Preconditions for the formation and development of playing the classical guitar. About the art of guitar and the training of guitarists XIX century - the period of "guitaromania"

Guitar performance in Russia has its own unique history. However, in this work, we will consider only those pages that are directly related to the practice of playing the seven-string guitar and touch upon the features that underlie the formation of the Russian guitar style.
The Russian guitar school was founded at a time when in Western Europe the classical guitar had already declared itself as an independent solo concert instrument. She enjoyed particular popularity in Italy. Spain. A number of performers and composers have appeared. who created a new, classic repertoire. The most famous of them are D. Aguado. M. Giuliani. F. Carulli, M. Carcassi. Later, such wonderful musicians as Franz Schubert, Niccolo Paganini, Karl Weber and others turned to PR and wrote for it.

The main difference between the Russian guitar and the classical popular in Europe was the number of Strings (seven, not six) and the principle of their tuning. It is the question of tuning that has always been the cornerstone in the age-old debate over the superiority of the six- or seven-string guitar. Realizing the particular importance of this issue, we consider it necessary to return to the topic of the origin of the seven-string guitar and its appearance in Russia.
By the end of the 18th century. in Europe, there were several types of guitars of various designs, sizes, with a different number of strings and many ways of tuning them (suffice it to mention that the number of strings varied from five to twelve) -. A large group of guitars was united according to the principle of tuning the strings in fourths with one major third in the middle (for convenience, we will call this tuning the fourth tuning). These instruments were widely used in Italy. Spain. France.
In Great Britain, Germany, Portugal and Central Europe, there was a group of instruments with a so-called thirds system, in which the thirds were preferred when tuning the voice strings (for example, two large terzines were separated by a quarte).
Both of these groups of instruments were united by the fact that music written for one scale could be performed using a small arrangement on an instrument of a different scale.
The guitar with four double strings, which came from England to Europe, and from Europe to Russia (St. Petersburg), is of interest to us. The tuning of this guitar was of two types: the fourth and the third. The latter differed from the seven-string Russian guitar in size (it was much smaller), but practically anticipated the principles of its tuning in an expanded major triad (g, e, c, G, F, C, G). This fact seems to be very important for us.

The lack of historical evidence of the transformation of the body of the guitar, its size and the general scale of the strings only allows us to assume the options for their development. Most likely, the size of the neck of the guitar was determined by the convenience of playing, and the tension of the strings, their tuning, corresponded to the tessiture of the singing voice. Probably, the improvements have led to an increase in the body, replacement of metal scabs with vein ones, consequently, to a decrease in the sounding tone, and to a "sliding" of the general tuning down.
There is no reliable information confirming that this particular guitar served as the prototype of the Russian "seven-string", but their relationship is obvious. The history of guitar performance in Russia is associated with the appearance during the reign of Catherine the Great (1780s-90s) of foreign guitarists who played thirds and quart guitars. Among them are Giuseppe Sarti, Jean-Baptiste Guinglez. There are publications of collections of pieces for 5-6-string guitar, guitar magazines.
Ignaz von Geld (Ignatius von Geld) publishes for the first time a textbook entitled "An Easy Method of Learning to Play the Seven-String Guitar Without a Teacher." Unfortunately, pi one copy of this first Russian school of guitar playing, as well as information about the teaching method of its author, about the type of guitar, and the way of tuning it, has not survived. There is only evidence from contemporaries. The fact that Geld was a wonderful performer on the English guitar.
But the real founder of the Russian guitar school was the one who settled in Moscow. At the end of the 18th century. educated musician, great harpist Andrey Osipovich Sikhra. It was he who introduced the seven-string guitar with the d, h, g, D, H, G, D tunings into practical music making, which later became known as the Russian one.

We cannot know how much A. Sikhra was familiar with European experiments in creating guitars with different numbers of strings and methods of tuning them, whether he used their results in the work on the "improvement" (but in his own expression) of the classical six-string guitar. This is not so essential.
What is important is that A. Sikhra. being an ardent admirer of guitar performance, a brilliant teacher and competent popularizer of his ideas, he left a bright mark in the history of the development of Russian instrumental performance. Using the best achievements of the classical Spanish guitar school, he developed a methodology for teaching the seven-string guitar, which he later expounded in 1832 and 1840. "School". Using classic forms and genres. Sikhra created a new repertoire specifically for the Russian guitar and brought up a brilliant galaxy of students.

Thanks to the activities of A.O.Sikhra and his associates, the seven-string guitar gained extraordinary popularity among representatives of different classes: the Russian intelligentsia and representatives of the middle classes were fond of it, professional musicians and lovers of everyday music turned to it: contemporaries began to associate it with the very essence of the Russian urban folk music. A description of the enchanting sound of a seven-string guitar can be found in Pushkin's heartfelt lines. Lermontov, Turgenev. Chekhov, Tolstoy and many other poets and writers. The guitar began to be perceived as a natural part of Russian musical culture.
Let us remind you that A. Sikhra's guitar appeared in Russia under conditions when the seven-string guitar was almost never seen anywhere, it was impossible to buy it either in shops or from handicraftsmen. Now one can only wonder how quickly (in 2-3 decades) these masters, among whom were the largest violinists, were able to organize the production of the Russian guitar. This is Ivan Batov, Ivan Arhuzen. Ivan Krasnoshchekov. The guitars of the Viennese master I. Scherzer were considered one of the best. According to the testimony of contemporaries, the guitars of F. Savitsky, E. Eroshkin, F. Paserbsky were distinguished by their unique individuality. But now we will not dwell on this, because it deserves a separate discussion.

The national flavor of the seven-string guitar was also given by the arrangements written for it on the themes of Russian folk songs. “The influence of folk music on musical art will begin, of course, as part of the traditions of many nations. In Russia, however, the folk music of the herd is the subject of the most frantic enthusiasm of the people for their own music, perhaps one of the most remarkable movements of the Russian soul. "
In fairness, it should be noted. that A. Sikhra's works on Russian themes were written in the style of classical variations and did not have such an original, purely Russian flavor that distinguishes the arrangements of other Russian guitarists. In particular, Mikhail Timofeevich Vysotsky, the creator of numerous compositions on themes of Russian folk songs, made a huge contribution to the formation of the Russian guitar school as an original national phenomenon. M. Vysotsky grew up in the village of Ochakovo (12 km from Moscow) on the estate of the poet M. Kheraskov, rector of Moscow University, in an atmosphere of love and respect for Russian folk traditions. The boy could listen to wonderful folk singers, take part in folk rituals. As the son of a serf. Misha could get an education only by attending meetings of the creative intelligentsia and the Kheraskovs' house, listening to poems, disputes, impromptu performances of educated guests.

Among them was the main teacher of M. Vysotsky - Semyon Nikolaevich Aksenov. He noticed the boy's giftedness and began to give him lessons in playing the Russian guitar. And although these activities were not systematic, the boy made significant progress. It was thanks to the efforts of S. Aksenov that M. Vysotsky received his freedom in 1813 and moved to Moscow for further education. Later, the famous musician, composer A. Dubyuk provided Vysotsky with significant assistance in mastering the musical-theoretical disciplines.

M. Vysotsky became a remarkable guitarist, improviser, composer. Soon the fame of an unsurpassed guitarist - virtuoso came to him. According to the testimony of contemporaries, Vysotsky's play amazed not only with its extraordinary technique, but with its inspiration, the richness of musical imagination. He seemed to merge with the guitar: she was a living expression of his emotional mood, his thoughts.
Here is how Vysotsky's student and colleague, guitarist I. Ye. Lyakhov, assessed his playing: - His playing was incomprehensible, indescribable and left such an impression that cannot be conveyed by any notes and words. Here the spinning song sounded plaintively, tenderly, sadly before the vamp; a small fermato - and as if everything spoke to her in response: they say, sighing, the bass, they are answered by the crying voices of treble, and this whole chorus is covered with rich reconciling chords; but now the sounds, like tired thoughts, turn into equal triodi, the theme almost disappears, as if the singer was thinking about something else; but no, he again returns to the topic, to his thought, and it sounds solemn and even, passing into a prayer adagio. You Hear the Russian Dog ", raised to the sacred (Sudetenland. Everything is so beautiful and natural, so deeply soulful and musical, as you rarely find in other compositions on Russian songs. Here you will not remember anything Like this: everything here is new and original. Before us is an inspired Russian musician, before you is Vysotsky. "

A distinctive feature of Vysotsky's work was the reliance on the mighty layers of Russian folk song and partly instrumental creativity. This is what determined the development of the Russian guitar school, its Moscow branch. M. Vysotsky, perhaps to a lesser extent, was engaged in the systematization of recommendations for learning to play the seven-string guitar, although he gave a large number of lessons. But in his work, the Russian seven-string guitar has become a truly national instrument, which has its own special repertoire, special techniques and stylistic differences, performing style, patterns of development within musical forms (we mean the connection between the poetic content of a song and the process of variant development in musical composition). In this regard, M. Vysotsky for us. is probably the most important figure in Russian guitar performance. In his work, the basis for an original style of playing is laid, as well as the principle of obtaining a melodic sound and the accompanying techniques are indicated. But this will be discussed later.

Thus, the appearance of a distinctive guitar school in Russia is associated with the names of A. Sikhra and M. Vysotsky, as well as their best students.
In conclusion, I would like to say that the wide distribution of the guitar in Russia in a short historical period of time cannot be an accident. Rather, it is good evidence of the instrument's worthiness. There is enough reason to be proud of the achievements of the Russian guitar school. However, it can be stated with bitterness that we do not know the whole truth about our instrument and the legacy created for it. It is important to know and understand today, when almost everything that Russia was proud of in the past has been destroyed to the ground, and nothing has been created to replace it. Maybe it's time to turn our face to the Russian guitar heritage ?! It is composed of the compositions, methods and repertoire of the most educated people of their time. Here are some names: M. Stakhovich — nobleman, historian, writer; A. Golikov - nobleman, kolezh registrar; V. Sarenko - Doctor of Medical Sciences; F. Zimmerman - nobleman, landowner; I. Makarov - landowner, prominent bibliographer; V. Morkov - nobleman, actual state councilor: V. Rusanov - nobleman, conductor, outstanding editor.

The guitar is the most popular musical instrument. There are many more people playing the guitar, even if at least at the level of a few chords, than playing any other instrument. And there are probably even more of those who would like to learn how to play it. The guitar is the most common instrument. At first glance, it may seem that mass character and prevalence are one and the same. This is not true. For example, in some European countries, the harmonica can be considered a massive and very popular instrument, but the rest of the world treats it rather coolly. And the guitar is widespread on all continents, including now Antarctica. The guitar even managed to visit space. Probably, over time, other instruments will also be there, but the leadership will forever remain with the guitar.

In Russia, the guitar has developed in two directions: both seven-string and six-string. Unlike the seven-stringed guitar, its six-stringed version developed in Russia in the 18th - 19th centuries almost exclusively as a professional academic instrument and was little focused on the transmission of Russian folk songs and everyday romances.

Since the middle of the 19th century, the educational role of the six-string guitar has significantly increased. Concert performances by domestic six-string guitarists such as N.P. Makarov and M.D. Sokolovsky, became an important means of musical education for numerous fans of the instrument in Russia.

Also, in the early years of the 20th century, they acquired the meaning. The role of various circles of guitarists. The activities of prominent guitarists-performers and teachers V.A. Lebedeva, A.P. Solovyova, V.P. Uspenkiy, V.M. Yuriev.

