The key task of music education. Literature for students

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 is an important aspect of a performing musician’s activity at any stage in the development of his skill.

Like other musical abilities, the sense of rhythm can be trained and developed. But, since all musical expressive means are interconnected and solve a specific musical problem, the development of a rhythmic sense 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 an 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. Various exercises and games will help with this. 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 your hands (clap) or feet (stomp in place, hands on the belt) a children's rhyme, loudly on the strong beat, quietly 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 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 puts it in its original position, making 3 stomps with his 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 - islands.

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 - we “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 person is walking calmly and another is running, how does their pulse beat: 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 create various 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 the individual characteristics of each child, using a creative approach 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 the aesthetic education of children. M.: Soviet Composer, 1989.

Plan

Introduction
Main part:
1. First meeting with a student
2. Approximate plan for the first lessons
3. Working with rhythm
4. Ear selection and transposition
5. Playing in an ensemble
Conclusion
Bibliography

Introduction

During the pre-note period, which lasts approximately from two weeks to two months, the teacher gets an idea of the individual characteristics of the child, his temperament, talent, general development, and the degree of intensity of further classes with the student is largely determined. In my opinion, the pre-notation period is that short period of time during which the teacher must not only have time to establish contact with the student, but also have time to captivate him with music and consolidate his interest in it. The future musical destiny of the child depends on how exciting and fruitful this period will be.

Over the past three years I have had to work a lot with first graders. We had to recruit students and form a class. In the first year of work in a new place, my class consisted of 12 newcomers, most of whom had no idea what they would do at the music school. Some of the guys came to study out of curiosity, some “for company” with the first ones, others out of boredom, etc. During those two months that are traditionally allotted for the pre-note period, I had to have time to introduce my newcomers to musical culture, and this is where I had to use all my human charm and show my imagination. resourcefulness and existing knowledge about working with beginners, which turned out to be not quite enough. I found it especially difficult to work with primary school students. Seven-year-old Lera was constantly distracted, complained of fatigue, put forward her demands, in a word, did not want to join the “teacher-student” community, and eight-year-old Kirill did not want to connect two notes, he just spins in his chair, looks at his watch and argues about every issue.

Methodological works of such authors as A.D. Lazarev (Manual for teachers of children and parents “Learning by Playing”), V. Kuzin (methodological manual “Pre-instrumental period”), T.A. Rokityanskaya (methodological guide “Education of a sense of rhythm”), R.N. Bazhilin (“School of playing the accordion”), V. Semenov (Modern school of playing the button accordion), V.V. Ushenin (School of artistic skill of the accordion player), etc. .

By combining the mutually complementary methodological instructions of the above-mentioned authors, and adapting them in relation to the button accordion, I received a lesson structure that solved the problem of fatigue and made the learning process an exciting activity.

Main part

1. First meeting with a student

I teach some of the first lessons in the form of a group lesson. This form of work gives me unlimited opportunities to simulate game situations that naturally reveal the individual characteristics of students. While still an accompanist in rhythm lessons, I noted that children really enjoy joint creativity: students very quickly liberate themselves, clearly demonstrate their abilities, are happy to carry out the teacher’s tasks and strive to complete these tasks as best as possible.

As a rule, I invite all my first-graders to the first lesson.

And our acquaintance goes as follows. We sit in a circle, and I offer to answer a few questions for my first-graders and ask them in advance. Questions could be the following: What is your name, how old are you, what do you like to do most, do you like listening to music, etc.

Next, I sing these questions to the music, offering to try to answer me in a sing-song voice. Some children are shy, but there will definitely be a brave soul who will try to complete my task, and then everyone else will join in. If a student finds it difficult to complete a task or cannot accurately reproduce a melody, we do not despair and complete it together. Gradually, the stiffness will disappear, and the vocal apparatus will develop. I carry out this exercise until the end of the note period. Thanks to it, students get used to singing in class (later it will be replaced by solfege) as a naturally necessary form of work. Musical language is invariably associated with speech and, of course, singing. If a student is not able to use the vocal apparatus given to him by nature, then how will he be able to pronounce anything clear or even simply intelligible in the language of a musical instrument? Thus, already in the pre-note period, the prerequisites are created for mastering articulation techniques. The concept of “breathing” is important for the performer. The button accordion is one of the few instruments that has the ability to imitate vocals due to the fact that it has a kind of “lungs” - bellows. The duration, dynamics, and character of the sound are regulated by means of a bellows, with the simultaneous pressing of a key. Each movement of the bellows should help reveal the content of the piece being performed. Therefore, it is important to begin the formation of the first sound production skills with exercises that will help teach how to properly drive the bellows. In “Modern school of playing the button accordion” by V. Semenov, exercises are given for “breathing” the instrument. Various methods of driving the bellows with the air valve pressed are offered to achieve the nature of the exercises (“Calm breeze”, “Little storm”, “Calm breathing”, “Let’s rest after running”).

