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

MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION FOR ADDITIONAL CHILDREN'S EDUCATION

"CENTER FOR CHILDREN AND YOUTH CREATIVITY "VESNIK"

CITY OF YEVPATORIA OF THE REPUBLIC OF CRIMEA"

AGREED

Pedagogical Council

MBOU DOD TsDYUT "Coeval"

Protocol No. _____ dated _____ 2017

I APPROVED

Director of MBOU DOD TsDYuT "Rovesnik"

E.A. Kartashova

Order No.__________ dated________2017

Additional general education program

“Learning to play the bayan (accordion)

children's association "Music Studio"

The program is aimed at children from 7 to 15 years old

Implementation period – 5 years

Compiled by: Markelova Irina Nikolaevna,

methodologist, additional education teacher

Evpatoria

2017

Explanatory note

Music is one of the powerful means of education. She is able to express deep thoughts, feelings, experiences.

Initial learning to play a musical instrument is an amazingly lively, creative process, during which children become acquainted with music, learn to understand it, their aesthetic taste is formed, and children acquire initial skills in playing the button accordion (accordion).

Education in a music studio is aimed at the general musical development and education of children, the formation of their aesthetic tastes using the best examples of folk instrumental music, as well as works of Soviet and modern composers.

The development of amateur music-making skills today is the core of the entire system of general music education, which combines the professional work of a teacher with the needs of children and their parents, and has practical application in the lives of children.

This additional general education program (hereinafter referred to as the Program) is modified; it is compiled on the basis of the standard “Program for teaching the accordion and accordion for out-of-school institutions” (Music. Education. 1986), a sample program for children’s music schools and music departments of children’s art schools “Musical instrument. Bayan" 2005, 1990, based on the additional general education program "Teaching how to play the button accordion, " GBOU DOD Center for Creative Development and Humanitarian Education "On Vasilievsky" Vasileostrovsky district of St. Petersburg (2014), work program on the academic subject " Musical instrument. Bayan" of an additional general developmental program of artistic and aesthetic orientation "Teaching to play musical instruments" of the Verkhnetulomskaya Children's Music School, author Natalya Veniaminovna Startseva, teacher of accordion and button accordion (2013). The program is adapted to the conditions of institutions of additional education for children. When drawing up the program, the personal experience of the teacher was taken into account.

Direction of the additional general education program

The program “Training to play the button accordion, accordion” takes into account all the multifaceted capabilities of these musical instruments and is based not only on folk instrumental culture, but also involves the development of both classical music and original works for the button accordion and accordion. The program applies to music programs, hasartistic and aesthetic orientation and is general cultural in level of development.

Relevanceprograms is that by learning to play the button accordion, a child not only develops his musical abilities, aesthetic taste and thinking. At the same time, he gets acquainted with our history, traditions, customs; perceives the button accordion as a Russian national musical instrument. A true accordion player is not only a skilled musician, but also an expert in his own history and folk instrumental culture.

Relevance of the program lies in its general availability. It is intended for children with any musical abilities who want to learn how to play the button accordion (accordion). The program assumes consistency and gradual musical development of students, taking into account their age characteristics, with an individual approach to each of them, creating a situation of success, an atmosphere of joy and creativity.Relevance This program also consists of the opportunity for the child’s creative self-expression and positive socialization through training in performing arts skills. Relevance The proposed program is also determined by the request from children and their parents for programs for the artistic and aesthetic development of children, the implementation of which is carried out in the MBOU DOD TsDYuT "Rovesnik" on a free basis.

Pedagogical feasibility program is that in the process of mastering it, children develop intellectual and creative abilities. This is achieved through the development of an ear for music, attention, memory, coordination of movements, development of a sense of rhythm, and the fundamentals of stagecraft. In addition, the program allows children to be introduced to the best examples of folk instrumental music, original works for button accordion and accordion by Russian and foreign composers, as well as musical works of world classics. During the implementation of the program, children develop artistic taste, hard work, and a desire to learn the basics of craftsmanship.

The button accordion and accordion are universal instruments. The performer leads the melody in his right hand and accompanies himself while performing the part in his left. Thus, children studying in the button accordion class develop both melodic and harmonic hearing. And this is very important in music, because harmonic hearing is not an independent ability, since its basis is a modal sense and musical-auditory ideas. It is formed under the condition of a sufficiently developed melodic ear and represents a further stage in the development of musical ear.

During classes, students develop coordination of movements and the motor system, as well as auditory and visual memory, a sense of rhythm, and motor skills. During the learning process, spiritual and moral qualities are formed and developed. From the first steps, perseverance and the ability to concentrate on one activity for a long time develop.

Music lessons develop such positive character qualities as patience, perseverance, attentiveness, and the ability to mobilize in a stressful situation (concert performances).

Playing music in an ensemble prepares a child for life in, and subsequently in society, it will teach him to listen not only to himself, but also to treat the creativity of others with care.

Teaching a child the technique of reading notes from a sheet opens up further prospects for his development. Independent music playing is a very important factor in the self-realization of a child’s personality.

Nowadays, when the pop direction prevails in the flow of musical information entering the child’s consciousness, introducing the child to classics, folk and modern music will contribute to harmonious spiritual and intellectual development, as well as increasing his emotional perception of the world around him.

Distinctive feature program is that it is designed for students of educational institutions who do not pursue the goal of obtaining professional music education in the future. A large role is given to general musical development, home music playing and ensemble playing. Work on plays is filled with figurative examples. In progress sensitivity, attentiveness, and responsiveness towards others are formed, which is facilitated by the appropriate selection of material, including fairy tales, poems and songs in the content of the lesson (depending on the age of the student).

Taking into account the child’s desire to perform “real music” as quickly as possible, an ensemble consisting of a student and a teacher (and later two students) is used in classes. Ensemble performance contributes to the development of metrorhythmic sense and polyphonic hearing.

A distinctive feature is also:

Recruitment of children is carried out, first of all, on the basis of their desire to learn to play the button accordion (accordion), and not on the presence of musical abilities;

Attention is directed to the development of the student’s intellectual horizons and entire worldview, without being confined within the framework of narrow professionalism;

Comprehensive work is carried out to develop the student’s maximum auditory activity, his concentration, his deep listening to the piece being performed;

The lesson system makes possible maximum individualization of the pedagogical approach. The student receives theoretical knowledge simultaneously with practice, which is the most productive and expedient.

Constructing the content of the program taking into account the individual development of children;

The pedagogical repertoire has been enriched: a list of musical works by grade recommended for performance at academic concerts is presented, as well as works that expressively represent the child’s imaginative world;

The list of exemplary performance programs is differentiated by degree of complexity, which allows the teacher to select the repertoire taking into account the individual capabilities of the students;

It assumes a creative approach by the teacher to the task of developing the individual abilities of the student.

Goal and objectives of the program:

Target: musical and aesthetic education of children, the formation of their artistic taste, expansion of musical horizons, development of the child’s creative personality in the process of mastering knowledge and practical skills of playing the button accordion (accordion)

Program objectives:

Educational:

studying the basics of musical literacy;

mastering practical skills in playing the button accordion (accordion);

mastering basic skills of playing in an ensemble, reading notes from a sheet;

Acquaintance with the genre diversity of music by Russian and foreign composers, as well as folk and original music for bayan (accordion).

