the student itself plays everything. Then this exercise can be played by hearing from different notes. What makes a student for myself? He gets used to polyphonic textureClearly aware of the melody of each voice, their vertical ratios. She sees, captures inner hearing incisiveness in time of identical motives. It hears the imitation entry, the combination of it with the same phrase, which is mimic, and the connection of the end of imitation with the new phrase. This the work is very importantsince the strint imitation in polyphonies Bach takes a great place. Lungs polyphonic plays I.. Bach Is. "M. Tetradi A. M. Bach"- the most valuable material, it actively develops polyphonic thinking student, brings up a sense of style and shape. IN work on polyphony Keep maintenance principles of work on the work. Feature polyphonies - the presence of several at the same time sounding and developing melodic lines, hence the main task-ability to hear and conduct each voice polyphonic Development separately and the entire totality of votes in their relationship. In a two-voice essay it is necessary work Above every voice - to be able to lead it, sense the direction of development, intonate well. When studying polyphonic Pieces Main Work It is carried out over the singer, intonation expressiveness and independence of each voice separately. Independence of votes indispensable trait of any polyphonic workand she manifests itself in next:

2. Different, almost anywhere does not match phrase;

3. Missing strokes;

4. Missing climax;

6. Missing dynamic development.

The speaker in the plays of the Baha is aimed at identifying self-independence. His polyfonies are peculiar to polydamics And first of all it is necessary to avoid dynamic exaggerations. Feeling measures in dynamic changes - it is necessary for the convincing and stylish execution of the Bach music. The peculiarity is that the compositions of the Bach do not tolerate the nuance of nuance. Possible long-term increases, significant climax, large constructions, performed in one plan of sound or comparison of contrasting partitions, but not constant shift of paints. Often dynamic increase in the subject occurs in motivateslike in steps. Be sure to pay attention to the special buildings of the motifs of the Bach. They begin on a weak share of the clock, and end in a strong one. How would we wear intensity, the borders of the motive do not coincide with the borders of the tact. Dynamic pathos, significance inherent in Bach cadents, especially if the melody develops in the sound of F, this applies to the Kadansham in the middle work. Bryudo revealed a distinguishing feature of the boach style - this is a contrast in articulating neighboring durations, that is, the minor durations are played by Legato, and larger-non-legato and staccato, depending on the character of the play (there are exceptions to Menuet D-Moll, all Legato -Charkter of the song warehouse, Braudo called it "Reception of eights".

4. Frequently found shortcomings when playing polyphonic Pieces.

Frequent disadvantages when playing polyphonic plays in thatthat the student throws the sound of this voice, he does not hear his connection with the entire melodic line, and does not translate it into the next melodic passage, voice. Sometimes, it withstands some kind of sound and does not compete with its fading sound with the subsequent force, the sound line is disturbed, the expressive meaning is lost. In a two-voice essay, it is necessary seriously work on every voice, To be able to lead it, feeling the direction of development, well intonate and controversial to apply the necessary strokes. It is necessary to feel and understand the expressiveness of each voice and when they are joint sound. The student should be known that in different vice, in accordance with their expressive meaning and melodic pattern, phrazing, character of sound, touches can be (and often) quite different. This requires not only attentive listening, but also special work. It is necessary to be able to play a memory every voice, which will help him with the right auditory perception and execution. The overall sound will put the task and timban detection of the sound line before the student.

5. Features works on polyphony in senior class of deh(polyphony).

In polyphony work The difficulty increases, as not here two, but more votes. Caring for the accuracy of voice science makes it particularly carefully referring to the applicature. The most difficult constructions requiring good legato. It is necessary to use complex application techniques - a silent substitution for maintaining votes, "Shooting", "slip". A new difficulty appears, this is the distribution of the average voice between the batches of the right and left hand. The accuracy and smoothness of the vote will be largely dependent on the application.

In polyphony works Knowing each voice for memory from the beginning to the end is completely optional, although it is advisable in some cases. Acceptable such a way work: After reviewing the writing, to disassemble it, carefully, each part, having sacrificed complex constructions, analyzing their structure. Each such construction is disassembled by votes, play separately due appliqué, faithful phrase and accurate strokes. Next, move to a combination of different votes and then already to full polyphony. The same work spend over the next section, and so disassemble everything composition. And then return to what it seems the most difficult. It is useful to accustom to listen to the conversation of votes to catch vocal speech intonations; ATTENTION DEVELOPMENT OPPERATES OF THE SOUND OF EVERY VOICE is one of the requirements for execution. polyphonies.