The process of intonation is very complex, and it is impossible for a student to understand it, and it is not necessary. It is enough that the teacher understands this process. As mentioned above, musical intonation is related to speech intonation. As in human speech, meaning and emotional coloring are conveyed with one or another intonation (interrogative, exclamatory, narrative, etc.). Words, phrases, sentences are pronounced with a certain intonation; intonation has a separate sound (A! A? A...). Therefore, at the initial stage of learning to play the button accordion, you need to associate the musical material with the word, using texts available to the child. Today, collections are being published intended for children beginning to learn the button accordion. They have selected musical material consisting of easy plays, children's songs, folk songs, etc., which are understandable to the student and not very difficult to perform: D. Samoilov “15 lessons on playing the button accordion”, R. Bazhilin “School of playing the button accordion” button accordion”, Reader on playing the button accordion. Issue 2. Comp. A. Krylousov, Reader for button accordion. Junior classes of children's music school. Comp. R. Grechukhina. Many songs in the collections are given with words, since the very nature of the instrument (accordion) is conducive to singing and accompaniment. Singing undoubtedly influences the understanding of music and its emotional performance. Such an important task as singing from the first lessons contributes to the development of intonation and inner hearing in students. You can also use textbooks used in solfeggio lessons.

The realities of modern life (the presence in the family of an affordable amount of household appliances, cars, mobile telephone communications, computers, a certain opportunity to see the world) leave an imprint not only on young adult parents, but also on their children. The above generally develops and positively influences the personality of a young student: it broadens his horizons, makes his attitude to the surrounding reality in a certain sense liberated, pragmatic, but often simplified. Many of them, in the initial period of learning to play a musical instrument, are psychologically determined to learn everything at once. If the desired does not happen, certain problems arise: nervousness, loss of interest in musical studies and, as a result, abandonment of the work started.

One of the options for eliminating such a scenario is to quickly introduce the child to practical music playing from the first lesson. After getting acquainted with the structure of the instrument, we sit down behind it as recommended by the “Modern school of playing the button accordion” V Semyonova. As practice has shown, such a landing and positioning of the instrument are the most rational.

At the beginning of my teaching practice, in the first lesson, I gave an exercise on oblique rows, which gives the feeling of a keyboard (“School of Artistic Skills” by V.V. Ushenin). However, then I abandoned this sequence of presentation of educational material. While the student feels the keys, the corresponding touch is developed. A legato stroke without a finger lift, and students, as a rule, are afraid to lift their fingers from the keyboard, can be the reason for jamming the gaming machine. In the first lessons, students, as a rule, still cannot control the degree of effort applied to press the keys. Unnecessary clamps can be caused not only by improper seating behind the instrument, but also by excessive zeal when pressing the keys. An important role of the teacher at the initial stage of training is to tirelessly monitor the formation of the skill of rational movement of hands on the keyboard. It should also be taken into account that the entire initial repertoire consists of songs, counting rhymes, jokes, performed, as a rule, on one or two notes with a non-legato stroke, which is easier to learn. V. Semenov also in his school suggests starting to work on sound production by playing pieces where a solid attack of sound is used (control of the horn). After the fur training exercises, we proceed directly to playing the “My Name” exercise on the right keyboard. By spreading the bellows and simultaneously pressing the note F with the third finger, the student sings his name syllable by syllable. The first syllable corresponds to the expansion of the bellows, the second - to the compression. Since we have a group lesson, everyone takes turns pronouncing their name, the names of friends and relatives on the instrument. You can add an element of competition to this exercise. Whoever remembers the most names is the winner. In further work, I often use this gaming method of work. Question and answer on the instrument, in addition to developing the skill of finger swing, makes the learning process interesting, exciting, and most importantly creative.