Since the second half of the 1950s, the concert activity of guitarists has significantly intensified: A.M. Ivanov-Kramskoy, B.P. Khlopovsky, L.A. Menro, L.F. Andronova, Ya.G. Pucholsky.

1950-80 guitar classes were opened in music schools and secondary specialized educational institutions, and then in higher ones. Talented performers, composers appear, various contests and festivals of performers are held, musical literature for the guitar appears.

Many Russian performers on folk instruments are actively involved in the promotion of their work, give a lot of concerts and thereby win recognition from the public. Chelyabinsk (Ural) guitarists are also among them.

At the beginning of the third millennium, the festival and competition movement in the guitar specialty became very active. Chelyabinsk hosted 10 "Classical Guitar in the Urals" festivals; Yekaterinburg regularly hosts the world's only festival of guitar concerts with a symphony orchestra; In Perm; in 2005 a new festival “Kamensk Meetings” was born in Kamensk-Uralsk; Magnitogorsk hosts a special festival in memory of the music master Ivan Kuznetsov, which brings together classics, pop music and bard song performers.

Thus, we can say that the guitar in large Ural cities is currently experiencing a noticeable rise, which means that we can expect the emergence of new interesting performers and composers who can reach new creative heights in music for guitar.

The diploma work will tell as much as possible about our Chelyabinsk guitar musicians, talk about their achievements, victories in competitions, repertoire, and creative plans for the future.

I believe that the relevance of the topic of the thesis is the need to study the development of guitar performance in Chelyabinsk (in the Urals) in order to increase interest in their art, identify new talented performers and composers in Chelyabinsk.

The object of study in the thesis will be the performance of guitarists from Chelyabinsk from the beginning of the XX century to the present.

The subject of study will be the creativity of the guitar performers of this period.

The hypothesis in the thesis can be defined as follows: the creativity of our modern guitar performers corresponds to the world level when using the performing experience of their predecessors and what new they have contributed to the development of the guitar art of our country under the influence of various guitar schools in Russia, pedagogy and performing.

Purpose of the research: to study the performance of domestic and modern guitarists in Chelyabinsk.

Hence the research tasks:

1. Study of the influence of various domestic schools on the formation and development of guitar performance in Chelyabinsk;

2. Studying the creative path of modern Chelyabinsk performers and determining the stages of the formation of their work;

The main research methods are: analysis of printed materials of books, articles in magazines and newspapers, conversations with performers.

The theoretical significance is as follows: the issues of the formation and development of guitar performing in Chelyabinsk will be highlighted and its stages will be determined.

The practical significance lies in research work on the work of musicians, biographical information, concert activities.

The base of the research is the creativity of guitar performers in Chelyabinsk.

History of origin

According to the leader of the "Trio" Viktor Kozlov: - “The idea appeared when we began to compose the program of the First All-Union Festival of Guitarists, which was held in 1991 in Chelyabinsk. It turned out that we have only soloists. And since there are so many works for ensemble performance, we decided to compensate for this gap on our own. First, we prepared a small program, and then we realized that playing together is a very exciting experience. "

So, the "Trio of Guitarists of the Urals" was formed in 1991 during the preparation of the first All-Union Festival of Guitarists, which was held in Chelyabinsk from 18 to 21 November 1991.

The element of "randomness" in the creation of the ensemble is apparent. If, again, turn to philosophy, then any accident is associated with necessity. And this “necessity” of unification lies in the fact that every musician - performer, having a certain professional background, strives for a creative union, for joint performance. Even all great musicians - soloists, world performing stars play a chamber repertoire and with a symphony orchestra. The urge to unite, joint music-making is a natural process, practically for every musician. It was this kind of craving for professional unification that prompted the Ural guitarists to create an ensemble. By that time, each of the members of the ensemble already had serious stage experience of solo work: in 1990, as a performer, Viktor Kozlov was awarded a diploma of the All-Russian competition in Nizhny Novgorod. Sharif Mukhatdinov has been engaged in concert activities since 1974 as an artist of the Chelyabinsk Philharmonic. Yuri Makarov took part in the Regional Competition of Performers in honor of the 100th anniversary of the birth of V.V. Andreev in 1988. This is how a musical performing community of like-minded people was born: Viktor Kozlov, Sharif Mukhatdinov, Yuri Makarov. And since 1996, Yuri Makarov was replaced by Viktor Kovba.

Concert activities

The first public performance of the band took place on November 19, 1991. The program included the following pieces:

J.S.Bach - "Gavotte" from the English suite No. 4

A. Vivaldi - Andante

V.Kozlov - Round dance and Waltz

Fantasy K. Monteverdi

3 scherzo

Y. Radzetskiy - Circular dance

The audience more than welcomed the performance. The musicians' intuition did not disappoint - the content of the music and the form of the group aroused the keenest interest of the audience.

The existing professional performing base immediately allowed the members of the ensemble to turn to a rather complex artistic and technical repertoire, gradually expanding it in all genre diversity.

The venues for performances expanded geographically: Chelyabinsk, regional cities. Then Moscow, Voronezh, Omsk, Ulyanovsk, Yekaterinburg, St. Petersburg, Bashkiria, Kazakhstan, Ukraine.

In August 1993, the first foreign trip to Hungary in Esztergom and the first victory took place. Trio of Ural guitarists became a diploma winner of the international festival of guitarists. In October 1994, the Ural musicians attended the International Festival of Guitarists, held in the Polish city of Tykhkhi, as guests. In the fall of 1996, the ensemble of guitarists toured Finland at the invitation of the Kuonio Conservatory. The musicians gave five concerts in five cities. We performed at the Conservatory, at the Institute of Music.

Finnish newspapers and magazines wrote about the identity of the Russian trio, performing original music by new contemporary authors and creating their own unique arrangements of classical works.

After one of the concerts, Professor of the Institute of Music of Helsinki Yusipekka Rananyaki wrote literally the following in the "Guitarist" magazine: - “The musicians play so harmoniously that it seems as if one instrument sounds like it has a wide variety of timbres and colors. The finely tuned dynamics add extraordinary brightness to the sound of the pieces. I am looking forward to new meetings with the musicians of the Urals ”.

The second trip to Finland took place in 2002, where they played 8 concerts, each with great success.

From the list of cities and countries, it can be seen that the success with the listeners, and the attention was accompanied by the musicians, both in the cities of Russia and abroad. The playing of the Trio of Guitarists of the Urals is distinguished by high professionalism, clarity of interaction, deep penetration into the content of the works performed, excellent technique. We must pay tribute to the amount and diversity of the musical material performed. These are over 150 works. The literature for guitar ensembles is rather limited. The Chelyabinsk trio has the honor of the discoverer of undeservedly forgotten and rarely, and sometimes not at all, not performed in our country works of the Baroque era. Stylistic sensitivity helps musicians to equally completely interpret the works of A. Vivaldi and G. Telemann, to penetrate into the depths of the works of J.S.Bach, G.F. D. Scarlatti, D. Granyani. In each of the directions of the European Baroque, they try to find their own special vocabulary. Musicians in the classical repertoire feel calm and confident. The ensemble's compositions by J. Bizet, P. Tchaikovsky, V. Rebikov, A. Ivanov-Kramskoy sound spiritually, surprisingly poetic, artistically justified and convincing. Here is what V. Kovba says about this: “From the classics, we play the guitar that has not been performed by anyone before. Among the most popular pieces I will name Tchaikovsky's Dance of the Cockerels, Russian Dance from the Nutcracker ballet, a suite from Carmen in 3 parts.

The trio devotes an important place in their concert practice to the propaganda of contemporary Russian music. Among the authors with whom the artists have formed a long and lasting creative alliance are V. Uspensky, I. Rekhin, Y. Galperin, E. Poplyanova, S. Ilyin, N. Malygin and V. Kozlov. Of the contemporary foreign composers who collaborated with the trio, I would like to highlight Paolo Bellinatti (Brazil), Atanas Urkuzukov (Bulgaria), Vese Pelki (Finland). As we can see, the scope of the repertoire covers a significant time interval and content of different styles. This, of course, requires the musicians to feel the style of the work being performed and the availability of technical possibilities for the embodiment and transmission to the listeners of plays that are different in content and form. And this amazingly bright community of artists arises thanks to the warmth, strength, and sincerity of the musical experience, the inner dynamism of the game, the expressiveness of phrasing, the performing will, the ability to grasp the whole and subtly shade details.

Educational activities

In our time, at a gigantic pace of life, it is very difficult to concentrate seriously on folk (performing for a trio) to do something else big and significant. And yet it was a big and significant thing: the Association of Classical Guitar Workers in the Urals was organized. It was through the efforts of the members of the trio of guitarists of the Urals that the Association of Guitarists of the Musical Society of the Chelyabinsk Region (original name) was created in 1991. It is difficult to overestimate the importance of this organization for the development of the guitar art. The main goal of the Association is to help guitarists of the Ural region (teachers, performers, professionals and amateurs) be aware of what is happening in guitar life both in our country and abroad, what new trends are emerging in performance and pedagogy. This organization allows you to keep abreast of all significant domestic and foreign phenomena associated with the guitar.

As one of the directions of its work, the Association of Figures
classical guitar in the Urals holds the Classical Guitar Festivals in
Ural. As V. Kozlov says: - “Our main task is to help
teachers and their students to master the methodology that we bring
from other cities. It is in many ways more advanced and more comfortable.
In addition to seminars, we hold annual classical guitar festivals and
competitions for young guitarists ".

The classical guitar festival in the Urals has a fifteen-year history. It began rather modestly: the first concerts were held mainly in the small hall of the Chelyabinsk Higher School of Music: the festival program included a competition for young performers (mainly from the Ural region) and concerts of guests and participants.

Then, in the early 90s, it seemed that the organizers of the festival - the Ural trio of guitarists V. Kozlov, Sh. Mukhatdinov, Y. Makarov - took up an impossible task: the country lived hard, people thought about pressing problems - is it up to art here? However, the festival, in spite of everything, survived, won, strengthened. Chelyabinsk defended its right to be called a city not only of metal, but also of music.

Today, the classical guitar festival in the Urals is a large-scale cultural event that includes a competition for young performers, master classes by leading Russian and foreign teachers, seminars on guitar performance and pedagogy, numerous concerts of guests and participants, TV and radio broadcasts, presentations of new literature for classical guitar ... Did the festival geography cover almost all of Russia? The guests and members of the festival jury were such outstanding guitarists as: N. Komolyatov, A. Bardina (Moscow), V. Zhatko (Kiev), Yu. Kuzin, E. Lebedeva, V. Gorbach (Novosibirsk), S. Kordenko (Voronezh ), D. Dovgopol, V. Ostanin (Yekaterinburg), I. Kuznetsov, (Magnitogorsk), etc.

In recent years, foreign musicians have begun to come to the festival: Miro Simich (Sweden), Veza Pelki (Finland), Sven Landestad (Norway). The Ural festival gave a start in life to many young performers, who were subsequently awarded at the All-Russian and International competitions. Among them are I. Kulikova, I. Fedorenko, D. Ivchenko (Chelyabinsk), M. Belchikov (Leningrad region, now studying in the Czech Republic), I. Nasobina (studying at King's College in England), V. Rodichev (St. Petersburg) , O. Kiselev (Asha), I. Nikolaevsky (Magnitogorsk). And of the last stars, these are E. Pushkarenko and E. Pushkarenko (students of the Gnesins Musical College). A. Genger and D. Chernov became laureates and diploma winners of international and all-Russian competitions.