In the future, all the time to return to the most difficult places and play voices separately, especially where in one party there are two or three voices to keep accuracy in the vote.

For understanding polyphonic work It is necessary to imagine his shape, the topic and its character, hear all its holding. Need large work Over the first topics of the topic - the main artistic formation. You need to know whether there are strint topics in the increase in circulation. Represent a melodic pattern and the nature of the anticatch, to know withheld it or not. Teach them first separately, then in combination with the theme. Also applies to intermediates, to know on what melodic material they are based. Remove cadenceal speeds, their role. To be able to hear not only the horizontal, but also the vertical, that is, the harmonic basis arising from the combination of melodic votes. When learning, first play with saturated sound, it should be good, it can clearly sound the whole musical tissue.

6. Conclusion.

Before the teacher, engaged in learning, any degree of preparedness always stands serious a task: Teach Love polyphonic music, understand her, with pleasure work on a polyphonic work. Polyphonic method of presentation, artistic images polyphonic worksTheir musical language should be for students familiar and understandable.

Mastering polyphony Much gives student: Riselines hearing, timbreous diversity of sound, the ability to conduct an inlet melodic line, brings up the skill of Legato execution, produces accuracy, sound chanceliness, develops a special obedience, the flexibility of the brush and fingers in combination with sound definition.

Development of full perception polyphonies unthinkable without the music of Bach, which combines the features like polyphonicand homophone harmonic thinking. The most striking themed and clear logic of Baha will serve as a starting point for dating children with polyphony.

I think that polyphonic Music is affordable and interesting for young musicians, and it should be mastered from the initial stage of learning the game tool.

7. Musual examples.

8. Literature.

1. A. Alekseev « Methods of learning game for piano»

Moscow. "Music".1971

2. N. Kalinina "Bach's key music in piano class»

Leningrad. "Music". 1988

3. I. Braudo. "On the study of keyboard works of Bach in a music school"

Moscow. « Classic XXI.» . 2001

Promotion to the world of polyphonic music is an indispensable condition for the harmonic development of a musician of any specialty, including a pianist. The study of Baha's creativity is one of the most difficult problems of musical pedagogy.

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Municipal educational institution of additional education

"Children's Music and Choral School named after G. Struve"

Report

"Polyphonic works I.S. Bach in junior classes »

Amounted to:

Teacher

Mooudo "DMHSH them. Struve "

Kuleshova S.S.

zheleznogorsk

2016

Genuine attachment to the world of polyphonic music, whose vertex is the creativity of I.S. Bach, is an indispensable condition for the harmonic development of a musician of any specialty, including a pianist.

It is generally recognized that the study of the Bach is one of the most difficult problems of musical pedagogy. Indeed, many obstacles are on the way to expressive and stylisticly correctly executing the music of the Great Composer.

The fate of the Bakhakhov writings was unusual. Not appreciated during his life and at all forgotten after his death, the author was recognized as a brilliant composer after at least three quarters of the century. But the awakening of interest in his work occurred already in sharply changed cultural and historical conditions, during the rapid development of piano music and domination in it romantic style. It is not by chance that the product of the composer was interpreted at this time from the standpoint, absolutely alien to his art. The modernization of Bach's creativity on the manner of romantic music of the 19th century became almost legalized. Tribute to this tradition gave K. Cherniy and many other musicians. A new attitude to the work of the Bach, marked by the desire to free him from alien impurities and transfer his genuine appearance, was only at the end of the 19th century. Since then, the study of the composer's musical heritage was delivered to a solid foundation for scientific and historical analysis.

The art of Bach has grown on the basis of sustainable traditions and is subject to the strict system of laws and rules. But this does not mean that the compositions of the composer do not need an original, individual interpretation. The desire to fulfill the Bach in a new way, if it is expressed in the search for stylistically faithful paints, you can only welcome. The nature of the key compositions of the Bach is such that without the active participation of intelligence, their execution is impossible. They can become an indispensable material for the development of musical thinking, to educate the initiative and independence of the student, moreover, the key to understanding other musical styles.