Educational:

development of musical abilities (musical ear, sense of rhythm and meter, musical memory) and coordination;

development of musical thinking;

development of the child’s performing qualities (emotional response to performed works, artistry);

development of technical abilities, involving mastery of basic technical techniques based on scales, arpeggios, etudes;

development of an emotional-value attitude towards music.

Educational:

formation of artistic taste using the best examples of folk music, classics of Russian and foreign music;

nurturing interest and love for music and the art of music;

nurturing respect and love for the traditions of Russian folk instrumental creativity;

formation of personal qualities: determination, efficiency, self-control, executive will, artistry, ability to demonstrate one’s results;

education of positive moral qualities and spiritual culture.

Conditions for the program:

The program is intended for children aged 7-15 and is designed for 5 years of study. Everyone is accepted into the studio without pre-selection (based on a parent’s application). Prospective students do not take entrance exams. The teacher checks only their musical data: hearing, rhythm, musical memory, in order to determine the presence of musical abilities and the level of musical development, as well as the general level of development of the child’s individuality.

Form of organization of classes: individual.

Lesson mode:

The main form of educational work is a lesson in the form of an individual lesson. For students aged 7 - 15 years, according to the training program, classes are held 2 times a week for 45 minutes (one academic hour). The duration of teaching hours per year per student is 72 hours based on 36 weeks.

Forms of conducting training sessions:

Training session, lesson;

Ensemble lesson;

Open lesson;

Test lesson;

Rehearsal;

Test;

Academic concert.

Teaching methods

When teaching how to play the button accordion (accordion), both traditional methods and methods that reflect the specifics of the subject related to musical and aesthetic education and education of children are widely used.

To achieve the set goal and implement the objectives of the program, mainly traditional general pedagogical methods are used: verbal, visual and practical, which are based on the source of knowledge: word, visualization, practice:

Verbal methods: Story, conversation, explanation of new material.

A story or conversation begins, for example, a conversation about musical and noise, high and low sounds, about the work of composers, etc.

An explanation accompanies, for example, a conversation about fur science, about the features of certain sound production techniques.

Instruction is necessary when familiarizing students with safety rules, both during classroom lessons and when children go out to attend events outside the studio.

Visual methods:

Personal demonstration of the teacher , demonstration of techniques for performing musical fragments and works, as well as observation, demonstration of illustrations, video materials, work with sheet music and visual aids .

Practical methods:

Methods by which the necessary performing skills are formed. Among them, the leading method is performing musical training exercises, scales, etudes, and playing musical works.

In addition to traditional general pedagogical teaching methods, during the development of the training program for playing the button accordion (accordion) The following methods are also used:

verbal (story, conversation, explanation);

method of exercises and repetitions (developing the student’s gaming skills, working on the artistic and figurative sphere of the work);

demonstration method (demonstration of game movements by the teacher, performance of plays by the teacher using a variety of demonstration options);

explanatory-illustrative (the teacher plays the piece and explains to the student);

reproductive method (performing a learned repertoire, repeating game techniques to students based on the teacher’s model);

method of problem presentation (the teacher poses and solves the problem himself, while showing the student different ways and solutions);

partially search (the student participates in the search for a solution to the problem);

a method of musical generalization, which is aimed at children mastering key knowledge contained in the content of the program and aimed at developing musical thinking;

a method for comparing various musical genres and means of expression;

music observation method;

method of inducing empathy;

method of studying musical image;

method of listening and analyzing speeches;

a method for assessing your performance and the performance of other students;

independent work method;

demonstration (listening to music, attending concerts).

The choice of methods depends on the age and individual characteristics of the student.

Education methods: personal example, stimulation, praise, encouragement, comments, persuasion, clear instructions for independent work.

Techniques used by the teacher:

conversation with students, oral presentation of material;

mastering knowledge and skills through playing a musical instrument;

information analysis, analysis of a piece of music, analysis of performances;

training in performing skills through demonstration by a teacher on a musical instrument;

listening to music using electronic media;

educational work - conversations, visiting concerts, festivals, competitions, participation in various events.

All topics of the curriculum are studied every year and in every lesson. The difference lies only in the level of mastery of the material, the degree of difficulty in mastering the musical repertoire, and the improvement of artistic performance. Each subsequent year of study is characterized by a higher level of mastery of the entire block of knowledge, skills and abilities, i.e. There is a spiral development of a whole complex of constituent elements of the art of playing the button accordion. The basis of training is the principle of “immersion,” when the student is immediately given a large amount of information, which he masters in practical activities.

The process of educating a child’s musical culture (culture of behavior in the classroom, on stage) takes place individually in classes, in a group in closed rehearsals before performances and at performances. This also includes the student’s motivation for quality independent studies, without which it is impossible to learn to play any musical instrument.

Effectiveness of program implementation

Monitoring and recording progress:

The general system for diagnosing children’s creative abilities and learning performance consists of three types: initial diagnostics, intermediate certification, and final certification.

Initial diagnosis the child’s musical abilities lie in his completing tasks proposed by the teacher, who tests musical data: hearing, rhythm, musical memory, in order to determine the presence of musical abilities and the level of musical development, as well as the general level of development of the child’s individuality.

Interim certification is carried out annually to assess the student’s acquisition of knowledge, skills and abilities for a specific year of study.

Checking the student's acquisition of knowledge, skills and abilities and summing up is carried out in various forms:current control in the process of individual work; test lesson; technical test; academic concert;exam, as well as performances at various competitions, concerts, auditions, open classes for teachers and parents.

As a rule, intermediate certification is held in May of the academic year in the form of an academic concert, at which the student must demonstrate the knowledge, skills and abilities acquired during the year.

On academic concert the student shows his performing skills. The program of academic concerts is determined by the teacher from previously learned works and consists of the student performing works that, in terms of complexity, correspond to the year of study and taking into account his musical abilities.

At the academic test, the performance of the work is assessed - how well the assigned tasks were completed: the quality of the student’s performance of the learned works, whether they were able to convey the image of the work by means of musical expressiveness (strokes, dynamics, tempo), what errors and shortcomings were there in the performance, what was successful and what has not yet worked .

The assessment is expressed orally: the teacher notes the student’s achievements, analyzes current problems and shortcomings and gives appropriate recommendations for solving them. After an academic concert based on the results of certification based on diagnostics knowledge, skills and abilities of students Transfer to the next year of study is carried out.

If, due to objective or subjective circumstances, a student does not have time to master the planned repertoire, he is offered to repeat the given year of study.

Testing the performance of scales, sight reading skills, selection by ear, and ensemble playing is carried out by the teacher during classroom lessons throughout the entire period of study.

final examination or the final diagnosis consists of students passing a final exam after completing a total of 5 years of study.

In the graduating class, students can play any compositions at the discretion of the teacher; the number of tests and deadlines are not specifically defined (free mode). The main task of the 5th year of study is to present the final program at the exam in the most complete form. A student can complete two programs a year and can repeat a piece from the programs of previous years of study. Before the exam (May), students perform the final program at tests, class evenings or concerts. Graduation program requirements: polyphony, large form (classical or romantic), one etude and any piece.

Expected results:

As a result of mastering the program, it is expected to obtain the following results:

Students will master basic skills and techniques of playing the button accordion (accordion), master the proposed repertoire;

Will know the basics of music theory and basic means of musical expression;

- learn to work independently, perform musical works competently and expressively;

Students will develop the ability to speak in public and gain experience participating in events;

Gain knowledge about folk musical culture;

Learn to be good listeners;

They will increase the level of their culture, as well as the culture of communication and behavior.

