Особливості звуковидобування під час виконання творів на фортепіано

Abstract

(uk) У статті розглядаються проблеми невідповідності між високими вимогами, висунутими до піаніста щодо співучого виконання на фортепіано і недостатньою методологічною оснащеністю педагогічного процесу. Автор проводить поглиблений аналіз з питання «співучості» виконання на фортепіано.(en) This article discusses one of the many methods of «synchronous» of musical and technical aspects, the essence of which is reduced to the consistent use of the lessons of piano vocal and choral skills of the student. In the mind of the beginner to study music student singing organically linked with the expressive musical and speech intonation, while playing the instrument it is perceived as an act that has nothing to do with the vocal art, and consequently, with the emotionally-shaped side execution. This applies, above all, performance keyboardist where mechanical principle of extraction of sounds provoke formal game in more than a wind or string instrument, the performance of which is inextricably linked with intonation. It is necessary to carefully and consistently generate the student an idea of the piano music as an art form, closely related to common principles of vocal music performing emotional expressiveness. The most successful student masters the art of «singing» on the piano, working on plays, where the predominant character of the cantilena melodies. If the student fails to achieve maximum approximation of the sound of music on the piano for her vocal reading, then sometimes there is no need to require him or that sound diversity, for «singing» on the instrument itself dictates the dynamics of, and in the development of skills and strokes and agogics The essence of «a deep understanding of the art of singing», «horizontal thinking» about which the great masters of the past, is a fusion of sounds into a single audio stream. Basis of horizontal thinking creates a common understanding of the movement of the audio stream not only from the beginning of the end of the phrase, but also the «focus» of its direction as a whole around the work. And then all the units are in a relationship derived from one another. Audio stream creates fluidity breadth breathing phrasing, which are so characteristic of the vocal intonation.