V. Guitar playing in Russia

ADDITIONAL PRE-PROFESSIONAL EDUCATIONAL PROGRAM IN THE FIELD OF MUSICAL ART "Folk Instruments" GUITAR. Subject area В.00. OPTIONAL PART B.03.UP.03.PERFORMANCE HISTORY ON CASSIC GUITAR. The implementation period is 1 year. The program contains all the necessary sections: an explanatory note, the content of the academic subject, the curriculum, requirements for the level of training of students, forms and methods of control, assessment systems, methodological support of the educational process, a list of references.

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Municipal budgetary educational institution

additional education for children

Children's art school p.Novozavidovsky

ADDITIONAL PRE-PROFESSIONAL

EDUCATIONAL PROGRAM IN THE FIELD

MUSICAL ARTS

"Folk Instruments"

GUITAR

Subject area

At 00. OPTIONAL PART

B.03.UP.03. PERFORMANCE HISTORY ON CASSIC GUITAR

On musical development in the system of additional education for children of children's music schools and music departments

children's art schools

Compiled by Vera Igorevna Bensman,

Teacher MBOU DOD DSHI

P. Novozavidovsky

P. Novozavidovsky 2014

Program approved Approved

by the pedagogical council ________________ Saperova I.G.

MBOU DOD DSHI Director MBOU DOD DSHI

P. Novozavidovsky settlement Novozavidovsky,

Minutes No. 2 dated 30.10.2014. Konakovsky district,

Tver region.

Compiled by: Teacher Bensman Vera Igorevna

Reviewer: Lecturer of the highest category Bensman L.I.

1. Explanatory note.

Characteristics of the subject, its place and role in the educational process;

The term for the implementation of the academic subject;

The amount of study time provided for by the curriculum for the implementation of the academic subject;

Form of classroom training;

The purpose and objectives of the subject;

The structure of the curriculum of the subject;

Teaching methods;

Description of the material and technical conditions for the implementation of the academic subject;

Information about the expenditures of study time;

Syllabus.

3. Requirements for the level of training of students.

4. Forms and methods of control, assessment system:

Certification: goals, types, form, content; final examination;

Criteria for evaluation.

5. Methodological support of the educational process.

6. References.

EXPLANATORY NOTE

The guitar is one of the most popular musical instruments used in professional and amateur practice. Diverse guitar repertoire includes music of different styles and eras, including classical, popular, jazz.

The guitar is not only an accompanying and solo musical instrument, it is a whole world: performers, composers, arrangers, teachers, guitar masters, historiographers, collectors, enthusiasts, admirers, amateur guitarists ... This is a worthy part of world culture, the study of which will be interesting for many.

The guitar was devoted to music, paintings, songs, research, prose, teaching and artisan talent, historical works, poetry. She dedicated the admiring lines of M.Yu. Lermontov:

What sounds! Immobile I listen

I am sweet sounds.

I forget the sky, eternity, earth,

Himself ...

Characteristics of the subject, its place and role in the educational process;

In children's art schools, in the process of teaching instrumental students, not enough attention is paid to the most important component of music education, like the history of instrumental performance.

In the lessons of musical literature, the work of composers is studied, and only a mention is made of the performers. There is very little coverage of the topic of folk instruments and especially the guitar instrument. The extracurricular activities carried out by teachers are diverse and partly make up for this deficiency. But this is not enough.

Students of the children's art school should have a more voluminous and systematized knowledge in the field of the history of the development of the instrument and musical performance (domestic and foreign schools).

The introduction of the subject into the curriculum of general educational programs of the Children's School of Arts is relevant at the present stage, especially for pre-professional programs.

The subject involves coverage of the main stages of the development of the guitar instrument, an overview of the work of outstanding performers, composers, familiarization with musical works created for this instrument, listening and viewing recordings of guitar performers, laureates and diploma winners of competitions (including children, youth)

The subject "History of classical guitar performance" is proposed to be included in the "Variable part" section of the additional pre-professional general developmental program in the field of musical art "Instrumental art", "Folk instruments", "Guitar". Also, the subject can be introduced into the curricula of general developmental programs carried out in a particular children's school.

The author's curriculum for the academic subject "History of classical guitar performance" was developed on the basis of federal state requirements for an additional pre-professional general educational program in the field of musical art. (2012) The program is part of the Instrumental Performance curriculum. "Folk Instruments" Guitar.

When compiling the program, the following materials were used:

Educational-methodical complex "Istria of performing on folk instruments" Specialty 071301 "Folk art". Compiled by T.A. Zhdanova, Professor of the Department of Orchestral Conducting and Folk Instruments, Tyumen State Academy of Culture and Art and Social Technologies. Tyumen, 2011

Chupakhina T.I. "A course of lectures on the history of performing on folk instruments." Omsk. 2004

Charles Duckart "Guitar School".

Term of implementation of the academic subject:

The implementation period for this item is 1 year, (35 weeks)

With 5 (6) term of study - in grade 5.

With 8 (9) term of study - in grade 8.

The amount of study time provided by the curriculum:

The total workload of the subject is 70 hours.

Of these: 35 hours - classroom lessons, 35 hours - independent work.

The number of hours for classroom lessons is 1 hour per week.

The number of hours for independent work (extracurricular workload) - 1 hour per week.

Form of classroom training.

Goals and objectives of the subject.

The subject "History of performance on the classical guitar" is an integral part of the preparation of a graduate of the Children's Art School in the guitar class. The art of guitar is part of the world's artistic culture. It can be traced from ancient times to the present day and is organically connected with the performing and repertoire instrumental culture. It becomes clear how wide a range of issues includes the study of the history of performing.

• The purpose of this subject is to show the historical conditioning and sequence of the development of the art of performing, to comprehend the process of development and formation of the guitar instrument; to study the historical patterns of formation and the main features of the repertoire, the features of the performing art on the guitar.
• The purpose of the subject is also to ensure the development of the creative abilities and individuality of students, a sustainable interest in independent activities in the field of musical art.
• To foster in students the need to learn, study, listen and analyze.
• Achieving a level of education that allows the graduate to independently navigate the world musical culture;

Objectives of the subject:

• One of the main tasks of studying this subject is to encourage students to understand the history and theory of the development of the instrument they are learning to play;
• acquiring knowledge in the field of the history of musical culture, expanding the artistic horizons of students, as well as developing their ability to navigate in various aspects of the guitar art, musical styles and directions.
• Equipping with a system of knowledge, skills and methods of musical activity, which together provide a basis for further independent communication with music, musical self-education and self-education.
• the formation of a conscious motivation among the best graduates to continue vocational training and prepare them for entrance exams to a vocational educational institution.

Subject syllabus structures.

The problems covered in this program are considered in the context of the development of guitar art, taking into account the principle of historicism and chronological periodization.

The program includes the following sections:

Information about the expenditures of study time;

Syllabus;

Requirements for the level of training of students;

Forms and methods of control, assessment system, final certification;

Methodological support of the educational process;

In accordance with these directions, the main section of the program "Content of the academic subject" is being built.

Teaching methods.

To achieve this goal and implement the objectives of the subject, the following teaching methods are used:

Verbal: lecture, story, conversation.

Visual: showing, illustration, listening to the material.

Practical: Working with audio and video materials. Writing reports, abstracts. Preparation of presentations.

Emotional: artistic impressions.

Description of the material and technical conditions for the implementation of the academic subject.

Ensuring the teaching of this subject: the presence of an audience that meets sanitary standards and fire safety requirements. Computer or laptop, TV, stereo system, multimedia projector + demonstration screen - desirable. Photo, audio, video materials with active involvement of Internet resources.

The library fund is completed with printed, electronic publications, educational and methodological literature

Each student is provided with access to library funds and collections of audio and video recordings. During independent work, students use the Internet to collect additional material on the study of the proposed topics.

Information about the expenditures of study time;

Table 1

1. table 2

Table 3

1. Table 4

SYLLABUS

3. Requirements for the level of training of students.

The level of training of students is the result of mastering the program of the academic subject "History of performance on the classical guitar", which involves the formation of the following knowledge, skills, skills, such as:

* the presence of the student's interest in the history of musical performance;

* the ability to navigate in various aspects of the guitar art, musical styles and directions;

* a formed complex of knowledge, abilities and skills, allowing to evaluate, characterize the listened work, style and manner of the performer;

* knowledge that allows you to independently use Internet resources.

