15 lessons of playing the button accordion - Samoilov D.
The proposed work is intended for students of preparatory or first grades of children's music schools in the class of button accordion with ready-made chords (accordion). The educational musical material is presented in order of ascending complexity in such a way that within each Lesson and from Lesson to Lesson, each new piece consists of 90% of the elements included in the previous one. Musical material includes: children's and folk songs with text (rhythmic exercises-games); melodic exercises (student playing in an ensemble with a teacher); original plays; processing of folk melodies; sketches; ensembles.
The construction and delivery of the very first Lesson is exemplary. It is recommended to study all subsequent Lessons according to the principle of the first, with increasingly complex tasks in musical, artistic and technical terms being presented to students. In the future, guided by this principle, the teacher will be able to independently develop an individual system of classes with each individual student.
Musical and artistic technical problem are solved in this work, based on the following principle: the main pillar of full mastery of the technical capabilities of the instrument is maximum development musical and, more broadly, creative data of the student.
The proposed technology for mastering the tool allows us to maximize auditory perception, promotes conscious mastery of artistic sound.
Although “15 Lessons” can be used as a simple repertoire collection, it is still recommended to pay attention to melodic exercises, especially initial stage training. For a student in his first music lessons, playing even one sound in an ensemble with a teacher is a the brightest event: she, as it were, makes him equal in rights with the teacher - makes him a Music Performer.
Certainly this is not the only way learning to play the button accordion, both for the student and for the teacher. But the fact that a little musician from the first lessons hears the full sound of his button accordion and acts as an active participant in this sound is undoubtedly a huge emotional stimulus in the desire to learn to play well and participate in collective music-making.
| Lesson 1-15| | |
| Lessons 1 – 15| | |
| Music app| | |
| Sketches| | |
| 1| | |
| 2| | |
| 3| | |
| 4| | |
| 5| | |
| In the chicken coop| | |
| Ensembles| | |
| For a duet of button accordions| | |
| K. Longchamp-Drushkevichova— | Veselchak| |
| J. Kepitis— | Morning in the forest| |
| Russian folk song- | Thin rowan| |
| Russian folk song- | And I'm in the meadow| |
| Russian folk song- | Dunya held the transportation| |
| For a trio of button accordions| | |
| Joke- | Quadrille| |
| M. Roiterstein— | In the evening| |
| V. Savelov— | Old barrel organ| |
| Russian folk song- | Evening bells| |
Rhythm is one of the central, fundamental elements of music, which determines one or another pattern in the distribution of sounds over time. The sense of musical rhythm is a complex ability that includes perception, understanding, performance, and creation of the rhythmic side of musical images.
The foundations of creative perception of rhythm should be laid from the first steps of music lessons. Working on rhythm - important aspect activity of a performing musician at any stage of development of his skill.
Like others musical abilities, the sense of rhythm is amenable to education and development. But, since all musical and expressive means are interconnected and solve some specific musical task, then the development of rhythmic feeling is possible only in inextricable connection with other components of the musical fabric.
One of the main problems in a specialty class is the lack of clear rhythmic sensations in the student. Quite often in the accordion class we are faced with non-rhythmic performance of musical works. There can be many reasons for such a game: an unsteady feeling of metrical pulsation; inability to imagine with the inner ear the sound of a specific rhythmic figure; lack of internal rhythmic pulsation - the ability to fill a large duration with smaller durations; the technique of performing the button accordion is opposed to the clarity of the performer’s metrhythmic sensations; insufficient musical education of the performer.
During the playing process, the performer controls the sound control of the button accordion by moving the bellows. Thus, when performing, smooth movement of the bellows makes coordination difficult; tactile sensations on the keyboard of the instrument are more uncertain compared to performance on the piano, since on the vertically located keyboard of the accordion-bayan it is more difficult to find a feeling of support, and this tactile sensation is especially important in the performance of complex rhythmic elements .
