Working with a homogeneous ensemble of Russian folk instruments. Methodical development of Dorchenkova E

Municipal budgetary institution

Additional education

"Children's Art School named after A.M. Kuzmin"

Report on the topic:

« Working with a mixed ensemble of Russian folk instruments»

Performed:

teacher

Kolomiets I.V.

city ​​of Megion

Modern trends in the field of performing on Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonic societies and palaces of culture, in various educational institutions. Hence the need for purposeful training of the leaders of the respective ensembles at the departments and departments of folk instruments of musical schools and universities of the country.

However, the education of the ensemble in educational practice, as a rule, is associated with certain limitations. Teachers are usually instructed to lead homogeneous ensembles: accordionists - ensembles of button accordions, domrists or balalaika players - ensembles of stringed plucked folk instruments. Compositions of this type have become widespread in professional performance. Suffice it to recall such renowned ensembles as the accordion player trio A. Kuznetsov, Y. Popkov, A. Danilov, the accordion player duet A. Shalaev - N. Krylov, the Ural trio of accordion players, the Kiev Philharmonic Quartet, the Skaz ensemble, etc.

Undoubtedly, working with homogeneous ensembles - duets, trios, accordion quartets, trios, domras quartets and quintets, balalaika unison, etc. - is very important. Nevertheless, the described restrictions in the activities of teachers of schools and universities impede the full-fledged training of young specialists, since in fact graduates of music schools very often face the need to manage mixed ensembles. Most often, the latter consist of stringed instruments and a button accordion. Classes with such groups should become an organic part of the educational process.

Starting to work, a modern teacher is faced with inevitable difficulties: first, with an acute shortage of methodological literature on mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original compositions, transcriptions, arrangements, proven by concert practice, and taking into account the various levels of training and creative directions of the indicated compositions. Most of the published methodological literature is directed to academic chamber ensembles - with the participation of piano bowed instruments. The content of such publications requires significant adjustments, taking into account the specifics of folk ensemble music-making (see, for example,).

Collective play on musical instruments is a powerful means of educating and teaching children about musical creativity. Playing in an ensemble disciplines, develops a sense of responsibility, activates musical abilities, includes in work and trains mental mechanisms responsible for subtle nervous activity.

In each school, you can find 8-10 students who have musical instruments at home. It can be a button accordion, accordion, accordion. You can look for tools for the game from relatives, acquaintances, neighbors. My experience in creating children's orchestras of folk instruments allows me to say that there is always a sufficient number of instruments. Moreover, almost rare museum specimens of button accordions, accordions, accordions emerge from storerooms and attics. Of course, many instruments require serious repair, but that's another story.

So, from children who have musical instruments and want to learn how to play them, an instrumental ensemble is created.

After the minimum composition of the future team has been selected, children with instruments and preferably with their parents are invited to the first lesson. In the introductory lesson, the leader sets tasks for the children, explains teaching methods, sets the team up for work, focusing on the systematicity of classes, and a conscientious attitude to homework. Naturally, for the creation of such a team, a solid theoretical base is needed, in which everything is planned, scheduled, put on shelves.

It is good if the leader has an orchestra (ensemble) program with thematic planning and repertoire applications. Such a program is the basis of any education, and not a tribute to fashion. Guided by the provisions of this document, the teacher will be able to clearly establish, organize the rehearsal and concert activities of the collective. At the very first lesson, the leader talks about the musical instruments that will be part of the ensemble, demonstrates their capabilities. Of course, the leader must be fluent in these tools. After discussing the schedule of classes and solving the organizational issues that have arisen, you can proceed directly to the game. Here's what to learn in your first lesson:

1. Correct fit and position of fingers on the keyboard.

2. Extracting individually and collectively the "C" notes.

3.Playing the "C" note under the metronome at different tempos and with different durations.

4. Rationally - correct operation of the fur when extracting sound.

And let this first meeting drag on, let the children understand that “not gods pots” burn pots, that learning to play the button accordion, accordion, accordion is quite real.

For a more complete mastery of the instrument by children, the leader must plan and organize individual lessons. They should not be limited only to learning the works. Here you can understand questions of music theory, methods and prima of work of novice musicians with instruments. This also includes all kinds of exercises for the development of ear for music and a sense of rhythm. And a prerequisite - individual lessons should not be boring, routine.

