FORMATION AND IMPROVEMENT OF FINGERING THINKING IN GUITARISTS DURING THE PROFESSIONAL TRAINING OF PERFORMING INSTRUMENTALISTS

Abstract

The article is dedicated to the analysis of methodologies that will help guitarists develop fingering thinking during the professional training of performing instrumentalists. It has been clarified that the variability of guitar fingering is an effective tool for realizing the artistic tasks of a musical piece, taking into account the individual capabilities of the performer and achieving comfort when playing a musical instrument. It has been determined that to form the fingering thinking of guitarists, it is essential to master the basic fingering principles. For this, it is important to assess the role of both the right and left hands, as well as each finger, during the performance on the musical instrument. It has been revealed that five-fingered fingering, as a regular stage in the development of playing technique, should not negate but rather complement and develop the techniques established in four-fingered fingering, thereby enriching the guitarist's performing technique with new possibilities. It has been proven that a significant problem in the application of the right-hand fingering for beginner performers can be considered the accidental duplication of any of the fingers. It has been traced that the formation and improvement of fingering thinking in guitarists should be viewed in the context of the comprehensive process of professional training for performing instrumentalists. In particular, it is important to think not just with the fingers but also to hear the future performance with the inner ear. It has been established that one of the main conditions for masterful performance on a musical instrument is the application of rational fingering; therefore, fingering discipline is one of the most important principles that should be taught from the very beginning of instrumental training.