The primary emotional representation of music through movement is important stage. One of the techniques for developing a sense of rhythm, especially at the initial stage of learning, is to calculate the music being performed. A melody is formed when sounds are organized rhythmically. If they are scattered outside a certain rhythm, then they are not perceived as a melody, that is, the rhythm has great expressive power and sometimes characterizes the melody so clearly that we recognize it only by its rhythmic pattern. If the child’s sense of rhythm is imperfect, speech is poorly developed, it is inexpressive, or poorly intonated. Very important in teaching music is the teacher’s ability to make his students feel the power of music and awaken in them a love for art. They will help with this various exercises-games. During the first lessons, group lessons are possible.
1. Listen to any rhythmic pattern or melody.
2. Foot timing: marching to the count: 1,2,3,4. We march, highlighting (stomping strongly) 1 and 3 - strong beats. We march, highlighting only 2 or, for example, 4.
3. Timing with feet: marching to the music (2 quarters) - highlighting the strong beats.
4. Hand timing: clap your hands. On the downbeat, make a big swing, spread your arms to the sides, clap your hands. We don’t swing on the weak beat, we only touch it with our fingertips.
5. Timing with hands to music (2 quarters). On the strong beat there is a loud clap - “palms”, on the weak beat - a quiet clap, “fingers”.
6. Timing with hands (clap) or feet (stomp in place, hands on the belt) nursery rhyme, loud on the strong beat, quiet on the weak beat. For example,
Bom-bom, tili-bom.
The cat's house caught fire.
The cat jumped out
Her eyes bulged.
7. We march in quarters with the words: “Step, step, step, step.”
8. We run on tiptoes (eighths) with the words “Run, run, run, run.”
9. If the work is in a group, divide into groups - one group walks “step-step”, and the other “run-go, run-go”.
10. “Cat House” - stamp a rhythm for each syllable. The above will look like this:
Step, step, run, step.
Run, run, run, step.
Run, step, run, step.
Run, step, run, step.
11. The group is divided into 2 parts - we recite “Cat House” and walk: one half is a meter (only for strong and weak beats), the other is rhythm (for each syllable).
12. Clapping is the same.
13. You can tap on a drum (on a chair, on a table top, on the floor, etc.), rattle a rattle, etc.
14. Clap and walk at the same time.
15. Walking. First, the usual marching, then at “one” - a step forward, at “two - three” - two steps in place.
An exercise to develop coordination, as well as a sense of tempo and rhythm.
For one step - two claps and vice versa. Try to perform movements smoothly and rhythmically.
Exercise “Funny Legs” to develop a sense of rhythm and motor skills
The student sits on a chair, back straight, hands on his belt, legs bent at an angle of 90°. To the music, he puts one foot forward on the heel, then on the toe and places it in initial position, making 3 stomps with your feet alternately. Then repeat on the other leg. It is important to monitor the rhythm of the performance. The exercise can be performed to music.
An entertaining exercise “One, two - islands” to develop a sense of rhythm.
Place your hands on the table, palms down. Bring your fingers closer to you a little. Quietly pat all your fingers on the table. You can tap in this way the names of familiar children, the names of animals, birds, trees.
Left hand Right hand
One, two - island.
Three, what - you - we've come.
Seven, seven - how many days!
Ten, ten - I'm on my way.
I counted to ten!
Rhythmic dialogue with a student - “talk” by knocking - we encourage you to respond with a phrase of the same length, tempo, character, but with a different pattern. Similar rhythmic exercises can be carried out at each lesson, allotted 5-10 minutes to them. For example, game "Echo":
Game "Reverse Echo":
Having learned through games that music has its own rhythm and tempo, the student must understand that music is alive because it has a meter. The meter is best perceived as a "pulse", steps in moderate motion. Meter is an alternation of reference and non-reference sounds. Like breathing and heartbeat, music seems to pulsate evenly, constantly alternating between moments of tension and decline. Moments of tension are strong beats, moments of decline are weak beats. If a piece of music is a house, then the bars are its rooms, all of the same size. A beat is a segment of music from one strong beat to another. Rhythm, meter, tempo are indissoluble. The purpose of rhythmic exercises is to introduce complex rhythmic figures and prepare for the performance of complex pieces.