In organizing an ensemble of accordion players, I used the undeservedly forgotten method of teaching to play the instruments "from hand". This method worked productively in ancient times. After all, almost all musicians playing folk instruments in the late 19th and early 20th centuries learned to play balalaikas, domrahs, accordions from the hands of a teacher or an experienced musician.

The famous musician - populist V. Andreev used a similar technique successfully. His pupils quickly and efficiently mastered the instruments, conducted intensive concert activities, and achieved the highest skill. Naturally, they involuntarily had to subsequently study the theory of music. But the beginning was laid precisely with copying the teacher's game.

Learning to collectively play musical instruments "from the hand" is good because the members of the ensemble very quickly intercept the melodies, manner, passages, accents of the teacher. And literally in 2-3 lessons they play their games quite freely and steadily. This is an excellent incentive to move forward. After all, the result of his labors is very important for a child. And in this case, the result is obvious: from simple sounds, uncomplicated parts, as a result, a melody was assembled, which sounded wide, freely, melodiously. Each member of the ensemble hears well both the general and his own game. All this concentratedly develops the musical abilities of children.

But what about musical notation? We will return to it later. And children will perceive it as a necessity, as a real and powerful tool for mastering the button accordion. And after they play in the ensemble "from hand", it will be easier for them to cope with the "squiggles" of musical notation.

So, children with tools sit on chairs in a semicircle at a distance of about 50 cm from each other. This distance is necessary so that the teacher can have circular access to each musician (front, back, side). And you will have to move a lot.

We begin to learn a new piece. The members of the ensemble are seated strictly according to the parties. The teacher stands behind the back of the first accordion player and shows the initial measure of the piece being learned. The show is repeated at a slow pace several times. The student repeats what he has heard and seen, learns a fragment of a given melody. At this time, the teacher passes to the second student and, by analogy with the first, shows what and how to play in a given segment (bar). After showing the playing of the first measure, all members of the ensemble (in parts), the leader returns to the first participant, repeats what he has learned, correcting mistakes. It is checked in advance for everyone in turn. Then the ensemble is given time, 2-3 minutes to memorize their parts.

If one measure of the piece is learned by all the participants without mistakes, the teacher offers to play the learned collectively, while he himself plays the main melody and the part of the left hand.

The learned fragment of the work is repeated by the ensemble several times for consolidation. At this stage, the teacher monitors the fit of the students, the movement of the fur, the position of the fingers, the accuracy of the parties.

A similar work is carried out with subsequent measures until the very end of the piece.

As you can see, there is nothing complicated. Any music teacher at school can organize such an ensemble or even an orchestra that will play pretty well in a couple of months.

Good luck! Listen at your leisure:

Modern trends in the field of performing on Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonic societies and palaces of culture, in various educational institutions. Hence the need for purposeful training of the leaders of the respective ensembles at the departments and departments of folk instruments of musical schools and universities of the country.

However, the education of the ensemble in educational practice, as a rule, is associated with certain limitations. Teachers are usually instructed to lead homogeneous ensembles: accordionists - ensembles of button accordions, domrists or balalaika players - ensembles of stringed plucked folk instruments. Compositions of this type have become widespread in professional performance. Suffice it to recall such renowned ensembles as the accordion player trio A. Kuznetsov, Y. Popkov, A. Danilov, the accordion player duet A. Shalaev - N. Krylov, the Ural trio of accordion players, the Kiev Philharmonic Quartet, the Skaz ensemble, etc.

Undoubtedly, working with homogeneous ensembles - duets, trios, accordion quartets, trios, domras quartets and quintets, balalaika unison, etc. - is very important. Nevertheless, the described restrictions in the activities of teachers of schools and universities impede the full-fledged training of young specialists, since in fact graduates of music schools very often face the need to manage mixed ensembles. Most often, the latter consist of stringed instruments and a button accordion. Classes with such groups should become an organic part of the educational process.

Starting to work, a modern teacher is faced with inevitable difficulties: first, with an acute shortage of methodological literature on mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original compositions, transcriptions, arrangements, proven by concert practice, and taking into account the various levels of training and creative directions of the indicated compositions. Most of the published methodological literature is directed to academic chamber ensembles - with the participation of piano bowed instruments. The content of such publications requires significant adjustments, taking into account the specifics of folk ensemble music-making (see, for example,).

