The most important step in the organization of the educational process, of course, individual lessons are the main basis for improving performance skills and artistic growth of the orchestra, singers students not only in the initial stage of the team as an artistic-performing units, but at a later time, when the orchestra reaches a certain art results.
Proper organization of private lessons is an important condition for ensuring the effectiveness of the educational process in the orchestra. The supervisor should be included in the schedule of days and times of individual lessons to each student orchestra. The rest of the time scheduled for rehearsal and training sessions, they should be dealt with independently solving learning and performing the tasks assigned supervisor. It is also advisable to attach more prepared students for the newly arrived. They can have a very productive help in mastering the skills of playing instruments.
For this purpose it is necessary, approximate to allow extra time for each student orchestral player that is to be engaged individually 20 – 25 minutes three, four times a week.
At the initial stage of training students-musicians on the individual sessions to address the following learning objectives: setting performing unit, the rules of holding the instrument, sound production, performing breathing, initial skills different strokes execution. At the beginning of the musicians master the two most commonly used strokes – legato and staccato.
At the beginning occupations with orchestra it is necessary, to pay a close attention to forming of thin feeling of a rhythm, ownership of various strokes, sound extraction methods that undoubtedly will help the student – the orchestral player artily and it is technically correct to perform a part.
At this stage of work over kyuis or the work the head has to impart to students skills of independent work on the musical text, also ability understand independently a metro rhythm, dynamic shades, strokes, the harmonic plan, to define means of expression of disclosure of a musical image and contents of the work.
A key role in the educational process with the orchestra, and the students in mastering the skills of music and performing arts, special importance of independent work (work at home). After all, how well each student develops performance skills, the growth of the orchestra depends on the quality of performance. For this purpose, it is necessary to pay great attention to the organization of independent work of musicians.
When encountered difficulties, the manager must explain to students the orchestra its essence, the show features the execution, and then work with the group, gradually eliminating the shortcomings in the performance, that is, each batch of the orchestra you must learn individually, until it is well assimilated, and then introduced into orchestra.
In the initial period it is recommended to conduct separately, for parties or groups, that is, you first need to work out the party separately, for example, with dombra-tenors, apart from domra prima, sherter and bass, then kobyz tools and just a syrnay (bayans); It is very often needed separate sessions with percussion instruments, even if they are many. General rehearsals are much more productive then go faster and allow flattering themselves with the hope to achieve that fidelity performance.
Certainly, the great value in teaching and educational work of orchestral collectives is gained by group occupations.
As participants seize skills of playing an instrument, at a certain stage it is expedient to head to unite them in small ensembles, accustoming to joint, collective playing.
Tasks in work with orchestra which make uniform educational process on occupations have to be solved in a complex.
Experience shows that the most common drawback of orchestras is mediocre sound quality. Of course, much depends on the quality of tools. But more often the cause of this phenomenon lies in the fact that some leaders, especially without special training, pay little attention to tuning tools strokes; develop skills of correct reading of the musical text.
These tasks have to be the cornerstone of group occupations. To the head it is regularly necessary to watch and correct in the course of work with orchestra a system of separate instruments as education at musicians of skills of high-quality playing is one of the most important moments of work in orchestra.
Therefore it is desirable from the first occupations it is necessary to accustom students orchestral players to adjust an instrument independently.
Joint playing differs from solo first of all in that, as the general plan and all details of interpretation are a fruit of thoughts and the creative imagination not of one, but several performers and they are implemented by their combined efforts [10].
The ability to play with one or more partners – a very important aspect of the professional skills of the orchestra. Solo performance artist (without accompaniment, without partner) is only possible in very limited areas of instrumental activities.
Orchestras for example, compared with the much larger ensembles have colorful and dynamic capabilities. They typically use a variety of techniques of the game – the widespread use of a wide variety of timbre and harmonic combination of tools.
On occupations with orchestra, it is important to accustom students orchestral players to work, working capacity that they enjoyed this process and of course to try to obtain, as well as it was spoken to be engaged in playing musical instruments above independently.
