Not many works have been devoted to the issue of accompaniment, as the selection of harmonic accompaniment to a melody. Most of of which was published in the middle of the 20th century (1961–1974). Some are devoted to the problem of the lack of accompaniment skills among graduates of children's music schools, secondary and even higher educational institutions. musical institutions. Some of the work is either scientific research in nature or contains general recommendations, while both teachers and students are usually concerned concrete questions: “how to do such and such if...”, arising when practical implementation melody harmonization tasks.
The methodological manual presented here is not a discussion on the designated topic, but one of the options for solving the problem of “how to teach” those who want to learn (teach themselves) how to select accompaniment by ear. It is intended specifically for those who are faced with various kinds difficulties in performing such a task. The proposed work of authorship is practical guide for students of the instrumental department and music lovers who master the basics of musical literacy and sufficiently fluent piano playing skills (at least within the 3-4 grades of the Children's Music School).
The essence of the work is the gradual practical development of techniques for harmonizing simple melodies for singing (solfege); in solving typical problem situations that students face. First of all, the work is addressed to students who have not mastered the skill of independently “selecting by ear” accompaniment to a melody during their years of study at children’s music schools or who do not have “harmonic intuition” and those who believe that this form of music-making is too complicated, but who want to learn how to select accompaniment . The Manual also contains the necessary theoretical information, which is immediately proposed to be applied in practical tasks, both in the main text and in the music appendices. The work follows the principle of “from simple to complex,” as well as repetition and consolidation of a skill at a new, more complex level. From time to time, if it is necessary to focus attention on some detail, “advice” is given from the author.
In terms of presentation style, the Manual is somewhat unconventional: in the genre of “imaginary dialogue” with students and, accordingly, the vocabulary of the work is as close as possible to colloquial speech, which makes it easier to perceive. When creating the Manual, we took into account specific questions that were often asked by students or formulated by them when familiarizing themselves with the Manual as it was being created. The answers to these questions formed the basis for the structure of this work. As for practical tasks on selecting accompaniment, they are given either in the form of homework, or are practiced in a solfeggio lesson during a collective analysis of the melody. At the same time, in harmony lessons they master different kinds appearances in such traditional forms ah as a connection of chords, a game of a period, or a harmonic sequence (digitization). This turns educational “technical” tasks into small musical sketch pieces.
The material in the Manual was developed gradually, from a synthesis of many years of experience. practical work author with performing arts students music college(V last years- on the basis of the orchestra and department of folk instruments - Russian and Kazakh).
This work could be expanded, but its goal is to identify and help students practically master the most problematic situations when selecting accompaniment; to help those who do not trust their hearing, who doubt their abilities, for whom the intuitive is suppressed by the rational, but there is a desire to learn to see the hidden harmony in the melody. And in the process of work, students understand that the proposed Manual is only the first steps towards improving the skill of free harmonization of melody in texture, which is often so necessary in the practical activity of a musician.
Below are video clips that show one of the creative forms of work during harmony lessons in a group of populists and orchestra members of the Rudny Music College. 3rd year students Artyom Akhmin and Veniamin Gavrikov perform independently composed periods using various types of figurations, including non-chord sounds (auxiliary chromatic, passing and arrests). The periods are performed by heart; the ability to transpose in a key with three signs is required.
Creative forms of various kinds educational assignments are mastered in this group from the 1st year. First by elementary theory music and solfeggio, and then harmony. At the same time, all students, without exception, each to the best of their abilities, desire and free time, show good results. Some students are already showing great interest in the content side of music and the “technical” issues of composing. It was in the process of working in this group to develop the skill of free harmonization of melody that the idea of creating an Accompaniment Manual arose
Quarto-fifth circle of tonalities.
Letter designations of keys.
Natural, harmonic, melodic form of major and minor.
Tones of the first degree of kinship.
Enharmonically equal tonalities.
Chromatic passing and auxiliary sounds.
Chromatic scale.
Diatonic intervals.
Natural and harmonic tritones in major and minor.
Characteristic intervals in harmonic major and minor.
Enharmonicity of tritones.
Enharmonism of diatonic and characteristic intervals.
Main and secondary triads.
Main seventh chords with resolution.
Diminished, enlarged triad with resolution.
Period, proposals, cadences, expansion, addition.
Forms of work in solfeggio lessons
The main forms of work and types of tasks in solfeggio lessons serve to develop musical ear, memory, sense of rhythm, creative initiative, help the practical development of theoretical material, form the skills of sight reading, pure intonation, auditory analysis, recording melodies by ear, and selecting accompaniment. At each lesson, it is necessary to proportionally combine exercises for the development of intonation skills, solfege, rhythmic exercises, auditory analysis, various types of musical dictations, tasks for mastering theoretical concepts, and creative exercises.