* the graduate must know the main topics of the course

4. Forms and methods of control, assessment system.

• Certification: goals, types, form, content;

Criteria for evaluation;

Control of knowledge, abilities, skills of students ensures operational management of the educational process and performs training, testing, educational and corrective functions. Various forms of monitoring students' progress make it possible to objectively assess the success and quality of the educational process. The main types of control of academic performance in the subject

"History of classical guitar performance" are: current control, intermediate certification. Final examination.

Current certificationis carried out with the aim of monitoring the quality of mastering the section of the educational material and is aimed at identifying the attitude towards the subject, at the responsible organization of homework and is of a stimulating nature. The current certification is carried out in the form of a survey, a conversation on a topic prepared by students, a discussion of the performances they listened to. Possible current control tasks in the form of tests, as well as music quizzes.

Classes on the "History of instrumental performance" are conducted in the form of a lecture by a teacher, conversations with students on the topic prepared by them, a survey of students;

Much of the work is devoted to musical illustrations, listening, as well as viewing the relevant materials. It is recommended to conduct seminars on topics selected by the teacher or students. Possible current control tasks in the form of tests, as well as music quizzes. Based on the results of the current control, quarter marks are displayed.

Intermediate certification(offered at the end of the first and second semesters) determines the success of the development of students and the degree of their mastery of educational tasks at this stage. Forms of intermediate certification: control lessons, tests, reports, abstracts, presentations.

final examination

When passing the final certification, the graduate must demonstrate knowledge, abilities and skills in accordance with the program requirements. The forms and content of the final attestation in the academic subject "History of classical guitar performance" are established by the organization independently (at the suggestion of the teacher). Recommended forms: pass with grades or exam in writing or orally in the form of answers to pre-prepared questions.

For the certification of students, funds of assessment tools are created, which include control methods that allow assessing the acquired knowledge, abilities and skills

Criteria for evaluation

5 ("excellent");

4 ("good");

3 (“satisfactory).

Assessment - "unsatisfactory" in this subject is undesirable, since regardless of the level of development of students, the teacher has the opportunity to find an individual approach to each student and maximize his creative abilities.

5. Methodological support of the educational process

This subject is taught by a guitar teacher.

Of course, we cannot hear the recordings of the great performers of the past. This opportunity is given to us by the XX century. You can talk about the traditions and continuity of the performance of music from different eras through students and followers. (For example: F.Tarrega, Segovia, A.M. Ivanov-Kramskoy, A. Frauchi ……….).

The forms of the lessons are varied, but with the obligatory inclusion of the whole group in the work. Joint listening and viewing recordings, creative assignments - reports, abstracts, impressions of the recordings listened to in the classroom and independently. Submission of the material includes: a lecture by the teacher himself with listening and viewing audio and video materials; completion of specific homework assignments within the framework of the studied material by all students, followed by discussions. Much of the work is devoted to musical illustrations, listening, as well as viewing the relevant materials.It is important for the teacher to accurately select a variety of musical material for listening and set specific tasks with the goal of teaching concentration, activating hearing, thinking, making you pay attention to details, performing style and the embodiment of the composer's intention by the performer. This will develop the students' own taste and make them more consciously approach the performance of the works.

It is recommended that tests be carried out in the form of seminars, reports, abstracts, short references, which students can complete independently using Internet resources. And as homework, students can listen to the work in different performances and make a comparative analysis of what was listened to, i.e. complete a creative task.

Also, a creative form of work in this direction is joint trips (if there is such an opportunity) of students with teachers, parents to concerts of instrumental music, followed by discussion in the classroom. (In our school, such events are organized regularly due to the convenient location of the village to the concert organizations of Tver, Klin, Moscow. Performers from Tver also come to us)

An important place is occupied by the preparation of the teacher and students for classes. This is a time consuming and creative process. I have to work a lot with text materials, audio, video, Internet resources. It is necessary to encourage students to work daily for at least an hour. With regular independentclasses, there will be an increasing interest not only in this subject, but also the need for independent painstaking work in the specialty of guitar.

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3. Bendersky L. Pages of the history of performance on folk instruments. Sverdlovsk, 1983.
4. Weissboard K. Andres Segovia. M., Music, 1980.
5. Weisbord M. Andrei Segovia and the Guitar Art of the 20th Century: An Essay on Life and Work. - M .: Sov. composer, 1989. - 208 e .: ill.
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7. Vaysbord M.A. Andres Segovia and the Guitar Art of the 20th Century: Essays on Life and Work. M., 1989
8. Weissboard. Andrei Segovia and the Guitar Art of the 20th Century. -M., Soviet composer, 1989.
9. Vasilenko S. Pages of memoirs., M., L., 1948.
10. Vasiliev Yu., Shirokov A. Stories about Russian folk instruments. M., Soviet composer, 1976.
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34. Ivanov M. Russian seven-string guitar. M. - L., 1948
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12. Yablokova M.S. "Classical guitar in Russia and the USSR"

Guitar performance in Russia has its own unique history. However, in this work, we will consider only those pages that are directly related to the practice of playing the seven-string guitar and touch upon the features that underlie the formation of the Russian guitar style.
The Russian guitar school was founded at a time when in Western Europe the classical guitar had already declared itself as an independent solo concert instrument. She enjoyed particular popularity in Italy. Spain. A number of performers and composers have appeared. who created a new, classic repertoire. The most famous of them are D. Aguado. M. Giuliani. F. Carulli, M. Carcassi. Later, such wonderful musicians as Franz Schubert, Niccolo Paganini, Karl Weber and others turned to PR and wrote for it.

The main difference between the Russian guitar and the classical popular in Europe was the number of Strings (seven, not six) and the principle of their tuning. It is the question of tuning that has always been the cornerstone in the age-old debate over the superiority of the six- or seven-string guitar. Realizing the particular importance of this issue, we consider it necessary to return to the topic of the origin of the seven-string guitar and its appearance in Russia.
By the end of the 18th century. in Europe, there were several types of guitars of various designs, sizes, with a different number of strings and many ways of tuning them (suffice it to mention that the number of strings varied from five to twelve) -. A large group of guitars was united according to the principle of tuning the strings in fourths with one major third in the middle (for convenience, we will call this tuning the fourth tuning). These instruments were widely used in Italy. Spain. France.
In Great Britain, Germany, Portugal and Central Europe, there was a group of instruments with a so-called thirds system, in which thirds were preferred when tuning the voice strings (for example, two large terzines were separated by a quarte).
Both of these groups of instruments were united by the fact that music written for one scale could be performed using a small arrangement on an instrument of another scale.
We are interested in a guitar with four double strings, which came from England to Europe, and from Europe to Russia (St. Petersburg). The tuning of this guitar was of two types: the fourth and the third. The latter differed from the seven-string Russian guitar in size (it was much smaller), but practically anticipated the principles of its tuning in the expanded major triad (g, e, c, G, F, C, G). This fact seems to be very important for us.

The lack of historical evidence of the transformation of the body of the guitar, its size and the general scale of the strings only allows us to assume the options for their development. Most likely, the size of the neck of the guitar was determined by the convenience of playing, and the tension of the strings, their tuning, corresponded to the tessiture of the singing voice. Probably, the improvements have led to an increase in the body, replacement of metal scabs with vein ones, and consequently to a decrease in "sounding tone", a "sliding" of the general tuning down.
There is no reliable information confirming that this particular guitar served as the prototype of the Russian "seven-string", but their relationship is obvious. The history of guitar performance in Russia is associated with the appearance during the reign of Catherine the Great (1780-90s) of foreign guitarists who played thirds and quart guitars. Among them are Giuseppe Sarti, Jean-Baptiste Guinglez. There are publications of collections of pieces for 5-6-string guitar, guitar magazines.
Ignaz von Geld (Ignatius von Geld) publishes for the first time a manual entitled "An easy method of teaching seven-string guitar without a teacher." Unfortunately, pi one copy of this first Russian school of guitar playing has not survived, as well as information about the teaching method of its author, about the type of guitar, and the way of tuning it. There is only evidence from contemporaries. The fact that Geld was a wonderful performer on the English guitar.
But the real founder of the Russian guitar school was the one who settled in Moscow. At the end of the 18th century. educated musician, great harpist Andrey Osipovich Sikhra. It was he who introduced the seven-string guitar with the d, h, g, D, H, G, D tunings into practical music making, which later became known as Russian.