Insistence to ourselves needs to be cultivated at students always, we will be able to overcome difficulties when we are exacting to ourselves.
– to orchestral players requirements and methods of teaching the head of orchestra have to be clear to students. Only in this case the orchestra will play at more professional level.
The main objective in individual and group occupations in the course of work on works or a kyu – to improve mastery of students orchestral players, to form skills of purity of performance, tempo and rhythmic coordination (collectivity), dynamic flexibility, accuracy in transfer of various strokes, technical fluency and etc. [30].
Feature of orchestral playing music is education of sense of responsibility of pupils for quality of development of own batch, achievement of accuracy by contractors at speed, a rhythm, strokes, dynamics, an agogics, specifics of timbre sounding that promotes creation of unity and integrity of the musical artistic image performed кюя or works.
Seating of orchestral players
During appearance of orchestras the set of options of an arrangement of musicians was replaced.
Principle of an arrangement of orchestral players:
Of course, at the beginning of training to each of the individual groups rehearsals at least until such time should be as long as the musicians have not mastered their instruments very well.
For example, you can group sherter domras-note add a group, basses and double basses, as their operation is the same. The Kazakh folk orchestra of the smallest group – a group syrnay (bayan) (no more than four-five people). Syrnay (button accordions) – the most powerful sounding instruments in an orchestra so they are administered in a minimal amount.
From the very first steps, it is necessary to teach students-musicians read sheet music. In a very slow tempo, within one, two bars, whole and half lengths, the musicians have – every lesson to learn to read. It is a necessary part of the training of students-musicians [35].
The orchestra should read fluently notes perform any technical passages, ensemble feel, to understand the conductor's gestures, and be able to conduct, so at every rehearsal is necessary to learn this entire musician. Having examined the melodic phrase, try to sing and conduct the. Then the musicians will better understand the gestures of the conductor and its requirements.
The friendly relation of student’s orchestral players – the high level of performing training of musicians.
It is necessary and useful to the very first steps of acquaintance with the music, the sounds, and the tool always be a team and play an ensemble. Then the student is brought up not only the harmonic ear, but also the courage of performance, confidence and emancipation in behavior on stage.
During rehearsals should rein a full understanding of musicians and leader. Everyone should feel responsible to the whole team and respect the work of his orchestra [35, p.11].
Most of national orchestras settle down thus:
Certainly each head has musical instruments according to these or those artistic concepts.
Distribution of individuals in orchestral collective happens according to tradition of landing of an orchestra on instruments and on groups.
For everyone fixed place. Individuals are organized into groups by type of instrument, and for groups of instruments secured certain functions (the solo, accompanying, rhythm, and so on. D.). The space is organized around an orchestra conductor, rather, to a conductor on the principle of a fan.
All musicians sit a semicircle facing the conductor who costs on a support training of students – orchestral players [35].
The orchestral player has to read fluently notes, execute any technical passages, feel ensemble, to understand conducting gestures and be able to conduct therefore on each rehearsal it is necessary to teach all this musicians. Having sorted the melodic phrase, try to sing it and to conduct. Then musicians will better understand gestures of the conductor and his requirement.
The friendly relation of students orchestral players – the high level of performing training of musicians.
It is necessary and useful from the very first steps of acquaintance with the music, sounds, an instrument always to be in collective and to play ensemble. Then at the student not only harmonic hearing, but also courage of performance, confidence and a freedom in behavior on the stage is cultivated.
During a rehearsal should be ruled by a full understanding of the musicians and the head. Everyone has to feel responsibility to all collective and respect work of the orchestral players [35, page 11].
Most of national orchestras settle down thus:
Certainly each head has musical instruments according to these or those artistic concepts.
Distribution of individuals in orchestral collective happens according to tradition of landing of an orchestra on instruments and on groups.
For each assigned their place. Individuals are organized in groups on types of instruments, and the certain functions (which are the soloist, accompanying, rhythmic etc. are assigned to groups of instruments). In the orchestra the space is organized around a conductor, or rather, a conductor on the principle of a fan.
All musicians sit a semicircle facing the conductor who costs on a support.