Intonation exercises
One of the tasks academic subject Solfeggio is the formation of the skill of pure intonation. Intonation exercises include singing scales and various tetrachords, individual steps, melodic turns, sequences, intervals in key and from sound, chords in key and from sound. On initial stage During training, it is recommended to sing intonation exercises in a choir or in groups, and then move on to individual performance. Intonation exercises are performed without accompaniment on the piano with preliminary tuning, but in some cases the “help” of the piano is acceptable in the form of harmonic accompaniment, emphasizing gravity and fret color. Intonation exercises at the beginning of training are performed at an average pace, in a free rhythm; in the future, a certain rhythmic organization is desirable. At the initial stage of training, it is recommended to use hand signs, cards with serial numbers of steps, a “ladder” depicting the steps of the scale and other visual aids.
Intonation exercises can be polyphonic. It is recommended to sing intervals, chords and their sequences in a harmonic (two-voice, three-voice) sound.
Intonation exercises are performed both in tune and from sound (up and down). With the help of intonation exercises, you can work through theoretical material, prepare for solfege, sight reading, activate your hearing and memory before a musical dictation or auditory analysis.
Solfaging and sight reading
Solfaging contributes to the development of correct singing skills, intonation accuracy, the formation of a conductor's gesture, the development of a sense of rhythm, and the cultivation of a conscious attitude towards the musical text.
From the first lessons, it is necessary to monitor the correct sound production, breathing, and body position when singing. It is necessary to take into account the characteristics of the children's vocal apparatus, work in a comfortable range (“up to” the first octave – “re”, “mi” the second), gradually expanding it. Examples for solfege and sight reading must be performed with conducting (at the initial stage, timing is possible). In lower grades, it is recommended to practice solfage and sight reading in chorus, in groups, with a gradual transition to individual performance. The development of inner hearing and attention is facilitated by the performance of the melody in fragments by the choir and by one student, out loud and silently.
Solfage and sight reading involve singing without piano accompaniment, but in difficult intonation turns or when the sense of harmony is lost, you can support singing with harmonic accompaniment. A separate type of work is the performance of songs with piano accompaniment from notes (at the initial stage - with the accompaniment of a teacher, in high school - with your own).
Examples for solfege and sight reading should be based on the intonation of the passed intervals, chords, familiar melodic turns, and include well-known rhythmic figures. Naturally, examples for sight reading should be simpler. Before starting to perform any example, it is necessary to analyze it from the point of view of known melodic turns, movement along the sounds of chords, intervals, and finding certain rhythmic patterns. As a preparatory exercise, you can use solmization of examples (pronouncing the names of sounds in rhythm with conducting). The artistic value of the examples performed, their accessibility for a given age, and stylistic diversity are very important.
As early as possible, singing of two-voice examples should be introduced using parallel movement of voices, subvocal structure with a predominance of unisons. Work on imitative two-voice begins with the singing of canons. Two-voice examples are performed first in groups, then with the accompaniment of one of the voices (teacher, another student, independently), and duets. In two-voices, it is also necessary to accustom students to conducting, including when performing one of the voices on the piano.
In high school, one of the types of solfege is the performance of songs and romances with one's own accompaniment on the piano using notes. This type of task should take into account the student’s level of piano proficiency; technical and coordination difficulties should not obscure the students’ primary task - performance piece of music. The selection of repertoire for such tasks is very important: it must be feasible, understandable to students and at the same time be of undoubted artistic value. Upbringing musical taste- another one of the tasks of solfeggio lessons, and the greatest opportunities for this are provided by such forms of work as solfeggio, auditory analysis.
Rhythmic exercises
Rhythmic exercises are necessary for developing a sense of metrhythm - an important component of the complex of musical abilities. At the initial stage of training, one should rely on the fact that in children the perception of rhythm is associated with a motor reaction, be it walking, dance movements, running, or clapping. Therefore, it is advisable in solfeggio lessons at the initial stage to pay great attention to various motor exercises and a children’s orchestra of percussion instruments, even if the program includes such subjects as rhythm and orchestra (C. Orff’s orchestra, collective instrumental music-making, etc.). A wide variety of rhythmic exercises can be recommended:
tapping the rhythmic pattern of a familiar song, melody (with a pencil, clapping, on percussion instruments);
repetition of a rhythmic pattern performed by the teacher;
tapping a rhythmic pattern according to musical notation, on cards;
pronouncing a rhythmic pattern using certain syllables assigned to durations;
performance of a rhythmic ostinato for a song or play;
rhythmic accompaniment to a melody, song, play;
rhythmic canons (with text, on syllables);
rhythmic dictation (recording the rhythmic pattern of a melody or rhythmic pattern performed on a percussion instrument, clapping, pencil).
Each new rhythmic figure must, first of all, be perceived emotionally and practically worked out in rhythmic exercises, and then included in other types of work: solfegging, sight reading, musical dictation.