We cannot know to what extent A. Sikhra was familiar with European experiments in creating guitars with different numbers of strings and methods of tuning them, whether he used their results in the work on the "improvement" (but in his own expression) of the classical six-string guitar. This is not so essential.
What is important is that A. Sikhra. being an ardent admirer of guitar performance, a brilliant teacher and competent popularizer of his ideas, he left a bright mark in the history of the development of Russian instrumental performance. Using the best achievements of the classical Spanish guitar school, he developed a methodology for teaching the seven-string guitar, which he later expounded in 1832 and 1840. "School". Using classic forms and genres. Sikhra created a new repertoire specifically for the Russian guitar and brought up a brilliant galaxy of students.

Thanks to the activities of A.O.Sikhra and his associates, the seven-string guitar gained extraordinary popularity among representatives of different classes: the Russian intelligentsia and representatives of the middle classes were fond of it, professional musicians and lovers of everyday music turned to it: contemporaries began to associate it with the very essence of the Russian urban folk music. A description of the enchanting sound of a seven-string guitar can be found in Pushkin's heartfelt lines. Lermontov, Turgenev. Chekhov, Tolstoy and many other poets and writers. The guitar began to be perceived as a natural part of Russian musical culture.
Let us remind you that A. Sikhra's guitar appeared in Russia in conditions when the seven-string guitar was almost never seen anywhere, it was impossible to buy it either in shops or from handicraftsmen. Now one can only wonder how quickly (in 2-3 decades) these masters, among whom were the largest violinists, were able to organize the production of the Russian guitar. This is Ivan Batov, Ivan Arhuzen. Ivan Krasnoshchekov. The guitars of the Viennese master I. Scherzer were considered one of the best. According to the testimony of contemporaries, the guitars of F. Savitsky, E. Eroshkin, F. Paserbsky were distinguished by their unique individuality. But now we will not dwell on this, because it deserves a separate discussion.

The national flavor of the seven-string guitar was also given by the arrangements written for it on the themes of Russian folk songs. “The influence of folk music on musical art will begin, of course, as part of the traditions of many nations. In Russia, however, the folk music of the herd is the subject of the most frantic enthusiasm of the people for their own music, perhaps one of the most remarkable movements of the Russian soul. "
In fairness, it should be noted. that A. Sikhra's works on Russian themes were written in the style of classical variations and did not have such an original, purely Russian flavor that distinguishes the arrangements of other Russian guitarists. In particular, Mikhail Timofeevich Vysotsky, the creator of numerous compositions on themes of Russian folk songs, made a huge contribution to the formation of the Russian guitar school as an original national phenomenon. M. Vysotsky grew up in the village of Ochakovo (12 km from Moscow) on the estate of the poet M. Kheraskov, rector of Moscow University, in an atmosphere of love and respect for Russian folk traditions. The boy could listen to wonderful folk singers, take part in folk rituals. As the son of a serf. Misha could get an education only by attending meetings of the creative intelligentsia and the Kheraskovs' house, listening to poems, disputes, impromptu performances of educated guests.

Among them was the main teacher of M. Vysotsky - Semyon Nikolaevich Aksenov. He noticed the boy's giftedness and began to give him lessons in playing the Russian guitar. And although these activities were not systematic, the boy made significant progress. It was thanks to the efforts of S. Aksenov that M. Vysotsky received his freedom in 1813 and moved to Moscow for further education. Later, the famous musician, composer A. Dubyuk provided Vysotsky with significant assistance in mastering the musical-theoretical disciplines.

M. Vysotsky became a remarkable guitarist, improviser, composer. Soon the fame of an unsurpassed guitarist - virtuoso came to him. According to the testimony of contemporaries, Vysotsky's play amazed not only with its extraordinary technique, but with its inspiration, the richness of musical imagination. He seemed to merge with the guitar: she was a living expression of his emotional mood, his thoughts.
This is how Vysotsky's student and colleague, guitarist I. Ye. Lyakhov, assessed his playing: - His playing was incomprehensible, indescribable and left such an impression that no notes and words could convey. Here the spinning song sounded plaintively, tenderly, sadly before the vamp; a small fermato - and as if everything spoke to her: they say, sighing, the bass, they are answered by the crying voices of the treble, and this whole chorus is covered with rich reconciling chords; but the sounds, like tired thoughts, turn into equal triodi, the theme almost disappears, as if the singer was thinking about something else; but no, he again returns to the topic, to his thought, and it sounds solemn and even, passing into a prayer adagio. You Hear the Russian Dog ", raised to the sacred (Sudetenland. Everything is so beautiful and natural, so deeply soulful and musical, as you rarely find in other compositions on Russian songs. Here you will not remember anything Like this: everything here is new and original. Before us is an inspired Russian musician, before you is Vysotsky. "

A distinctive feature of Vysotsky's work was the reliance on the mighty layers of Russian folk song and partly instrumental creativity. This is what determined the development of the Russian guitar school, its Moscow branch. M. Vysotsky, perhaps, to a lesser extent was engaged in the systematization of recommendations for learning to play the seven-string guitar, although he gave a large number of lessons. But in his work, the Russian seven-string guitar has become a truly national instrument, which has its own special repertoire, special techniques and stylistic differences, performing style, patterns of development within musical forms (we mean the connection between the poetic content of a song and the process of variant development in musical composition). In this regard, M. Vysotsky for us. is probably the most important figure in Russian guitar performance. In his work, the basis for an original style of playing is laid, as well as the principle of obtaining a melodic sound and the accompanying techniques are indicated. But this will be discussed later.

Thus, the appearance of a distinctive guitar school in Russia is associated with the names of A. Sikhra and M. Vysotsky, as well as their best students.
In conclusion, I would like to say that the widespread distribution of the guitar in Russia in a short historical period of time cannot be an accident. Rather, it is good evidence of the instrument's worthiness. There is enough reason to be proud of the achievements of the Russian guitar school. However, it can be stated with bitterness that we do not know the whole truth about our instrument and the heritage created for it. It is important to know and understand today, when almost everything that Russia was proud of in the past has been destroyed to the ground, and nothing has been created to replace it. Maybe it's time to turn our face to the Russian guitar heritage ?! It is composed of the compositions, methods and repertoire of the most educated people of their time. Here are some names: M. Stakhovich — nobleman, historian, writer; A. Golikov - nobleman, kolezh registrar; V. Sarenko - Doctor of Medical Sciences; F. Zimmerman - nobleman, landowner; I. Makarov - landowner, prominent bibliographer; V. Morkov - nobleman, actual state councilor: V. Rusanov - nobleman, conductor, outstanding editor.

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Ministry of Culture of Ukraine

Kharkiv State Academy of Culture

for admission to training to obtain the degree "Master"

Guitar Art as a Historical Phenomenon of Musical Culture

Pihulya Taras Olegovich

Kharkiv 2015

Plan

Introduction

1. Prerequisites for the formation and development of playing the classical guitar

1.1 The history of the emergence, development and improvement of guitar performance

1.2 Formation of the art of guitar in the USSR and Russia

2. The history of the emergence and evolution of the pop-jazz direction in art

2.1 Varieties of guitars used in pop-jazz art

2.2 The main directions of pop-jazz performance of the 60-70s

Bibliography

Vconducting

Musical art of the XX century. developed rapidly and rapidly. The main characteristic features of this development were the assimilation of various styles and trends, the crystallization of a new musical language, new principles of composition, shaping, and the formation of various aesthetic platforms. This process involves not only composers, performers, art critics, but also millions of listeners for whom musical works are created.

The relevance of the topic is due to the consideration of classical and pop-jazz instrumental music from the point of view of the evolutionary development of guitar art, that is, the formation of new genres and trends.

The aim of the research is to examine classical and pop-jazz instrumental music, their influence on the formation of new styles, performing skills and guitar culture in general.