A generally accepted scheme of durations can be given after performing simple rhythmic exercises. During classes, offer children the following situations: “If an elderly person walks slowly, how does his heart beat, what is his pulse? If one man walking calmly, and the other one runs, how their pulse beats: at the same pace or differently? The teacher plays the pieces, and the child beats the “pulse”, then writes it down. 
New game: Mom walks with the baby, the mother has big steps, and the baby has 2 times more steps. So dad came home from work and also decided to take a walk with his family. But dad's steps are very long, he walks slowly. 
You can invite your child to write rhythmic patterns for any toys or fairy tale characters. The result is a game “Whose steps are these?” The child explains who is coming, approaching or leaving. Particular attention should be paid to the correct graphic reading of the rhythm. It is necessary to consolidate temporary: metric, visual and auditory perception. Be sure to explain to the student that when writing notes, the distance between them depends on their duration. Already in the first lessons, a child can learn 4 rhythmic units:
Thanks to the imagery, this technique is well absorbed by children. In general, in the pre-note period, children learn 10 rhythmic units: 
From these rhythm cards you can make various options rhythmic patterns.
The above games and exercises serve as an excellent addition to specialty classes in the button accordion class. They allow you to conduct lessons easily, “in one go,” not tiring and useful for the child.
Exercises can be varied depending on individual characteristics each child, using creativity And Special attention to the student.
Bibliography:
- Alekseev I.D. Methods of teaching playing the button accordion. M.: GosMuzIzdat., 1961.
- Volkova G. A. Speech therapy rhythm. M.: Vlados, 2002.
- Pankov O. About the accordion player’s work on rhythm. M.: Muzyka, 1986.
- Samoilov D. 15 lessons on playing the button accordion. M.: Kifara, 1998.
- Franio G. The role of rhythm in aesthetic education children. M.: Soviet Composer, 1989.
Currently, bayan and accordion teachers are faced with the problem of teaching 5-6 year old children. This is due to the desire of parents to teach young children to play instruments such as the button accordion and accordion. There is no literature on teaching children 5–6 years old to play the button accordion and accordion, so the need arose to create this program. The program is designed to teach children 5–6 years old to play the button accordion and accordion.
Changes taking place in public life our country, have significantly affected the educational and cultural systems. The centers of musical upbringing and education of children continue to be Children's Music Schools and Children's Art Schools, because they are the most widespread link in the system of music education.
Based on programs developed by the USSR Ministry of Culture (1967, 1988, etc.), admission of children to music school in the bayan and accordion class was performed at the age of 9-10 years, taking into account the specifics of the instrument and the physical characteristics of the child.
Currently, button accordion and accordion teachers are faced with the problem of teaching 5-6 year old children. This is due to the desire of parents to teach young children to play instruments such as the button accordion and accordion.
There is no literature on teaching children 5-6 years old to play the button accordion and accordion, so the need arose to create this program.
The program is designed to teach children 5-6 years old to play the button accordion and accordion.
The goal of this program is to most effectively organize educational process in accordance with modern requirements applied to music pedagogy.
This program designed for 2 years of teaching children in preparatory class:
STAGE I – preschool ( musical development young children.)
Direction this stage– general education.
TARGET: creating a "foundation" on which everything will be built further development student. The period of spiritual mastery of music (kept in the mind, carried in the soul, heard with one’s ear).
STAGE II - school (not considered in this program).
Many years of research and experience have shown that it is possible to teach children of this age. A.D. Artobolevskaya also said that “children should be introduced to art from a very early age.”
For successful learning it is necessary following conditions:
- Physical fitness
- Mental readiness
- Motivational readiness(the child’s ability to switch to educational activities and contrast play activity educational and cognitive)
You can find an appropriate approach for literally every child, regardless of the degree of his or her giftedness, and pick up the keys to enter the land of music.