Conducting plays a major role in developing a sense of rhythm. At an early stage of training, it is necessary to draw students’ attention to rhythmic pulsation (beats), introduce various exercises - timing, highlighting a strong beat - for further transition to conducting. Over the course of several years, the skills of a conductor's gesture have been systematically developed in different sizes, including when reading from sight and when singing in two voices. It is better to start working with the conductor's gesture when singing familiar melodies and listening to music.
Auditory analysis
This type of work involves the development of students' musical perception. Auditory analysis should not be limited only to the ability to correctly determine the played intervals or chords in a scale or from a sound. Auditory analysis is, first of all, awareness of what is heard. Accordingly, it is necessary to teach children to emotionally perceive what they hear and be able to hear specific elements of musical language in it. To do this, you need to use examples from musical literature and special instructional exercises.
When analyzing fragments from musical literature aurally, it is necessary to draw students’ attention to the relationship between certain elements of musical language and the emotional expressiveness of music. IN didactic examples You may need a more detailed analysis:
Analysis of scales, scales, segments of scales;
Separate steps of mode and melodic turns;
Rhythmic revolutions;
Intervals in the melodic sound up and down from the sound and in the key;
Intervals in harmonic sound from sound and tonality;
Sequences of several intervals in the key (with determination of the size of the interval and its position in the key);
Chords in melodic sound with different alternation of sounds in key and from sound;
Chords in harmonic sound from sound and tonality (with a definition of their functional affiliation);
Sequences of chords in key (with a definition of their functional affiliation);
It is advisable that didactic exercises were organized rhythmically.
At the initial stage of training, auditory analysis usually takes place orally. In high schools it is possible to use written form work, but it is recommended to do this after a preliminary oral analysis, as this promotes awareness of the integrity of the musical structure and the development of musical memory.
Musical dictation
Musical dictation is a form of work that promotes the development of all components of musical ear and teaches you to consciously record what you hear. Working with dictations in the classroom involves various forms:
oral dictations (memorizing and singing on a neutral syllable and with the name of the notes of a 2-4-bar melody after two or three plays);
dictation from memory (recording a melody learned in class or at home);
rhythmic dictation (recording a given rhythmic pattern or recording a rhythmic pattern of a melody);
musical dictation with preliminary analysis (joint analysis with the teacher of the structure of the melody, size, modal features, movement of the melody, rhythmic patterns used). 2-3 plays (5-10 minutes) are allotted for preliminary analysis, then students begin recording the melody. This form of dictation is advisable to be widely used in elementary grades, as well as when recording melodies in which new elements of musical language appear;
musical dictation without preliminary analysis (recording a dictation for a set time for a certain number of plays, usually 8-10 plays for 20-25 minutes). This form of dictation is most appropriate for high school students, as it presupposes an already formed ability to independently analyze a melody.
Before starting work on a melodic dictation, careful adjustment in tonality is necessary, for which you can use intonation exercises, solfegge, and auditory analysis tasks.
The skill of recording a melody is formed gradually and requires constant careful work in each lesson. A recorded dictation involves checking it with an analysis of mistakes made and further work in class and at home. Students can identify and sign new or familiar melodic turns, rhythmic figures in the dictation, select a second voice or accompaniment for the dictation, learn it by heart, transpose it in writing or orally into other keys.
Musical material for dictation can include examples from musical literature, special collections of dictations, as well as melodies composed by the teacher himself.
Creative tasks
Development creativity students plays a huge role in the learning process. In creative tasks, a student can realize his individuality, become psychologically liberated, and experience joyful emotions. All this together contributes to the formation of interest in musical activity. Creative tasks in solfeggio lessons activate auditory attention, train various aspects of musical ear, musical memory, and develop artistic taste. At the same time, it is necessary to closely connect creative tasks with the main sections of the solfeggio course, since their goal is to consolidate theoretical knowledge and develop basic skills (recording melodies, identifying by ear, intonation).
Creative tasks can be started from the initial stage of training. Children are more accessible to creative exercises associated with rhythmic improvisation. The simplest melodic tasks at the initial stage can consist of finishing singing, completing the melody (forming a sense of modal gravity). In the future, tasks may contain improvisation of rhythmic and melodic options, and, finally, composing your own melodic and rhythmic structures. Gradually, exercises related to the selection and composition of a second voice and accompaniment are added to creative tasks, first from the proposed sounds or chords, then with an independent search for harmonic means. Each teacher can diversify these tasks, based on own experience and musical taste.
Creative tasks are effective at all stages of learning. In addition, they help to identify children who have a penchant for improvisation and composition, and direct attention to the development of these abilities, and possibly future professional guidance.
MBOU DO "Children's Art School of Lgov"
Methodological development on solfeggio on the topic:
“Teaching the skills of selecting accompaniment during solfeggio lessons in 1st grade”
Teacher of theoretical disciplines Chuprinina E.A.
2016
In recent years, in textbooks and programs on solfeggio, along with traditional sections of the curriculum (solfege, development of vocal intonation skills, education of meter rhythm, musical dictation, theoretical information) Much attention is paid to the development of creative skills and creative abilities of children.