Thus, result of mastering the program assumes that the child must master the basic skills of playing the button accordion, know the basic means of musical expression, be able to independently solve various musical and artistic problems, and also have extensive knowledge about music.

Educational and thematic plan

I year of study

Number of hours

per 1 student

theory

practice

Total

Introductory lesson. Safety precautions.

Getting to know the tool.

Work on landing, setting up the performing apparatus.

Basics of musical literacy.

Mastering musical performance skills (individual instrument lessons):

Ensemble music playing.

Final lesson.

53

1 year of study

Introductory lesson (1 hour).

Getting to know the students. Checking music data. Scheduling individual lessons. Work planning. Basic requirements for students. Rules of behavior in classes and safety rules.

Introduction to the instrument (1 hour).

Getting to know the tool. The history of the appearance of the accordion, button accordion, accordion. Tool structure. General familiarity with the keyboard and its registers (high, medium, low). Sound formation. Introducing white keys, explaining how each key corresponds to its sound.

Work on landing, setting up the performing apparatus (12 hours).

Theory:

The basic rules for sitting behind the instrument, the general position of the body, legs, arms, hands (straight back; support on three points - heels, edge of the chair, fingers; free hands. The teacher explains the rules to the student in the first lessons and subsequently constantly monitors their implementation.

Setting up the performing apparatus. Correct hand position and correct finger work.

Practice:

Direct work on landing. Exercises to master the keyboard.

Exercises to position the fingers, loosen the wrist, elbow and shoulder joints.

Basics of musical literacy (12 hours).

Musical sound (pitch, duration, volume, timbre). Mastering musical notation. Note names. Music staff. Treble clef. The location of the 1st octave notes on the stave in the treble clef. The concept of rhythm. Note durations. Pauses.

Tact. Bar line. Size 2/4, 3/4, 4/4. The strong and weak beats of the bar.

Bass clef. The arrangement of notes on the staff in the bass clef.

Alteration signs. Dynamic shadesf, p. Pace. Register. Lad.

Working with children on various exercises to consolidate knowledge about bilobed, trilobed, and quadripartite sizes.

Learning exercises with different rhythmic patterns.

Exercises performed in workbooks.

5. Mastering musical performance skills (individual instrument lessons) (41 hours).

Theory.

Strokes : non legato staccato legat O, performance techniques . Explanation and demonstration by the teacher of the correct execution of a specific stroke or technique of the game.

Analysis of musical text (notes, fingerings, durations, strokes, and later dynamics).

Practice.

Mastering the strokesnon legato staccato legatoindicated by short leagues of 2-3-4 sounds. Exercises to develop finger fluency, hand coordination exercises. Work on developing fur science skills. Working on game techniques and exercises. Working on instructional material:

Getting to know the rangeC- dur. Learning scalesC- durright and left hands in one octave with different durations.

Work on the repertoire. Learning musical pieces and working on them: 2 etudes, 8-10 pieces of different characters.

6. Ensemble music playing (4 hours).

Theory : the concept of “ensemble”.

Practice: formation of initial skills of ensemble playing (duet with a teacher).

Final lesson (1 hour).

Summing up the work for the year. Final audition.

Predicted results:

By the end of the first year of study, the student:

Master the elements of musical notation within the program;

Will master the initial skills of performing simple exercises and plays;

Master the performance of plays with all the basic strokes:non legato staccato legato indicated by short leagues of 2-3-4 sounds;

Learn to play simple pieces with both hands (8 – 10 pieces, 2 etudes).

Learn to play scalesC MAJOR, G MAJOR, F MAJOR one octave with each hand.

Approximate list of works for 1 year of study:

"Cornflower" children's song

“Like under a hill, under a mountain” Russian folk song.

A. Filippenko “Festive”

D. Kabalevsky “Little Polka”

“Whether in the garden or in the vegetable garden” Russian folk song

A. Tikhonchuk “Polka”

“Quail” Belarusian folk song

"Comic"

“I was walking up the hill” Russian folk song

“There was a birch tree in the field” Russian folk song

W. Mozart “Lullaby”

A. Ivanov “Polka”

"Polyanka" Russian folk dance

L. Knipper “Polyushko Field”

Well "Waltz"

“Oh, bursting the hoop” Ukrainian folk song

"Bandura", Ukrainian folk song

"Yanka" Belarusian folk dance

Sketches:

L.Schitte C major

G. Wohlfarth A minor

G. Behrens C major

N. Koretsky G major

K. Cherny C major

A.Salin A minor

L.Schitte F major

Ensembles

1. “Polyanka”, Russian folk dance.

2. “The Cossack rode across the Danube” Ukrainian folk song.

Repertoire collections:

1. Bayan. Preparatory group. / Comp. Denisov A., Ugrinovich V.-Kyiv: Musical Ukraine, 1984.

2. Bayan. 1 class. / Comp. Alekseev I.D., Koretsky N.I. - Reprint - M.: Kifara, 2003.

3. Bayan 1-3 grades of children's music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov.

M.: Kifara, 2003.

4. Accordion player's sheet music folder. Junior classes of music schools. IN 1. / Comp. Sevastyanova, L. Martynova.-M., 2005.

Sudarikov A. Basics of initial learning to play the button accordion. – M., 1978.

Accordionist's Reader: Junior classes of children's music school/Comp. A. Krylousov. V.1.-M.: Music, 2005.

Sketches for button accordion for different types of equipment. 1 class. Edition 5 -Kiev: Musical Ukraine, 1984

Sketches for button accordion and accordion: 1-2 grades Children's Music School and Children's Art School / Comp. T. Lukyanova - St. Petersburg: Union of Artists, 2011.- 67 p.

For a young musician accordion player: preparatory class Children's Music School: educational and methodological manual / ed.-comp. V.V. Ushenin. – Rostov-n/D: Phoenix, 2011.- 57 p.

1. “Quail” Belarusian folk song

2. Polyanka" Russian folk dance

3. G.Behrens Etude in C major

1. “I walked up the hill” Russian folk song

2. D. Kabalevsky “Little Polka”

3. A.Salin Etude in A minor

Educational and thematic plan

2nd year of study

Work on instructional material (exercises, scales, etudes);

Working on a piece of music.

Ensemble music playing.

Final lesson.

2nd year of study

Introductory lesson (1 hour).

Repetition of the rules for sitting behind the instrument, requirements for classes.

Basics of musical literacy (8 hours).

Notation of notes of the second octave in treble clef; bass clef, recording notes of a small octave in the bass clef; names of all octaves; 16th notes and pauses, dotted rhythm; concept of harmony; abbreviations of musical notation; tonality, introduction to musical syntax: motive, musical phrase, musical sentence, caesura; musical form, performing touches; dynamic shadescrescendo, diminuendo.

Mastering musical performance skills (53 hours).

Practice:

Further work on landing and hand placement. Work on sound, fur science.

Further work on strokeslegato, nonlegato, staccato.

Work on coordinating the movements of the right and left hands when playing the instrument.

Development of performing skills. Development of small equipment. Mastering the basic principles of fingering discipline. Work on a high-quality change in the direction of movement of the fur, transitions from one position to another (laying, shifting, moving the hand).

Working on instructional material:C- dur, G major, F majorwith both hands in 2 octaves,a- moll, e- moll, d- moll

Work on musical works: 2 etudes, 8-10 pieces of various types.