Any serious business is impossible without a publishing house, methodological support, and original literature. Unfortunately, there is less and less space left in the sea of ​​commercial box office print for classical guitar on a national scale. And again, the members of the ensemble did not stay away from this problem. We can say that they did the impossible: they established a regular release of literature for the guitar, a whole series called the Ural collection. It began publishing in 1997. To date, a series of eight collections has been released with a total circulation of 3200 copies throughout Russia, in the countries of near and far abroad. They provide material with a wide range of content: Russian and foreign guitar classics, transcriptions for guitar, works of various composers, local authors, guitar ensembles and guitar ensembles with other instruments. Collections outwardly can compete with commercial literature - excellent design, high-quality paper, very capacious and accessible content, clear comments and necessary information. The Chelyabinsk TV and Radio Broadcasting Company made numerous recordings of works by Ural composers and guitarists - V. Kozlov, Sh. Mukhatdinov, D. Dovgopol, E. Poplyanova, D. Milovanov.

It is necessary to say about one more creative field of musicians' activity. This is composition, arrangement, instrumentation. The members of the ensemble perfectly feel the features and capabilities of the classical guitar, know the subtleties and specifics of the means of working with musical material. All guitarists are actively working on the arrangement, carefully treating the original source, accurately realizing the content, and are able to lay out this content through the choice of optimal performing means, using a rich methodological and performing experience. The main arranger of the ensemble is Viktor Kovba. Numerous arrangements made by the members of the Trio of Guitarists of the Urals are actively used in pedagogical activities, are included in the educational repertoire of music schools, secondary and higher educational institutions, and are played on a professional stage.

Composition and performance are two equal parts for Viktor Kozlov. He does not think of himself outside the composition. Viktor, while still a student at a music school in the guitar class, began to study composition. At the school he studied composition under the direction of Y. Galperin. And at the conservatory, this activity developed even more actively. The first international composer's recognition came in 1989 in the city of Esztergom (Hungary), where the musician became a laureate of a composers competition. In 1998 (November), Moscow, at the competition of guitar compositions she was awarded a Diploma for the suite "Black Toreador". Currently V. Kozlov is a well-known composer in our country and abroad. He has written over 100 pieces for guitar, guitar ensembles, and guitar ensemble with other instruments. Works for guitar are published in Russia and in other countries, in particular in England, Germany, Italy, Poland, Finland.

Victor Kozlov as a composer was highly assessed by the English guitarist and music critic Paul Fowles in the English magazine "Classical Guitar": - "Being the author of original world-class miniatures, V. the world of contemporary music ".

The musicians of the trio do not limit their ensemble play only to their own group. The trio sometimes breaks up into duets. V. Kozlov plays with the laureates of the All-Russian competition, honored artist of Russia flutist A. Abdurakhmanov (at one time Victor played music with the luminary - domra performer T. Volskaya, with virtuoso balalaika player A. Bykov and others). In 1998 he released his first CD "Meditation for Solo Guitar", which is highly appreciated by professionals and is very popular with the audience. V. Kovba creatively collaborates with the singer, Honored Artist of Russia I. Galeeva, who renews her vocal cycles with enviable constancy and is in excellent shape all the time. U.Sh. Mukhatdinov was quite original. Unusual duet: guitar and violin viola (N. Tatarinskaya).

As you can see, the musicians of the trio are looking for new ways to realize their creative powers, experimenting without being locked in the corporate space.

The concert was recorded by the Trio of Guitarists of the Urals by Radio Klassika in the city of St. Petersburg in 1994 in the Glinka Small Hall of the St. Petersburg Philharmonic. First laser disc released.

The musicians of the Trio play wonderful instruments made personally for each by a wonderful guitar master I. Kuznetsov(which, unfortunately, died in February 2002).

Together they achieve inspirational music-making, in which each participant creates himself, and at the same time continuously anticipates the intention of the partners. It turns out not just ensemble harmony, but a single creative impulse. This achievement of harmony in all areas of their activities is born of intense, tireless, hard work. The whole life of the Trio in art is an example of creative restlessness and a rare demand for oneself in the name of love for the guitar and loyalty to one's beloved work.

Pedagogical activities

The scope of the ensemble is not limited to one performing work. For a musician in his prime of life, the need to play, be on stage, communicate with the audience is a way of life, a necessary condition for existence. The members of the Ural guitar trio are also no exception. But still, the second hypostasis is that pedagogy occupies a large place in the life of each member of the trio. The pedagogical activity of all the musicians of the trio is directly related to the tremendous work they have been doing over the years: the education of young guitarists, the formation of the performing basis for students of art schools, secondary and higher educational institutions, a very responsible task, not every teacher, let alone a performer, is active engaged in concert activities.

All musicians of the trio feel like a fish in water in pedagogy. Over the years, more than a significant methodological experience has been accumulated in learning to play the guitar. Honored Artist of Russia Sharif Mukhatdinov has been teaching since 1968. His young talents systematically become laureates of city, regional, Russian shows and competitions of performers. Among his students are Viktor Kozlov, a member of the Ural guitar trio, Honored Artist of Russia. Viktor Kovba played in a quartet of guitarists led by Sh.Mukhatdinov in the 60s. In the same ensemble of guitarists, V. Ustinov played in the same years, who together with another student of Sh.Mukhatdinov Anatoly Olshansky invented the Grand guitar (A. Olshansky worked for a long time as an accompanist to the famous singer Alexandra Strelchenko. Now he lives in Vienna). Sh.Mukhatdinov's students work in music schools in the city of Chelyabinsk and the Chelyabinsk region - these are Vyacheslav Shtykhvan, Ekaterina Surkova, D. Shagiakhmetova, and many, many others. It can be safely asserted that the Honored Artist of Russia Sharif Mukhatdinov stood at the origins of the formation of the South Ural School of Guitarists.

Viktor Kozlov has been in the teaching field since 1987. Now he is a professor, head of the department of folk instruments of the Chelyabinsk Institute of Music named after P.I. Tchaikovsky. V. Kozlov also trained a significant number of guitarists, teachers, performers. Among them: the laureate of the International Competition Irina Kulikova, now a student of the Russian Academy of Music, former student of the teacher Nikita Morozov is studying there. Ekaterina and Evgeny Pushkarenko, also graduates of Viktor Kozlov, study at the Gnessin School. It is impossible not to mention the current students of Viktor Kozlov - this is the laureate of international competitions Alfred Genger, and the laureate of the All-Russian competition Dmitry Chernov, who continue to proudly carry the banner of the Ural guitar school. Honored Artist of Russia Viktor Kovba has been teaching at the Chelyabinsk Academy of Art and Culture, and has been combining work at a music school since 1994. Viktor Kovba has already prepared several laureates of regional and open Russian competitions. (V. Kovba joined the trio in 1996, after many years of philharmonic work, which he has been doing since 1972).

Thus, thanks to the many years of pedagogical work of the Participants of the Trio of Guitarists of the Urals, a huge army of children, adolescents, adults had the opportunity to acquire a specialty: to join the great world of music, classical guitar, and musical culture.

1. Velitchenko G."Festival in Chelyabinsk", magazine "Guitarist" No. 2 1994, Moscow

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4. Goryuk O.“Her strength is in her weakness”, newspaper “Chelyabinsk Rabochy” January 9, 2002

5. Dolganova S. "Six strings of a beautiful lady", newspaper "Evening Yekaterinburg", January 9, 2000.

6. Evgenieva E."Three guitars on the first day of spring" newspaper "Chelyabinsk worker", May 11, 1994

8. Zvonitskaya Yu."Oh, how the guitar sang" newspaper "Vecherny Chelyabinsk", December 6, 2001

9. Zvonitskaya Yu."First Jubilee" magazine "Guitarist" No. 3 1997.

10. Zvonitskaya Yu."They love the guitar in Chelyabinsk" magazine "Information WMO" No. 2 1997. Moscow city.

11. Zvonitskaya Yu."Guitarists are learning" magazine "Information WMO" No. 3 1997.

12. Zvonitskaya Yu."Classical Guitar in the Urals" newspaper "Delovoy Ural", November 13, 1998.

13. Ivanova L."VI festival of classical guitar in the Urals", magazine "Guitarist" №1 1998.

14. Ivanova L."Labor and relentless search" magazine "Narodnik" No. 4 1997. Moscow city.

15. Kochekov V... "Ural Guitar Jubilee" magazine "Narodnik" №1 2002 Moscow city.

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17. Milovanov D. "Guitar in trio, duet and solo", newspaper "Na Change" 02/20/1991.

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19. Novikova E."Guitarists will be taught to take care of their nails" newspaper "Komsomolskaya Pravda" October 25, 2002

20. Sizova E."The concert hall of the Chelyabinsk Higher School of Music is filled to capacity" magazine "Guitarist" No. 1 2002.

21. A."Trio of guitarists of the Urals - Play until the last minute", newspaper "Contact", 07.04.1996.

22. Sadchikov A... "Trio of guitarists of the Urals - the national treasure of the country", "Komsomolskaya Pravda", October 19, 1999

24. Fedorenko N... "Russian Guitar in the South Urals", newspaper "Kamerton", No. 8 1999.

25. Imkhanitskiy M .AND. The history of performance on Russian folk instruments. Study guide for muses. Universities and schools. M .; Publishing house of the Russian Academy of Music Gnessin, 2002.351 p., Ill., Notes.

26. Gazaryan S.S. Guitar story. - M .; Children. Lit., 1987 .-- 48 p., Photo

27. Wolman B. Guitar in Russia. Essay on the history of guitar art. State muses. Publishing house - Leningrad. 1961 .-- 177 p.

28. 200th Anniversary of the Guitar in Russia (from M.T. Vysotsky lo S. D. Orekhov) V. Volkov.

29. "Guitarist" magazine - 1999 №1 - M.

30. The magazine "Guitarist" 2005 №2 - M.

35. Populist. Newsletter - M .; №1 1999. "Music"

36. Populist. - M .; 2002. No. 1. "Music"

37. Sinetskaya T.M. Composers of the South Urals. Monographic research. - Chelyabinsk., 2003 .-- 352 p., Ill.

38. Yablokov M.S."Classical guitar in Russia and the USSR". Bibliographic musical-literary dictionary-reference book of Russian and Soviet guitarists. // Tyumen - Yekaterinburg, 1992.

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Ministry of Culture of Ukraine

Kharkiv State Academy of Culture

for admission to training to obtain the degree "Master"

Guitar Art as a Historical Phenomenon of Musical Culture

Pihulya Taras Olegovich

Kharkiv 2015

Plan

Introduction

1. Prerequisites for the formation and development of playing the classical guitar

1.1 The history of the emergence, development and improvement of guitar performance

1.2 Formation of the art of guitar in the USSR and Russia

2. The history of the emergence and evolution of the pop-jazz direction in art

2.1 Varieties of guitars used in pop-jazz art

2.2 The main directions of pop-jazz performing 60-70s

Bibliography

Vconducting

Musical art of the XX century. developed rapidly and rapidly. The main characteristic features of this development were the assimilation of various styles and trends, the crystallization of a new musical language, new principles of composition, shaping, and the formation of various aesthetic platforms. This process involves not only composers, performers, art critics, but also millions of listeners for whom musical works are created.

The relevance of the topic is due to the consideration of classical and pop-jazz instrumental music from the point of view of the evolutionary development of guitar art, that is, the formation of new genres and trends.

The purpose of the research is to examine classical and pop-jazz instrumental music, their influence on the formation of new styles, performing skills and guitar culture in general.

Research objectives:

1) Consider the history of the emergence, development and formation of guitar culture in Europe, Russia, the USSR.

2) Consider the origins, origins and formation of new styles in pop and jazz art.