The main directions of children's creative development, noted in the solfeggio program, are associated with such forms of work as the selection of accompaniment to various melodies and elements of improvisation.
An important aspect of the development of children's musical creativity is their mastery of the skills of selecting accompaniment.
S. Maltsev and I. Rozanov wrote back in 1973 that S. Maltsev and I. Rozanov wrote in the article “Teach the art of improvisation” (Soviet Music, 1973, No. 10) that already from the 1st grade of school it is necessary to start selecting accompaniment and introducing harmony in music.
Work on selecting an accompaniment should begin already in 1st grade, after becoming familiar with the concepts of mode and tonic. To do this, you should take the simplest songs in the range from steps I to III. First, children should be asked to play a melody right hand, solfege, and left hand accompanies with the sound of the tonic on the downbeat.
Example: No. 1
Already in the next lesson, using the same melodies as an example, you need to show a slightly more complicated accompaniment - simplest form accompaniment - bourdon (tonic fifth).
Example: No. 2
When learning melodies, you should use a rearrangement of parts - at the beginning, play the melody with the right hand, and the tonic fifth (bourdon) with the left, then vice versa.
And already from the first lessons, work (playing melodies with a bourdon in the left hand) can be significantly diversified - playing with an ensemble (teacher - student, student - student), if there are 2 pianos in the class - with an ensemble of four students; one student plays the accompaniment, another solfèges, and the whole group marks the downbeat of the bar with a palm strike, etc.
In order for students to show interest in playing with accompaniment, it is possible in a lesson at the end of a quarter, half a year, school year hold a competition for the best performance of melodies with accompaniment, or invite one of the students to play the accompaniment, while the whole group, under the direction of a teacher or student conductor, sings a song with words in character.
The types of work aimed at ensuring that students show maximum interest in working on the accompaniment can be very different and depend on the teacher’s imagination, as well as on the goals and objectives set in the lesson.
METHODOLOGICAL DEVELOPMENT
ON THE TOPIC
"EDUCATION OF MUSIC PLAYING SKILLS IN SOLFEGIO LESSONS IN CHILDREN'S MASCH AND DSHI"
Prepared by Loskutova E.E.
Zheleznogorsk
2016
In modern music pedagogy Methods are increasingly being used to help students master the skills of independent work on the instrument and develop their creative initiative. At the heart of the broad music education There is a close connection between all musical disciplines: solfeggio, piano, choir.
The close collaboration of the piano subject with music theory disciplines is ideal for such work.
Unfortunately, for many reasons such cooperation is not always possible. Among these reasons, one can highlight the need for creative interest among teachers and close contact between teachers of these subjects.
However, for the development of hearing, sense of rhythm, musical memory, good orientation on the keyboard, creative thinking, for the development of interest in playing music in children, in curriculum in solfeggio must be included next tasks: selection of song melodies by ear, accompaniment to them, transposition of them, performance of romances to one’s own accompaniment.
By helping the child in his own endeavor, the teacher simultaneously develops his ear for music.
IN creative development children must have a system - song material must be selected from simple to complex, from songs with simple harmonization (T - D - T) to songs with more developed ones: deviations in tonality of the first degree of kinship.
Music playing in solfeggio lessons should be related to theoretical material, which is explained in the lessons:
a) melody and accompaniment;
Main degrees and triads of the mode;
Inversions of triads;
Harmonic revolutions;
Sequence;
D7 and its appeals;
Chromatism, alteration;
Interrupted cadence;
Deflection, modulation;
Transposition;
Letter designations of sounds and tones;
Genres: polka, march, waltz, lullaby, etc.
b) rhythmic groups: all, including intra-bar syncopations, inter-bar syncopations, with a pause, ligated groups; sizes 2/4, 3/4, 4/4, 3/8, 6/8, etc.
And also with forms of work: rhythmic and melodic dictations for given songs, solfegging them from a sheet and learning them.
If we talk about the development of music-making skills in solfeggio lessons in the choral department, you should pay attention to the fact that children attend general piano lessons from one to two times a week, so problems arise associated with unequal development (compared to the piano department) in their mastery of the keyboard .
Therefore, it is advisable to begin selecting accompaniment only after children have acquired some auditory experience, freer orientation on the keyboard, and certain skills in playing the piano with two hands, when they begin to study and master the main steps and triads of the mode, and then their inversions.
Often, solfeggio groups include children learning to play different instruments with their own learning specifics (guitar, button accordion, flute and others). If it is not possible to form groups that include only children learning to play the piano, harmonization of songs is nevertheless carried out by all students and even those who are not learning to play any instrument,
since in the process of work the teacher helps to analyze the structure of the melody, using concepts mastered in the lower grades, determine the tonality of a given melody, analyze its size, rhythmic pattern, and so on.