Learning new works. Analysis of musical text. Work on the means of musical and artistic expression. Development of musical-imaginative thinking. Performer's breathing. Mastering dynamic shades through the ability to control fur.

Mastering basic skills of playing in an ensemble (duet with a teacher). Simultaneous start and end of the game. Accurate adherence to note durations, harmonious and balanced sounding performance. Unity of tempo, consistent adherence to changes in sound intensity. Development of musical and auditory discipline. Study 1-2 plays as part of an ensemble.

Final lesson (2 hours).

Predicted results:

By the end of the second year of study, the student:

Learn to play a variety of pieces (perform from notes), including etudes, ensembles, light arrangements of folk songs and dances, as well as original pieces for button accordion (8 - 10 pieces, 2 etudes);

Master the execution of strokeslegatoin fast and cantilena pieces;

Master scales: C- dur, G major, F majorwith both hands in 2 octaves,a- moll, e- moll, d- moll(harmonic and melodic form) with the right hand in two octaves, depending on the anatomical capabilities of the student’s hands - short arpeggios, chords.

Approximate repertoire of the 2nd year of study:

Collections:

1. Album for children and youth. Pieces for button accordion and accordion. Part 1./Comp. V. Ushakov, S. Stavitskaya. - St. Petersburg, 2003.

2. Bayan. 2nd grade. Edition 13. - Kyiv: Musical Ukraine, 1987.

3. Bayan 1-3 grades of children's music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov.-M.: Kifara, 2003

4. Bayan at a music school. Plays for grades 1-3. Issue 64./ Comp. F. Bushuev, -M: Soviet composer, 1991.

5. Bayan at a music school. Plays for grades 1-3. issue 58, comp. Y. Bushuev, -M: Soviet composer, 1988.

7. Folk melodies for button accordion (accordion) - St.-P.: Soviet composer, 1998.

8. Polyphonic pieces for button accordion. 1-3 grades Children's Music School.-M.: Kifara, 1997.

9. Samoilov D. 15 lessons on playing the button accordion. - M: Kifara, 2004.

10. Smorodnikov Yu. Sketches for button accordion (accordion). - M., 2006.

11. Reader for accordion 1-2 grades Children's Music School./Compiled by R. Grechukhina, M. Likhachev.-St. Petersburg: Composer, 2005.

12. Sketches for button accordion for different types of equipment. 2nd grade. Edition 4 – Kiev: Musical Ukraine, 1981.

Plays:

1. Russian folk song “As Vanyusha walked and walked”

2. Ukrainian folk song “Oh, bursting the hoop.”

3. Czech folk song “Annushka”.

4. Russian folk song “Like under an apple tree.”

5. R. Schumann “March”.

6. J. S. Bach “Minuet”.

7. T. Khrennikov “Lollielnaya”.

8. W. A. ​​Mozart “Polonaise”.

9. W. A. ​​Mozart “Minuet”.

11. N. Chaikin “Waltz”.

12. Russian folk song “The little girl walked along the Borochka.”

13. A. Dubuk “Romance”.

14. K. Cherny “Etude”.

15. B. Behrens “Study”.

Ensembles:

1.Russian folk song “Ivushka”.

2.Belarusian folk dance “Kryzhachok”.

for performance by students at an academic concert.

1. N. Chaykin “Waltz”

2. Russian folk song “Like under an apple tree”

3. K. Cherny “Etude” in C major

1. R. Schumann “March”.

2. Russian folk song “As Vanyusha walked and walked”

3. B. Behrens “Etude” in G major

Educational and thematic plan

3rd year of study

Work on instructional material (exercises, scales, etudes);

Working on a piece of music.

Ensemble music playing.

Final lesson.

3rd year of study

Introductory lesson (1 hour).

Scheduling individual lessons. Work planning. Selection of repertoire. Rules of behavior in classes and safety rules.

Basics of musical literacy (6 hours).

Recording notes of a large octave in the bass clef. Intervals. Syncopations. Dotted rhythm. Triplet. Key and random alteration signs. Polyphony. Homophony. Polyphony. Melismas - mordent and grace note.

Performing terminology: moderato, andante, adagio, largo, lento, a llegro, vivo, ritenuto, poco a poco, dolce, cantabile, a tempo, tempo I.

Expanding musical impressions, information and knowledge about the music being performed. Elementary concepts about the expressive means of music.

Mastering musical performance skills (55 hours).

up to 3 characters in the key two hands, short and long arpeggios, chords.

Analysis of sketches using different types of equipment. Work on finger technique, techniques for performing more complex technical works. The concept of "polyphony". Work on voice guidance, the ability to combine voices and listen to their sound.

Work on musical works: 2 etudes, 6 - 8 pieces of various types.

Learning new works. Analysis of musical text. Work on the means of musical and artistic expression. Fingering discipline. Consolidating the skills of quickly and accurately parsing a musical text, developing the ability to work independently on a piece of music. Working on phrasing. Formation of elementary concepts about the content in music, artistic (expressive) performance skills, the ability to work on sound quality and expressiveness of performance. Development of finger fluency.

Sight reading simple plays.

Ensemble music playing (8 hours).

Playing in an ensemble. Mastering ensemble playing skills. Study 1-2 plays as part of an ensemble.

Final lesson (2 hours).

Summing up the work for the year. Academic concert.

Predicted results:

By the end of the third year of study, the student:

Will master the basics of musical literacy within the program;

will be able to perform a variety of plays of varying complexity: etudes, ensembles, plays from the pedagogical repertoire, adaptations of folk songs and dances;

master scales up to 3 characters in the key two hands in two octaves, short and long arpeggios, chords;

Approximate repertoire of the 3rd year of study:

Collections:

Accordion. 3rd grade. Edition 11. –Kiev: Musical Ukraine, 1986

Bayan at a music school. Plays for grades 1-3. issue 58 / Comp. F. Bushuev, -M: Soviet composer, 1988.

Bayan at a music school. Plays for grades 1-3. Issue 62/ Comp. F. Bushuev, -M: Soviet composer, 1990.

Bayan at a music school. Plays for grades 1-3. issue 64 / Comp. F. Bushuev, -M: Soviet composer, 1991.

Bayan 1-3 grades children's music school. Plays, sketches, ensembles, folk songs./ Comp. D. Samoilov.-M.: Kifara, 2003.

Bayan at a music school. Plays for grades 3-4. issue 48./Comp. M. Tsybulin, -M: Soviet composer, 1983.

Belyaev G.A. Colors of Music: a collection of plays and songs for button accordion (accordion): 1-3 grades Children's Music School / G.A.Belyaev.-Rostov-n/D: Phoenix, 2012. -77 p.

In the world of dance. Issue 1: Minuets, gavottes, country dances, quadrilles. Arranged for accordion or button accordion/Comp. G. Boytsova. - M.: Music, 2012.

Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1/Comp. V.Ushakov,

S. Stavitskaya. St. Petersburg, 2003.

Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet Composer, 1988.

Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for button accordion (accordion). - Baranovichi, 2006.

Accordion player's sheet music folder. Junior classes of music school. Issue 1 / Comp. S. Sevastyanova, L. Martynova. M., 2005.

Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

Perevezentsev N. Steps of mastery. Issue 1.-Ivanovo: Publishing house. Episheva O.V., 2013.

Pedagogical repertoire of the accordionist and accordionist of the Children's Music School. 1-7 grades./ Comp. from the works of V. Efimov, L. Klenkov, A. Korobeinikov. M., 2001.