This article describes the basic principles of working with a mixed quintet of Russian folk instruments. At the same time, a number of practical tips and recommendations, expressed below, apply to other types of mixed ensembles.

The main problem solved in the process of working with these groups is to determine the optimal timbre, loudness-dynamic and dashed ratios of string instruments and button accordion (based on the mismatch of sound sources, methods of sound production and different acoustic environments).

Timbres instruments are among the most striking means of expression in the arsenal of a mixed ensemble. From the diverse timbre ratios that arise during the performance, it is possible to single out the autonomous characteristics of instruments (pure timbres) and combinations that arise when sounding together (mixed timbres). Clean Voices are typically used when a melodic solo is assigned to one of the instruments.

It should be emphasized that the sound of any instrument contains many "internal" timbres. For strings, one should take into account the timbre "palette" of each string, which varies depending on the tessiture (the peculiarities of the sound of a certain section of the string are meant), the discrepancy of timbre at various points of contact with the string (pick or finger), the specifics of the material from which the pick is made (nylon , leather, plastic, etc.), as well as the corresponding potential of a variety of performing techniques. The button accordion has a tessitouristic heterogeneity of timbres, their relationship on the right and left keyboards, timbre variation with the help of a certain pressure level in the fur chamber and various ways of opening the valve, as well as loud changes.

To highlight the timbre of one of the stringed instruments - members of the ensemble - it is recommended to use register combinations, which are available in a modern ready-to-select multi-timbral button accordion. The timbre fusion of the button accordion with accompaniment instruments is provided by one-part and two-part registers. Any polyphonic combinations of registers, which, in an ensemble with strings, provide the necessary timbre relief, contribute to the "underlining" of the accordion timbre, depending on the peculiarities of the texture.

The ensemble is formed from students 10-14 years old, in the amount of 15-20 people. Also allowed are children of elementary grades who are making progress in mastering a special instrument and showing a desire to participate in the ensemble. Instruments included in this ensemble: button accordion, prima balalaika, bass domra; ocarina, recorder, kugikly; spoons, ratchet, ruble, triangle, kokoshnik, etc.
The leader of this ensemble must possess the basic skills of playing all the instruments that make up the ensemble, as well as master the skills of writing and reading orchestral scores.
When distributing students according to instruments, it is necessary to take into account their abilities, desire, and temperament characteristics. Instruments such as the button accordion, the prima balalaika, the bass balalaika, the bass domra, as well as the horn and zhaleika are better for boys to master, and the flute, ocarina, recorder and kugikly are more suitable for girls. Percussion instruments are mastered by students of the aesthetic department, since this group of instruments is very easy to learn and does not require additional lessons. The variety of percussion instruments, the variety of colorful techniques for playing them, arouses interest in classes in the ensemble, even among students with different musical abilities. These classes in a team of professional orientation for students of the aesthetic department create additional conditions for classes, concert performances, this stimulates the desire to study music, increases interest in folk musical creativity.
At the initial stage of learning a work, small-group lessons (from 2 to 6 people) can be conducted, while uniting students playing similar instruments (groups of balalaikas, button accordions, pityers, pipes), and individual work with a student is also allowed for a thorough and detailed analysis of the parties. In the course of such a lesson, the teacher must acquaint students with the instrument, the basics of landing, the formation, and the basic techniques of the game. It is very important to pay special attention to the percussion instrument group, as they are the rhythmic basis of the ensemble. For a group of percussion instruments, it is useful to work with exercises to master various rhythmic patterns.
After small-group rehearsals, the leader organizes summary rehearsals of the entire ensemble, in which all participants perform their parts. At the first consolidated rehearsals with the ensemble, it is recommended to start work with simple exercises for mastering the instruments, for example: exercises set out in long durations to work on even sounding and balance in the ensemble, exercises are not rhythmically complex using various strokes. From the very first rehearsals, you should pay attention to the correct execution of strokes, work out in groups, achieving unity of performance. Exercises should also be selected separately for each instrument, aimed at learning a specific playing technique. For convenience, it is recommended to divide the works into small parts, most often these are periods, and designate them with numbers so that there is no confusion when working on a separate part of the piece being studied.
In the process of each rehearsal, the leader must set specific goals and use different methods of work, based on what stage the work on a piece of music is at.
The work on a piece of music must be divided into several stages: sight-reading, analysis, work on difficult places, learning and a concert performance. It is also necessary to remember about the peculiarities of ensemble playing: precise execution of techniques and strokes, rhythmic evenness, simultaneous sound taking, balance between instruments, or between a soloist and an ensemble.
In order to properly build the educational process, it is necessary to take a responsible approach to the choice of educational material.
When choosing works, it is necessary to pay attention to their accessibility for students, interesting content and new techniques of playing; it is also recommended to include in the program a piece with a soloist, thanks to which the skill of vocal and instrumental ensemble playing develops. It is advisable to use works of different genres.
The repertoire list is not exhaustive. The leader can supplement it with folk arrangements, works of different genres in his own arrangement.
In the last year of study, a short theoretical course on the history of performance on Russian folk instruments was introduced, for which 0.25 hours are allotted (this time can be changed at the discretion of the teacher).
Concert performance is an integral part of educating a full-fledged musician. Such events unite the team even more, foster a sense of responsibility in children.
This type of music-making is interesting for children, it allows them to feel the spirit of Russian culture, to love and respect their country.