Children who play any instruments are involved in selecting a melody or accompaniment on their own at home, but it is better, if possible, under the supervision of a teacher in their specialty during instrument lessons.
In order for high school students to freely select by ear, a preparatory stage and systematicity of such classes from the lower grades is necessary.
At the initial stage, as soon as children get acquainted with the keyboard and rhythmic durations in solfeggio lessons, the selection by ear of the simplest songs begins, first in a narrow range on one or two adjacent sounds (“Lambs”, “Little Red Lady”, “Magpie”, “Don- Don” and the like) with a gradual expansion of the range (“Cornflower”, “Horse”).
Work on them begins with the students singing them together with the teacher, and then independently clapping a rhythmic pattern with words and rhythmic syllables, determining the number of phrases, determining the number different sounds, their heights, with singing and at the same time showing the movement of the melody with the hand. Then follows a selection from different sounds. Thus, this experience of selection by ear also becomes the first experience of transposition.
Transpose plays big role in the development of hearing and coordination of movement on the piano, and also develops in the student the skills of performing a song repertoire in a tessitura convenient for his voice. These chants are also used as oral dictations with
recording.
It is advisable to go through as many chants that are simple in melodic line and small in volume as possible, including chants with a wider range in the work, and when passing stable steps, with the movement of the melody along them. In the process of working with melodies with a more extended range, students should pay attention to the fact that the melody can move smoothly, jumping, singing, along steady steps.
An important step The work on selecting a song “by ear” is to harmonize its melody. The first experience of selecting an accompaniment should be simple - one sound in the bass (tonic), then a fifth “bourdon”. Again, these may initially be dictations, which children then play with primitive accompaniment.
It is useful to transpose these dictation songs (or jokes) with accompaniment into neighboring keys: from C major to D major, from G major to F major and vice versa.
The study of the main steps and triads of the mode is followed by work with their use in accompaniments to songs.
For example, the melody of the song “Little Christmas Tree” is used as a dictation or selection in homework. Remind you that before choosing a melody, you need to tune in at stable levels in C major. After all, melodies usually begin with one of the stable sounds. IN homework This also includes learning by heart a melody on the piano while simultaneously singing along with the words.
At the next stage, the harmonization of the melody begins. The main triads are written out in a given key and the sounds included in them from the melody are compared. The cadence is defined and its harmonization is explained. Let's get acquainted with accompaniments in the genres of march, polka, and waltz. We write out a separate accompaniment in the polka genre.
Next stage– game with accompaniment (included in homework with testing in class):
Playing melody with bass;
Playing a melody in the march genre with main triads;
Learning accompaniment in the polka genre;
The combination of melody and accompaniment.
In the song “Musicians,” which can be used as a dictation when going through the “Sequence” theme, the same work is being done in the waltz genre in the key of F major.
Polka “Bear with a Doll”, also learned in advance as a song, can be given as a rhythmic or melodic dictation when passing rhythm group two sixteenth notes and an eighth note and a sequence. The accompaniment is used in the polka genre (i.e., a continuation of the work as in the song “Little Christmas Tree”) in C major. Then transpose to the key of D major.
When going through the topic “Triad Inversions”, it is advisable to use the harmonic sequence: C major – T53 – S64 – D6 – T53 in the song “12 Little Pigs”. Possible textural accompaniments for this song: chord, bass chord.
Starting from the second grade, work is carried out on the selection of triads of the same name, and from the third grade - on their inversions - playing the piano, using tabletop keyboards.
Preparations are also underway for playing bass accompaniments: fourth moves are played from all the white and then black keys: an octave and a fourth in the middle with the 2nd finger (from above).
Interesting songs to select with accompaniment, including deviations and modulations (when going through these topics). The songs are performed as sight reading, and then learned with the words: “Good Beetle” lyrics by E. Schwartz, music by A. Spadavecchia in C major using chord sequences: C major – T53 – D6; G major – T6 (= D6 in C major) – D53; accompaniment: bass chord. In F major: “Happy birthday to you” with two accompaniment options: 1 verse on English language– bass chord; Verse 2 in Russian –
with marching accompaniment.
With the types of accompaniments already covered in F major, the Estonian folk song “Our Jan’s Choir” and “A Christmas Tree Was Born in the Forest” is learned.
When studying the theme “Seventh Chord”, from each white key we play triads with the addition of a third at the top, or, more simply, 4 sounds through the key.
When studying the topic “Addresses D7”, new exercises are added: to the triad we add a second at the bottom - we get a second chord; add a second at the top - fifth sixth chord; in a quartersex chord, the second in the middle is a third quarter chord.
WITH great pleasure Students play accompaniments to popular melodies using letter symbols. When studying letter designations, selection begins with their use. To do this, it is useful to sight-sing romances that are studied in musical literature lessons, especially in initial topics- romances of the first half of the 19th century century “I Met You”, “Tiny House”, “Red Sundress”...