The main goal of training is general musical development
Related Goals:
- introduction to amateur music-making “playing for oneself”
- awakening interest in beauty
- education of musical taste.
The key task of music education:
approaching learning to play musical instrument to the needs of students and their parents. It is necessary to structure the educational process in this subject in such a way that mastery of it is achieved. practical use in a student’s life, both during education and after graduation.
As the practice of communicating with parents about the tasks and goals of learning to play an instrument in the Children's Art School system has shown, they would like to see the development of the following musical abilities and interests of children:
- fluently sight-read musical works;
- have a sufficiently large repertoire for leisure activities and constantly independently expand it;
- select your favorite melody with accompaniment by ear;
- sing to your own accompaniment;
- love and understand music, have a good musical taste;
- be able to tell your friends about music and composers, maintain a conversation in musical themes;
- develop and expand figurative and emotional - sensory perception
These wishes of the parents should become a guide to the actions of the teachers of the Children's Art School during the entire period of the child's education at the music school.
Objectives of the first two years of study:
- Development of musical abilities (hearing, rhythm, memory)
- Formation of initial skills in playing an instrument (seating, hand placement, learning the keyboard, methods of sound production and mechanics, developing fingering discipline).
- Mastering the initial theoretical knowledge(keys, notes, note durations, counting, pauses, dynamics, strokes, etc.)
- Introducing the child to various types musical activity(independent performance of simple songs, playing in an ensemble with a teacher, singing to accompaniment, selection by ear, sight reading, rhythmic exercises, etc.)
- Maintain a love of music and develop an interest in music lessons(teach to listen and empathize with music, promote its meaningful perception).
METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS WORKING WITH CHILDREN AGED 5-6 YEARS OLD
It is desirable that children studying in this program have certain musical abilities:
- ear for music
- memory
But these indicators are not the main criterion for a child’s education. The predominant factor should be: interest and desire to make music. The child’s abilities develop in the process of active musical activity. Properly organize and direct it from the very beginning early childhood Taking into account changes in age levels is the task of the teacher.
Thus, the fifth year of life is characterized by the active curiosity of children. The child begins to comprehend the connection between phenomena and events and can make simple generalizations. He is observant and is able to determine:
- cheerful, joyful, calm music
- sounds high, low, loud, quiet
- in a piece there are parts (one is fast and the other is slow)
- What instrument is the melody played on (piano, violin, button accordion).
The child understands the requirements:
- how to sing a song
- how to move in a calm round dance
- how to move in a moving dance.
The sixth year of life is the period of preparation of the child for school. When teaching 6-year-olds, it is necessary to take into account the life and musical experience, which the child owns by the time he or she arrives at school.
- Children aged six years can:
- independently characterize a piece of music
- understand the means of musical expression: a) hear dynamic shades; b) understand the mood of musical pieces.
Program execution algorithm:
Learning to play an instrument begins with the so-called pre-notation period (At the first stage, exclude the section on familiarization with musical notation).
- listening to music (determination of character, genre)
- awareness of the rhythmic originality of genres
- singing songs with and without accompaniment.
- determination of the number of sounds, motives
- awareness of the concept of relative pitch of sounds
- acquaintance with fret
- introduction to intervals
- hand positioning and mastering strokes
- playing in an ensemble
- performance of light pieces, etudes, exercises
- performance creative tasks: drawings for plays, composing small melodies, short poems, selection by ear, transposition.
In a specialty lesson, a student must first of all learn to play an instrument. Experience shows that it is preferable to start playing the instrument with the left hand. Plays must be selected taking into account psychological characteristics preschool children.
- Melodies should be short (folk songs, songs and plays). The volume of pieces should not exceed 8 bars.
- It is advisable to accompany plays with poetry ( poetic text not only creates an emotional mood in the child, but also helps to understand rhythmic side songs)
- Musical education build in Russian national basis, on classic images, on examples folklore creativity other peoples.
Preference should be given to playing non legato.