2. Approximate plan for the first lessons

We often come across the opinion that it is better to start practicing the button accordion at an older age, because, they say, the instrument is heavy - “We won’t be able to lift it.” However, teachers of violinists and pianists begin to work with children 4-5 years of age, although classes with children have the same aspects for teachers of various instruments: selection of musical material, methods of conducting lessons, an instrument that allows them to fulfill the assigned tasks without excessive effort. child tasks. If all these aspects are solvable, then teaching the button accordion to a child of primary school age should be successful.

Junior schoolchildren are considered to be students in grades 1-3. When working with younger schoolchildren, it is very important for a teacher to take into account age-related characteristics: frequently switching attention, rapid fatigue, lack of musical skills. They do not know how to analyze; they are characterized by intense emotionality. Involuntary attention directed to everything new is better developed. Weakness of inhibitory processes, attention is held for only 35 minutes. For them, all material should be presented in the form of a game. DIFFICULT: following the school routine; get used to official, normative relationships; They do not know how to plan and organize work. Capriciousness and stubbornness are still common. Interests are not stable, there is a tendency towards aesthetic cycles: they like to draw and compose. Psychologists do not recommend conducting music classes immediately after classes in a secondary school. In order for music lessons to bring joy and inspiration, the student must take at least a two-hour break before attending a music school. Thus, even an incorrectly drawn up class schedule can cause a lack of interest in classes.

To date, my lesson for a first-grader of primary school age consists of seven sections.

Sample plan for first lessons:

Greeting and creating a creative mood
Performing exercises on mechanical engineering and staging the performing apparatus
Checking homework
Performing rhythmic exercises
Repetition of what has been covered and work on new musical material, homework assignment.
Transposing or playing by ear
Playing in an ensemble

Evidence of mastering the material is confidence and correct execution. Having achieved mastery of one task, we move on to another. I always take into account the student’s attention and activity. If signs of fatigue appear, we switch to other activities or reduce the duration of the lesson - we should not overload the child.

3. Working with rhythm

In the very first lessons, I draw the student’s attention to the musical rhythm. The human body lives in rhythm: breathing, blood circulation (pulse), sleep and wakefulness, walking, running, gestures, speech - all this happens in different rhythms. Rhythm is the consistent repetition of an action or movement. A child with rhythmic disorders may be incapable of perception, learning, and collective work in the classroom. In short, the importance of rhythm in a person’s life cannot be overestimated. Rhythm can calm, excite, teach concentration and relaxation. The teacher needs to understand rhythms in order to be able to control the situation in the lesson and not cause harm to the health of children. We must always remember that rhythmic games have a very strong impact on children, and each age has its own rhythms.

The main leading principle of teaching rhythm is the figurative-motor approach to various rhythmic phenomena. Well, if the first few lessons are conducted not in an individual form, but in a collective one, then rhythmic games in a group will greatly contribute to the development of such qualities in the child as contact, communication skills, and develop a good reaction and attention.

In the first lessons with primary schoolchildren, we perform the following rhythmic exercises:

"Here and there" - rocking
“Don-Don” - Russian folk song
“The cat is cooing” - lullaby song
“The Horse Walks” - a round dance song
"Locomotive" circular rhythm game
“Rhythmic walking” is an exercise in mastering rhythmic language
“Grandfather and grandson” - studying the duration
“Who took it” is a circular rhythm game.

Accordingly, with older students, we manage to complete a larger number of exercises over the same period and consider more complex rhythmic combinations.

Play by ear

Many teachers begin the note period with the selection of melodies. This process should take place on the material of children's and folk songs, which should be arranged in order of increasing complexity. They are memorized by the child and selected by ear from different keys. Melodies for selection are best used with poetic text, which contributes to the understanding of the work being performed and facilitates the feeling of the meter rhythm and structure of the melody. In the selection process, the child is forced to look for the correct intonation while playing music, which leads him by the shortest route to a heightened sense of pitch.