Research objectives:

1) Consider the history of the emergence, development and formation of guitar culture in Europe, Russia, the USSR.

2) Consider the origins, origins and formation of new styles in pop and jazz art.

The object of the research is the formation of classical and pop-jazz instrumental music.

The methodological basis of the work is the method of intonation analysis, focused on the unity of musical and speech principles, as the basis of European, African and Russian artistic traditions.

The scientific novelty of the work lies in the study of the formation and evolution of the guitar art and its influence on the formation of guitar culture.

The practical value of the work lies in the possibility of using its materials in the process of studying historical and theoretical musical disciplines.

1. Prerequisitesbecominganddevelopmentgamesonclassicalguitar

1.1 The history of the emergence, development and improvement of guitar performance

The history of the emergence, development and improvement of this musical instrument is so amazing and mysterious that it rather resembles an exciting detective story. The first information about the guitar dates back to ancient times. On Egyptian monuments of a thousand years ago, there are images of a musical instrument - "nabla", which looks like a guitar. The guitar was also widespread in Asia, which is confirmed by the images on the architectural monuments of Assyria, Babylon and Phenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, wealthy families in Spain began to compete with each other in the patronage of science and art. The guitar, along with the lute and other plucked instruments, is becoming a favorite instrument in the courts. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - "salons" that took place regularly, played an important role. Since that time, the fascination with plucked instruments has penetrated the broad masses, and special musical literature has been created for them. The names of the composers who represented it make up a long line: Milan, Corbetto, Fuenliana, Marin y García, Sanz and many others.

Having gone a long way of development, the guitar has taken on a modern look. Until the 18th century, it was smaller, and its body was rather narrow and elongated. Initially, five strings were installed on the instrument, tuned in quarts, like on a lute. Later, the guitar became six-string, with a tuning more convenient for playing in open positions for a more complete use of the sound of open strings. Thus, by the middle of the 19th century, the guitar took on its final form. Six strings appeared on it with a system: mi, si, sol, re, la, mi.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How can one explain such a widespread use of the guitar? Mainly because it has great potential: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the possibility of easy movement in space and, most importantly, an unusually melodious, deep and at the same time transparent sound - justifies the love of this universal musical instrument for a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appear in Spain

F. Sor and D. Aguado, along with them in Italy - M. Giuliani. L. Leniani, F. Karulli, M. Carcassi and others. They create an extensive concert repertoire for guitar, ranging from small pieces to sonatas and concerts with an orchestra, as well as wonderful Six-String Guitar Schools, an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publication of this pedagogical literature, it is still a valuable heritage for both teachers and students.

The composer Sor gives concerts in Western Europe and Russia with great success. His ballets Cinderella, Lubochnik as a Painter, Hercules and Omphale, as well as the opera Telemachus, have many performances on the stages of St. Petersburg, Moscow and large cities of Western Europe. The polyphonic style, rich imagination and depth of content characterize Sora's work. This is an educated musician-composer, virtuoso guitarist, who amazed with the depth of his performance and brilliance of technique. His compositions have become part of the guitarists' repertoire. Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also a perfect violinist. When Beethoven's Seventh Symphony was first performed in Vienna in 1813 under the direction of the author, Giuliani took part in its performance as a violinist. Giuliani was highly regarded by Beethoven as a composer and musician. His sonatas, concerts with an orchestra are performed by modern guitarists, and pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country "School of playing the six-string guitar" by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to The School, the author says: “... I had no intention of writing a scientific work. I just wanted to make it easier to learn the guitar by laying out a plan that would give an opportunity to get a deeper understanding of all the features of this instrument. " According to these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for teaching guitar playing, and it is hardly possible at all. The School provides a number of valuable instructions on the technique of the left and right hands, various characteristic techniques of playing the guitar, playing in different positions and keys. Musical examples and pieces are given sequentially, in ascending order of difficulty, they were written with great skill of the composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this "School" has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; the development of fingering, melodic-harmonic thinking is practically not touched upon, it is only about the correct placement of the fingers of the left and right hand, which allows us to achieve the resolution of many technical difficulties of performance, improve the sound, phrasing, etc.

In the second half of the 19th century, a new bright name for the Spanish composer, virtuoso soloist and teacher Francisco Tarrega appeared in the history of the guitar. He creates his own writing style. In his hands, the guitar turns into a small orchestra.

The performing work of this wonderful musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works, you can often hear the imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. Among his best students are Miguel Llobet, Emelio Pujol, Dominico Prat, Daniel Fortea, Illarion Lelup and other famous concertists. To date, the "Schools" by E. Pujol, D. Fortea, D. Prat, I. Lelyup, I. Arens and P. Roch, based on the Tarrega teaching method, have been published. Let us consider this method in more detail on the example of the “School of playing the six-stringed guitar” by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the "School" is a generous, detailed presentation of all the main "secrets" of classical guitar playing. The most essential questions of guitar technique have been carefully worked out: the position of the hands, the instrument, methods of sound production, playing techniques, etc. The consistency of the arrangement of the material contributes to the planned technical and artistic training of the guitarist. The “School” is entirely built on original musical material: almost all the studies and exercises were composed by the author (taking into account F. Tarrega's methodology) specifically for the corresponding sections.

Especially valuable is the fact that this educational publication not only sets out in detail the difficulties of playing the guitar, but also describes in detail the ways to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hands, and also the techniques of playing in different positions, various movements, displacements of the left hand are considered in detail, which certainly contributes to the development of fingering thinking. The effectiveness of the "School" of Pujol is confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

The creative activity of the greatest Spanish guitarist of the XX century was of great importance for the development of the world guitar art. Andres Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also the abilities of an organizer and propagandist. Researcher M. Weisbord writes: “... to establish the guitar as a concert instrument, it lacked what, for example, a piano or a violin had - a highly artistic repertoire. The historical merit of Andres Segovia consists, first of all, in the creation of such a repertoire ... ”. And further: “For Segovia they began to write M. Ponce (Mexico), M.K. Tedesco (Italy), J. Ibert, A. Roussel (France) C. Pedrell (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden) ... ”. From this small and far from complete list of composers, it is clear that it was thanks to A. Segovia that the geography of professional compositions for classical guitar was rapidly expanding, and over time this instrument attracted the attention of many outstanding artists - E. Vila Lobos, B. Britten. On the other hand, there are whole constellations of talented composers who are at the same time professional performers - A. Barrios, L. Brauer, R. Diens, N. Koshkin, etc.

1. 2 Becomingguitarartsvthe USSRandOf Russia

Today he has successfully toured many countries of the world, including four times visited the USSR (1926 and 1935, 1936). He performed works of classical guitarists: Sora, Giuliani, transcriptions of works by Tchaikovsky, Schubert, Haydn and original works of composers: Turin, Torroba, Tansman, Castelnuovo-Tedesco and other composers. Segovia had many meetings with Soviet guitarists, to whom he willingly answered. In conversations about the technique of guitar playing, Segovia pointed out the particular importance of not only placing the hands, but also the correct application of fingering. The guitar has left a bright mark on the musical art of Russia. Academician Y. Shtelin, who lived in Moscow from 1735 to 1785, wrote that the guitar in Russia spread slowly, but with the appearance among other guest performers of virtuoso guitarists Zani de Ferranti, F. Sora, M. Giuliani and others this tool is gaining sympathy and widespread acceptance.

Having acquired in Russia in the second half of the 18th century a distinctive seven-string variety with a G major triad doubled in an octave and a lower string spaced a quarter apart, the guitar turned out to be optimal for the bass-chord accompaniment of a city song and romance.

The true flowering of professional performance on this instrument begins thanks to the creative activity of the outstanding teacher-guitarist Andrei Osipovich Sikhra (1773-1850). Being a harpist by education, he devoted his whole life to the propaganda of the seven-string guitar - in his youth he was engaged in concert activities, and then in pedagogy and enlightenment. In 1802 in St. Petersburg the magazine for seven-string guitar by A. Sikhra began to be published with arrangements of Russian folk songs, arrangements of musical classics. In the following decades, up to 1838, the musician published a number of similar magazines, which contributed to a significant increase in the popularity of the instrument, A.O. Sikhra brought up a huge number of students, stimulating their interest in composing music for the guitar, in particular variations on the themes of folk song melodies. The most famous of his students are S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman and others - left behind many plays and arrangements of Russian songs. The activity of Mikhail Timofeevich Vysotsky (1791-1837) was of great importance in the development of professional and academic Russian guitar performance. The first who introduced him to the guitar was S.N. Aksenov, he also became his mentor.