The object of the research is the formation of classical and pop-jazz instrumental music.

The methodological basis of the work is the method of intonation analysis, focused on the unity of musical and speech principles, as the basis of European, African and Russian artistic traditions.

The scientific novelty of the work lies in the fact that the study of the formation and evolution of the art of guitar and its influence on the formation of guitar culture is carried out in the work.

The practical value of the work lies in the possibility of using its materials in the process of studying historical and theoretical musical disciplines.

1. Prerequisitesbecominganddevelopmentgamesonclassicalguitar

1.1 The history of the emergence, development and improvement of guitar performance

The history of the emergence, development and improvement of this musical instrument is so amazing and mysterious that it rather resembles an exciting detective story. The first information about the guitar dates back to ancient times. On Egyptian monuments of a thousand years ago, there are images of a musical instrument - "nabla", which looks like a guitar. The guitar was widespread in Asia, which is confirmed by the images on the architectural monuments of Assyria, Babylon and Phenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, wealthy families in Spain began to compete with each other in the patronage of science and art. The guitar, along with the lute and other plucked instruments, is becoming a favorite instrument in the courts. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - "salons", which were held regularly, played an important role. Since that time, the fascination with plucked instruments has penetrated the broad masses, and special musical literature has been created for them. The names of the composers who represented it make up a long line: Milan, Corbetto, Fuenliana, Marin y García, Sanz and many others.

Having passed a long way of development, the guitar has taken on a modern look. Until the 18th century, it was smaller, and its body was rather narrow and elongated. Initially, five strings were installed on the instrument, tuned in quarts, like on a lute. Later, the guitar became six-string, with a tuning more convenient for playing in open positions for a more complete use of the sound of open strings. Thus, by the middle of the 19th century, the guitar took on its final form. Six strings appeared on it with a system: mi, si, sol, re, la, mi.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How can one explain such a widespread use of the guitar? Mainly because it has great potential: it can be played solo, accompanied by a voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the possibility of easy movement in space and, most importantly, an unusually melodious, deep and at the same time transparent sound - justifies the love of this universal musical instrument for a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appear in Spain

F. Sor and D. Aguado, along with them in Italy - M. Giuliani. L. Leniani, F. Karulli, M. Carcassi and others. They create an extensive concert repertoire for guitar, ranging from small pieces to sonatas and concerts with an orchestra, as well as wonderful Six-String Guitar Schools, an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publication of this pedagogical literature, it is still a valuable heritage for both teachers and students.

The composer Sor gives concerts in Western Europe and Russia with great success. His ballets Cinderella, Lubochnik as a Painter, Hercules and Omphale, as well as the opera Telemachus, have many performances on the stages of St. Petersburg, Moscow and large cities of Western Europe. The polyphonic style, rich imagination and depth of content characterize Sora's work. He is an educated musician-composer, a virtuoso guitarist who amazed with the depth of his performance and the brilliance of his technique. His compositions have become part of the guitarists' repertoire. Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also a perfect violinist. When Beethoven's Seventh Symphony was first performed in Vienna in 1813 under the direction of the author, Giuliani took part in its performance as a violinist. Giuliani was highly regarded by Beethoven as a composer and musician. His sonatas, concerts with an orchestra are performed by contemporary guitarists, and pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country "School of playing the six-string guitar" by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to The School, the author says: “... I had no intention of writing a scientific work. I just wanted to make it easier to learn the guitar by laying out a plan that would give an opportunity to get a deeper understanding of all the features of this instrument. " According to these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for teaching guitar playing, and this is hardly possible at all. The School provides a number of valuable instructions on the technique of the left and right hand, various characteristic techniques of playing the guitar, playing in different positions and keys. Musical examples and pieces are given sequentially, in ascending order of difficulty, they were written with great skill of the composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this "School" has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; questions of the development of fingering, melodic-harmonic thinking are practically not touched upon, we are talking only about the correct placement of the fingers of the left and right hand, which allows us to achieve the resolution of many technical difficulties of performance, improve the sound, phrasing, etc.

In the second half of the 19th century, a new bright name for the Spanish composer, virtuoso soloist and teacher Francisco Tarrega appeared in the history of the guitar. He creates his own writing style. In his hands, the guitar turns into a small orchestra.

The performing work of this wonderful musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works you can often hear the imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. Among his best students are Miguel Llobet, Emelio Pujol, Dominico Prat, Daniel Fortea, Illarion Lelup and other famous concertists. To date, the "Schools" by E. Pujol, D. Fortea, D. Prat, I. Lelyup, I. Arens and P. Roch, based on the Tarrega teaching method, have been published. Let us consider this method in more detail using the example of the “School of playing the six-stringed guitar” by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the "School" is a generous, detailed presentation of all the main "secrets" of classical guitar playing. The most essential questions of guitar technique have been carefully worked out: the position of the hands, the instrument, methods of sound production, playing techniques, etc. The sequence of the arrangement of the material contributes to the planned technical and artistic training of the guitarist. The “School” is entirely built on original musical material: almost all the studies and exercises were composed by the author (taking into account F. Tarrega's methodology) specifically for the corresponding sections.

It is especially valuable that this educational publication not only details the difficulties of playing the guitar, but also describes in detail the ways to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hands, and also the techniques of playing in different positions, various movements, displacements of the left hand are considered in detail, which certainly contributes to the development of fingering thinking. The effectiveness of the "School" of Pujol is confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

The creative activity of the greatest Spanish guitarist of the XX century was of great importance for the development of the world guitar art. Andres Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also the abilities of an organizer and propagandist. Researcher M. Weisbord writes: “... to establish the guitar as a concert instrument, it lacked what, for example, a piano or a violin had - a highly artistic repertoire. The historical merit of Andres Segovia consists, first of all, in the creation of such a repertoire ... ". And further: “For Segovia they began to write M. Ponce (Mexico), M.K. Tedesco (Italy), J. Ibert, A. Roussel (France) C. Pedrell (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden) ... ”. From this small and far from complete list of composers it is clear that it was thanks to A. Segovia that the geography of professional compositions for classical guitar was rapidly expanding, and over time this instrument attracted the attention of many outstanding artists - E. Vila Lobos, B. Britten. On the other hand, there are whole constellations of talented composers who are at the same time professional performers - A. Barrios, L. Brouwer, R. Diens, N. Koshkin, etc.

1. 2 Becomingguitarartsvthe USSRandOf Russia

Today he toured a lot in many countries of the world, including four times visited the USSR (1926 and 1935, 1936). He performed works of classical guitarists: Sora, Giuliani, transcriptions of works by Tchaikovsky, Schubert, Haydn and original works of composers: Turin, Torroba, Tansman, Castelnuovo-Tedesco and other composers. Segovia had many meetings with Soviet guitarists, to whom he willingly answered. In conversations about the technique of guitar playing, Segovia pointed out the particular importance of not only placing the hands, but also the correct application of fingering. The guitar left a bright mark on the musical art of Russia. Academician Y. Shtelin, who lived in Moscow from 1735 to 1785, wrote that the guitar in Russia spread slowly, but with the appearance among other guest performers of virtuoso guitarists Zani de Ferranti, F. Sora, M. Giuliani and others this instrument is gaining sympathy and widespread acceptance.

Having acquired in Russia in the second half of the 18th century a distinctive seven-string variety with a G major triad doubled in an octave and a lower string spaced a quarter apart, the guitar turned out to be optimal for the bass-chord accompaniment of a city song and romance.

The true flowering of professional performance on this instrument begins thanks to the creative activity of the outstanding teacher-guitarist Andrei Osipovich Sikhra (1773-1850). Being a harpist by education, he devoted his whole life to the propaganda of the seven-string guitar - in his youth he was engaged in concert activities, and then in pedagogy and education. In 1802 in St. Petersburg the magazine for seven-string guitar by A. Sikhra began to be published with arrangements of Russian folk songs, arrangements of musical classics. In the following decades, up to 1838, the musician published a number of similar magazines, which contributed to a significant increase in the popularity of the instrument, A.O. Sikhra brought up a huge number of students, stimulating their interest in composing music for the guitar, in particular variations on the themes of folk song melodies. The most famous of his students are S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman and others - left behind many plays and adaptations of Russian songs. The activities of Mikhail Timofeevich Vysotsky (1791-1837) were of great importance in the development of professional and academic Russian guitar performance. The first person who introduced him to the guitar was S.N. Aksenov, he also became his mentor.

Since about 1813 the name of M.T. Vysotsky became widely popular. His playing was distinguished by an original improvisational style, a bold flight of creative imagination in the variation of folk song melodies. M.T. Vysotsky is a representative of the improvisational auditory manner of performance - in this he is close to traditional Russian folk music-making. A lot can be said about other representatives of Russian guitar performing who have contributed to the development of the national performing school, but this is a separate conversation. The true Russian school was distinguished by the following features: clarity of articulation, beautiful musical tone, focus on the melodic capabilities of the instrument and the creation of a specific repertoire, largely unique, a progressive method of using special fingering "blanks", samples and cadences that reveal the capabilities of the instrument.

The system of playing the instrument included playing out musical functions, intonations and their appeals, which were memorized separately in each key and had an unpredictable movement of voices. Often such individual fingering, melodic-harmonic "preparations" were jealously guarded and passed on only to the best students. Improvisation was not specially studied, it was the result of a common technical base, and a good guitarist knew how to combine familiar intonations of a song with a harmonic sequence. A set of different cadences often surrounded the musical phrase and gave a peculiar coloring to the musical fabric. Such an inventive method of teaching, it seems, was a purely Russian discovery and was not found anywhere in foreign works of that time. Unfortunately, the traditions of Russian guitar performance of the 18th-19th centuries. were unjustly forgotten, and only thanks to the efforts of enthusiasts, the state of affairs in this direction is changing for the better.

The art of guitar developed in Soviet times, although the attitude of the authorities to the development of this musical instrument was, to put it mildly, cool. It is difficult to overestimate the role of the outstanding teacher, performer and composer A.M. Ivanov-Kramskoy. His school of playing, like the school of playing guitarist and teacher P.A. Agafoshin is an irreplaceable teaching aid for young guitarists. This activity is brilliantly continued by their numerous students and followers: E. Larichev, N. Komolyatov, A. Frauchi, V. Kozlov, N. Koshkin, A. Vinitsky (classical guitar in jazz), S. Rudnev (classical guitar in the Russian style) and many others.

guitar classical pop jazz

2. Historyemergenceandevolutionpop-jazzdirectionsvart

2.1 Varieties of guitars used in pop-jazz art

In modern pop music, four types of guitars are mainly used:

1. Flat Top is a common folk guitar with metal strings.

2. Classical - classical guitar with nylon strings.

3. Arch Top - a jazz guitar shaped like an enlarged violin with f-holes along the edges of the soundboard.

4. Electric guitar - a guitar with electromagnetic pickups and a solid wooden deck (block).

Even 120-130 years ago, only one type of guitar was popular in Europe and America. Different countries used different tuning systems, and in some places they even changed the number of strings (in Russia, for example, there were seven strings, not six). But in shape, all guitars were quite similar - a relatively symmetrical top and bottom of the soundboard, which converges with the neck at the 12th fret.

Small size, slotted palm, wide neck, fan-shaped mounting of springs, etc. - all this characterized this type of guitars. In fact, the above instrument is similar in form and content to today's classical guitar. And the shape of today's classical guitar belongs to the Spanish master Torres, who lived about 120 years ago.