You need to start learning by playing with one finger and from lesson to lesson, with each new piece, include all fingers in the work. Already in the first lessons, the student should understand the patterns of fingering based on the natural and comfortable placement of the fingers on the keyboard.
After making sure that the baby:
- hears high and low sounds, the movement of the melody up and down;
- knows well the structure of the keyboard, division into octaves;
- name of the keys;
- has an idea that a melody is made up of various durations and has a certain meter rhythm;
- has the skills to produce sound with the third fingers of each hand.
You can begin to study musical notation and play the notes. Learning to read music should be gradual, not forced. Experience shows that the best way to master musical notation - the student records the melodies he plays. There can be no question of explaining rhythmic patterns to a preschooler. Rhythm is perceived by a child at this age aurally, visually, with the help of text, by comparing long and short durations. Indispensable in home practice are sheet music, which sets out in a fairly simple form theoretical material, a lot of creative tasks, riddles.
Proceed to the first practical lesson only after meeting the requirements for the student’s seating, instrument installation, and hand positioning:
- prepare the belts
- choose a chair of the right height
- install a mirror (let the student admire himself)
Dedicate part of the lesson to exercises:
- Sitting at the table, first with one hand, then the other and both hands “together” (“Bridge”, “Jumping”, “Ball”, “Hopscotch”, “Jumping Bridge”)
- Preparing playing movements on the instrument to develop hand flexibility
- For relaxation
- Air valve
figurative perception, active work imagination - distinctive feature children's thinking. To develop imaginative thinking, the teacher is encouraged to use in his work the following exercises:
- “Let's go visit” - used when placing the hand, performed with the 3rd finger.
- "Lock - lightning" - to relax the wrist. Freely slide up and down the keyboard.
- “Bird's flights with landings” - arc-shaped and wave-like movements on the keyboard.
- "Sharpshooter" or "Hunting". A game for auditory-motor coordination. Large movement hands to get to the desired key.
- “Find me” is an exercise for developing hearing.
- “Walking excavator” - transfer of character through touch from the 1st to the 5th finger with swinging of the wrist.
- “Bear”. The goal is to mechanically memorize notes on the left keyboard. Perform in a different character.
- "Echo" - development of auditory skills.
- “Cuckoo” is a transfer of character.
In developing the reverse thinking of a beginning musician, it is advisable to proceed not from an appeal to a “holistic” image, but from the performer’s ability to identify the image in sound, i.e. to give the technique, sound, nuance that character, that degree of brightness that is dictated by the image. It is at the initial stage of learning, it is necessary to strive to develop imaginative
the student’s thinking, to look for ways to develop the student that would gradually transform his imagination into sound imagination.
Forms of work:
1. Individual training in a specialty class. The form of classes is a lesson of 20-25 minutes 2 times a week.
2. Playing in an ensemble with a teacher
An ensemble is a type of joint music making. Even G. Neuhaus wrote about playing in an ensemble: “From the very beginning, from the very first lesson, the student is involved in active music playing. Together with the teacher, he plays simple, but already existing artistic value plays. Children immediately feel the joy of direct perception, albeit a grain, of art. Not yet knowing the notes, and the fact that students play music that is familiar to them, will undoubtedly encourage them to perform their first musical duties as best they can. And this is the beginning of work on an artistic image.”
The teacher’s tasks in working on the ensemble:
- develop and activate creativity child's personality.
- get your child interested in music
- introduce your child to creativity
Playing skills children acquire when playing in an ensemble:
- Getting to know the tool
- Getting to know the range, keyboard
- Mastering rhythmic patterns
- Acquisition of basic initial gaming movements
- Mastering dynamic shades and strokes
- Development sound imagination
- Working with parents
It is very important, when starting to work with children 5-6 years of age, to make parents accomplices in the pedagogical process.
HELL. Artobolevskaya wrote: “The joyful work for the parents themselves should be the time they devote to musical studies. The family can and should become the first stage of artistic education.”
