Metronome (from a series of articles on the use of technical means when learning to play a musical instrument)
The idea of ​​a “musical chronometer” has been in the air since the beginning of the 19th century. Previously, composers indicated the nature of the work verbally, for example, “fun”,…

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Today we listen to folk rock with electronics, mixed up with Tatar folk motifs, a young Moscow fusion without borders and a solo piano concert that will pleasantly surprise even…

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Semantics of keys ...
The process of establishing a certain emotional content for each key continued in the music of Viennese classics and covered almost their entire list in the music of romantics, both…

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Concertmaster Aspects

Currently, accompaniment is the most common form of performance for pianists, one of the most sought-after professions in the field of special musical education. The scope of accompaniment is very extensive and covers many areas of musical performance and pedagogy.
Without the active participation of accompanists, it is difficult to imagine not only the training of professional performers, but also classes with young musicians at the initial stage of learning music.
Learning to accompany well is no less difficult than playing the piano well. The specifics of solo and accompanist activities are so varied that not every good pianist will achieve great results in accompaniment, until he has mastered the laws of ensemble relations, until he develops his sensitivity to a partner, does not feel the continuity and interaction between the part of the soloist and the part of accompaniment.
The main principles of accompaniment are:
– the accompanist’s interest in the work, which helps them to understand the specifics of the solo instrument and allows you to assist the soloist, especially the beginner;
– the high artistic level of the pianist’s performance of his part, which is an integral component of the accompanist’s professionalism and serves as a standard for a soloist who does not yet have mastery;
– psychological – manifests itself in the creation by the accompanist in any situation of a stable, psychologically comfortable atmosphere that promotes positive creative activity and mutual understanding between him and the soloist.
The concertmaster is a successful example of a universal combination of the elements of mastery of a teacher, performer, improviser and psychologist within the framework of the profession.
As E. M. Shenderovich notes, “… the activities of the accompanist combine pedagogical, psychological, and creative functions. It’s difficult to separate one from the other and understand what prevails in extreme or competitive situations. ”
The work of the accompanist requires a fairly extensive knowledge, skills. It will be successful if the pianist, in addition to technical equipment, has a so-called concertmaster complex. This complex consists of many components:
– Versatility:
The accompanist must be a universal musician in a sense. Joint playing music with performers on different instruments, as well as with different voices, pose a number of problems related to the timbre-dynamic balance. The accompanist must take into account the features of the solo instrument (dynamics, carcass, articulation, etc.). He needs to know the dynamic capabilities, timbre features of various instruments, to know the characteristic features of sound production, playing techniques of one or another instrument.
– Knowledge of the specifics of tools:
The concertmaster must know the line and articulation specifics of string, folk, wind instruments. Since sound and dash unity is the main task of ensemble performance.
– Knowledge of the ensemble repertoire:
The required professional accompanist also includes the study of an extensive ensemble repertoire. This form of work not only broadens one’s horizons, but also develops analytical thinking, internal hearing, performing reaction, and creative independence.
– Consistency of sounding soloist and accompanist:
The concertmaster complex assumes that the pianist has the ability to listen not only to his own performance, but also to the sound of the solo part. You need to adapt your vision of music to the performing style of the soloist. That is, the accompanist should know the part of the soloist as well as his own. It is important, playing in the ensemble, to be aware of the overall performance plan, the unity of tempo and rhythm, articulation and phrasing, the coordination of dynamics and timbre balance.
– Performing sensitivity:
Important components of the concertmaster complex are performing sensitivity, flexibility, correctness in relation to the partner. It is necessary to develop special sensitivity, respect, tact in relation to the intentions of the partner in order to convey to the listeners a single concept of the work.
A good accompanist foresees the intentions of his partner in advance, knows how to accept these intentions to follow the lead singer, and at the right time to lead him, leading the interpretation to a single performing decision.
– Ensemble intuition:
Both in preparation for the performing process and in the process of playing music, performers have to constantly regulate, control and coordinate their joint activities thanks to “anticipation” – the ability to anticipate, anticipate future events, actions, intentions, etc. The concertmaster must have ensemble intuition: well understand not only the specifics of a nearby sounding instrument, but also the individual style of the soloist, strive to intuitively imbue his intentions.

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