Some of the rhythmic exercises that we perform are carried out with accordion accompaniment, which allows students to hear the sound of the instrument as much as possible during the lesson. Many chants and songs can be simultaneously used as educational musical material. I notice how the rhythm and music of many folk songs have a fascinating effect on children. Many parents note that when they come home, their children continue to hum the melodies they remembered in class. After working on the rhythm of a song, it is very easy to pick it up by ear, and also to transpose it

For example, work on the lullaby “The cat is cooing” is carried out as follows. To the music of a lullaby, the student rocks imaginary animals. The rocking movement is done in different versions: if we rock an elephant, then its movements will be large, wide, maybe for an entire musical phrase. If it’s a mouse, then you can make frequent movements, in quarters or even eighths. Next, we recite the song text while tapping out the rhythm of the chant. For the first time we perform the song from the C key. The melody of the song is played at a slow tempo using the indicated fingering (2-4-3). By likening the upward movement to figurative-emotional development, the downward movement to decline, one should achieve meaningfulness and purposefulness in intonation. Having achieved confident performance of the song using traditional fingering, the student masters another fingering option - 2-3-4. We transpose to the key of D major and then to E major, using three fingering options in turn. Often I suggest that the student choose one of the fingering options at home himself. It is important that a beginning musician take the initiative, independently choosing the fingering option that is convenient for him and the optimal hand position. Work on a play can be divided into two or more lessons.

Despite the fact that the initial period is called pre-notation, musical notation is usually taught by the teacher from the first lessons. I introduce students to the stave, musical notations, and the clef of G. In addition, we learn to denote rhythm graphically. Initially, we march to cheerful music and I explain that the steps we perform can be written down with sticks, and this will be the beginning of understanding the meter rhythm and its musical notation. Together with the student, we determine the steps in the words “lion”, “elephant”, “tiger” - one step at a time; “Mom”, “Dad”, “Tanya” - two steps; “apples”, “cherries”, “oranges” - three. After we have determined that there are frequent and rare claps in the poem, I show the student the recording:

P l P l P l P l

We practice recording the rhythm on paper until the student has completely mastered the graphics of rhythmic recording.

Familiarity with the white keys of the right keyboard also begins in the pre-note period. To remember the location of the sounds of the C major scale, I usually use song material. Each note has its own song and characteristic. The material is presented as follows. The teacher performs the song, and where the name of the note appears, the student plays it on the keyboard. It turns out to be a small suite for joint performance. When learning songs with a student, I try to pay attention to the emotionality and artistry of its performance. Based on the content, we sing songs cheerfully or sadly, affectionately, softly or marchingly, etc. p. I borrowed the song material from the cartoon “Do Re Mi”. A little later we begin to master the oblique rows exercise. First, we learn to move fingers along two adjacent rows with different pairs of fingers, including 1-2 (mastering the third position) - the exercise is called “Dwarves Walking.” When the goal is achieved and the student’s fingers confidently walk along two rows, we introduce the third row. Next, the game in the second and third positions is mastered and consolidated.

Playing in an ensemble

My teaching experience shows that the note period is closely related to ensemble music playing. Due to the rich accompaniment, rich in melodic and harmonic colors, the performance becomes more colorful and lively. Harmonic hearing often lags behind melodic hearing. A student can freely handle monophony, but at the same time experience difficulty with auditory orientation in polyphony of a harmonic nature. I noticed that when we started working on D. Samoilov’s collection “15 lessons on playing the button accordion” and tried to perform the first simple ensembles, the students experienced difficulties precisely during joint performance. The part of the second instrument served as a serious hindrance. Reproducing polyphony or vertical chords are especially favorable conditions for the development of harmonic hearing.

In addition to playing in a duet, I practice playing noise instruments. Thus, there is another opportunity to strengthen the skills of working with rhythm. In a collective lesson, we distribute ready-made parts with a graphic representation of the rhythm, and after several successful performances we exchange them.

Conclusion

The learning process as a whole should move from general concepts to narrowing and deepening work on particulars. The broader the general educational foundation laid in childhood, the more fruitful the work in a special, narrowly professional field subsequently goes. The wider the base of the pyramid, the higher its top can be. The basis is, first of all, developed intelligence, the ability to build multi-component logical circuits.

At the stage of primary, general music education, a child must learn to select by ear, sing in a choir, improvise, listen to music with subsequent commentary, watch films - plays, etc.

Unfortunately, most often children come to music school without such preliminary general musical training. In this regard, special requirements are placed on the pre-notation period of training, since it is intended to serve as the basis for the further comprehensive musical development of the student. Thus, the use of various forms of work in the classroom not only justifies itself, but to a greater extent is the key to the further successful study of special class students.

