6 Selection of the repertoire and work over orchestral kuis and works

Not a few important role in working with the orchestra playing the repertoire that defines the creative face of the team. So one of the main tasks of the conductor should be valuable in ideological and artistic terms, and interesting for performers and listeners repertoire that is important in the work with the orchestra to choose the repertoire.

In the selection of repertoire, the conductor is obliged to take into account the gradual improvement of technical skills and artistic-performing the growth of the orchestra. It must always be borne in mind the possibility of this team, its qualitative composition, the degree of preparedness. You cannot, for example, a beginner orchestra to give complex compositions or works. The complexity of orchestral composition is determined by such factors as the degree of stress the individual parties, the character of the melody (rhythmic difficulties), etc.

Choosing art or a work, the conductor should carefully study it, namely you must analyze the essay to find the most difficult scores and to consider ways of overcoming them and outline a General plan of execution. Analysis of musical structure – analysis of individual constructs, the identification of periods, sentences, and phrases – will help the leader to overcome many difficulties, namely the kui or work. It will be useful to establish the nuances of kui or all of the work and its individual parts.

Getting started learning the kui or works; the conductor conducts the orchestra conversation about its content, nature, according to the brief information about the composer, the conductor. Forms explore the musical content kyuis and songs or works, you can arrange for her audition (music library, CD, video) performed by highly skilled orchestra. For example, a Symphony orchestra, or the academic orchestra of Kazakh folk instruments named after Kurmangazy, etc.

When learning complex kyuis or works for orchestra with each group (dombra, kobyz, syrnay, sherter, bass, drums etc) it is advisable to work separately, combining them only after revising the material, that is, there is no need to learn art or works from the entire orchestra (the orchestra).

First, the analysis of kui or works in groups, then working to overcome technical difficulties and, finally, the artistic decoration of the kui or works.

Method of learning kyuis or works in groups not only makes it quicker to remember the melody, but also gives the opportunity to more carefully and productively to work on ensemble, marching and playing of each instrumentalist, and conductor know the possibility of the possession of each student-player on instruments (dombra, kobyz, baskobyz, kylkobyz, syrnay, sazsyrnay, domra-bass, percussion-timpani, snare drum, triangle, tambourine, konyrau, etc.) that has a particularly important role in the performance of the kui or works.

That is, the student musician should study art or a work in all its details, namely the expressive, brightly kui to play or work on a musical instrument.

Suppose the conductor has chosen to work with the orchestra kui N. Tlendiev "ATA – tolgau". First there is the first acquaintance of the head with orchestral kui that is the teacher plays her musical instrument (dombra), makes a full analysis of orchestral scores. Then he makes the analysis of a form: the overall structure (division into parts), and tonal plan, tempo, rhythm, beats, etc.

Before starting to teach art with an orchestra, the leader, as mentioned above, we should study it in detail. It needs an expressive kui to play any musical instrument, if possible, listen to the recording of it in any of the orchestral team, to learn by heart and want to play all musical instruments (dombra, sherter, syrnay, bass dombra, a domra-prima, dombra-double bass, etc.). Special attention should be paid to difficult places in parties; they should be subject to particularly thorough testing in learning.

Also in programming concert the leader has to take care of her ideological and artistic usefulness, and genre diversity. An orchestra in concert requires the alternation of different nature and subject matter of kyuis or orchestral works. You should consider this principle of programming is required.