At the end of the last century, the guitar began to rapidly gain popularity. If before that the guitars were played only in private houses and salons, then by the end of the last century the guitar began to appear on the stage. There was a need for sound amplification. It was then that a clearer division appeared between the classics and what is now most often called folk guitar or western. The technology began to make it possible to make metal strings that sounded louder.

In addition, the body itself increased in size, which allowed the sound to be deeper and louder. There remained one serious problem - the strong tension of the metal strings actually killed the top deck, and the thickening of the sides of the shell, in the end, killed the vibration, and with it the sound. And then the famous X-shaped spring mount was invented. The springs were glued crosswise, thereby increasing the strength of the top deck, but allowing it to vibrate.

Thus, there was a clear separation - the classical guitar, which has hardly changed since then (only the strings were made from synthetics, and not from veins, as before), and the folk-western guitar, which had several forms, but almost always went with X-shaped springs, metal strings, enlarged body and so on.

At the same time, another type of guitars developed - the arch top. What is it? While companies such as Martin tackled the problem of amplifying sound by attaching springs, companies such as Gibson went the other way - they created guitars that were shaped and shaped like violins. Such instruments were characterized by a curved top, a nut, which was like a double bass, and a bridge. Typically, these instruments had violin notches along the sides of the soundboard instead of the traditional round hole in the center. These guitars had a sound that was not warm and deep, but balanced and punchy. With such a guitar, every note was clearly heard, and the jazzmen quickly realized what kind of "dark horse" appeared in their field of vision. It is to jazz that the arch tops owe their popularity, for which they were called jazz guitars. In the 30s and 40s, the situation began to change - mainly due to the emergence of quality microphones and pickups. In addition, a new popular style of music - the blues - entered the arena and immediately conquered the world. As you know, the blues developed mainly thanks to the efforts of poor black musicians. They played it differently with fingers, picks and even beer bottles (beer bottle necks were the direct forefathers of modern slides). These people did not have money for expensive instruments, they did not always have the opportunity to buy new strings, what kind of jazz guitars are there? And they played what they had to, mainly on the more common instruments - westerns. In those years, in addition to expensive "archtops", the Gibson company also produced a large range of "consumer goods" folk guitars. The market situation was such that Gibson was almost the only company producing cheap but high quality folk guitars. It is logical that the majority of bluesmen, for lack of money for something more perfect, took the Gibsons into their own hands. So they still do not part with them.

What happened to jazz guitars? With the advent of pickups, it turned out that the balanced and clear sound of this type of instrument is the best fit for the amplification system of that time. Although the jazz guitar is totally different from the modern Fender or Ibanez, Leo Fender would probably never have made his Telecaster and Stratocaster. if I hadn't experimented with jazz guitars and pickups first. By the way, later electric blues was also played and is played on jazz instruments with pickups, just the thickness of the body in them is reduced. A prime example of this is B.B. King and his famous Lussil guitar, which is considered by many to be the standard electric blues guitar today.

The first known experiments with amplifying guitar sound using electricity dates back to 1923, when engineer and inventor Lloyd Loar invented an electrostatic pickup that recorded vibrations in the resonator box of string instruments.

In 1931, George Beauchamp and Adolph Rickenbacker invented an electromagnetic pickup in which an electrical pulse ran along the winding of a magnet, creating an electromagnetic field that amplified the signal from a vibrating string. By the late 1930s, numerous experimenters began to incorporate pickups into the more traditional looking Spanish hollow-body guitars. Well, the most radical option was suggested by guitarist and engineer Les Paul - he simply made the deck for the guitar monolithic.

It was made of wood and was simply called “The Log”. Other engineers began experimenting with a solid or almost solid piece. Since the 40s of the XX century, both individual enthusiasts and large companies have been successfully engaged in this.

The market for guitar manufacturers continues to develop actively, constantly expanding the range of models. And if earlier only Americans acted as "trendsetters", now Yamaha, Ibanez and other Japanese firms firmly occupy leading positions, making both their own models and excellent copies of famous guitars among the leaders of production.

A special place is occupied by the guitar - and primarily electrified - in rock music. However, almost all the best rock guitarists go beyond the style of rock music, paying great tribute to jazz, and some musicians have completely broken with rock. This is not surprising, since the best traditions of guitar performance are concentrated in jazz.

A very important point draws attention to Joe Pass, who writes in his well-known jazz school: “Classical guitarists have had several centuries to develop an organic, consistent approach to performing - the 'right' method. The jazz guitar, the plectrum guitar, appeared only in our century, and the electric guitar is still such a new phenomenon that we are just beginning to understand its capabilities as a full-fledged musical instrument. " In such conditions, the accumulated experience and jazz traditions of guitar mastery are of particular importance.

Already in the early form of blues, "archaic", or "rural", often also called the English term "country blues" (country blues), the main elements of the guitar technique were formed, which determined its further development. Certain techniques of blues guitarists later became the basis for the formation of subsequent styles.

The earliest records of country blues date back to the mid-1920s, but there is every reason to believe that, in fact, it is almost indistinguishable from the original style that formed among the blacks of the southern states (Texas, Louisiana, Alabama, etc. ) back in the 70s-80s of the XIX century.

Among the outstanding singers-guitarists of this style - Blind Lemon Jefferson (1897-1930), who had a noticeable influence on many musicians of the later period, and not only the blues A brilliant master of guitar ragtime and blues was Blind Blake (Blind Blake, 1895 -1931), many of whose recordings today amaze with excellent technique and ingenuity of improvisation. Blake is rightly considered one of the initiators of the use of the guitar as a solo instrument. Huddie Leadbetter, widely known under the name Leadbelly (Huddie Leadbetter, "Leadbelly", 1888-1949), was once called "the king of the twelve-string guitar." He sometimes played in a duet with Jefferson, although he was inferior to him as a performer. Leadbelly introduced into the accompaniment characteristic bass figures - "wandering bass", which would later be widely used in jazz.

Outstanding among country blues guitarists Lonnie Johnson (1889-1970), a virtuoso musician very close to jazz. He recorded excellent blues without vocals, and often he played already as a pick, Demonstrating not only excellent technique, but also outstanding improvisational skill.

One of the features of the Chicago period in the development of traditional jazz, which became transitional to swing, was the replacement of instruments: instead of the cornet, tuba and banjo, the trumpet, double bass and guitar came to the fore.

Among the reasons for this was the emergence of microphones and an electromechanical method of recording: the guitar finally sounded fully on the records. An important feature of Chicago jazz was the increased role of solo improvisation. It was here that a significant turn in the fate of the guitar took place: it becomes a full-fledged solo instrument.

This is due to the name of Eddie Lang (real name - Salvador Massaro), who introduced into the guitar playing many of the jazz techniques typical of other instruments, in particular the phrasing characteristic of wind instruments. Eddie Lange also created that jazz style of playing with a pick, which later became predominant. He was the first to use the plectrum guitar - a special guitar for playing in jazz, which differed from the usual Spanish in the absence of a round socket. Instead of it, f-holes, similar to a violin, and a removable panel-shield appeared on the soundboard, protecting from the blows of the pick. Eddie Lang's performance in the ensemble was distinguished by strong sound production. He often used passing sounds, chromatic sequences; sometimes changed the angle of the plectrum in relation to the neck, thus achieving a specific sound.

Chords with muted strings, hard accents, parallel non-chords, whole-tone scales, a kind of glissando, artificial harmonics, sequences of enlarged chords and phrasing typical for wind instruments are characteristic of Lang's manner. We can say that it was under the influence of Eddie Lang that many guitarists began to pay more attention to the bass notes in chords and, if possible, to achieve the best voice-leading. The invention of the electric guitar was the impetus for the emergence of new guitar schools and trends. They were founded by two jazz guitarists: Charlie Christian in America and Django Reinhardt.

(Django Reinhardt) in Europe

In his book From Rag to Rock, the famous German critic I. Berendt writes: “For the modern jazz musician, the history of the guitar begins with Charlie Christian. During his two years on the jazz scene, he revolutionized guitar playing. Of course, there were guitarists before him, but, however, one gets the impression that the guitar that was played before Christian and the one that sounded after him are two different instruments. "

Charlie played with a virtuosity that seemed simply unattainable to his contemporaries. With his arrival, the guitar became an equal participant in jazz ensembles. He was the first to introduce the guitar solo as a third voice in a trumpet and tenor saxophone ensemble, freeing the instrument from purely rhythmic functions in the orchestra. Earlier than others, Ch. Christian realized that the technique of playing the electric guitar is significantly different from the techniques of playing the acoustic one. In harmony, he experimented with increased and decreased chords, invented new rhythmic patterns for the best jazz melodies (evergreens). In passages, he often used add-ons to seventh chords, striking the listeners with melodic and rhythmic ingenuity. He was the first to develop his improvisations, relying not on the harmony of the theme, but on the passing chords, which he placed between the main ones. In the melodic sphere, it is characterized by the use of legato instead of hard staccato.

The performance of C. Christian has always been distinguished by an extraordinary power of expressiveness combined with an intense swing. Jazz theorists claim that with his playing he anticipated the emergence of a new jazz style, be-bop, and was one of its founders.

Simultaneously with Christian, no less outstanding jazz guitarist Django Reinhardt shone in Paris. Charlie Christian, while still playing in Oklahoma clubs, admired Django and often repeated his solo recorded on records note for note, although the manner of playing these musicians was sharply different from each other. Many famous musicologists and jazz artists spoke about Django's contribution to the development of the jazz style of playing the guitar and his skill. According to D. Ellington, “Django is a super-artist. Every note he takes is a treasure, every chord is evidence of his unshakable taste. "

Django differed from other guitarists with an expressive, rich sound and a peculiar manner of playing, with long cadences after several measures, sudden impetuous passages, a stable and sharply accentuated rhythm. At climaxes, he often played in octaves.

This type of technique was borrowed from him by C. Christian, and twelve years later - by W. Montgomery. In fast pieces, he was able to create such fire and pressure, which were previously encountered only in the performance of wind instruments. In the slow ones, he was inclined to prelude, and rhapsody, close to the Negro blues. Django was not only an excellent virtuoso soloist, but also an excellent accompanist. He was ahead of many of his contemporaries in the use of minor seventh chords, diminishing, augmented, and other passing chords. Django paid much attention to the harmony of the harmonic schemes of the pieces, often emphasizing that if everything in the chord sequences is correct and logical, then the melody will flow by itself.

When accompanying, he often used chords that mimic the sound of the brass section. The contributions of Charlie Christian and Django Reinhardt to the history of jazz guitar are invaluable. These two outstanding musicians have revealed the inexhaustible possibilities of their instrument not only in the accompaniment, but also in the improvised solo, predetermined the main directions of the development of the technique of playing the electric guitar for many years to come.

The increased role of the guitar as a solo instrument led to the performers' craving for playing in small compositions (combos). Here the guitarist felt like a full member of the ensemble, performing the functions of both an accompanist and a soloist. The popularity of the guitar expanded every day, more and more names of talented jazz guitarists appeared, and the number of big bands remained limited. In addition, many leaders and arrangers of large orchestras did not always introduce the guitar into the rhythm section. Suffice it to name, for example,

Duke Ellington, who did not like to combine the sound of guitar and piano in the accompaniment. However, sometimes the “mechanical” work that serves to maintain the rhythm in a big band turns into a genuine, jazz art. We are talking about one of the leading representatives of the chord-rhythmic style of guitar playing, Freddie Green.

Virtuoso chord technique, wonderful swing feeling, delicate musical taste distinguish his playing. He almost never played a solo, but at the same time he was often compared to a tug that entails an entire orchestra.