The initial years of training in the children's music school have such a deep impact on the student that this period is fairly considered to be the decisive and most responsible stage in the formation of the future pianist. It is here that the interest and love of music are brought up, including the polyphonic.

The best travel thread in the world of music for the child is the song: A first-grader willingly sings familiar songs, listening to his play with interest that the teacher plays him. Melodies of children's and folk songs in the lightest one-haired arrangement for piano - the most intelligible training material for beginners in its content. Songs should choose simple, but meaningful, characterized by bright intonational expressiveness, with a clearly pronounced culmination. Then the instrumental melodies are then gradually attracted. Thus, from the first steps to the point of attention of the student, the melody is set, which he from the beginning sings expressively, and then learns to "sing" to the piano as expressively. Singing the design of single-haired songs-melodies is further transferred to a combination of two of the same melodies in light polyphonic plays. In the naturalness of this transition, the key to preservation of interest in the Polyphony in the future. The polyphonic repertoire for beginners constitutes light polyphonic treatment of folk songs of the Podonic warehouse, close and understandable to children in their own content. In such plays, the lead voice, as a rule, the upper, the lower (Podonic) only complements, "paint" the main entrance. An example is the plays: "Oh, you, winter-winter", "on the mountain, mountain." Here you can introduce students with the necessary techniques of work on the polyphony (the student plays one voice, the teacher is another, one voice will go, the other is performed on the piano). Playing with a teacher in the ensemble alternately both parties, the student not only clearly feels an independent life of each of them, but he also hears the entire play in the simultaneous combination of both votes.

Working on the grain type of polyphony, the student from the first years of study parallel to meets the miniatures of the dance genre of composers 17-18B. The repertoire can for this can be found in the collections of light vintage plays edited by N. Yurovsky, in the collection edited by S. Lyakhovitskaya. In the plays of such a genre, the techniques of contrasting polyphony are used, which makes them popular in the pedagogical repertoire. The presentation is usually two-way, the main melody leads the upper voice, always diverse on articulation, rhythm, intonation. The lower voice is less expressive in an intonational relation, but has an independent line. These short plays are distinguished by grace and completeness. They raise a sense of style, produce meaningful execution of strokes, independence of hands, prepare students to a more complex classic polyphony. As examples of such plays, the following can be brought: B. Goldenveyor "Piece", J. Arman "Pieces", N. Dauga "Lullaby". Pieces of vintage composers are included in various schools and advantages. Do not pass by these little masterpieces. On them, the student takes a step towards the execution of more complex polyphonic Pieces I.S. Bach.

Further acquaintance of students with contrasting polypheus continues a invaluable collection of plays from the "Nota Notebook Anna Magdalen Bach". The collection consists of different plays (menuets, polonesa, marches) and is focused on the degree of difficulty in 2-3 class DMSH. The plays are distinguished by wealth and variety of melodies, rhythms, are different in mood. I especially want to highlight menuets. Some of them are graceful, cheerful, other thoughtful, sad, other are distinguished by flexible, singing melodies. All the plays of the collection help to produce a meaningful, expressive execution of strokes, to achieve a contrast characteristics of votes, to achieve unity of the form. Before starting the passage of the plays, it would be nice to introduce a student with a history of creating a collection, as applied to the children's perception to tell about the old dances - where, when they were dancing, they reflected those or other movements of dancing (deep bows, squats, reneursions). It should be noted that all the dances are built on domestic material and were intended for training purposes. It must be remembered that it is on such plays that a solid, consistent preparation for the understanding of the boach melodies, intonations, strokes is being built. Therefore, teachers should seriously consider the study of this collection.

What a teacher should know.

