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STUDY OF THE BALLET BY P.I. TCHAIKOVSKY "SLEEPING
BEAUTY" IN THE THIRD GRADE OF A COMPREHENSIVE SCHOOL
Trigulova A.Kh.
Associate Professor of the Department of Theory and Methods of Teaching
Music, TSPU named after Nizami, PhD in Pedagogical Sciences.
https://doi.org/10.5281/zenodo.15533551
It is difficult to imagine a more festive spectacle, music more sunny and
cheerful than the ballet "Sleeping Beauty" by P. I. Tchaikovsky.
The richness of rhythms, the inexpressible charm of melodies, the colorful
instrumentation make "Sleeping Beauty" not only in Tchaikovsky's work, but in
all ballet music a remarkable phenomenon.
The idea of the ballet is the victory of light over darkness, happiness over
suffering. "Sleeping Beauty" is one of the brightest, life-affirming works of
Tchaikovsky. The music is full of festive joy, bright sunshine, and at the same
time heartfelt, full-blooded light lyricism, revealing the beauty of the spiritual
world of man. The fantastic plot did not become an obstacle for Tchaikovsky to
express truthful, truly human feelings. The experiences of Aurora, Desiree, the
Lilac Fairy - all these are the feelings of living, sincerely loving and passionately
striving for happiness people. But everything human and bright in the ballet is
sharply contrasted with another world - the world of malice and hatred,
embodied in the ballet also very brightly and vividly in the image of the evil
Carabosse. The main conflict between the light and dark forces is embodied in
the clash of the two leading musical themes of the ballet: the Lilac theme and the
Carabosse theme. Good and humanity defeat evil and violence. Life and joy
triumph in music.
In music class, after getting acquainted with the plot of the ballet, we
suggest listening to the Themes of the Lilac Fairy and the Carabosse Fairy.
Introduction.
Before listening to the fragments of the introduction, you can use the
technology of modeling the creative process. Divide the class into creative
groups headed by the "Responsible Composer" and ask the students to
"compose" the theme - the melody of the Good Fairy and the Evil Fairy
themselves, defining the image, character and the main means of musical
expression available to third-graders. Hand out the corresponding cards: the
nature of the melody's movement - smooth, melodious, jumpy, sharp,
intonations - good, evil, song, dance, march, genre features (waltz, march,
fantastic dance), mode - dark, light color, register - the pitch of the melody - low,
high, medium, tempo - fast, slow, moderate, size, dynamics - loud, quiet,
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moderate, crescendo, diminuendo. When the children have completed the task,
choose the most successful option. Then listen to fragments of the themes of the
Lilac Fairy and the Carabosse Fairy in the introduction, let the children
themselves determine where which theme is and compare it with their options.
Orchestral introduction. The ballet begins with an orchestral introduction built
on two main musical images. Discontinuous ominous chords, sharp intonations
of the melody, angular rhythm characterize the theme of the fairy Carabosse. It
is displaced by the gentle, smooth melody of the Lilac fairy, all as if woven from
rays of light and filled with floral aromas. Beginning barely audible, as if from
afar, it sounds stronger and stronger as a jubilant hymn of joy. In it, for the first
time, two main musical images collide: the fairy Carabosse and the Lilac fairy.
The characteristics of these two characters, personifying the ideas of evil
and good, are sharply contrasting. The composer characterizes Carabosse with a
sharp, angular in rhythm, harmonically unstable theme. The theme of the Lilac
Fairy, on the contrary, is vocal and melodic by its very nature. In harmonic
terms, it is clear, tonally stable (its key is E major, always associated in
Tchaikovsky's music with bright lyrical images). The orchestration of both
themes is also sharply different. The theme of Carabosse is presented by the
entire orchestra. The appearance of the theme of the Lilac Fairy is preceded by a
splash of harps, after which a friendly, gentle melody sounds from the flutes and
English horn against the background of a soft tremolo of violins and violas
pianissimo. The Lilac theme undergoes extensive development in the
introduction thanks to the gradual inclusion of melodic subvoice, which fills it
with a wide, full-blooded melodic breath. As a result of the great emotional
build-up on the tonic quart-sixth chord of E major, a joyful fanfare signal is heard
in the fortissimo sound of the wooden instruments and trumpets, as if signifying
the victory of the light forces over the forces of darkness.
Further, of great interest to schoolchildren is the "Waltz" in B-flat major
from the first act of the ballet "Sleeping Beauty". A bright, festive, jubilant waltz
in B-flat major with typical features inherent in the waltz genre. The children
themselves will feel the measured swaying of the light melodic line in this
famous waltz.
Finale of the first act. Fragments. The theme of the fairy Carabosse sounds
in the orchestra, maliciously and triumphantly. This is its new rhythmic and
harmonic version: without pauses interrupting the chords, against the
background of the tremolo of the organ point B-flat and with new harmonic
sequences. The theme of Carabosse then undergoes a great deal of motivic
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development. Two of its elements are developed: the progressive movement in
seconds and the rhythmic motif in sixteenths, which ultimately, chromatically,
becomes the basis of Aurora's dance with a spindle.
Aurora's dance with a spindle. Aurora's dance with a spindle unfolds in a
rapid movement (from "Allegro vivo" to "Presto") in the key of C minor. At the
end of it, the initial intonations of the Carabosse theme appear, taking on an
ominous and tragic character here. Aurora, having pricked herself with a
spindle, falls. The cellos and bassoons sound a theme expressing the grief and
despair of those around her. The last intonation of this theme - a gradual
descending movement - becomes the source of further musical development.
The theme of Carabosse in its main form is juxtaposed with this theme of grief
and despair (at this point the old woman throws off her cloak and appears as
Carabosse. The princes rush at the evil sorceress, but she suddenly disappears).
The continuous movement of sixteenth notes in the tempo of "Poco piu vivo",
born of the theme of Carabosse and the whirlwind dance of Aurora, ends this
dramatic episode of the ballet. It directly leads into the last section of the finale.
The appearance of the Lilac Fairy. Her theme sounds in the English horn in
a light E major. At the sign of the good sorceress, the entire kingdom plunges
into a magical sleep: a colorful chain of chords sounds in an even rhythmic
movement - the "theme of numbness". The entire final scene has a fantastically
picturesque character.
In this lesson, you can give a more complete idea of the genre of ballet.
Ballet is a musical performance in which the content is conveyed by dance. The
dances are accompanied by music. It is performed by a symphony orchestra. The
action of the ballet takes place on stage. The entire performance is directed by a
conductor. The orchestra, dancers, and ballet soloists obey his baton. Key
concepts: ballet, contrast, intonation, images, and their development in music.
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