Sketches for button accordion. Issue 16 / Comp. L. Gavrilov. M., 1988.

Sketches for button accordion for different types of equipment. 3rd grade. Edition 5 – Kiev: Musical Ukraine, 1986.

Internet resources.

Sketches:

Samoilov D. Three etudes: No. 1 in C major, No. 2 in D minor, No. 3 in C major

Novozhilov Etude in D major

Samoilov D. Etude in C major

Behrens G. Etude C -dur

Messner E. Etude C -dur

Tyshkevich G. Etude a -moll

Plays:

Gurilev A. “The little bird flew away”

Gribkov Yu. “Accordion”

Affectionate Waltz

Denisov A. Song without words

Kravchenko B. Lyrical choruses

Dargomyzhsky A. Romance

Blinov Yu. Feels a little sad; Cheerful clown

Perevezentsev N. “Naughty Girl”, “Polka with Variation”,

“Getting sad”, “It’s getting evening”

Folk songs and dances:

Grachev V. Processing Latvian. n. p. "The Wolf and the Goat"

Korobeinikov A. Processing of the river. n. p. “Play, my bagpipes”

Guskov A. Processing of river n. p. “Oh, come on, little bull”

Processing of Belarusian n. p. “A mosquito sat on an oak tree”

B.n.p. "Savka and Grishka"

U.n.p. “Oh, the pigeon cooked quinoa”

Polyphonic works:

Corelli A. Sarabande d-moll

Krieger I. Minuet a-moll

Mozart W. A. ​​Minuet F-dur

Handel G. Saraband d-moll

Mozart.L. Minuet d minor

Sviridov G. Ancient dance. From “Album for Children” a-moll

Maykapar S. Minuet F minor

Large-format works:

Dubuk A. Russian song with variations

Bukhvostov V. Small suite in 3 parts: Chatushka; Round dance; Busts

Shmit J. Sonatina A major. Part I

Denisov A. Song without words

Klenkov L. Processing of the river. n. p. “Like ours at the gate”

Behrens G. Etude C -dur

Mozart.L. Minuet d minor

Zhilinsky S. Sonatina G-dur

Tyshkevich G. Etude a -moll

Educational and thematic plan

4th year of study

Work on instructional material (exercises, scales, etudes);

Working on a piece of music.

Ensemble music playing.

Final lesson.

68

4th year of study

Introductory lesson (1 hour).

Scheduling individual lessons. Work planning. Selection of repertoire. Rules of behavior in classes and safety rules.

Main types of triads and their inversions. Basic harmonic functions (T, S, D) .

Increasing the duration of notes (fermata, league, dot). Musical intervals.

Musical form. Two-part form, simple three-part form.

Features of the form of rondo, suite, variations.

Performing terminology: meno mosso, piu mosso, rubato, presto allegretto, allegro, vivo, vivace.

Mastering musical performance skills (58 hours).

Studying instructional material: scalesup to 4 characters in the key two hands in two octaves, short and long arpeggios, chords.

Work on musical works: 2 etudes, 6 - 8 pieces of various types.

Learning new works. Analysis of musical text. Work on the means of musical and artistic expression. Fingering discipline. Consolidating the skills of quickly and accurately parsing a musical text, developing the ability to work independently on a piece of music.

Work on phrasing, further development of artistic (expressive) performance skills, skills to work on sound quality and expressiveness of performance. Development of finger fluency. Sight reading simple plays.

4. Ensemble music playing (8 hours).

5. Final lesson (2 hours).

Summing up the work for the year. Academic concert.

Predicted results:

By the end of the fourth year of study, the student:

will master the basics of musical literacy within the program;

will be able to independently determine tasks in working on works;

will be able to learn and perform various musical works, ensembles, original plays, arrangements of folk songs and dances, polyphonic works;

master scales up to 4 signs in the key, arpeggios, chords;

;

master ensemble performance skills.

Approximate repertoire of the 4th year of study:

Collections:

1. Bayan. 4th grade. - Kyiv: Musical Ukraine, 1986

3. Bayan at a music school. Plays for grades 3-4. issue 48/Comp. M. Tsybulin, -M: Soviet composer, 1983.

5. Vlasov V. Album for children and youth. St. Petersburg, 2001.

6. Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet Composer, 1988.

7. Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for button accordion (accordion). - Baranovichi, 2006.

8. Music folder for accordionist and accordionist. Golden library of pedagogical repertoire. Middle and senior classes of children's music schools. Issue 2 / Comp. V. Bakanov.-M., 2006.

9. Folk melodies for button accordion (accordion) - St.-P.: Soviet composer, 1998.

10. Perevezentsev N. Steps of mastery. Issue 1.-Ivanovo: Publishing house. Episheva O.V., 2013.

11. Pedagogical repertoire of the accordionist and accordionist of the Children's Music School. 1-7 grades./ Comp. from the work of V. Efimov, L. Klenkov, A. Korobeinikov. - M., 2001.

12. Russian dance. Collection of Russian folk dances for button accordion or accordion. / Compiled by A.Salin. – M., 1963.

13. Sonatinas and rondos arranged for accordion. St. Petersburg, 2005.

14. Sonatinas and rondos. Issue 2 / Comp.B. Benyaminov - L., 1999.

15. An accordionist’s anthology for grades 3-4. / Comp. V. Grachev - M.: Music, 1984.

16. Sketches for button accordion for different types of equipment. 4th grade. – Kyiv: Musical Ukraine, 1986.

17. Internet resources.

Sketches:

Pereselentsev V. Etude D-dur

Kravchenko I. Etude-ditty C-dur

Leshgorn A. Etude d-moll

Behrens G. Etude F-dur

Plays:

Kern J. "Smoke"

Zipolli D. Giga

Beethoven L. Counterdance

Temnov V. Cheerful quadrille

Perevezentsev N.B. Intermezzo, Happy Stream, Spinning Top, Romantic Waltz

Folk songs and dances

R.n.p., arr. Shelepneva “I was walking up the hill”

R.n.p., arr. Smerkalova “A man plowed his arable land”

U.n.p., arr. Korobeinikov “Oh, my mountains”

Tyshkevich G. Processing of river. n. p. “Shall I go, shall I go out”

Malinovsky L. Processing of river. n. p. “You go, my little cow”

Polyphonic works

Bach J. S. Little Prelude in C minor

Korobeinikov A. Prelude

Handel G. Prelude

Large-format works

Clementi M. Sonatina C major, III movement

Korobeinikov A. New Year's suite in 5 parts: Grandfather Frost; Bunnies under the Christmas tree; Snegurkin Waltz; On a sled; Christmas lullaby

Korobeinikov A. Sonatina G-dur

1. Koolau “Sonatina”.

2. I.S. Bach "Prelude".

3. M. Glinka “Mazurka”.

4. K. Czerny “Etude” in G major.

1. Khadzhiev “Prelude”.

2. Clementi “Sonatina”.

3. R.n.p., arr. Shelepneva “I was walking up the hill”

4. K. Cherny Etude in C major.

Educational and thematic plan

5th year of study

Work on instructional material (exercises, scales, etudes);

Working on a piece of music.

Ensemble music playing.

Final lesson.

5th year of study

1. Introductory lesson (1 hour).

Scheduling individual lessons. Work planning. Selection of repertoire. Rules of behavior in classes and safety rules.

Basics of musical literacy (3 hours).