It is Freddie Green who, to a large extent, owes the Big Band of Count Basie for the unusual compactness of the rhythm section, for the liberation and brevity of the game. This master has had a tremendous influence on guitarists who prefer accompaniment and chord improvisation to extended passages and monophonic improvisations. The work of Charlie Christian, Django and Freddie Green forms, as it were, three branches of the jazz guitar family tree. However, one more direction should be mentioned, which stood somewhat apart, but in our time is gaining more and more recognition and distribution.

The fact is that the style of Ch. Christian was not acceptable for all guitarists, in whose hands the guitar acquired the sound of wind instruments (it is no coincidence that many, listening to Charlie Christian's recordings, took the voice of his guitar for a saxophone). First of all, his manner was impossible for those who played with their fingers on acoustic guitars.

Many of the techniques developed by C. Christian (prolonged legato, long improvisational lines without harmonic support, sustained notes, bends, rare use of open strings, etc.) were ineffective for them, especially when playing instruments with nylon strings. In addition, guitarists appeared, combining in their creative manner classical, guitar playing, flamenco and elements of Latin American music with jazz. These primarily include two outstanding jazz musicians, Laurindo Almeida and Charlie Byrd, whose work has influenced many classical guitarists, demonstrating in practice the unlimited possibilities of the acoustic guitar. With good reason they can be considered the founders of the "classical guitar in jazz" style.

Negro guitarist Wes John Leslie Montgomery is one of the brightest musicians who have appeared on the jazz scene since Charles Christian. He was born in 1925 in Indianapolis; he became interested in the guitar only at the age of 19 under the influence of the records of Charlie Christian and the enthusiasm of his brothers Buddy and Monk, who played the piano and double bass in the orchestra of the famous vibraphone player Lionel Hampton. He managed to achieve an unusually warm, "velvety" sound (using his right thumb instead of a pick) and developed octave technique so much that he sang whole improvisational choruses in octaves with surprising ease and clarity, often at fairly fast tempos. His skill impressed his partners so much that they jokingly nicknamed Wes "Mr. Octave". The first disc with the recording of W. Montgomery was released in 1959 and immediately brought the guitarist success and wide recognition. Jazz lovers were amazed by the virtuosity of his playing, refined and restrained articulation, melodic improvisations, constant feeling of blues intonations and a vivid sense of swing rhythm. It is very interesting for Wes Montgomery to combine a solo electric guitar with the sound of a large orchestra, including a string group.

Most of the subsequent jazz guitarists - including such famous musicians as Jim Hall, Joe Pass, John McLaughlin, George Benson, Larry Coryell - recognized the great influence of Wes Montgomery on their work. Already in the 40s, the standards developed by swing ceased to satisfy many musicians. Established clichés in the harmony of song form, vocabulary, which often boiled down to direct quotations of outstanding jazz masters, rhythmic monotony and the use of swing in commercial music became a brake on the further development of the genre. After the "golden period" of swing, the time comes to search for new, more perfect forms. More and more new directions appear, which, as a rule, are united by a common name - modern jazz (Modern Jazz). It includes bebop ("jazz-staccato"), hard bop, progressive, cool, third movement, bossa nova and Afro-Cuban jazz, modal jazz, jazz-rock, free jazz, fusion and some others: Such diversity, mutual influence and interpenetration different trends complicates the analysis of the creativity of individual musicians, especially since many of them at one time played in a variety of manners. So, for example, in the recordings of C. Byrd, you can find bossa nova, blues, and svng themes, and adaptations of classics, and country rock, and much more. B. Kessel's playing includes swing, bebop, bossa nova, elements of modal jazz, etc. It is characteristic that jazz guitarists themselves often quite sharply react to attempts to classify them as belonging to one or another jazz direction, considering this a primitive approach to assessing their work. Such statements can be found in Larry Coryell, Joe Pass, John McLaughlin and others.

2 .2 The maindirectionspop-jazzperformance60-70 - NSyears

And yet, according to one of the jazz critics I. Berendt, on the verge of the 60s and 70s, four main directions developed in modern guitar performance: 1) mainstream (main trend); 2) jazz rock; 3) blues direction; 4) rock. The most prominent representatives of the mainstream can be considered Jim Hall, Kenny Burrell and Joe Pass. Jim Hall, the "jazz poet" as he is often called, has enjoyed popularity and love from the late 1950s to the present day.

"The jazz guitar virtuoso" is called Joe Pass (full name is Joseph Anthony Jacoby Passalacqua). Critics put him on a par with such musicians as Oscar Peterson, Ella Fitzgerald and Barney Kessel. His discs with recordings of duets with Ella Fitzgerald and Herb Ellis, trio with Oscar Peterson and bassist Niels Pederson, and especially his solo discs "Joe Pass the Virtuoso" have enjoyed great success. Joe Pass was one of the most interesting and versatile jazz guitarists in the tradition of Jakgo Reinhardt, Charlie Christian and Wes Montgomery. His work is little influenced by new trends in modern jazz: he gave preference to bebop. Along with his concert activity, Joe Pass taught a lot and successfully, published methodological works, among which his school "Joe Pass Guitar Style" "2E

However, not all jazz guitarists are so committed to the "mainstream". Among the outstanding musicians gravitating towards the new in the development of jazz, one should note George Benson, Carlos Santana, Ola di Meola. Mexican musician Carlos Santana (born in 1947) plays in the style of "Latin rock" based on the performance in a rock style of Latin American rhythms (samba, rumba, salsa, etc.) in combination with elements of flamenco.

George Benson was born in 1943 in Pittsburgh and sang blues and played guitar and banjo as a child. At the age of 15, George received a small electric guitar as a gift, and at 17, after graduating from school, he formed a small rock and roll band, in which he sang and played. A year later, jazz organist Jack McDuff came to Pittsburgh. Today, some experts consider Benson's first recordings with Jack McDuff to be the best in Benson's entire discography. Benson was greatly influenced by the work of Django Reinhardt and Wes Montgomery, especially the technique of the latter.

Among the new generation guitarists playing jazz-rock and developing a relatively new jazz style - fusion, AI di Meola stands out. The young musician's passion for jazz guitar began with listening to a recording of a trio with the participation of Larry Coryell (whom, by coincidence, Ol di Meola replaced in the same lineup a few years later). Already at the age of 17, he participates in recordings with Chick Corea. Ol di Meola is a virtuoso master of the guitar - both fingers and a pick. The textbook "Typical Techniques of Playing the Guitar with a Pick" written by him was highly appreciated by specialists.

The talented guitarist Larry Coryell, who has gone through a difficult creative path, from his passion for rock and roll to the newest trends in modern jazz music, is also among the innovators of our time.

In fact, after Django, only one European guitarist has achieved unconditional recognition throughout the world and influenced the development of jazz in general - the Englishman John McLaughlin. The heyday of his talent falls on the first half of the 70s of the twentieth century - a period when jazz was rapidly expanding its stylistic boundaries, merging with rock music, experiments in electronic and avant-garde music, and various folk music traditions. It is no coincidence that McLaughlin is considered “theirs” not only by jazz fans: we will find his name in any encyclopedia of rock music. In the early 1970s, McLaughlin organized the Mahavishnu (Great Vishnu) Orchestra. In addition to keyboards, guitar, drums and bass, he introduced the violin into its composition. With this orchestra, the guitarist recorded a number of records, which were enthusiastically received by the public. Reviewers note McLaughlin's virtuosity, innovation in arrangement, freshness of sound, due to the use of elements of Indian music. But the main thing is that the appearance of these discs marks the establishment and development of a new jazz direction: jazz-rock.

Nowadays, many outstanding guitarists have appeared who continue and enhance the traditions of the masters of the past. Of great importance for the world pop-jazz culture is the work of the most famous student of Jimm Hall - Pat Mattini. His innovative ideas have significantly enriched the melodic-harmonic language of modern pop music. I would also like to note the brilliant performing and teaching activities of Mike Stern, Frank Gambal, Joe Satriani, Steve Vai, a student of Joe Pass Lee Ritenour and many others.

As for the development of the art of playing the pop-jazz (electric and acoustic) guitar in our country, it would have been impossible without many years of successful educational and educational work of V. Manilov, V. Molotkov, A. Kuznetsov, A. Vinitsky, as well as their followers S. Popov, I. Boyko and others. Of great importance is the concert performance of such musicians as: A. Kuznetsov, I. Smirnov, I. Boyko, D. Chetvergov, T. Kvitelashvili, A. Chumakov, V. Zinchuk and many others. Having passed the way from blues to jazz-rock, the guitar not only has not exhausted its possibilities, but, on the contrary, has won leadership in many new directions of jazz. Advances in the technique of playing the acoustic and electrified guitar, the use of electronics, the inclusion of elements of flamenco, classical style, etc. give reason to consider the guitar as one of the leading instruments of this genre of music. That is why it is so important for the new generation of musicians to study the experience of their predecessors - jazz guitarists. Only on this basis is it possible to search for an individual performing manner of playing, ways of self-improvement and further development of pop-jazz guitar.

conclusions

In our time, the topic of the development of performing skills on the 6-string guitar remains relevant, since at the moment there are many schools and training systems. They include different directions, from the classical school of playing, to jazz, Latin, blues schools.

In the development of the style of jazz, a very significant role is played by a specific instrumental technique that is characteristic precisely for the jazz use of the instrument and its expressive capabilities - melodic, intonational, rhythmic, harmonic, etc. The blues were of great importance for the formation of jazz. In turn, "one of the decisive factors in the crystallization of blues from earlier and less formalized forms of Negro folklore was the" discovery "of the guitar in this environment."

The history of the development of the art of guitar knows many names of guitarists-teachers, composers and performers who have created numerous textbooks for teaching guitar playing, many of them directly or indirectly dealt with the problem of developing fingering thinking.

Indeed, in our time, the concept of a guitarist includes mastering both the basic classical techniques, both the base and the ability and comprehension of stylistics, the accompanying function, the ability to play and improvise on digital music, all the subtleties and features of blues and jazz thinking.

Unfortunately, in recent years, the media has been paying very little influence not only to serious classical, but also to non-commercial types of pop-jazz music.

Listused byliterature

1. Bakhmin A.A. A self-instruction manual for playing a six-string guitar / A.A. Bakhmin. M.: ASS-center, 1999.-80 p.

2. Boyko I.A. Electric guitar improvisation. Part 2 "Basics of Chord Technique" - M .; Hobby Center, 2000-96 p .;

3. Boyko I.A. Electric guitar improvisation. Part 3 "Progressive method of improvisation" - M .; Hobby Center, 2001-86 p.

4. Boyko I.A. Electric guitar improvisation. Part 4 "Pentatonic scale and its expressive possibilities" - M .; Hobby Center, 2001 - 98 p .; silt

5. Brandt V.K. Fundamentals of the technique of a guitarist of a pop ensemble / Study guide for music schools - M. 1984 - 56 p.

6. Dmitrievsky Yu.V. / Guitar from blues to jazz-rock / Yu.V. Dmitrievsky - M .: Muzichna Ukraina, 1986 .-- 96 p.

7. Ivanov-Kramskoy A.M. School of playing a six-string guitar / A.M. Ivanov-Kramskoy. - M .: Sov. Composer, 1975 .-- 120 p.

8. Manilov VA Learn to accompany on the guitar / VA. Manilov. - K .: Muzichna Ukraina, 1986. - 105 p.

9. Pass, D. Guitar style of Joe Pass / Joe Pass, Bill Thrasher / Comp .: "Guitar College" - M .: "Guitar College", 2002 - 64 p .; silt

10. Popov, S. Basis / Comp .; Guitar College - M .; "Guitar College", 2003 - 127s .;

11. Puhol M. School of playing a six-string guitar / Per. and edited by N. Polikarpov - M .; Sov. Composer, 1987 - 184 p.