Thus, the function of the orchestra is to provide an opportunity to create a conductor, to be means to work on the creation of music.
The conductor can go between ranks for control directly during execution of music whereas orchestral players are deprived of an opportunity to leave the place and to move in space.
Musicians – actors in orchestra are organized on panels according to hierarchy of skill and professional merits.
It is considered to sit at the first lecterns prestigiously. In large orchestras the salary of the musician-orchestral player depends on at what lectern he sits. The part and leaving from a scene occurs according to the same order.
The distribution of the tools necessary to consider, first of all, physical and musical abilities of each student-performer.
Of course, it is impossible to disregard also desire of each participant to play this or that instrument which is pleasant to it more. However often it comes that at the time of distribution most of students show willingness to learn to play on a dombra or cheese.
Kargin A. – considers what needs to be explained, say, for example as the bayan batch is important for orchestra. Many of the men in the orchestra, received a serious correct knowledge about a particular tool, would love to learn to play the instrument, which will offer a head-conductor.
If such conversations don't help and participants insist on the, then it is possible to suggest them to learn to play two instruments: on one at the request of the student on another – at the request of the head, for example: on a dombra, cheese (bayan), a kobyz, on a domra prima and a dombra – a contrabass.
If this does not suit the musician, you need to give him the opportunity to engage with the tool as desired. Over time, when he takes it quite well, it will be easier to train another orchestral instrument.
The leading instruments of the orchestra – dombra, kobyz, syrnay – should choose persons with nimble fingers, a well-developed right hand.
The students who own any tool – (syrnay) a bayan, a flute – or earlier playing on them, it is necessary leave on the tools. It will provide rapid growth of skill of orchestra in general.
Concerning training of bayan players for national orchestra it is necessary to tell especially. Part cheese (bayan) – one of the most responsible in orchestra.
The group of syrnay (bayan) is charged with the most technically complex parts demanding good fluency of fingers, a saturated sound, and possession of fur.
Cheese (bayan) leads other instruments, rallies structure. Therefore the level of its art and performing activity, and also having good ear for music depends on the correct selection of students – bayan players (cheese) which became original leaders in orchestra in many respects.
Bass instruments (a dombra – a bass, a dombra - a contrabass) are distributed among the persons having good, physically strong hands, big brushes.
Percussion instruments should be charged to the musician having pronounced feeling of a rhythm. Any of instruments of orchestra, even the contrabass which played game it is inexact (rhythmic, harmoniously, melodiously), doesn't exert such negative impact on an orchestra rhythm in general as percussion instruments.
Therefore if in orchestra there is no person meeting all qualifying standards to playing percussion instruments, at first it is necessary to play or without drummer, or to invite to percussions of the trained musician. Otherwise neither the orchestra, nor the conductor is insured from various failures both for rehearsals, and during concert performance [27].
Orchestra – the live organism consisting from the conceiving and feeling people.
Work on involvement in orchestral group of new participants can be carried out in two ways.
The first stage is connected with attraction in orchestra of everyone irrespective of age, musical data, ability to play any instrument, knowledge of notes.
The second stage, on the contrary, assumes careful selection among persons interested on their musical abilities and ability to play instrument, on knowledge of the theory of music.
Most of heads use the first way of formation of orchestra. Then, after a few sessions, identifying the music data of each participant, the leader divides the team into several groups. More capable from the point of view of possession of an instrument will organize in one group, and less capable and with poorly expressed musical data – in another.
With each of the groups is educational activity is planned, tailored to the capabilities of the orchestra. It becomes more difficult to organize educational and creative work, and also to maintain interest at participants in occupations etc. In this case before orchestra and the head tasks in the field of creative and concert activity become complicated.
Speaking about two main ways of the organization of orchestral collective, we mean that case when the orchestra is created anew.
In the course of work, for replenishment of structure, each head has the technique which can differ from stated or combine basic elements of these two approaches. It is only important to consider that process of involvement of new musicians has to be system [27].
For example, considers the number of public appearances, the social composition, the participation of musicians in public life, cultural events, etc.