Musical intervals. ABOUT main types of seventh chords. Rhythmic groups: duoles, quartos. Complex sizes. Melismas: trill, gruppetto. Performing terminology : Da Capo al Fine, tranquillo, leggiero, scherzando, animato, grave, maestoso, doloroso. Features of sonata form.

3. Mastering musical performance skills (58 hours).

Exercises on different types of equipment. Study of major and minor scales up to 5 signs in the key. Work on major and minor scales up to 5 signs in the key.

Mastering large-scale technology (chords, octaves, leaps). Mastering various techniques of fur handling.

Sketches. Learning etudes for different types of technology using all skills and work experience when studying technical works. Developing confidence and fluency in the fingers of both hands.

Learning more complex polyphonic works. Voicing, analysis of forms.

Study of sonata form. Analysis of musical works. Work on their implementation.

Learning various plays and adaptations of folk songs.

Determination of genre, character, musical features using accumulated knowledge.

Development of musically imaginative thinking and performing skills with higher demands on sound quality and expressiveness of performance.

4. Ensemble music playing (9 hours).

Strengthening ensemble playing skills. Study 1-2 plays as part of an ensemble.

5. Final lesson (1 hour).

Summing up the work for the year. Audition, exam.

Predicted results:

By the end of the fifth year of study, the student:

Will know the basics of musical literacy;

will acquire knowledge, skills and certain skills in learning and performing works of different characters and genres provided for in the musical repertoire of the program;

will be able to independently work on works of varying degrees of complexity, original plays from the pedagogical repertoire, light arrangements of popular music: children's songs, arrangements of folk songs;

will know the basics of stage behavior;

master ensemble performance skills;

will prepare the program for the final exam.

Upon completion of the educational program, the student will have developed basic musical abilities (musical ear, memory, sense of rhythm, sense of form, etc.) to a degree corresponding to the student’s initial musical abilities.

The result of educational activities is the student’s ability to independently work on a piece of music and evaluate the quality of his work; ability and desire to perform at concerts; a desire to listen to other musicians, as well as the ability to analyze what is heard.

Approximate repertoire of the 5th year of study:

Collections:

1. Bayan. 5th grade. - Kyiv: Musical Ukraine, 1989.

2. Bayan 3-5 grades children's music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M.: Kifara, 2003.

3. Bayan 5-7 grades children's music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M.: Kifara, 2003.

4. Bayan at a music school. Plays for 4-5 grades. issue 33, / Comp. V. Nesterov, - M: Soviet composer, 1979.

5. Belyaev A. Nostalgia. Concert arrangements of popular melodies of past years. - M., 1994.

6. Vlasov V. Album for children and youth. St. Petersburg, 2001.

Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1/Comp. V. Ushakov, S. Stavitskaya. - St. Petersburg, 2003.

Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for button accordion (accordion). - Baranovichi, 2006.

9. Music folder for accordionist and accordionist. Golden library of pedagogical repertoire. Middle and senior classes of children's music schools. Issue 2 / Comp. V. Bakanov.-M., 2006.

10. Folk melodies for button accordion (accordion) – St.-P.: Soviet composer, 1998.

11. Plays and adaptations based on folklore. Bayan, accordion. / Comp. A. Sudarikov - M., 2003.

12. Pedagogical repertoire of an accordion player in children's music schools (grades 3-5). Issue 10. / Comp. V. Nesterov, A. Chinyakov.-M., 1981.

13. Sketches for button accordion. Issue 3 / Comp. S. Chapkiy.-Kyiv, 1988.

14. Internet resources.

Sketches:

Myaskov K. Etude a-moll

Rebikov V. “Etude No. 30 d -moll”

Gedicke A. “Etude No. 31 e-moll”

Gedicke A. “Etude No. 32 in minor”

Rebikov V. “Etude No. 33 in minor”

MedynYa. "Etude No. 34 a-moll"

Samoilov D. Etude E- major

Plays:

Bakanov V. Autumn Waltz

Dmitriev V. Youth waltz

Couperin F. “Little windmills”

Dmitriev V. Russian intermezzo, Musicians are smiling, Merry busts,

Old carousel

Folk songs and dances

Malinovsky L. Processing of river. n. p. “My grass, grass”

Mikhailov A. “Volga tunes”

Mokrousov B. - Belyaev A. “Lonely accordion”

Korobeinikov A. Processing r.n.p. "Saturday"

Arrangement of the Russian folk song “I’ll go out into the street”

Polyphonic works

Handel G. Chaconne d-moll

Bakh I.S. Fuguetta

Bakh I.S. Scherzo

Large-format works

Dovlash B. Concertino

Vlasov V. Suite “Visiting a Fairy Tale.”

Derbenko E. Suite based on the Russian folk tale “At the Pike’s Command.”

Derbenko E. “Suite in the old style.”

on the exam:

Haydn J. Finale from the Sonata in D major

Denisov A. Etude in F major

Pavin S. Kholstochek. r.n.p.

Frank Ts. Slow dance

Dorensky A. Scherzo

Zavyalova E. There is viburnum on the mountain. r.n.p.

Ivanov V. Etude in G minor

4. Bakh I.S. Scherzo

METHODOLOGICAL SUPPORT OF THE EDUCATIONAL PROCESS

When implementing the program, the following are usedgeneral didactic principles:

principle of visibility training involves the teacher demonstrating the expressive capabilities of playing the button accordion (accordion), the use of audio or video recordings of performances by both famous performers and the students themselves, the use of illustrative materials in the educational process (names of musical terms, portraits of composers and outstanding performers, reproductions of paintings);

accessibility principle in the educational process it is aimed at establishing a certain pace of studying educational material in accordance with the individual capabilities and age characteristics of students;

associativity principle used in classes with each student to increase the level of understanding of musical material, the peculiarities of staging the performing apparatus, the expressiveness of dynamic shades and strokes, to more accurately convey the content of a musical work;

principle of consistency and systematicity is based on the presentation of educational material from the position of “from simple to complex”, as well as on the regularity of training sessions, supported by homework;

the principle of consciousness and creativity activity consists of a combination of various pedagogical techniques that promote the development of interest in mastering knowledge, developing an independent approach to the material being studied;

principle of strength and effectiveness The results of music education are expressed in the level of developed performing skills and the degree of emotional attitude in performance.

Forms of organizing classes:

The main form of organizing the educational process is an educational lesson, along with which such forms as concerts for parents, children, teachers, and competitive performances at the studio and Center level are used. During the lesson, the teacher uses an individual form of work.

During the classes, basic performing skills are acquired: positioning of the body and arms, freedom and flexibility of the hands, coordination of movements, mechanics and sound production techniques. The metro-rhythmic content is mastered and the skills of reading music text are laid. The student gets acquainted with a variety of works of different genres. Most of them are carefully worked out, brought to the level of public performances at concerts.

An important condition for mastering the bayan (accordion) is the correct, systematic completion of homework. The teacher explains how to distribute free time, create a schedule for classes, and what you need to pay attention to. Work on a work that has already been learned, comprehension of its figurative content occurs through the demonstration of the teacher, the use of artistic illustrations, images of literary heroes. Listening to the teacher play, the student tries to remember the dynamic gradations, strokes, and pays attention to the sound of the work as a whole. An individual approach that takes into account the age characteristics and physical characteristics of the student helps to overcome difficulties in performance. Game forms of work are used with beginning students.

Formation of the repertoire

For successful work and implementation of the program, the teacher draws up an individual plan for each student, which indicates the repertoire for each half-year of a particular year of study, and also draws up a calendar plan, a plan for educational work and a plan for working with parents.