Since about 1813 the name of M.T. Vysotsky became widely popular. His playing was distinguished by an original improvisational style, a bold flight of creative imagination in the variation of folk song melodies. M.T. Vysotsky is a representative of the improvisational auditory manner of performance - in this he is close to traditional Russian folk music-making. Much can be said about other representatives of Russian guitar performing who have contributed to the development of the national performing school, but this is a separate conversation. The true Russian school was distinguished by the following features: clarity of articulation, beautiful musical tone, orientation to the melodic capabilities of the instrument and the creation of a specific repertoire, in many ways unique, a progressive method of using special fingering "blanks", samples and cadences that reveal the capabilities of the instrument.

The system of playing the instrument included playing out musical functions, intonations and their calls, which were memorized separately in each key and had an unpredictable movement of voices. Often such individual fingering, melodic-harmonic "preparations" were jealously guarded and passed on only to the best students. Improvisation was not specially studied, it was the result of a common technical base, and a good guitarist knew how to combine familiar intonations of a song with a harmonic sequence. A set of different cadences often surrounded the musical phrase and gave a peculiar coloring to the musical fabric. Such an inventive method of teaching, it seems, was a purely Russian discovery and was not found anywhere in foreign works of that time. Unfortunately, the traditions of Russian guitar performance of the 18th-19th centuries. were unjustly forgotten, and only thanks to the efforts of enthusiasts, the state of affairs in this direction is changing for the better.

The art of guitar developed in Soviet times, although the attitude of the authorities to the development of this musical instrument was, to put it mildly, cool. It is difficult to overestimate the role of the outstanding teacher, performer and composer A.M. Ivanov-Kramskoy. His school of playing, like the school of playing guitarist and teacher P.A. Agafoshin is an indispensable teaching aid for young guitarists. This activity is brilliantly continued by their numerous students and followers: E. Larichev, N. Komolyatov, A. Frauchi, V. Kozlov, N. Koshkin, A. Vinitsky (classical guitar in jazz), S. Rudnev (classical guitar in the Russian style) and many others.

guitar classical pop jazz

2. Historyemergenceandevolutionpop-jazzdirectionsvart

2.1 Varieties of guitars used in pop-jazz art

In modern pop music, four types of guitars are mainly used:

1. Flat Top is a common folk guitar with metal strings.

2. Classical - classical guitar with nylon strings.

3. Arch Top - a jazz guitar shaped like an enlarged violin with f-holes along the edges of the soundboard.

4. Electric guitar - a guitar with electromagnetic pickups and a monolithic wooden deck (block).

Even 120-130 years ago, only one type of guitar was popular in Europe and America. Different countries used different tuning systems, and in some places they even changed the number of strings (in Russia, for example, there were seven strings, not six). But in shape, all guitars were quite similar - a relatively symmetrical top and bottom of the soundboard, which converges with the neck at the 12th fret.

Small size, slotted palm, wide neck, fan-shaped mounting of springs, etc. - all this characterized this type of guitars. In fact, the above instrument is similar in form and content to today's classical guitar. And the shape of today's classical guitar belongs to the Spanish master Torres, who lived about 120 years ago.

At the end of the last century, the guitar began to rapidly gain popularity. If before that the guitars were played only in private houses and salons, then by the end of the last century the guitar began to appear on the stage. There was a need for sound amplification. It was then that a clearer division appeared between the classics and what is now most often called folk guitar or western. The technology began to make it possible to make metal strings that sounded louder.

In addition, the body itself increased in size, which allowed the sound to be deeper and louder. There remained one serious problem - the strong tension of the metal strings actually killed the top deck, and the thickening of the sides of the shell, in the end, killed the vibration, and with it the sound. And that's when the famous X-shaped spring mount was invented. The springs were glued crosswise, thereby increasing the strength of the top deck, but allowing it to vibrate.

Thus, there was a clear separation - the classical guitar, which has hardly changed since then (only the strings were made from synthetics, and not from veins, as before), and the folk-western guitar, which had several forms, but almost always went with X-shaped springs, metal strings, enlarged body and so on.

At the same time, another type of guitars developed - the arch top. What is it? While companies such as Martin tackled the problem of amplifying sound by attaching springs, companies such as Gibson went the other way - they created guitars that were shaped and shaped like violins. Such instruments were characterized by a curved top, a nut, which was like a double bass, and a bridge. Typically, these instruments had violin notches along the sides of the soundboard instead of the traditional round hole in the center. These guitars had a sound that was not warm and deep, but balanced and punchy. With such a guitar, every note was clearly heard, and the jazzmen quickly realized what kind of "dark horse" appeared in their field of vision. It is to jazz that "arch tops" owe their popularity, for which they were called jazz guitars. In the 30s and 40s, the situation began to change - mainly due to the emergence of quality microphones and pickups. In addition, a new popular style of music - the blues - entered the arena and immediately conquered the world. As you know, the blues developed mainly thanks to the efforts of poor black musicians. They played it differently with fingers, picks and even beer bottles (beer bottle necks were the direct forefathers of modern slides). These people did not have money for expensive instruments, they did not always have the opportunity to buy new strings, what kind of jazz guitars are there? And they played what they had to, mainly on the more common instruments - westerns. In those years, in addition to expensive "archtops", the Gibson company also produced a large range of "consumer goods" folk guitars. The market situation was such that Gibson was almost the only company producing cheap but high quality folk guitars. It is logical that the majority of bluesmen, for lack of money for something more perfect, took the Gibsons into their own hands. So they still do not part with them.

What happened to jazz guitars? With the advent of pickups, it turned out that the balanced and clear sound of this type of instrument perfectly suits the amplification system of that time. Although the jazz guitar is completely different from the modern Fender or Ibanez, Leo Fender would probably never have created his Telecaster and Stratocaster. if I hadn't experimented with jazz guitars and pickups first. By the way, later electric blues was also played and is played on jazz instruments with pickups, just the thickness of the body in them is reduced. A prime example of this is B.B. King and his famous Lussil guitar, which is considered by many to be the standard electric blues guitar today.

The first known experiments with amplifying guitar sound using electricity dates back to 1923, when engineer and inventor Lloyd Loar invented an electrostatic pickup that recorded vibrations in the resonator box of string instruments.

In 1931, George Beauchamp and Adolph Rickenbacker invented an electromagnetic pickup in which an electrical pulse ran along the winding of a magnet, creating an electromagnetic field that amplified the signal from a vibrating string. By the late 1930s, numerous experimenters began to incorporate pickups into the more traditional looking Spanish hollow-body guitars. Well, the most radical option was suggested by guitarist and engineer Les Paul - he simply made the deck for the guitar monolithic.

It was made of wood and was simply called “The Log”. Other engineers began experimenting with a solid or almost solid piece. Since the 40s of the XX century, both individual enthusiasts and large companies have been successfully engaged in this.

The market for guitar manufacturers continues to develop actively, constantly expanding the range of models. And if earlier only Americans acted as "trendsetters", now Yamaha, Ibanez and other Japanese firms firmly occupy leading positions, making both their own models and excellent copies of famous guitars among the leaders of production.

A special place is occupied by the guitar - and primarily electrified - in rock music. However, almost all the best rock guitarists go beyond the style of rock music, paying great tribute to jazz, and some musicians have completely broken with rock. This is not surprising, since the best traditions of guitar playing are concentrated in jazz.

A very important point draws attention to Joe Pass, who writes in his well-known jazz school: “Classical guitarists have had several centuries to develop an organic, consistent approach to performing - the 'right' method. The jazz guitar, the plectrum guitar, appeared only in our century, and the electric guitar is still such a new phenomenon that we are just beginning to understand its capabilities as a full-fledged musical instrument. " In such conditions, the accumulated experience and jazz traditions of guitar mastery are of particular importance.

Already in the early form of blues, "archaic", or "rural", often also called the English term "country blues" (country blues), the main elements of the guitar technique were formed, which determined its further development. Certain techniques of blues guitarists later became the basis for the formation of subsequent styles.