General rehearsals of the orchestra are one of the main forms of educational and creative work of the collective. The placement of performers is important for the successful work of the team. Chairs and music consoles are placed in such a way that the conductor can clearly see each of the orchestra members and he himself can be seen by them.
The rehearsal begins with a careful tuning of the instruments, always carried out with the same instrument (button accordion or oboe). Duration of rehearsals is two to three hours, after every 45-50 minutes of work there is a break.

The pace of the rehearsal is important. It is recommended to avoid unnecessary stops that discourage and tire the orchestra and lead to a loss of creative interest in the piece. Stopping during rehearsal should always be justified. Having stopped the orchestra and waited for silence, the conductor addresses the performers, avoiding verbose explanations, speaking in an accessible language and quite energetically.
Analysis of difficult pieces, practicing of technically difficult fragments is usually carried out in the first half of rehearsals. It is better to end the lesson by repeating the finished material, with pieces that are especially loved by the orchestra. The preparation of a work, from the first acquaintance to its performance in public, is a complex and unified creative process, all stages of which are closely interconnected.
The conductor begins his work long before the start of rehearsals. First, he thoroughly and thoroughly studies the score of the work, and the range of issues being worked out is very wide. This is the study of the creative biography of the composer, and the time when he worked, and the history of the creation of this work, the tradition of performance.

It is extremely important already at the initial acquaintance with the work to cover it as a whole: reading the score at the piano or mentally intonating it. This creates a general idea of ​​the main musical images, structure and drama of the development of the material. Further, a holistic theoretical analysis of the most essential elements of the musical language, harmony, melody, tempo, metro rhythm, dynamics, phrasing is required. On the basis of a comprehensive study and thorough theoretical understanding of the score, the conductor gradually develops an idea of ​​the performance plan.
Having studied all the details of the score, the conductor again proceeds to embrace the work as a whole, but at a new, higher level, combining all the particulars into a single harmonious performance. Only after a clear artistic concept has been drawn up, when a certain performing plan has been formed, can one proceed to rehearsals with the orchestra.
Before the start of the rehearsal, the conductor must check the presence of all parts, check them against the score, clarify the correctness of the placement of digital reference points and dynamics. It is necessary to think over the touches for each orchestral part and clarify them in all voices without exception, identify all the technical difficulties and outline ways to overcome them, taking into account the performing level of the musicians. Sometimes the parts contain a complex presentation of individual passages, inconvenient races for the performers, too high tessitura, etc. In this case, editorial revision is necessary. Of course, such editing must be done very carefully, in no way violating the author's intention.

Experience shows that fruitful rehearsal work is impossible without a well thought out plan. The result of the conductor's self-training should be: an established interpretation of the work, corrected parts, a clear plan for the rehearsal. In general terms, the plan of rehearsal work on a piece boils down to the following stages: playing the piece as a whole (if the technical level of the orchestra allows), working on the details, and finishing the piece. The sequence of these stages, as in the pre-rehearsal work of the conductor on the score, follows from the principle - from the general to the particular, with a subsequent return to the general.