12. Al Di Meola "Technique of playing with a pick"; Per. / Comp.; "GIDinform"

13. Yalovets A. Django Reichard - "Horizon", M .; 1971 No. 10 - p. 20-31

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1. A short excursion into the world history of guitar performance.

2. Penetration of the guitar into Russia (end of the 17th century).

3. The first "School of playing the six- and seven-string guitar" by I. Geld.

4. A.O. Sykhra and a seven-string guitar.

5. Leading Russian guitarists of the 19th century: MT Vysotsky, SN Aksenov, NN Lebedev.

6. The first guitar masters - I.А. Batov, I.G. Krasnoshchekov.

7. Six-string guitarists of the 19th century - M.D.Sokolovsky, N.P. Makarov.

8. Publishing activity of VA Rusanov and AM Afromeev.

9. Andres Segovia and his concerts in Russia.

10. Guitar at the All-Union competition in 1939.

11. Performing activities of A.M. Ivanov-Kramskoy.

12. Guitarists of the 50-70s of the XX century: L. Andronov, B. Khlopovsky, S. Orekhov.

13. Guitar in the system of music education.

14. Guitar art of the 70-90s of the XX century: N. Komolyatov, A. Frauchi, V. Tervo, A. Zimakov.

15. Guitar in jazz.

The development of the guitar in Russia was long and difficult. The final design of the guitar in the world as we know it took place only in the 18th century. Before that, there were the harbingers of the guitar - Greek cithara, lyre, lute, Spanish viola. The classical six-string guitar has had and still has its famous performers, composers, and masters. Mauro Giuliani and Fernando Carulli, Matteo Carcassi and Fernando Sor, Francisco Tarrega and M. Llobet, Maria Luisa Anido and Andres Segovia - each of them left a noticeable mark on the guitar art.

In Russia, the guitar was not widespread until the 18th century. With the arrival of M. Giuliani and F. Sora, its popularity has increased markedly. However, we recall that the first to bring the guitar to Russia were the Italian composers Giuseppe Sarti and Carlo Cannobio, who served at the court of Catherine II; later they were joined by French musicians.

Ignaz Geld is from the Czech Republic. Fate brought him to Russia in 1787. Lived in Moscow, Petersburg. He played six- and seven-string guitars. Taught game lessons. In 1798, two schools of guitar playing came out: one for the six-string, the other, a little earlier, for the seven-string. He wrote and published many compositions for guitar, for voice and guitar. Died in Brest-Litovsk.

One of the brightest promoters of the seven-string guitar and the founder of the Russian school of playing it was the guitarist and composer AO Sikhra (1773-1850). Some researchers associate the appearance of a seven-string guitar in Russia with this musician.

Andrey Osipovich Sikhra - was born in Vilno. From 1801 he began to live in Moscow, where he gave lessons, performed in various concerts. In 1813 he moved to St. Petersburg, where he published "A collection of a number of plays, in which are placed for the most part Russian songs with variations and dances." Organized the publication of a guitar magazine. He brought up a galaxy of Russian guitarists, including: S. N. Aksenov, V. I. Morkov, V. S. Sarenko, V. I. Svintsov, F. M. Zimmerman and others. The author of a huge number of plays, adaptations of Russian folk songs. At the insistence of his student V. Morkov AO Sikhra wrote "Theoretical and Practical School for the Seven-String Guitar" and dedicated it to all guitar lovers. The first edition - 1832, the second - 1840. He was buried at the Smolensk cemetery in St. Petersburg.

If AO Sikhra lived and worked mainly in the northern capital, then M.T. Vysotsky was devoted to Moscow with all his heart.

Mikhail Timofeevich Vysotsky - was born in 1791 on the estate of the poet M.M. Kheraskov. Here he also received his first guitar lessons from S.N. Aksenov. From 1813 he lived in Moscow, where he became a well-known performer, teacher and composer.

What sounds! Immobile I listen

I am sweet sounds;

I forget eternity, heaven, earth,

Himself.

(M.Lermontov)

Among the students: A.A.Vetrov, P.F.Beloshein, M.A.Stakhovich and others. Author of many pieces for guitar, mainly fantasies and variations on folk themes ("Spinner", "Troika", "Near the river , near the bridge "," A Cossack rode across the Danube "...). Shortly before his death, he wrote and published "A Practical School for the Seven-String Guitar in 2 Parts" (1836). He died in 1837 in deep need.

Semyon Nikolaevich Aksenov (1784-1853) - student of A.O. Sikhra, was born in Ryazan. Published "New magazine for seven-string guitar", in which he published his own fantasies and variations ("Among the flat valley"). Through the efforts of Aksyonov, AO Sikhra's "Exercises" were published. He was considered the best guitar virtuoso in Moscow (along with M.T. Vysotsky). Republished I. Geld's school. Introduced harmonics. It is not known whether S.N. Aksenov had any students, except for the case of several lessons for Vysotsky. Basically, his labor activity was associated with service in various departments.

Nikolai Nikolaevich Lebedev is one of the best Siberian guitarists. Years of life 1838-1897. Eyewitnesses compared his playing with that of M.T. Vysotsky: the same miraculous talent of an improviser, sincerity and sincerity of performance, love for Russian song. Biographical information is scarce. It is known that N.N. Lebedev was an officer. He could take guitar lessons from his father, an amateur guitarist. He worked as a clerk in various mines. Occasionally he gave concerts that amazed everyone present with his mastery of the instrument.

The performing art of guitar playing would not have progressed without first-class instruments. In Russia, their masters appeared soon after the emergence of wide interest in this instrument. The Russian Stradivarius was called the contemporaries of Ivan Andreevich Batov (1767-1839), who performed about a hundred excellent instruments in his life - violins, cellos, balalaikas. Ten guitars came out of the hands of the outstanding master, which sounded in the hands of I.E. Khandoshkin, S.N. Aksenov, M.T. Vysotsky.

Ivan Grigorievich Krasnoshchekov was no less famous master; all musical Moscow played on his guitars. The performers appreciated the Krasnoshchekov instruments for the warm and gentle sound, for the grace and beauty of the finish. One of the guitars (played by the famous gypsy Tanya, who admired A.S. Pushkin with her playing and singing) is kept in the Glinka Museum of Musical Culture (Moscow).

In addition to the guitars of Batov and Krasnoshchekov, the guitars of the Arhuzen brothers (Fedor Ivanovich, Robert Ivanovich), F.S. Passerbsky, M.V. Eroshkin were famous in Moscow and St. Petersburg. Their instruments were not inferior in strength and beauty of tone to the guitars of Western masters. Of the Russian six-string guitarists, the most famous were N.P. Makarov (1810-1890) and M.D. Sokolovsky (1818-1883).

Nikolai Petrovich Makarov is a unique personality: the lexicographer who published the Complete Russian-French Dictionary (1866), the German-Russian Dictionary (1874), the Encyclopedia of the Mind, or the Dictionary of Selected Thoughts (1878); a writer who wrote several novels and many articles, a brilliant performer-virtuoso on the six-string guitar. Organized an international competition for the best instrument and the best composition for guitar (Brussels, 1856). In 1874 he published "Several rules of the highest guitar playing", which were of great value to musicians up to before the emergence of the modern school. "As a guitarist-musician, Makarov earned himself a place of honor among her immortal composers; […] He also did a lot to improve the construction of the guitar (lengthening the neck to the 24th fret - two octaves, strengthening the neck with a screw). Makarov discovered the extraordinary guitar master Scherzer […]. Thanks to the financial support of Makarov, Mertz wrote many compositions for the guitar. He could justly be proud of his love for the guitar [...] ".

Mark Danilovich Sokolovsky was born near Zhitomir. He mastered the guitar early in the schools of Giuliani, Legnani, Mertz. Has given several successful concerts in Zhitomir, Vilno, Kiev. In 1847 he performed in Moscow for the first time and attracted the attention of the musical community. After a series of concerts in Moscow, St. Petersburg, Warsaw, he went on a European tour (1864-1868): London, Paris, Vienna, Berlin. Everywhere - an enthusiastic welcome. In 1877 his last concert took place (in St. Petersburg, the chapel hall). Buried in Vilno. His programs included works by Paganini, Chopin, Giuliani, Carulli, Mertz.

Guitar performance in Russia has gone through a series of ups and downs associated with political and economic events in the country and abroad. A new interest in the guitar arose sometimes due to the energetic activity of publishers, theorists, and teachers. So, at the beginning of the XX century, playing the guitar received support thanks to the popularizing talent of VA Rusanov (1866-1918), who published the magazines "Guitar" and "Music of the Guitarist" with the publication of his own historical and theoretical articles; the first part of his school was published.

A great contribution to the development of guitar performance was made by the Tyumen guitarist, teacher and publisher M. Afromeev (1868-1920). In 1898-1918, he literally flooded music stores in Russia with collections of pieces for guitar, self-study guitars, schools for both six- and seven-string guitar. For a number of years he published the "Guitarist" magazine.

In Soviet times, interest in the guitar increased significantly as a result of Andres Segovia's tour of the USSR. "It is with great pleasure that my memory revives in my soul four trips to the Soviet Union and all the friends I left there." The concerts of 1926, 1927, 1930 and 1936 revealed to the listeners such sonic possibilities of the guitar, such a richness of timbres that they had analogies with an orchestra. The secret of the impact of Segovia's guitar was in a wonderful fusion of incomparable craftsmanship and exquisite taste. In the wake of the tour of the famous Spaniard in the USSR, 7 albums of works from the guitarist's repertoire were published, and the Soviet guitarist PS Agafoshin released the "School of playing the six-string guitar", which has survived four editions to date. Guitar classes were also opened in a number of musical educational institutions, where the activities of such teachers as P.S. Agafoshin, P.I. Isakov, V.I. Yashnev, M.M. Gelis and others gave their results. In 1939, A. Ivanov-Kramskoy (first prize) and V. Belilnikov (a 13-year-old boy received the second prize (!)) Became laureates at the All-Union Review of Performers on Folk Instruments. Another participant - K. Smaga - received a diploma. A. Ivanov-Kramskoy (student of P.S. Agafoshin) performed the following program at the competition: F. Sor "Variations on a Theme of Mozart", J. Bach "Prelude", F. Tarrega "Memories of the Alhambra", F. Tarrega "Moorish dance". From the program of V. Belilnikov (class of V. Yashnev) it was possible to find out only one piece - F. Sor "Variations on a Theme of Mozart". K. Smaga performed "Prelude" by JS Bach, "Remembrance of the Alhambra" by F. Tarrega and several more pieces. Nevertheless, even the listed compositions give an idea of ​​the degree of professional skill of the contestants of that time.

Alexander Mikhailovich Ivanov-Kramskoy (1912-1973) studied at the children's music school to play the violin, and the music school named after. He graduated from the October Revolution with a degree in guitar from P.S. Agafoshin. Then for some time he took a course in conducting with K.S. Saradzhev at the Moscow Conservatory. He gave concerts around the country, played on the radio and on television.