The earliest records of country blues date back to the mid-1920s, but there is every reason to believe that, in fact, it is almost indistinguishable from the original style that formed among the blacks of the southern states (Texas, Louisiana, Alabama, etc. ) back in the 70s-80s of the XIX century.

Among the outstanding singers-guitarists of this style - Blind Lemon Jefferson (1897-1930), who had a noticeable influence on many musicians of the later period, and not only the blues.Blind Blake was a brilliant master of guitar ragtime and blues (Blind Blake, 1895 -1931), many of whose recordings today amaze with excellent technique and ingenuity of improvisation. Blake is rightly considered one of the initiators of the use of the guitar as a solo instrument. Huddie Leadbetter, widely known under the name Leadbelly (Huddie Leadbetter, "Leadbelly", 1888-1949), was once called "the king of the twelve-string guitar." He sometimes played in a duet with Jefferson, although he was inferior to him as a performer. Leadbelly introduced into the accompaniment characteristic bass figures - "wandering bass", which would later be widely used in jazz.

Outstanding among country blues guitarists Lonnie Johnson (1889-1970), a virtuoso musician very close to jazz. He recorded excellent blues without vocals, and often he played already as a pick, Demonstrating not only excellent technique, but also outstanding improvisational skill.

One of the features of the Chicago period in the development of traditional jazz, which became transitional to swing, was the replacement of instruments: instead of the cornet, tuba and banjo, the trumpet, double bass and guitar came to the fore.

Among the reasons for this was the emergence of microphones and an electromechanical method of recording: the guitar finally sounded fully on the records. An important feature of Chicago jazz was the increased role of solo improvisation. It was here that a significant turn in the fate of the guitar took place: it becomes a full-fledged solo instrument.

This is due to the name of Eddie Lang (real name - Salvador Massaro), who introduced into the guitar playing many of the jazz techniques typical of other instruments, in particular the phrasing characteristic of wind instruments. Eddie Lange also created that jazz style of playing with a pick, which later became predominant. He first used the plectrum guitar - a special guitar for playing jazz that differed from the usual Spanish in the absence of a round socket. Instead of it, f-holes, similar to a violin, and a removable panel-shield appeared on the soundboard, protecting from the blows of the pick. Eddie Lang's performance in the ensemble was distinguished by strong sound production. He often used passing sounds, chromatic sequences; sometimes changed the angle of the plectrum in relation to the neck, thus achieving a specific sound.

Chords with muted strings, hard accents, parallel non-chords, whole-tone scales, a kind of glissando, artificial harmonics, sequences of enlarged chords and phrasing characteristic of wind instruments are characteristic of Lang's manner. We can say that it was under the influence of Eddie Lang that many guitarists began to pay more attention to the bass notes in chords and, if possible, to achieve the best voice lead. The invention of the electric guitar was the impetus for the emergence of new guitar schools and trends. They were founded by two jazz guitarists: Charlie Christian in America and Django Reinhardt.

(Django Reinhardt) in Europe

In his book From Rag to Rock, the famous German critic I. Berendt writes: “For the modern jazz musician, the history of the guitar begins with Charlie Christian. During his two years on the jazz scene, he revolutionized guitar playing. Of course, there were guitarists before him, but one gets the impression that the guitar that was played before Christian and the one that sounded after him are two different instruments. "

Charlie played with a virtuosity that seemed simply unattainable to his contemporaries. With his arrival, the guitar became an equal participant in jazz ensembles. He was the first to introduce the guitar solo as a third voice in a trumpet and tenor saxophone ensemble, freeing the instrument from purely rhythmic functions in the orchestra. Earlier than others, Ch. Christian realized that the technique of playing the electric guitar is significantly different from the techniques of playing the acoustic one. In harmony, he experimented with increased and decreased chords, invented new rhythmic patterns for the best jazz melodies (evergreens). In passages, he often used add-ons to seventh chords, striking the listeners with melodic and rhythmic ingenuity. He was the first to develop his improvisations, relying not on the harmony of the theme, but on the passing chords, which he placed between the main ones. In the melodic sphere, it is characterized by the use of legato instead of hard staccato.

The performance of C. Christian has always been distinguished by an extraordinary power of expressiveness combined with an intense swing. Jazz theorists claim that by his playing he anticipated the emergence of a new jazz style, be-bop, and was one of its founders.

Simultaneously with Christian, no less outstanding jazz guitarist Django Reinhardt shone in Paris. Charlie Christian, while still performing in Oklahoma clubs, admired Django and often repeated his solos recorded on records note for note, although the manner of playing these musicians was sharply different from each other. Many famous musicologists and jazz artists spoke about Django's contribution to the development of the jazz style of playing the guitar and his skill. According to D. Ellington, “Django is a super-artist. Every note he takes is a treasure, every chord is evidence of his unshakable taste. "

Django differed from other guitarists in his expressive, rich sound and peculiar manner of playing, with long cadences after several bars, sudden impetuous passages, and a stable and sharply accentuated rhythm. At climaxes, he often played in octaves.

This type of technique was borrowed from him by C. Christian, and twelve years later - by W. Montgomery. In fast plays, he was able to create such fire and pressure, which were previously encountered only in the performance of wind instruments. In the slow ones, he was inclined to prelude, and rhapsody, close to the Negro blues. Django was not only an excellent virtuoso soloist, but also an excellent accompanist. He was ahead of many of his contemporaries in the use of minor seventh chords, diminished, augmented, and other passing chords. Django paid much attention to the harmony of the harmonic schemes of the pieces, often emphasizing that if everything is correct and logical in the chord sequences, then the melody will flow by itself.

When accompanying, he often used chords that mimic the sound of the brass section. The contributions of Charlie Christian and Django Reinhardt to the history of jazz guitar are invaluable. These two outstanding musicians have revealed the inexhaustible possibilities of their instrument not only in the accompaniment, but also in the improvised solo, predetermined the main directions of the development of the technique of playing the electric guitar for many years to come.

The increased role of the guitar as a solo instrument has led to the tendency of performers to play in small compositions (combos). Here the guitarist felt like a full member of the ensemble, performing the functions of both an accompanist and a soloist. The popularity of the guitar expanded every day, more and more names of talented jazz guitarists appeared, and the number of big bands remained limited. In addition, many leaders and arrangers of large orchestras did not always introduce the guitar into the rhythm section. Suffice it to name, for example,

Duke Ellington, who did not like to combine the sound of guitar and piano in the accompaniment. However, sometimes the “mechanical” work that serves to maintain the rhythm in a big band turns into a genuine, jazz art. We are talking about one of the leading representatives of the chord-rhythmic style of guitar playing, Freddie Green.

Virtuoso chord technique, wonderful swing feeling, delicate musical taste distinguish his playing. He almost never played a solo, but at the same time he was often compared to a tug that carries the whole orchestra.

It is Freddie Green, to a large extent, who owes the Big Band of Count Basie for the unusual compactness of the rhythm section, for the liberation and brevity of the game. This master has had a tremendous influence on guitarists who prefer accompaniment and chord improvisation to extended passages and monophonic improvisations. The work of Charlie Christian, Django and Freddie Green forms, as it were, three branches of the jazz guitar family tree. However, one more direction should be mentioned, which stood somewhat apart, but in our time is gaining more and more recognition and distribution.

The fact is that the style of Ch. Christian was not acceptable for all guitarists, in whose hands the guitar acquired the sound of wind instruments (it is no coincidence that many, listening to Charlie Christian's recordings, took the voice of his guitar for a saxophone). First of all, his manner turned out to be impossible for those who played with their fingers on acoustic guitars.

Many techniques developed by C. Christian (prolonged legato, long improvisational lines without harmonic support, sustained notes, bends, rare use of open strings, etc.) were ineffective for them, especially when playing instruments with nylon strings. In addition, guitarists appeared, combining classical, guitar playing, flamenco and elements of Latin American music with jazz in their creative manner. These primarily include two outstanding jazz musicians, Laurindo Almeida and Charlie Byrd, whose work has influenced many classical guitarists, demonstrating in practice the unlimited possibilities of the acoustic guitar. With good reason they can be considered the founders of the "classical guitar in jazz" style.