The next stage is to play according to the letter symbols of the most commonly used chords: C7; C2; c2;d64; d43; E; E2; F6; F64; G7; g65; A2; D2; B; Es; e64; h; a7; G6; H2; D; a6; f64; fis6.
And this is how you can give students texts to select accompaniments to their favorite melodies (quite a common method):
I will never forget you
e64 H7
You'll wake me up at dawn
H7 e64
You will go out barefoot to see off.
a6 D6 G6
You will never forget me
a6 H7 e64
You will never see me...
In order to select a certain texture of accompaniment, there is a wonderful teaching aid for children's music schools by M. Kalugina and P. Khalabuzar, “Cultivating creative skills in solfeggio lessons.” At the end of it is the distribution of work among classes.
Music playing becomes an organic part educational process. Students will have to master a large and varied material in each solfeggio lesson. In order to achieve positive results in work, the teacher is faced with the task of supporting creative activity children at a high level. And the role of music playing here is undeniable. Thanks to enthusiastic teachers, games and exercises have been developed that stimulate creative initiative in children, develop inner hearing, a sense of rhythm, form - something without which it is impossible to improvise.
References:
Kalugina M.E., Khalabuzar P.V. Nurturing creative skills in solfeggio lessons. Toolkit for children's music school. M., Soviet composer. 1989
Belenkaya M.G., Ilyinskaya S.V. Musical piggy bank. Part 1-2. S-P., 2002
Oskina S.E., Parnes D.G.. Accompaniment in harmony and solfeggio lessons. M. 2002
Shatkovsky G.I. Development of musical ear and creative music-making skills. M., 1989.
Metallidi Zh.L., Pertsovskaya A.I. Solfeggio: teaching aids for 1-7 grades of children's music school. S-P.
The main goal of teaching in the nursery music school- education of a harmoniously developed personality through music. The set of abilities that a developed personality must possess must include both general and special musical abilities. As a result of training and upbringing, the general properties of a person are differentiated, qualities arise and develop that ensure the success of fulfilling one special type activities. Training special abilities affects development general properties and personality traits. Special abilities to different types activities often deeply interact with each other and, in the process of formation, strengthen and enrich each other. Special abilities include: ear for music, memory and imagination. The development of hearing in children begins, as a rule, with the ability to distinguish simple sounds, but later musical hearing acquires a complex and differentiated form. The subject of solfeggio is a practical discipline and is aimed at developing musical abilities. It develops in students a certain system of knowledge and skills necessary for their subsequent musical activity. An integrated approach to learning at the modern level involves working on the development of all components of musicality: ear for music, sense of rhythm, musical memory, imagination, emotional responsiveness to music and aesthetic taste. The problem is that children come to first grade with to varying degrees musicality, i.e. with different musical ears. Some children have a good ear for melody and have a voice, others somehow sing in 2 or 3 sounds. Thus, solfeggio teachers face not an easy task develop the musical ear of any child who comes to a children's music school. The successful development of musical hearing depends on many factors, including important point is the earliest possible immersion of the child into the world of sound images and ideas. Analyzing the main forms of musical hearing - melodic and harmonic - the famous scientist B. M. Teplov came to the conclusion that they are based on two abilities: the modal sense, which is the emotional component of musical hearing, and the ability of musical auditory representation, which is the auditory component of musical hearing Thus, “musical ear cannot be considered as a single ability. It is a combination of at least two basic abilities.” He further states that “the ability of auditory representation ... together with the sense of modality lies at the basis of harmonic hearing.”
Musical hearing includes several types:
pitch;
melodic;
polyphonic;
harmonic;
timbro-dynamic;
interior.
All of them are amenable to development and education in the process of teaching children at a music school. Of course, the effectiveness of training can only manifest itself when integrated development. However, each type of musical hearing can be discussed separately. This work will examine one aspect that is extremely important in the education of a young musician - the development of harmonic hearing in solfeggio lessons.
The purpose of this methodological development involves the creation necessary conditions for further intensification of the educational process in the education of harmonic hearing in high school students of the Children's Art School and the formation of stable intonation skills.
Methods and forms of work on the development of harmonic hearing
The modern musical language that surrounds us is very complex. It is necessary to prepare children to perceive it from the elementary grades. Studying various harmonic consonances makes it possible for students to develop a versatile harmonic ear by the end of their studies at a children's music school. Students often want to find an accompaniment to their favorite song, and the solfeggio teacher should help them master the chords needed when choosing an accompaniment. A well-developed harmonic ear helps students play works in their specialty more meaningfully and emotionally, and better hear the harmonic colors of chords when listening to works on musical literature. And in choral singing, the orchestra also develops an ear for music, including harmonics. Harmony sharpens intonation, educates and develops children's musical ear, and gives them a lot of vivid impressions. In the solfeggio course, work on the development of harmonic hearing is important part the entire learning process at a children's music school. In this methodological development Forms and methods of working on the development of harmonic hearing will be considered, as well as exercises that help in the development of this type of hearing. Depending on the stage of training - explanations new topic; consolidation of the topic; final check, you need to use two groups of methods:
1) Theoretical forms of work: messages, conversation.
