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14WORK ON PEDALIZATION IN THE ELEMNTARY GRADES OF THE
MUSIC SCHOOL
G.Kaxarova S.Azizov
Fergana regional branch of Uzbekistan State Institute of Arts and Culture
Abstract:. This article provides information about piano pedaling technologies, ways to improve pedaling skills among pupils of musical schools. On the examples of popular children's piano pieces by famous composers.
Keywords: music, technology, piano, pedal, half-pedal, ability
Pedalization is the most important means of expression for a pianist. The pedal is the most valuable and unique property of the piano. No other instrument has the specific richness of a pedal sound. This wonderful property of the tool was known and widely used by all great composers, starting with Beethoven. Piano literature of the 19th and 20th centuries was conceived by composers with a pedal, so the performance and thinking of pianists also cannot exist outside the pedal. Feeling the pedal in all its variety of applications, just like feeling sound in all its gradations, means having a certain pianistic skill. Subtle, varied pedaling enriches the performer's sonic palette. Emphasizing the sound of overtones with resonance open strings, preservation of an organ point by a half-pedal, coloristic mixing of harmonies, "melting" of sounds when vibrated or slowly removable pedal - all these means of expression are necessary for every pianist.
Pedalization is one of the most difficult problems in piano pedagogy. It is less amenable to isolation and systematization than any other pedagogical problem because the ability to pedal is one of the components of the performer's artistic thinking. In pedaling, creative imagination and brightness of figurative representations are manifested, as are depth of understanding of music and sense of style and richness of the sound palette. The improvisation of pedaling depends on the acoustics of the hall and the characteristics of the given piano. Therefore, learning to pedal is absolutely inseparable from the sound of music and from playing it live, except for a few initial exercises in pedaling. All work on pedaling is work for the ear. It is a musicalemotional creative process. Working on pedaling with beginners.
The methodology for teaching pedaling comes down to two main, parallel, but unequal in depth and difficulty sections: Mastering the techniques and skills of pedaling. Education of attitude to pedalization as a creative process is completely determined by the whole complex of musical and performing tasks, which sets each studied work before the performer.
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It is impossible to invent precise and permanent formulas, but some basic principles of their application can be deduced depending on the style, texture, register, tempo, and dynamics of the work. The role of the right pedal is diverse. Several of its functions can be distinguished. Its role as a binding agent is extremely important because it gives piano sound for a long duration and allows you to combine various elements of the musical fabric that are at considerable distance. It combines sounds into a single harmonic complex. The role of the right pedal as a colorful means is very important. The change in the timbre of the piano sound is achieved by those who, with raised dampers, begin to resonate their numerous partials, which gives the sound greater fullness and brightness. As for the left pedal, it is not used as a means to achieve the achievements of the piano but as a coloristic means and is usually not used either in the lower or middle classes. It is possible to start playing with the pedal in about the second grade, when the student has already mastered some of the skills of playing the piano and can listen to themselves while playing.
It is necessary to teach him to silently press the pedal, feeling the depth of the pedal foot. It is useful to experiment with the pedal, for example, to link sounds at great distances from each other or, conversely, to play adjacent keys legato while not allowing a dirty sound. You can combine, for example, the C major triad with the G major triad. Take the first chord, press the pedal without dropping it, and slowly move your hand to another chord. Immediately, before the chords have time to mix, remove the pedal and leave the chord without the pedal to sound. When the sounds of the first chord disappear, press the pedal again. You cannot take your hands off the chord if it is not captured by the pedal, and you cannot drop the pedal if the next chord has not yet been played. You should tell the student about the two main types of pedals: straight and lagging.
It is necessary to introduce the student to the ways of designating the pedal. Notation Ped. does not give great accuracy for the moments of taking and removing the pedal; a graphical way of designating the pedal is more suitable. The pedal should be noted in the notes as they are with respect to the fingering. The famous pianist A. Goldenweiser noted: "As for beginners, it is better to teach them first a short straight pedal, taken along with the sound, and then move on to the delayed one.
The main thing is that pedaling was, from the very beginning, regulated by ear and did not obey one or another metric scheme. The original pieces with a simple but effective retarded pedal are Tetzel's Prelude and Tchaikovsky's The Doll's Disease. In general, at first they use the pedal in certain moments: climaxes, endings of pieces. There are many middle school works with a rather complex delayed pedal, for example, Andantino by Khachaturian, where the harmonies often change while the melodic line requires a clear and expressive performance. The pedal should not serve to embellish and disguise an approximate performance.
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It must be played initially without pedals, and even when the work is learned, it is necessary from time to time to return to work without a pedal to control the work of the fingers. It is unacceptable to abuse the pedal when playing Bach or Mozart. Use it with caution. Even modern authors often use passages played without the pedal to sound more effective. It is possible to play with your fingers, but it is advisable to play without a pedal. Pedalless sound has its own charms and is accessible to hearing Work on pedalization occurs throughout the training. We should not forget the words of Anton Rubinstein: "The pedal is the soul of the piano."
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