1. Setting the play, the teacher must be sure that she forces a student that he would understand her meaning.
2. Before you give a task to disassemble the play, you need to check the applicature, strokes, phrazing leagues.
3. Plays play several times. Disclose its content, determine the nature, direct the attention of the student to the difference in melodic lines in the party of the right and left hand. Then explain the phrase and the articulation of each voice. After that, start disassembled text in the class. Without parsing in the lesson, without detailed explanation to set an independent analysis is not yet appropriate.
4. In the next lesson, the analysis of the first half of the play is checked. The teacher draws attention to the exact and expressive execution of the strokes, singeliness of sound.
5. The simultaneous sound of two votes, the student must hear in an ensemble game with a teacher, which makes it possible to perceive the fighter.
6. Do not hurry to connect two hands. The student must competently and freely play every voice.
7. No matter how well I did not play a pages of a play, he should play separately each voice, otherwise it often disappears the relief of votes.

Having passed a row of plays from the "music notebook", the student meets the simplest manifestations of polyphonic thinking. The auditory base begins to form here, coordination of hands is being established. At the initial stage, the main thing is not to rush, move gradually, since only the consistent complication of the text develops skills. Each task must be set and understandably a student. It is desirable thoughtful, individually pick up a polyphonic repertoire, it often plays a decisive role in the development of interest in the polyphony. It must be remembered that work on the polyphony should be carried out systematically, and not from the case of the case, and not forget about the methods of working on it.

Working on the Bach Polyphony, the teacher must talk about the existence of various editions. It should be understood that none of them is mandatory for execution. Entrepreneurs should be considered as one of the possible interpretation options for text. From the editors of the "Notice Tetradi", the following can be noted: A. Lukkomsky. "I.S.Bach. Twelve little plays. " The advantage of it is the leagues noting the variety of strokes, good appliqué. The editorial office of L.I. Troyzan is the only full Soviet edition of the "Notice Notebook". The main advantage is the exact author's text, almost all performing instructions correctly reflect the nature of Bach's creativity. Each play is supplied with verbal explanations. And the main advantage of this edition was the table of decoding table found in the plays of the collection of melisms, which I.S. Bakh entered the book to the son of Wilhelm Friedeman. The editorial office of B.Bartoka is the Hungarian edition of thirteen plays from the "notable notebook", where not everything can be recommended. Despite the excellent phrase, the editor somewhat romantizes the character of the plays. The editorial office of I.A.Budo is a wonderful allowance for studying the musical language I.S. Bach. In his "polyphonic notebook" includes eight dancing. They are dynamically marked with each voice, cesuras between phrases, motifs are denoted by a screet, the applicature is convenient. All melms are decrypted at the end of the collection, there is also explanations for each play. The pace indicated for each play is indicated by metro.

When working on the Baha polyphony, students are often found with Melimamm, this inalienable attribute of music is 17-18 centuries, in which ornamentics was an essential artistic and expressive agent. The fact that the Bach attached to her, is evidenced by its preface to its own essays. In them, he placed tables with decoding melodes. When looking at the table, three points rush: 1) to fulfill the Melimmons BAC recommends (for individual exceptions) due to the duration of the main sound; 2) All melms begin with an upper auxiliary note (except crushed Mordent); 3) Auxiliary sounds in Melmes are performed on the levels of the diatonic gamut, not counting the cases when the alteration sign is specified by the composer itself - under the sign of Meliamma or above it. Only thoroughly studying the basic techniques of executing 17-18 centuries, it can be found as a result and its own stylisticly faithful interpretation of mulishes.

In conclusion, I would like to say that the creativity of Bach in its very nature is directly addressed to our intellectual sphere. To understand the polyphonic works of the composer, special knowledge is needed, a rational system of their assimilation is needed. And from how the teacher will present this knowledge, what methods in the work on the polyphony will be used, the perception of this difficult-style student in music. Studying the plays from the "notebook Anna Magdalen Bach" is the first step on the way to more complex works of Bach, such as "small preludes and fugues", "Invention and Symphony", "well-tempered key".

Bibliography.

1. Barenboim L.A. Piano pedagogy. M.: Publishing House "Classic - XXI", 2007. - 192 p.
2. How to teach playing the piano. First steps / Sost: S.V. Roars. M.: Publishing House "Classic - XXI", 2006. - 220 s.
3. How to perform Baha / Sost: M.S. Tolstobrov. M.: Publishing House "Classic - XXI", 2007. - 208 p., Il.
4. Kalinina N. Keyful music of the Bach in the piano class. 2nd ed. L.: Music, 1988. - 160 s., Notes.