Negro guitarist Wes John Leslie Montgomery is one of the brightest musicians who have appeared on the jazz scene since Charles Christian. He was born in 1925 in Indianapolis; he became interested in the guitar only at the age of 19 under the influence of the records of Charlie Christian and the enthusiasm of his brothers Buddy and Monk, who played the piano and double bass in the orchestra of the famous vibraphone player Lionel Hampton. He managed to achieve an unusually warm, "velvety" sound (using his right thumb instead of a pick) and developed the octave technique so much that he performed whole improvisational choruses in octaves with surprising ease and clarity, often at fairly fast tempos. His skill impressed his partners so much that they jokingly nicknamed Wes "Mr. Octave". The first disc with the recording of W. Montgomery was released in 1959 and immediately brought success and wide recognition to the guitarist. Jazz lovers were amazed by the virtuosity of his playing, refined and restrained articulation, melodic improvisations, constant feeling of blues intonations and a vivid sense of swing rhythm. It is very interesting for Wes Montgomery to combine a solo electric guitar with the sound of a large orchestra, including a string group.

Most of the subsequent jazz guitarists - including such famous musicians as Jim Hall, Joe Pass, John McLaughlin, George Benson, Larry Coryell - recognized the great influence of Wes Montgomery on their work. Already in the 40s, the standards developed by swing ceased to satisfy many musicians. Established clichés in the harmony of song form, vocabulary, which often boiled down to direct quotations of outstanding jazz masters, rhythmic monotony and the use of swing in commercial music became a brake on the further development of the genre. After the "golden period" of swing, the time comes to search for new, more perfect forms. There are more and more new directions, which, as a rule, are united by a common name - modern jazz (Modern Jazz). It includes bebop ("jazz-staccato"), hard bop, progressive, cool, third movement, bossa nova and Afro-Cuban jazz, modal jazz, jazz-rock, free jazz, fusion and some others: Such diversity, mutual influence and interpenetration different trends complicates the analysis of the creativity of individual musicians, especially since many of them at one time played in a variety of manners. So, for example, in the recordings of C. Byrd you can find bossa nova, blues, and svng themes, and adaptations of classics, and country rock, and much more. B. Kessel's playing includes swing, bebop, bossa nova, elements of modal jazz, etc. It is characteristic that jazz guitarists themselves often quite sharply react to attempts to classify them as one or another jazz direction, considering this a primitive approach to assessing their work. Such statements can be found in Larry Coryell, Joe Pass, John McLaughlin and others.

2 .2 The maindirectionspop-jazzperformance60-70 - NSyears

And yet, according to one of the jazz critics I. Berendt, on the verge of the 60s and 70s, four main directions developed in modern guitar performance: 1) mainstream (main trend); 2) jazz rock; 3) blues direction; 4) rock. The most prominent representatives of the mainstream are Jim Hall, Kenny Burrell and Joe Pass. Jim Hall, the "jazz poet" as he is often called, has enjoyed fame and love from the late 1950s to the present day.

"The jazz guitar virtuoso" is called Joe Pass (full name is Joseph Anthony Jacoby Passalacua). Critics put him on a par with such musicians as Oscar Peterson, Ella Fitzgerald and Barney Kessel. His discs with recordings of duets with Ella Fitzgerald and Herb Ellis, trio with Oscar Peterson and bassist Nils Pederson, and especially his solo discs "Joe Pass - Virtuoso" are very popular. Joe Pass was one of the most interesting and versatile jazz guitarists in the tradition of Jakgo Reinhardt, Charlie Christian and Wes Montgomery. His work is little influenced by new trends in modern jazz: he gave preference to bebop. Along with the concert activity, Joe Pass taught a lot and successfully, published methodological works, among which his school "Joe Pass Guitar Style" "2E

However, not all jazz guitarists are so committed to the "mainstream". Among the outstanding musicians gravitating towards the new in the development of jazz, one should note George Benson, Carlos Santana, Ola di Meola. Mexican musician Carlos Santana (born in 1947) plays in the style of "Latin rock" based on the performance of Latin American rhythms (samba, rumba, salsa, etc.) in a rock style, combined with elements of flamenco.

George Benson was born in 1943 in Pittsburgh and sang blues and played guitar and banjo as a child. At the age of 15, George received a small electric guitar as a gift, and at 17, after graduating from school, he formed a small rock and roll band, in which he sang and played. A year later, jazz organist Jack McDuff came to Pittsburgh. Today some experts consider the first recordings with Jack McDuff to be the best in Benson's entire discography. Benson was greatly influenced by the work of Django Reinhardt and Wes Montgomery, especially the technique of the latter.

Among the guitarists of the new generation playing jazz-rock and developing a relatively new jazz style - fusion, AI di Meola stands out. The young musician's passion for jazz guitar began with listening to a recording of a trio with the participation of Larry Coryell (whom, by coincidence, Ol di Meola replaced in the same lineup a few years later). Already at the age of 17, he participates in recordings with Chick Corea. Ol di Meola is a virtuoso guitar player - both fingers and a pick. The textbook "Typical Techniques of Playing the Guitar with a Pick" written by him was highly appreciated by specialists.

Among the innovators of our time is also the talented guitarist Larry Coryell, who has gone through a difficult creative path - from passion for rock and roll to the newest trends in modern jazz music.

In fact, after Django, only one European guitarist has achieved unconditional recognition throughout the world and influenced the development of jazz in general - the Englishman John McLaughlin. The heyday of his talent falls on the first half of the 70s of the twentieth century - a period when jazz rapidly expanded its stylistic boundaries, merging with rock music, experiments in electronic and avant-garde music, and various folk music traditions. It is not by chance that McLaughlin is considered “theirs” not only by jazz fans: we will find his name in any encyclopedia of rock music. In the early 1970s, McLaughlin organized the Mahavishnu (Great Vishnu) Orchestra. In addition to keyboards, guitar, drums and bass, he introduced the violin into its composition. With this orchestra, the guitarist recorded a number of records, which were enthusiastically received by the public. Reviewers note McLaughlin's virtuosity, innovation in arrangement, freshness of sound, due to the use of elements of Indian music. But the main thing is that the appearance of these discs marks the establishment and development of a new jazz direction: jazz-rock.

Nowadays, many outstanding guitarists have appeared who continue and enhance the traditions of the masters of the past. Of great importance for the world pop and jazz culture is the work of the most famous student of Jimm Hall - Pat Mattini. His innovative ideas have significantly enriched the melodic-harmonic language of modern pop music. I would also like to note the brilliant performing and teaching activities of Mike Stern, Frank Gambal, Joe Satriani, Steve Vai, pupil of Joe Pass Lee Ritenour and many others.

As for the development of the art of playing the pop-jazz (electric and acoustic) guitar in our country, it would have been impossible without many years of successful educational and educational work of V. Manilov, V. Molotkov, A. Kuznetsov, A. Vinitsky, as well as their followers S. Popov, I. Boyko and others. Of great importance is the concert performance of such musicians as: A. Kuznetsov, I. Smirnov, I. Boyko, D. Chetvergov, T. Kvitelashvili, A. Chumakov, V. Zinchuk and many others. Having passed the way from blues to jazz-rock, the guitar not only has not exhausted its possibilities, but, on the contrary, has won leadership in many new directions of jazz. Advances in the technique of playing the acoustic and electrified guitar, the use of electronics, the inclusion of elements of flamenco, classical style, etc. give reason to consider the guitar as one of the leading instruments of this genre of music. That is why it is so important for the new generation of musicians to study the experience of their predecessors - jazz guitarists. Only on this basis is it possible to search for an individual performing manner of playing, ways of self-improvement and further development of pop-jazz guitar.

conclusions

In our time, the topic of the development of performing skills on the 6-string guitar remains relevant, since at the moment there are many schools and training systems. They include different directions, from the classical school of playing, to jazz, Latin, blues schools.

In the development of the style of jazz, a very significant role is played by a specific instrumental technique that is characteristic precisely for the jazz use of the instrument and its expressive capabilities - melodic, intonational, rhythmic, harmonic, etc. The blues were of great importance for the formation of jazz. In turn, "one of the decisive factors in the crystallization of blues from earlier and less formalized forms of Negro folklore was the" discovery "of the guitar in this environment."