2) Practical forms of work: compositions, selection of accompaniment, improvisation with a given condition.
Along with the presentation theoretical material should be used:
1) Recordings of choral and instrumental works in order to identify the importance of one of the leading means of musical expressiveness - harmony.
2) Visual aids, tables.
During the solfeggio lesson the following forms of work are used:
Intonation exercises, solfege;
Auditory analysis;
Theoretical information;
Dictation;
Creative exercises.
Therefore, at the second stage (fixing the material) there are different shapes work. Among them:
1) singing in intonation exercises of degrees, intervals, chords in key and from sound. At the same time, demand from students clarity and adherence to a uniform tempo in performance;
2) harmonic analysis of a small fragment of the work;
4) sight reading in transport by keys and intervals, solfing of learned melodies with previous theoretical analysis;
5) composing melodies in the form of a period according to a specific task, selecting accompaniment, improvisation;
At the end of each quarter there is a final test lesson, which uses practical and theoretical forms work. The test lesson includes:
1) paperwork in musical literacy (building scales, intervals, chords, performing creative tasks);
2) written work in solfeggio: single-voice or two-voice dictation, simple in texture, recording of interval and chord sequences in the form of numbers in rhythm;
4) creative tasks: before composing melodies according to the proposed beginnings, composing a second voice, harmonizing melodies, performing own compositions students.
Intonation exercises
Intonation exercises include not only singing scales different ways and melodic sequences, but also diverse forms of work with intervals, chords, intervallic and chord sequences. The resolution of the steps is carried out in the form of a melodic turn, designed rhythmically and metrically, tuning the ear to a given key without harmonization. Children are convinced that steps I, IV, V are the main ones, thanks to their ability to tune their hearing to the desired tonality. Interval resolution follows the same principle: given interval is resolved through a harmonic turn (two-voice interval sequence) into the tonic in such a way as to create a clear auditory tuning to the desired key. The resolution of chords is built in the form of a harmonic revolution, tuning the ear to the desired key. It is desirable that each interval and chord resolution belong to a certain type of harmonic turns - authentic, plagal full, and tonic and appear once - at the end of the sequence. For the development of purity of intonation and harmonic hearing, exercises to resolve dissonant intervals, exclusively on a modal basis, play an important role. After some tonal adjustment, students sing the given dissonant interval with resolution in major and minor. Students also sing intervallic chains in which diatonic intervals, tritones, and characteristic intervals are found. First, it is useful for the whole class to sing the top voice of the chain in the desired rhythm and time signature, then the bottom voice. After this, students sing this intervalic chain in two voices vertically: some sing the base of the interval, and the other the tops. This form of work teaches students to listen to each other and prepares them for polyphonic singing. It is useful to denote in interval chains harmonic functions. Along with intervallic chains, one-tone harmonic sequences, as well as sequences including alteration, deviation and modulation, should be introduced into intonation exercises. First, chord progressions are given, consisting of the main triads of the mode (T53 S53 D53, and then D7 is introduced with inversions and resolutions). After this, you can start singing small plagal and authentic cadence turns, which may include D7, МVII7, УМVII7, II7. These chord chains should be sung vertically with conductor and an ensemble of three or four students.
Playing the piano
For the development of harmonic hearing, it is very important to play intervallic and chord harmonic sequences on the piano, as this makes it possible to listen to the complex sound of a chord and chord chains. The main point of these exercises is to develop the imagination and fantasy of students. For those who cannot immediately perform the exercises, it is useful to first read it vertically, chord by chord or interval by interval, then sing the upper or lower voice, and only then play the sequence on the piano, achieving the required character. It is also useful to sing one of the voices while playing the other voices on the piano. You should first play chord chains with one hand, in a close position, then play the bass with your left hand, and the rest of the sounds with your right. These small cadences must be played in any major and minor key with both hands. This method greatly develops students’ hearing and musicality, making theoretical assignments closer to live, meaningful music. It is advisable to play intervallic chains with harmonic accompaniment.