When playing a piece, the conductor has the opportunity to draw the attention of the performers to difficult orchestral episodes, in general terms to acquaint the orchestra with the performing concept. It is useful to name the numbers during playback, which helps the orchestra members to navigate their parts. If the work is calm in movement, then its reading is possible at the pace set by the author. Technically difficult pieces should be introduced in slow motion so that the orchestra members can better understand the individual details of the piece. At the same time, it is necessary to point out from the very beginning any manifestations of false intonation, distortion of the musical text. A conductor who knows the score well will not miss a single mistake that may show up in the score or accidentally occur through the fault of the orchestra player. Hearing falsehood is not so difficult - it is more difficult to determine which instrument it has. The clearer the conductor imagines all the voices of the score, the sooner he will determine this, and, consequently, the less time he will lose on eliminating mistakes.

If orchestral difficulties are encountered in the play, it is useful to start the rehearsal with them, asking individual groups to perform the difficult part, and then give the necessary instructions. If a fragment does not work out, it should be outlined for individual study. At the general rehearsal, it is necessary that the whole team be busy, and not work for a long time with only one group. The conductor must have a clear idea of ​​what can be achieved at this stage of the work and what will be performed only after some time.

From the very first rehearsals, the conductor's attention should be consistently directed from the perception of the technical side of the performance to the artistic one. All technical difficulties can be overcome faster if the performer understands for what artistic purpose he needs to overcome them. The rehearsal work should convince him that solving technical problems is not an end in itself, but a means for a vivid and expressive embodiment of the content of the work.
Careful work during the rehearsal should touch all means of expression. Dynamic shades are one of the expressive means that help to reveal the musical image of a piece. Based on a thorough analysis of the piece, taking into account the requirements of the style, the conductor finds the correct nuance arising from the content of the music. At the same time, it is important to determine the main culmination, towards which all previous development strives, and the secondary culminations, emphasizing the moments of dynamic tension in individual parts and episodes.

For an orchestra, for example, a certain difficulty is the performance of long rises and falls of sonority. Orchestras are eager to play the crescendo, which usually reaches the top too early, and in diminuendo it goes too early into pianissimo. To avoid this, for example, with crescendo, you can follow the well-known technique: start the build-up with a quieter sound, then its gradual amplification is achieved. It must be remembered that the nature and degree of strength of each nuance follows from the characteristics of the style of the work. It is desirable that any changes in nuance be reflected in the conductor's gesture. The amplitude and intensity of the gesture should be verified, clear and understandable to the orchestra members at the very first rehearsals.
The conductor is obliged to think over in advance all the phrasing of the piece in order to decipher the structure of the musical phrase to the performers during the rehearsal. Even experienced musicians feel music in different ways, and the task of a conductor is to unite different individuals, to subordinate them to a single idea.
When practicing phrasing, you can use various methods of learning it. Gesture alone is not enough. It is very useful to parse the phrase verbally by determining its pivot points. Quite often you have to solfege. For this, it is not necessary to have a well-posed and beautiful voice, but you need to sing clearly, cleanly, expressively. Orchestra students will provide flexible sounding of the orchestra only if the common understanding of the phrase is realized by everyone.

Achieving a good performance ensemble is one of the most challenging tasks in working with an orchestra. It is well known that joint performance requires, first of all, the same understanding of the artistic concept of the work - both in terms of content and stylistic features, and in everything related to tempo, dynamics, strokes.
Based on the texture of the piece, the conductor should help the orchestra members to clearly understand the role and meaning of their part in each episode. Often, novice orchestra members strive to perform their part as vividly as possible, overemphasize it, not caring how this affects the overall sound. On the other hand, there are frequent cases of timid execution due to false fear. To overcome these shortcomings, the orchestra members need a clear understanding of the role of their part in the entire orchestral texture of the score. A fairly common mistake is overloading the sonority of the "second" plan, associated with the loss of balance between the leading and accompanying voices. However, one cannot reconcile with a primitive understanding of the sound perspective, which boils down to the fact that the first shot should be played loudly, and the second - softly. The sound of both planes is always interconnected, and an excessive gap in the strength of sonority is undesirable. The sound balance should be controlled not only by the conductor, but also by the performers themselves.