I have been using a similar methodology for conducting lessons during the pre-note period for the last 3 years, although it should be noted that it was not formed immediately. One of the pedagogical problems is the problem of an individual approach in the learning process and, of course, we have to take into account the individual characteristics of students and ensure that they learn the material easily and quickly.

I would like to note one more point that justifies the use of such a methodology for conducting lessons. In younger schoolchildren, the skeletal system of the hand consists largely of cartilage tissue, which does not allow them to make fast, and most importantly, precise small movements. The pre-notation period of training, combined with an unforced comprehension of musical notation and leisurely mastery of two keyboards, allows students to adapt to a new environment and unobtrusively prepare the gaming device for further serious work. Almost all of my first-graders of primary school age showed good results at the academic concert; two became “competitive” children. Despite the fact that in the first half of the year, newcomers do not have any reporting, usually by this time we have a small repertoire baggage ready, and we boldly perform at all kinds of school and extracurricular concerts, most often, of course, as part of an ensemble.

There are some points that I still need to think about. In my first lessons, I set a goal to captivate students, first of all, with creative activities, and here such serious moments as sitting, staging the performing apparatus, working on sound production and intonation seem to fade into the background. It can be difficult to switch students from playful activities to serious work that requires effort and attention.

As K. Ushinsky said, “Pedagogy is the most extensive, complex, and most necessary of all arts - it is an art based on the data of the sciences. Musical pedagogy is doubly art, doubly creativity, based on data from a double series of sciences. Therefore, there should be nothing formulaic or “frozen” here, and my notes are not a guide to working with all children, but only one of the options in the approach to teaching primary school students to play the button accordion.

Bibliography

A.D. Lazareva. A manual for teachers of children and parents “Learning by playing.”
Kuzin. Methodological manual “Pre-instrumental period”
T.A. Rokityanskaya methodological manual “Education of a sense of rhythm”
R.N Bazhilin “School of playing the accordion”,
V. Semenov “Modern school of playing the button accordion”
V.V. Ushenin. "Accordionist's School of Artistic Skills"

Kozyreva E.N., p.g.t. Mortka,

Khanty-Mansiysk Autonomous Okrug

EXPLANATORY NOTE

The changes taking place in the public life of 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 the programs developed by the USSR Ministry of Culture (1967, 1988, etc.), children were admitted to music school in the button accordion and accordion classes at the age of 9-10 years, taking into account the specifics of the instrument and the child’s physical characteristics.

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 the educational process in accordance with modern requirements for music pedagogy.

This program is designed for 2 years of teaching children in the preparatory class:

STAGE I– preschool (musical development of young children.)

The direction of this stage is general education.

TARGET: creating a “foundation” on which all further development of the student will be built. 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.”

The following conditions are required for successful training:

Physical fitness
Mental readiness
Motivational readiness (the child’s ability to switch to educational activities and contrast gaming activities with educational and cognitive ones)

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:

bringing learning to play a musical instrument closer 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 will find practical application in the student’s life, both during training 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 good musical taste;
be able to tell your friends about music and composers, maintain a conversation on musical topics;
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 initial theoretical knowledge (keys, notes, note durations, counting, pauses, dynamics, strokes, etc.)
Introducing the child to various types of musical activities (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 interest in musical activities (learn 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. Correctly organizing and directing it from 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 that the child has by the time he 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
performing 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 the psychological characteristics of 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 the rhythmic side of the song)
Build musical education on the Russian national basis, on classical images, on examples of folklore creativity of other peoples.

Preference should be given to the game 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 is for the student to record 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 for homework are sheet music, which sets out theoretical material in a fairly simple form, along with many creative tasks and riddles.

Proceed to the first practical lesson only after meeting the requirements for the student’s seating position, 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 with the other and with both hands “together” (“Bridge”, “Jumping”, “Ball”, “Hopscotch”, “Jumping Bridge”)
Preparing playing movements on the instrument to develop hand flexibility
For relaxation
Air valve

Imaginative perception, active work of the imagination is a distinctive feature of children's thinking. To develop imaginative thinking, the teacher is encouraged to use the following exercises in his work:

“Let's go visit” - used when placing the hand, performed with the 3rd finger.
“Zipper lock” - 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. With a large movement of your hand, hit 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 learn 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 the 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 training that one should 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 class in the specialty. 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-making. Together with the teacher, he plays simple plays that already have artistic significance. 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 the creative beginning of the 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 of sound imagination
Working with parents

It is very important, when starting work with children 5-6 years of age, make parents accomplices of 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 the 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 (the initial stage of education is especially important)
parent meetings with student concert
individual and collective consultations
family events (holidays, competitions, family evenings dedicated to various topics, at which students will have the opportunity to demonstrate their musical abilities acquired during work in all sections of the program.