The teacher finds the best option for the student’s individual work plan based on strict adherence to the didactic principle, a detailed study of the program requirements of the corresponding year of study, taking into account the student’s individual abilities.

To expand the musical horizons, the student’s individual plan includes works intended for familiarization, while varying degrees of completion of work on them are allowed.

The selection of repertoire for a student is of great importance.

The teacher selects highly artistic works, varied in form and content, while taking into account the student’s character traits and abilities. The entire repertoire is selected so that it is interesting to perform, and most importantly, that the student likes it and plays it with pleasure. The quality of the artistic repertoire plays a decisive role in nurturing the musical and aesthetic taste of students. The repertoire should include musical works of classical, modern and foreign composers that are diverse in content, form, style and texture, arrangements of songs and dances of the peoples of the world, as well as original compositions for the button accordion. Students' repertoire can also include popular children's songs, songs of the Great Patriotic War, folk and modern songs and dances. Such a repertoire will allow students to immediately get involved in musical and educational work, will help increase the social significance of learning and at the same time will help intensify the educational process.

When working on works, the teacher achieves varying degrees of completion of performance: some works must be prepared for public performance, others for display in a classroom setting, and others for familiarization purposes. Requirements may be reduced or simplified according to the student's level of musical and technical development.

While working on the solo repertoire, effective playing techniques and techniques for playing the instrument are formed. The concept of “technical work” includes accuracy and economy of movements, convenience, ease of play and many other methodological subtleties developed by various performing schools. Hence the teacher’s close attention to the student’s position, the position of the hands, their movement, and the work of the fingers.

To develop the skills of creative, competent work of students, the program provides methods of an individual approach when determining the educational task, which allows the teacher to more fully take into account the capabilities and personal characteristics of the child, to achieve better results in learning and the development of his creative abilities.

This program indicates the approximate level of complexity of the repertoire, the program offers variability in training, and the repertoire is compiled individually for each student.

In the 1st year of study, children are just getting acquainted with the instrument, mastering musical notation, gaining mechanical skills, hand coordination, and basic sound production techniques, so the repertoire is made up of simple pieces, first with the right hand, then, in the 2nd half of the year, with both hands together. The first works in a child’s repertoire are folk children’s songs and songs that help tune his hearing to a meaningful perception of melodic intonation (“Cornflower”, “Like Under a Hill, Under a Mountain”, “Lambs”).

During the period of further education (2 - 5 years of study), when choosing a repertoire, the teacher looks for works that are accessible to perception with convex imagery, a laconic and clear form, with extremely specific expressive means of musical language. The repertoire consists of folk songs and dances, and original works for bayan or accordion by Soviet and modern composers. For each student, depending on their abilities, different options for the studied repertoire and test programs are possible.

With each subsequent year of study, the degree of complexity of the performed works gradually increases. The pace of development of each student is individual. The rate at which the repertoire becomes more complex directly depends on the individual characteristics of the student. The approximate level of complexity of the repertoire is given after the curriculum and content of the program for each year of study.

The leading factor in choosing a repertoire is the student’s emotional response to the sound of a particular work, his conscious desire to achieve quality performance in the process of work.

However, the selection of repertoire depends not only on the desire of the student, but also on his abilities and psychophysiological capabilities.

Forms of work with students in the classroom:

1. Oral report on the preparation of homework: what was more difficult to achieve, what methods were used to eliminate the difficulties encountered, what the study schedule was, etc.

2. Independent analysis of your performance in the lesson: you should point out the mistakes made and outline ways to eliminate them, evaluate your playing, analyze the performance of your friend, paying special attention to those works that the student himself has played before and studied well.

3. Independent oral and practical analysis of a new task on the instrument in the classroom under the supervision of a teacher.

4. Verbal description of the concept or mood of the work and analysis of the means of musical expression used by composers.

5. Determination of the features of the work: its characteristics (song, dance, marching, etc.), mode, size, form (phrase boundaries). Determination of dynamic shades, repeating elements of texture.

Particular attention is paid to one of the most important periods of music learning – its initial stage. If necessary, the “note” period in training is increased (the introduction of recording notes and reading them after the child plays and sings a series of songs shown to him by the teacher).

It is advisable to begin classes on the analysis of musical works with song material, since the connection between words and melody contributes to a more vivid figurative perception of artistic content, focuses the student’s attention on musical language as a means of expressing the emotional state and musical content, and intensively develops his artistic thinking and taste.

Students master and improve the skills of sound production and mechanical engineering under the guidance of a teacher throughout the entire period of study, working on dynamics, strokes, phrasing and various characteristic techniques. Considering the weak, not yet developed coordination of movement and motor memory of children, one should not overuse fast tempos and exaggerated dynamics, which can lead to clenched hands and become a serious obstacle to the student’s technical and musical development.

Throughout the entire training period, the teacher pays attention to issues of staging, landing, position of the instrument and hands during performance.

Considering that practicing the button accordion requires physical strength and endurance from the student, the teacher must notice the signs of the child’s fatigue in time and take a short break, or change the nature of the student’s activity. During a break, you need to put down the instrument and do physical exercises to relax your muscles or walk around the class a little.

Classroom activities should be accompanied by extracurricular activities - visiting exhibitions and concerts, listening to music recordings, watching musical films.

Logistics support for the program.

1. Material and technical conditions:

To successfully implement this program, the following are required:material and technical conditions:

educational space (classroom, office) that meets sanitary and hygienic requirements in terms of area and level of lighting, temperature conditions;

musical instruments - button accordions of different sizes according to the age of the students;

music stands;

chairs of varying heights to suit students’ heights;

footrests and seats, if there are not enough chairs of different heights;

audio and video equipment.

2. Didactic material:

methodological and special literature;

repertoire collections, music collections;

tables of musical terms;

video recordings, audio recordings.

3. Methodological conditions:

In accordance with the musical repertoire proposed for the implementation of this program, various types of methodological products are used:

Game development;

Task cards;

Music material;

Musical dictionaries.

The work uses visual material:

Didactic posters (thematic): “Notes of the first octave in the treble clef and notes of the small octave in the bass clef”, poster “Basic durations of notes and pauses”, poster “Signs in keys” and others.

Teaching aids, cards;

Collections of musical material (plays, etudes, exercises and works for button accordion or accordion), individual for each student;

Material for practical assignments in music theory (music notebooks, pencils, textbooks);

Aesthetic clarity for office decoration and demonstration events.

At each lesson, the student uses a workbook, sheet music, and a diary.

BIBLIOGRAPHY

Literature for students:

1. Baraboshkina A., Bogolyubova N. Musical literacy for children. -L.: Music, 1985.

2. Ghazaryan S. In the world of musical instruments: A book for high school students. – M.: Education, 1985 – 223 p., ill.

3. Govorushko P. School of playing the button accordion. - L.: Music, 1970.

4. Herold K. Musical literacy. A guide for beginning musicians. –PETER, 2015.

5. Zhakovich V.V. Musical literacy for the little ones in fairy tales, poems and pictures. Textbook for children's music school.-Phoenix, 2015.