The history of the development of the art of guitar knows many names of guitarists-teachers, composers and performers who have created numerous textbooks for teaching guitar playing, many of them directly or indirectly dealt with the problem of developing fingering thinking.

Indeed, in our time, the concept of a guitarist includes mastering both the basic classical techniques, both the base and the ability and comprehension of stylistics, the accompanying function, the ability to play and improvise on digital music, all the subtleties and features of blues and jazz thinking.

Unfortunately, in recent years, the media have paid very little influence not only to serious classical, but also to non-commercial types of pop-jazz music.

Listusedliterature

1. Bakhmin A.A. A self-instruction manual for playing a six-string guitar / A.A. Bakhmin. M.: ASS-center, 1999.-80 p.

2. Boyko I.A. Electric guitar improvisation. Part 2 "Basics of Chord Technique" - M .; Hobby Center, 2000-96 p .;

3. Boyko I.A. Electric guitar improvisation. Part 3 "Progressive method of improvisation" - M .; Hobby Center, 2001-86 p.

4. Boyko I.A. Electric guitar improvisation. Part 4 "Pentatonic scale and its expressive possibilities" - M .; Hobby Center, 2001 - 98 p .; silt

5. Brandt V.K. Fundamentals of the technique of a guitarist of a pop ensemble / Study guide for music schools - M. 1984 - 56 p.

6. Dmitrievsky Yu.V. / Guitar from blues to jazz-rock / Yu.V. Dmitrievsky - M .: Muzichna Ukraina, 1986 .-- 96 p.

7. Ivanov-Kramskoy A.M. School of playing a six-string guitar / A.M. Ivanov-Kramskoy. - M .: Sov. Composer, 1975 .-- 120 p.

8. Manilov VA Learn to accompany the guitar / VA. Manilov. - K .: Muzichna Ukraina, 1986. - 105 p.

9. Pass, D. Guitar style of Joe Pass / Joe Pass, Bill Thrasher / Comp .: "Guitar College" - M .: "Guitar College", 2002 - 64 p .; silt

10. Popov, S. Basis / Comp .; Guitar College - M .; "Guitar College", 2003 - 127s .;

11. Puhol M. School of playing a six-string guitar / Per. and edited by N. Polikarpov - M .; Sov. Composer, 1987 - 184 p.

12. Al Di Meola "Pick Technique"; Per. / Comp.; "GIDinform"

13. Yalovets A. Django Reichard - "Horizon", M .; 1971 No. 10 - p. 20-31

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The history of the emergence, development and improvement of this musical instrument is so amazing and mysterious that it rather resembles an exciting detective story. The first information about the guitar dates back to ancient times. On Egyptian monuments of a thousand years ago, there are images of a musical instrument - "nabla", which looks like a guitar. The guitar was also widespread in Asia, which is confirmed by the images on the architectural monuments of Assyria, Babylon and Phenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, wealthy families in Spain began to compete with each other in the patronage of science and art. The guitar, along with the lute and other plucked instruments, is becoming a favorite instrument in the courts. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - "salons" that took place regularly, played an important role. Since that time, the fascination with plucked instruments has penetrated the broad masses, and special musical literature has been created for them. The names of the composers who represented it make up a long line: Milan, Corbetto, Fuenliana, Marin y García, Sanz and many others.

Having gone a long way of development, the guitar has taken on a modern look. Until the 18th century, it was smaller, and its body was rather narrow and elongated. Initially, five strings were installed on the instrument, tuned in quarts, like on a lute. Later, the guitar became six-string, with a tuning more convenient for playing in open positions for a more complete use of the sound of open strings. Thus, by the middle of the 19th century, the guitar took on its final form. Six strings appeared on it with a system: mi, si, sol, re, la, mi.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How can one explain such a widespread use of the guitar? Mainly because it has great potential: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the possibility of easy movement in space and, most importantly, an unusually melodious, deep and at the same time transparent sound - justifies the love of this universal musical instrument for a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appear in Spain

F. Sor and D. Aguado, along with them in Italy - M. Giuliani. L. Leniani, F. Karulli, M. Carcassi and others. They create an extensive concert repertoire for guitar, ranging from small pieces to sonatas and concerts with an orchestra, as well as wonderful Six-String Guitar Schools, an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publication of this pedagogical literature, it is still a valuable heritage for both teachers and students.

The composer Sor gives concerts in Western Europe and Russia with great success. His ballets Cinderella, Lubochnik as a Painter, Hercules and Omphale, as well as the opera Telemachus, have many performances on the stages of St. Petersburg, Moscow and large cities of Western Europe. The polyphonic style, rich imagination and depth of content characterize Sora's work. This is an educated musician-composer, virtuoso guitarist, who amazed with the depth of his performance and brilliance of technique. His compositions have become part of the guitarists' repertoire. Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also a perfect violinist. When Beethoven's Seventh Symphony was first performed in Vienna in 1813 under the direction of the author, Giuliani took part in its performance as a violinist. Giuliani was highly regarded by Beethoven as a composer and musician. His sonatas, concerts with an orchestra are performed by modern guitarists, and pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country "School of playing the six-string guitar" by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to The School, the author says: “... I had no intention of writing a scientific work. I just wanted to make it easier to learn the guitar by laying out a plan that would give an opportunity to get a deeper understanding of all the features of this instrument. " According to these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for teaching guitar playing, and it is hardly possible at all. The School provides a number of valuable instructions on the technique of the left and right hands, various characteristic techniques of playing the guitar, playing in different positions and keys. Musical examples and pieces are given sequentially, in ascending order of difficulty, they were written with great skill of the composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this "School" has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; the development of fingering, melodic-harmonic thinking is practically not touched upon, it is only about the correct placement of the fingers of the left and right hand, which allows us to achieve the resolution of many technical difficulties of performance, improve the sound, phrasing, etc.

In the second half of the 19th century, a new bright name for the Spanish composer, virtuoso soloist and teacher Francisco Tarrega appeared in the history of the guitar. He creates his own writing style. In his hands, the guitar turns into a small orchestra.

The performing work of this wonderful musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works, you can often hear the imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. Among his best students are Miguel Llobet, Emelio Pujol, Dominico Prat, Daniel Fortea, Illarion Lelup and other famous concertists. To date, the "Schools" by E. Pujol, D. Fortea, D. Prat, I. Lelyup, I. Arens and P. Roch, based on the Tarrega teaching method, have been published. Let us consider this method in more detail on the example of the “School of playing the six-stringed guitar” by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the "School" is a generous, detailed presentation of all the main "secrets" of classical guitar playing. The most essential questions of guitar technique have been carefully worked out: the position of the hands, the instrument, methods of sound production, playing techniques, etc. The consistency of the arrangement of the material contributes to the planned technical and artistic training of the guitarist. The “School” is entirely built on original musical material: almost all the studies and exercises were composed by the author (taking into account F. Tarrega's methodology) specifically for the corresponding sections.

Especially valuable is the fact that this educational publication not only sets out in detail the difficulties of playing the guitar, but also describes in detail the ways to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hands, and also the techniques of playing in different positions, various movements, displacements of the left hand are considered in detail, which certainly contributes to the development of fingering thinking. The effectiveness of the "School" of Pujol is confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

The creative activity of the greatest Spanish guitarist of the XX century was of great importance for the development of the world guitar art. Andres Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also the abilities of an organizer and propagandist. Researcher M. Weisbord writes: “... to establish the guitar as a concert instrument, it lacked what, for example, a piano or a violin had - a highly artistic repertoire. The historical merit of Andres Segovia consists, first of all, in the creation of such a repertoire ... ”. And further: “For Segovia they began to write M. Ponce (Mexico), M.K. Tedesco (Italy), J. Ibert, A. Roussel (France) C. Pedrell (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden) ... ”. From this small and far from complete list of composers, it is clear that it was thanks to A. Segovia that the geography of professional compositions for classical guitar was rapidly expanding, and over time this instrument attracted the attention of many outstanding artists - E. Vila Lobos, B. Britten. On the other hand, there are whole constellations of talented composers who are at the same time professional performers - A. Barrios, L. Brauer, R. Diens, N. Koshkin, etc.