The game of the Honored Artist of the RSFSR (1959) A.M. Ivanov-Kramskoy is devoid of cheap effects, it is characterized by a certain restraint. However, the guitarist has his own face, individual methods of sound production and his own repertoire, which includes the musician's own compositions. Masterfully accompanied the famous vocalists - I.S. Kozlovsky, N. Obukhova, G. Vinogradov, V. Ivanova, I. Skobtsov, instrumentalists - L. Kogan, E. Grach, A. Korneev ... A. M. Ivanov-Kramskoy - the author a large number of compositions for guitar: two concerts, "Tarantella", "Improvisation", a cycle of preludes, dance pieces, arrangements of folk songs and romances, etudes. Wrote and published School of Guitar Playing (reprinted several times). For many years A.M. Ivanov-Kramskoy taught at the music school at the Moscow Conservatory (over 20 graduates, including N. Ivanova-Kramskaya, E. Larichev, D. Nazarmatov, etc.). Died in Minsk on the way to his next concert.

Along with A.M. Ivanov-Kramskoy, the talent of L.F. Andronov, B.P. Khlopovsky, S.D. Orekhov was revealed in the 50-60s of the XX century. Different destinies, different education, but they were united by the military and post-war hard times.

Lev Filippovich Andronov was born in 1926 in Leningrad. He studied at the music studio under V.I. Yashnev, then graduated from the Music School in the guitar class of P.I. Isakov and in the bayan class of P.I.Smirnov. Early he began to give concerts solo and in a duet with V.F. Vavilov (in 1957 the duet became a laureate of the All-Union and International Youth Festivals). In 1977 he graduated from the Leningrad State Conservatory as an external student, class of Professor A.B.Shalov. Has recorded several records, including "Concerto for Guitar with a Chamber Orchestra" by B. Asafiev. He had creative connections with many famous guitarists in the world; was repeatedly invited to tour abroad, but due to the fault of the officials of the USSR did not receive permission. As a result of several heart attacks, he died before reaching the age of 60.

Boris Pavlovich Khlopovsky (1938-1988) after graduating from the music school named after V.I. Gnesinykh (1966) worked as a teacher in his native school and the Moscow State Institute of Culture, in the orchestra of folk instruments of the All-Union Radio and Television, performed in recitals with balalaika player V. Mineev, dom player V. Yakovlev. In 1972, at the I All-Russian competition of folk instrument performers, he received the 2nd prize and the title of laureate (in the program: Villa-Lobos "Five Preludes", Ivanov-Kramskoy "Concert No. 2", Vysotsky "Spinner", Tarrega "Dreams" , Narimanidze "Rondo"). His son, Vladimir, continued the family tradition, graduated from the music school at the Moscow Conservatory, then - from the State Pedagogical Institute. Gnesins; in 1986 he became a diploma winner at the III All-Russian Competition of Performers on Folk Instruments. Another son, Pavel, is also a professional guitarist.

Sergei Dmitrievich Orekhov (1935-1998) - in the opinion of many Moscow guitarists, comparable to M.T. Vysotsky. He studied at the circus school, took guitar lessons from the Moscow guitarist V.M. Kuznetsov. I did a lot and painstakingly on my own. He worked in gypsy groups, performing with Raisa Pearl. Created a duet of seven-string guitars with Alexei Perfiliev. He traveled all over the country with concerts, visited Bulgaria, Yugoslavia, Czechoslovakia, France, Poland. He had "an amazing virtuoso technique [...], that is, lightness, flightiness with depth and grace of sound," "a free, uninhibited manner of playing, improvisation coming from the depths of the Russian guitar school." SD Orekhov is the author of well-known concert adaptations of Russian songs and romances - "Here is the mail troika", "Weeping willows are slumbering", "Everything is still quiet", etc. He recorded a number of gramophone records.

For many years, the All-Union Recording Company "Melodiya" has provided great assistance in the dissemination of guitar art in the country, annually releasing recordings of Soviet and foreign performers in large editions. In the 50-60s alone, she released 26 discs: A. Segovia - 4, Maria-Luisa Anido - 2, M. Zelenka - 1, A. Ivanov-Kramskoy - 10, E. Larichev - 3, L. Andronov - 1, B. Okunev - 2, etc. Later, recordings by N. Komolyatov, A. Frauchi, Paco de Lucia were added to them ... Since the 90s of the XX century, large-circulation CDs of Russian musicians, both the older generation and the young, began to appear.

Analyzing the state of guitar performance in Russia in the 60-70s of the XX century, it should be noted that there is a serious lag in the professional training of guitarists, in contrast to balalaika players, dom players, and accordion players. The root cause of such a lag (especially the weak technical equipment and "amateurism" in music-making of musicians at competitions was evident) was seen in the late entry of the guitar into the system of musical education.

Despite the fact that guitar classes emerged in the very first years of Soviet power (starting from 1918), the attitude towards the instrument in the authorities, incl. and in the field of culture, it was ambiguous. The guitar was considered a cult instrument of the bourgeois environment, against which the forces of the Komsomol organizations were fighting. Learning to play the guitar in musical institutions went on sporadically, on an amateur basis, which again belittled the assessment of the instrument by professional musical circles. The breakthrough took place only when guitarists who graduated from universities, in particular the Ural State Conservatory, entered the concert life of the country. Some of the first graduates who received diplomas of higher education were M.A. Prokopenko, Y. G. Pukhalsky, K. M. Smaga (Kiev Conservatory), A. V. Mineev, V. M. Derun (Ural Conservatory). Guitar classes have opened at the State Pedagogical Institute named after Gnesins, in the conservatories of Leningrad, Gorky, Saratov ...

Among the guitarists of the new generation (70-90 years of the XX century), performers appeared who raised guitar playing to academic heights. These are N.A.Komolyatov, A.K. Frauchi, V.V. Tervo, A.V. Zimakov.

Nikolai Andreevich Komolyatov was born in 1942 in Saransk. In 1968 he graduated from the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskoy), and in 1975 - in absentia - from the Ural State Conservatory (class of A.V. Mineev). Gives concerts all the time; recorded gramophone records, CDs. He was the first to play E. Denisov's sonata for flute and guitar (with A.V. Korneev). Interpreter and promoter of new original music for guitar (I. Rekhin - five-part suite, three-part sonata; P. Panin - two concerts, miniatures, etc.). Since 1980, together with A.K. Frauchi, he opened a guitar class at the G. Gnesins. Currently - Honored Artist of the Russian Federation, professor. Dozens of guitarists graduated from his class, among whom there are many laureates, such as A. Zimakov. Each all-Russian and international competition of performers on folk instruments is represented by two or three students of N.A. Komolyatov (see the booklets for the competitions).

In the 70s, the Moscow guitarist Alexander Kamilovich Frauchi (1954) revealed his talent. After studying at the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskoy), A.K. Frauchi continued his education at the correspondence department of the Ural Conservatory (class of A.V. Mineev and V.M. Derun), while working as a soloist of the Moscow regional philharmonic society. In 1979, at the II All-Russian Competition of Folk Instrument Performers, he won the second prize, and in 1986 he successfully completed the international competition in Havana, having received the first prize and a special prize. Moreover, the performance of the Soviet musician at the competition created a sensation with his skill, temperament, and clever interpretation of the works (at the same competition, another Soviet guitarist, Vladimir Tervo, won the 3rd prize, he also caused a lively response in the guitar audience). After the Cuban competition, A. Frauchi took part in the Five Stars in Paris festival, and since then he annually travels with concerts all over the world.

A. Frauchi combines intensive concert activity with teaching work at the M. Gnesins. Among his students are laureates of all-Russian and international competitions - A. Bardina, V. Dotsenko, A. Rengach, V. Kuznetsov, V. Mityakov ... Today A.K. Frauchi is the chairman of the Association of Guitarists of Russia. His credo is to separate the guitar from folk instruments, since the guitar, according to him, has its own culture, history, repertoire, international distribution, school and in the civilized world it exists separately, like a piano or a violin. This, in his opinion, is the future of guitar performance in Russia. A.K. Frauchi - Honored Artist of the Russian Federation, professor.

Vladimir Vladimirovich Tervo (1957) graduated from the Music College named after V.I. The Gnesins (class of V.A. Erzunov) and the Moscow State Institute of Culture (class of A.Ya. Aleksandrov). Laureate of three competitions - all-Russian (1986, III prize), international (Havana, 1986, III prize; Barcelona, ​​1989, III prize) - did not stop there: he entered the Ural Conservatory and graduated brilliantly in 1992 in the class of associate professor V.M. . Deruna.

Alexey Viktorovich Zimakov is a Siberian, born in (1971) and raised in Tomsk. He received his first guitar lessons from his father. In 1988 he graduated from the Tomsk Musical College, and in 1993 - from the M. Gnesins (class of N.A. Komolyatov). He is exceptionally virtuoso, plays the most difficult pieces. The first of the guitarists was awarded the first prize at the All-Russian Competition of Performers on Folk Instruments (Gorky, 1990). In addition, he won first prizes at two international competitions (1990, Poland; 1991, USA). Lives and works in Tomsk (teacher of his native school). He constantly tours in Russia and in foreign countries. The repertoire adheres to classical works.

The competitions of the 90s of the XX century and the victories of Russian guitarists at them confirm that the professional guitar school has noticeably grown, strengthened and has the prospect of further development.

The guitar has shown itself worthy in one more direction - in jazz music-making. Already at an early stage of the emergence of jazz in America, the guitar took the leading (if not leading) place among other jazz instruments, especially in the blues genre. In this regard, a number of professional jazz guitarists emerged - Big Bill Bronzi, John Lee Hooker, Charlie Christian, later Wills Montgomery, Charlie Bird, Joe Pass. Django Reinhardt, Rudolf Dasek and others are notable among European guitarists in the 20th century.

In Russia, interest in jazz guitar arose thanks to jazz festivals held in different cities of the country (Moscow, Leningrad, Tallinn, Tbilisi). Among the first performers - N. Gromin, A. Kuznetsov; later - A. Ryabov, S. Kashirin and others.

Alexei Alekseevich Kuznetsov (1941) graduated from the October Revolution Music College, domra class. I got carried away with the guitar, not without the influence of my father - A.A. Kuznetsov Sr. A.A. Kuznetsov Jr. also worked for about 13 years in the pop-symphony orchestra under the direction of Yu. Silantyev, then in the State Symphony Orchestra of Cinematography. As a jazz guitarist, he showed himself at Moscow jazz festivals in solo and various ensembles (the duet of guitarists Nikolai Gromin - Alexey Kuznetsov became especially popular). A lot is recorded on gramophone records. He is known as an ensemble player and soloist in such groups as the Leonid Chizhik trio, the ensembles of Igor Bril and Georgy Garanyan. Since the 90s he has been working as a consultant in the "Accord" music salon, where he gives a master class on jazz guitar, gives concerts in the cycles "Masters of Jazz", "Guitar in Jazz". People's Artist of the Russian Federation (2001).

Andrey Ryabov (1962) - graduate of the Leningrad Music College named after V.I. Mussorgsky in jazz guitar class (1983). He received public recognition in a duet with the Estonian guitarist Tiit Pauls (the album "Jazz Tete-a Tete" was released). Then he played in the quartet of the pianist A. Kondakov, in the ensemble of D. Goloshchekin. In the early 90s he moved to the USA, where he gave concerts with famous American jazz musicians Attima Zoller and Jack Wilkins. He created his own trio and is currently considered one of the best jazz guitarists.

Since in Russia the jazz guitar received due recognition relatively recently, it appeared in the system of musical education in the last quarter of the 20th century (and even later in the university). Achievements in the field of technology on acoustic and electrified guitars, the use of electronics, the inclusion of elements of "flamenco", classical style, the development of teaching methods, exchange of experience with foreign musicians - all this gives reason to consider the guitar in this genre of music as one of the most promising instruments.