ОСОБЕННОСТИ ФОРМИРОВАНИЯ РЕПЕРТУАРА ДЛЯ СМЕШАННОГО АНСАМБЛЯ РУССКИХ НАРОДНЫХ ИНСТРУМЕНТОВ

Abstract

This article explores the insufficiently developed questions of the formation of the repertoire for mixed Russian folk ensembles in concert-pedagogical practice from its inception to the present day. Special attention is paid to the issues of combining sharped and short-tempered instruments such as domra, balalaika, gusli, on the one hand, and soft long-sounding instruments, such as various types of harmonics and especially their most perfect types — bayans, on the other. In creating a special multi-timbre sound, a significant role is assigned to exploring new playing techniques, overcoming the one-dimensional discreteness or sluggishness of pre-consonant sound studies in mono-timbre ensembles by introducing new techniques that contrast with the character of the instruments.