Cooperation goals:
- creating in the family an atmosphere of utmost respect for any good music (instrumental, symphonic, opera, ballet, jazz, folk)
- creation of a single community: teacher, child, parents, the basis of which is:
- complete trust
- goodwill
- interest and common purpose
Tasks in working with parents:
- inclusion of parents in educational process
- make parents good helpers to their child in his daily activities at home.
- formation of new family interests
- spiritual rapprochement between children and parents
- formation of motivation, thanks to which interest and diligence in music lessons increases.
- individually
- with a group of parents
The most rational form of working with parents:
- inviting parents to lessons (especially important First stage training)
- parent meetings with a student concert
- individual and collective consultations
- family events (holidays, competitions, family evenings dedicated to various topics, where students will have the opportunity to demonstrate their musical abilities acquired during work in all sections of the program.
To the teacher: make the necessary didactic material By various topics (visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)
Accordions:
- “Baby” 23 x 14
- "Weltmeister" 25 x 32
- “Youth” 26 x 60
CONTROL AND ACCOUNTING OF PROGRESS
Forms of control:
- Test tasks
- Test lessons(1 time per quarter)
- Public performance
Evaluation criteria:
- Sign ratings (sunshine, cloud)
- Score in the form of a symbol (major – minor, golden notes)
ANNUAL REQUIREMENTS
By the end of the year, the student must master: 15-20 plays, songs, chants performed with both hands together
- etudes, ensembles with another student or teacher varying degrees completeness (from analysis - acquaintance to concert performance with an obligatory point of fixation of each piece of music V " Individual plan student")
- various exercises for both hands
- C major scale.
From the author
The proposed work is intended for students of preparatory or first grades of children's music schools in the class of button accordion with ready-made chords (accordion). The educational musical material is presented in order of ascending complexity in such a way that within each Lesson and from Lesson to Lesson, each new piece consists of 90% of the elements included in the previous one. Musical material includes:
a) children's and folk songs with text (rhythmic exercises and games);
b) melodic exercises (student playing in an ensemble with a teacher);
l) original plays;
d) processing of folk melodies;
e) sketches;
e) ensembles.
The construction and delivery of the very first Lesson is exemplary. It is recommended to study all subsequent Lessons according to the principle of the first, with increasingly complex tasks in musical, artistic and technical terms being presented to students. In the future, guided by this principle, the teacher will be able to independently develop an individual system of classes with each individual student.
Musical, artistic and technical problems are solved in this work based on the following principle:
The main pillar of full mastery of the technical capabilities of the instrument is the maximum development of the student’s musical and, more broadly, creative abilities.
The proposed technology for mastering the instrument allows for the utmost activation of auditory perception and promotes conscious mastery of artistic sound.
Although “15 Lessons” can be used as a simple repertoire collection, it is still recommended to pay attention to melodic exercises, especially at the initial stage of training. For a student, at the first music lessons in his life, playing even one sound in an ensemble with a teacher is a bright event: it, as it were, makes him equal in rights with the teacher - makes him a Music Performer.
Of course, this is not the only way to learn to play the button accordion, both for the student and the teacher. But the fact that a little musician from the first lessons hears the full sound of his button accordion and acts as an active participant in this sound is undoubtedly a huge emotional stimulus in the desire to learn to play well and participate in collective music-making.
From the author
Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
Lesson 8
Lesson 9
Lesson 10
Lesson 11
Lesson 12
Lesson 13
Lesson 14
Lesson 15
NOTE APPLICATION
Sketches
1
2
3
4
5
6. In the chicken coop
Ensembles
For a duet of button accordions
K. Longchamp-Drushkevichova. Veselchak
I'm Kepitis. Morning in the forest
Thin rowan. Russian folk song
And I'm in the meadow. Russian folk song
Dunya held the transportation.
Russian folk song
For a trio of button accordions
Quadrille. Joke
M. Roiterstein. In the evening
V. Savelov. Old barrel organ
Evening call, evening Bell. Russian folk song