To the teacher: produce the necessary didactic material on various topics (visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)

For teachers working under this program, it is necessary to have at least the following teaching aids:

D. Samoilov “15 lessons on playing the button accordion”

G.Stativkin “Initial training on a ready-made accordion”

G. Boytsova “Young accordionist” parts I-II and others (indicated in the list of references).

Working on this program requires the teacher to have at least some teaching experience. The authors of this program can provide methodological assistance in its implementation (the necessary methodological literature and didactic material are available).

Educational and material base:

To work with children aged 5-6 years, it is necessary to prepare small chairs in the classroom that correspond to the height of the students, and an indispensable condition is small musical instruments. Our school has the following tools:

Bayans:

“East” 43 x 80
“New” elective
button accordion 43 x 41

Accordions:

“Baby” 23 x 14
“Weltmeister” 25 x 32
“Youth” 26 x 60

CONTROL AND ACCOUNTING OF PROGRESS

Control forms:

Test tasks
Test lessons (once 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 of varying degrees of completion (from analysis - introduction to concert performance with the obligatory point of fixing each musical piece in the “Individual Student Plan”)
various exercises for both hands
C major scale.

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.

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 the educational process in accordance with modern requirements for music pedagogy.

This program is designed for 2 years of teaching children in the preparatory class:

STAGE I – preschool (musical development of young children.)

The direction of this stage is general education.

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.”

The following conditions are required for successful training:

Physical fitness
Mental readiness
Motivational readiness (the child’s ability to switch to educational activities and contrast gaming activities with educational and cognitive ones)

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:

bringing learning to play a musical instrument closer 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 will find practical application in the student’s life, both during training and after graduation.

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 good musical taste;
be able to tell your friends about music and composers, maintain a conversation on musical topics;
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 initial theoretical knowledge (keys, notes, note durations, counting, pauses, dynamics, strokes, etc.)
Introducing the child to various types of musical activities (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 interest in musical activities (learn 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

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.

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
performing creative tasks: drawings for plays, composing small melodies, short poems, selection by ear, transposition.

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 the rhythmic side of the song)
Build musical education on the Russian national basis, on classical images, on examples of folklore creativity of other peoples.

Preference should be given to playing non legato.

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 is for the student to record 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 for homework are sheet music, which sets out theoretical material in a fairly simple form, along with many creative tasks and riddles.

Proceed to the first practical lesson only after meeting the requirements for the student’s seating position, 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

“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. With a large movement of your hand, hit 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 class in the specialty. 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-making. Together with the teacher, he plays simple pieces that already have artistic significance. Children immediately feel the joy of direct perception, even if only small pieces ", but art. Not yet knowing the notes, and the fact that students play music that they can hear will undoubtedly encourage them to fulfill their first musical duties as best as possible. And this is the beginning of work on the artistic image."

The teacher’s tasks in working on the ensemble:

develop and activate the creative beginning of the 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 of 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 the 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 (the initial stage of education is especially important)
parent meetings with student concert
individual and collective consultations
family events (holidays, competitions, family evenings dedicated to various topics, at which students will have the opportunity to demonstrate their musical abilities acquired during work in all sections of the program.

To the teacher: produce the necessary didactic material on various topics (visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)

"New" elective

button accordion 43 x 41

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 (once 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 of varying degrees of completion (from analysis - introduction to concert performance with the obligatory point of fixing each musical work in the “Individual Student Plan”)
various exercises for both hands
C major scale.

The key task of music education. Literature for students

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS, WORKING WITH CHILDREN AGED 5-6 YEARS OLD

Program execution algorithm:

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS WORKING WITH CHILDREN AGED 5-6 YEARS OLD

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS,
WORKING WITH CHILDREN AGED 5-6 YEARS OLD