6. Konchalovskaya N. Musical ABC. - Musical Ukraine, 1984.

7. Mirek A. ...And the harmonica sounds. - M., 1979.

8. Mirek A. From the history of the accordion and button accordion. - M., 1967.

9. Onegin A. School of playing the button accordion.-M., 1981.

10. I want to be an accordion player: a textbook for beginners./ Comp. P. Sirotyuk.-M., 1994.

Literature for teachers:

1. Agafonov O., Londonov P., Solovyov Yu. Self-instruction manual for playing the button accordion. M., 1982.

2. Aliev Yu.B. Handbook for a teacher-musician.-M: Humanit.izdat. VLADOS center, 2005.

3. Artobolevskaya A.D. First meeting with music.-M., 1975.

4. Album for children and youth. Pieces for button accordion and accordion. Part 1./Comp. V. Ushakov, S. Stavitskaya. - St. Petersburg, 2003.

5. Bayan. Preparatory group. / Comp. Denisov A., Ugrinovich V.-Kyiv: Musical Ukraine, 1984.

6. Bayan. 1 class. / Comp. Alekseev I.D., Koretsky N.I. - Reprint - M.: Kifara, 2003.

7. Bayan. 2nd grade. Edition 13. - Kyiv: Musical Ukraine, 1987.

8. Bayan at a music school. Plays for grades 1-3. Issue 64./ Comp. F. Bushuev, -M: Soviet composer, 1991.

9. Bayan at a music school. Plays for grades 1-3. issue 58, comp. Y. Bushuev, -M: Soviet composer, 1988.

10. Bayan 1-3 grades of children's music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov. - M.: Kifara, 2003.

11. Bayan. 3rd grade. Edition 11. –Kiev: Musical Ukraine, 1986

12. Bayan at a music school. Plays for grades 1-3. Issue 62/ Comp. F. Bushuev, -M: Soviet composer, 1990.

13. Bayan at a music school. Plays for grades 3-4. issue 48./Comp. M. Tsybulin, -M: Soviet composer, 1983.

14. Bayan. 4th grade. - Kyiv: Musical Ukraine, 1986

15. Bayan 3-5 grades of children's music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M.: Kifara, 2003.

16. Bayan. 5th grade. - Kyiv: Musical Ukraine, 1989.

17. Bayan 5-7 grades children's music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M.: Kifara, 2003.

18. Bayan at a music school. Plays for 4-5 grades. issue 33, / Comp. V. Nesterov, - M: Soviet composer, 1979.

19. Baranov A.B. “Development of artistry in children” - Additional education, 2003.

20. Belyaev G.A. Colors of Music: a collection of plays and songs for button accordion (accordion): 1-3 grades Children's Music School / G.A.Belyaev.-Rostov-n/D: Phoenix, 2012. -77 p.

21. Belyaev A. Nostalgia. Concert arrangements of popular melodies of past years. - M., 1994.

22. Bayan and accordion players. – M., 1970.

23. Bayan and accordion players. Issue 3. – M., 1977.

24. Bayan and accordion players. Issue 5. – M., 1979.

25. Vartholomos A. Musical certificate for button accordion and accordion players. Issue 1. -L.: Music, 2012.

26. Vakhromeev Elementary theory of music.-M., 1975.

27. In the world of dance. Issue 1: Minuets, gavottes, country dances, quadrilles. Arranged for accordion or button accordion/Comp. G. Boytsova. - M.: Music, 2012.

28. Vlasov V. Album for children and youth. St. Petersburg, 2001.

29. Dmitriev V. Pop compositions and arrangements for accordion or button accordion. Issue 1 – S.-P.: Composer, 2002.

30. Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1/Comp. V. Ushakov, S. Stavitskaya. -SPb., 2003.

31. Kabalevsky D.B. How to tell children about music? - M., 1989.

32. Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet Composer, 1988.

33. Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for button accordion (accordion). - Baranovichi, 2006.

34. Mirek A. School of playing the accordion.

35. Malykh V.K. Issues of sound production in the button accordion/accordion class: methodological recommendations / V.K. Malykh. - Syktyvkar, 2010.- 26 p.

36. Accordion player's sheet music folder. Junior classes of music schools. IN 1. / Comp. S. Sevastyanova, L. Martynova.-M., 2005.

37. Music folder for accordionist and accordionist. Golden library of pedagogical repertoire. Middle and senior classes of children's music schools. Issue 2 / Comp. V. Bakanov.-M., 2006.

38. Folk melodies for button accordion (accordion) - St.-P.: Soviet composer, 1998.

39. New works by Russian composers for young accordionists: 1-2 grades Children's Music School: educational and methodological manual / ed.-comp. V.Ushenin.- Rostov-n/D: Phoenix, 2010.- 77 p.

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41. Perevezentsev N. Steps of mastery. Issue 1.-Ivanovo: Publishing house. Episheva O.V., 2013.

42. Pedagogical repertoire of the accordion player and accordionist of the Children's Music School. 1-7 grades./ Comp. from the work of V. Efimov, L. Klenkov, A. Korobeinikov. - M., 2001.

43. Pedagogical repertoire of an accordion player in children's music schools (grades 3-5). Issue 10. / Comp. V. Nesterov, A. Chinyakov.-M., 1981.

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46. ​​A manual for leaders of accordion ensembles. / Comp. S Rubinstein. -M., 1970.

47. Repertoire for ensembles of Russian folk instruments.

48. Russian dance. Collection of Russian folk dances for button accordion or accordion. / Compiled by A.Salin. – M., 1963.

49. Sonatinas and rondos arranged for accordion. -SPb, 2005.

50. Sonatinas and rondos. Issue 2 / Comp.B. Benyaminov - L., 1999.

51. Samoilov D. 15 lessons on playing the button accordion.-M: Kifara, 2004.

52. Smorodnikov Yu. Sketches for button accordion (accordion). - M., 2006.

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57. An accordion player’s anthology 3-4 grades. / Comp. V. Grachev - M.: Music, 1984.

58. An accordionist’s anthology for children’s music schools (grade 5)./ Comp. V. Nesterov, A. Chinyakov. - M., 1982.

59. Sketches for button accordion for different types of equipment. 1 class. Edition 5 -Kiev: Musical Ukraine, 1984

60. Sketches for button accordion for different types of equipment. 2nd grade. Edition 4 – Kiev: Musical Ukraine, 1981.

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62. Sketches for button accordion. Issue 16 / Comp. L. Gavrilov. M., 1988.

63. Sketches for button accordion for different types of equipment. 3rd grade. Edition 5 – Kiev: Musical Ukraine, 1986.

64. Sketches for button accordion for different types of equipment. 4th grade. – Kyiv: Musical Ukraine, 1986.

65. Sketches for button accordion. Issue 3 / Comp. S. Chapkiy.-Kyiv, 1988.

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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:

1. Greeting and creating a creative mood
2. Performing exercises on mechanical engineering and staging the performing apparatus
3. Checking homework
4. Performing rhythmic exercises
5. Repetition of what has been covered and work on new musical material, homework assignment.
6. Transposing or playing by ear
7. 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. During 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 the 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

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

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

Khanty-Mansiysk Autonomous Okrug

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. Clap the same thing.
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:

1. Alekseev I.D. Methods of teaching playing the button accordion. M.: GosMuzIzdat., 1961.
2. Volkova G. A. Speech therapy rhythm. M.: Vlados, 2002.
3. Pankov O. About the accordion player’s work on rhythm. M.: Muzyka, 1986.
4. Samoilov D. 15 lessons on playing the button accordion. M.: Kifara, 1998.
5. Franio G. The role of rhythm in the aesthetic education of children. M.: Soviet Composer, 1989.