In achieving an ensemble of performance, correctness and accuracy of strokes are extremely important. Freedom is sometimes presented to the conductor in the choice of strokes: not all strokes are indicated in the scores. And playing with different strokes, especially on stringed instruments, distorts the character of musical writing. Since the leader of the folk orchestra must master the basic instruments, it would be useful for him to try several variants of strokes himself or together with the accompanists of the group, to find the most correct one and propose to the orchestra. In the initial period, it is useful for the conductor to carry out work in parts, achieving the same touch. The strokes marked in the parts can usually be performed by the most ordinary performer of the orchestra, and the task of the conductor is to persistently strive for stroking expressiveness.

In practice, the conductor has to constantly struggle with a very common performance deficiency: changes in dynamics induce inexperienced performers to deviate from the tempo. When the sound rises, as a rule, the tempo accelerates, and when the sound decays, it slows down. The same unlawful violations of the tempo have to be observed with the alternation of phrases that differ sharply in the nature of the music, texture. The conductor must constantly cultivate proper rhythmic discipline in the orchestra. In rehearsal work, considerable attention should be paid to the quality of the sound, as often inexperienced orchestra members do not know how to control themselves. The conductor must pay close attention to good sound production, which depends on the correct angle of the pick in relation to the string. (For example, an unpleasant "open" sound may appear in a domra group.) Quite often, a poor-quality sound also occurs due to weak pressing of the string to the fret. Some orchestra members play a bad tremolo, in canted places they hardly change from string to string, and the task of the conductor is to teach the orchestra members to distinguish good sound from bad.
When working on a performance ensemble, one must remember that if the instrument leading the melody is hard to hear, you should not be forced to play it forcibly. This will also lead to poor sound quality. It is better to highlight the desired instrumental tone by muffling the instruments overlapping the lead voice.

Sometimes it happens that the orchestra musicians do not immediately understand the conductor's instructions or cannot fulfill his requirements due to technical complexity. Then the conductor, recalling the performing task, must repeat the musical phrase as many times as necessary. Otherwise, the orchestra members will feel that the conductor does not react to the fact that the quality of the performance has remained the same. However, if the difficulty cannot be overcome and an independent study of the part is necessary, the conductor, having given the appropriate instruction, continues to work on the next section of the play. There is no need to stop the performance due to small random errors of individual performers. You can use a gesture or a word to attract the attention * of the performer and correct the mistake without stopping the playing of the whole orchestra,
In the practice of rehearsals, there are times when, even in the presence of defects in performance, it is not recommended to resort to stops. Such situations arise, for example, if the performers are already tired. The conductor should feel the state of the orchestra and in such cases, as it were, play more music: to give the members of the collective the opportunity to enjoy the music, or, on the contrary, sometimes it is worth stopping the game and entertaining the orchestra with a joke, an interesting story about music, a composer, etc.
The rehearsal "should be structured in such a way that all groups of the orchestra participate in the work without long breaks, so that each performer is ready to enter at any time. If the leader lingers at work with individual parts for too long, this will discourage the rest of the participants.

After analyzing the play, carefully working on the details, the final stage begins. It consists in polishing and bringing together individual details into a single whole, bringing the composition to the final tempo, developing the necessary ease and freedom in performance. The success of rehearsals largely depends on the conductor's ability to communicate with the collective. Working with an orchestra requires adherence to principles, perseverance, exactingness and patience. The conductor's behavior during rehearsals should be an example for the performers - he should be smart, organized, collected. He should not show his annoyance, be nervous when something does not work out in the orchestra for a long time, and, moreover, offend the pride of the participants. The team leader must always be correct, demanding during rehearsals and simple, humane in communication outside of school hours. It is appropriate here to quote the words of the famous conductor Bruno Walter, who spoke this way about this important aspect of the conductor's appearance: “. The conductor himself does not create music, he does it with the help of others, whom he must be able to lead through gestures, words, the influence of his personality. The result depends solely on his ability to lead people. Here innate talent plays a decisive role - it is about the ability to assert one's will, the influence of one's individuality - and this trait should be developed through constant work, using everyday experience. A person without authority, devoid of dynamic volitional aspiration, cannot take a strong position, even if he has musical talent, abilities and knowledge. He will be able to express himself with great skill, his feelings on the piano, on the violin, but he will never turn the orchestra into an instrument that obeys him. "