In the development of harmonic hearing important role is given to singing two- and three-voice numbers in duets and trios. Simpler numbers with familiar subvocal intonations can be sung from sight in a choir or in groups. A student singing the part of one of the voices of a musical work, in addition to fulfilling all the conditions for single-voice singing, must comply with the rules of polyphony. The main ones are structure (precise pitch, pure intonation of harmonic consonances and chords arising from the combination of melodic lines of choral parts) and ensemble (unity of tempo, rhythm, dynamics). As homework It is useful to have one voice at the piano and another voice to sing and conduct. It is useful to sing examples not only by solfege, but also without naming notes - for syllables, for vowels. And only then start singing polyphony with the text. The foundation on which polyphonic singing is built is unison. When students sing in unison, they should achieve unity of voices and a single performing manner expressive singing. At the beginning of learning two-voice singing, some students switch to singing the part of another ensemble member. Singing both parts in advance allows you to notice the peculiarities of the melodic pattern of each voice and thereby helps ensure that each member of the ensemble consciously sings his part, without straying into the other. In parallel with the development of the skill of polyphonic singing, in the sections on intonation exercises and auditory analysis, harmonic intervals between voices, chords, and cadences are actively reinforced. As musical material we use collections of two-voice singing by Kalmykov and Fridkin, Ladukhin, Dragomirov. Polyphonic singing greatly develops harmonic hearing, strengthens internal auditory ideas, and is a solid basis for mastering the laws of harmonic language.
Auditory analysis
In the Children's Music School program, auditory analysis is carried out in two plans: holistic analysis work, its forms, tonality, genre features, tempo, basic expressive means, characteristic of of this work; and analysis of the elements of musical language, that is, intervals, chords, modes, and so on. Harmonic auditory analysis is best done in the class by all children. The choice of material for such analysis depends on the level of the group and on the initiative of the teacher. Useful to select various examples, where possible, incorporating topics and elements covered in class. You can use fragments in the form of periods from sonatas and symphonies by W. Mozart, L. Beethoven, F. Schubert, M. Glinka, P. Tchaikovsky. In addition, for auditory analysis it is important to include fragments from works in the specialty. This analysis allows you to feel the connection between the specialty and theoretical disciplines. Identifying this connection helps to increase children's interest in solfeggio and musical literature and significantly affects the quality of musical education in general. In addition to the oral analysis of the harmonic means found in the example, other forms of work can be recommended: 1) recording the digitization of the example;
2) intonation and playing this number on the piano;
3) finding a similar harmonic phrase in works in the specialty;
4) creatively gifted students can be asked to compose a short musical theme using this chord progression. In high school, you need to do harmonic analysis without the help of a piano: students look at the musical text and write down the harmonic sequence digitally. In the sixth grade of the Children's Art School, among the chords they use D7 with inversions and resolutions, introductory seventh chords, in the seventh grade in chord chains there is modulation into parallel and dominant tonality, deviations, modulation in the tonality of the first degree of kinship. In high school, students must find a modulating chord and mark the transition to a new key. If you constantly teach students to pay attention to the details that make up a musical image, then this, first of all, will contribute to the development of the skill of quickly navigating musical material. In addition, using samples of musical literature, we promote students’ assimilation of individual intonations, showing them in certain modal relationships and noting their meanings for artistic expression this example. In this form, classes are more lively, and students are more active and interested. Analysis should be done in every lesson, varying it depending on the task. So, in one lesson the example given by the teacher is analyzed; in the next lesson a dictation on this topic is given. Next, homework is assigned - analyze musical example in accordance with the material being studied. In addition to analyzing the elements of musical language, it is necessary to engage in a holistic auditory analysis of a musical fragment. To do this, you need to take easy piano pieces, romances, and choirs. For example, " Children's album"P. Tchaikovsky, "Children's Scenes" by R. Schumann, songs and romances by A. Varlamov, A. Alyabiev, A. Gurilev, songs by L. Beethoven. With a holistic auditory analysis, one must go from the general to the specific. The teacher outlines an approximate circle for the students questions they must answer, for example:
2)What is the form of the play? Rhythmic features.
3) Features of the melodic pattern, number of phrases, location of the climax.
4) The nature of the texture.
5) Tonally - the harmonic plan of the play. Types of cadences.
For such an analysis, it is necessary to select works that are bright in content and clear in form. For example: Prelude in A major by F. Chopin, “Morning Prayer” by P. Tchaikovsky. In auditory analysis, students also guess the intervals of chords out of scale orally or in writing.
During lessons you should use a painted keyboard various exercises on musical literacy (intervals, chords, chromatic scale), as well as for the development of inner hearing, sense of harmony, dictation and solfegge skills. Interval and chord charts and rhythm cards are also used. Visual aids in a solfeggio lesson help students to better master various elements musical language: scale degrees, intervals, chords, mode functions, types of movement of voices in two-voices, and so on. These are various tables and cards.
Creative tasks
Creative tasks can be different:
1) Essay:
Melodies of different genres in 2-part and 3-part form;
Melodies using intonations of passed intervals and chords;
Composing a piano miniature of a programmatic nature (with a title or epigraph) or a piece for folk instrument with piano accompaniment.
2) Selection of accompaniment to the melody in various textures.
3) Performing digital accompaniment.
4) Singing songs and romances with accompaniment.
The development of creative initiative plays a huge role in the learning process and contributes to emotional attitude to music, reveals the individual capabilities of students, arouses interest in the subject of solfeggio. All this is a necessary prerequisite for successful studies not only in solfeggio, but also in the specialty. Creative exercises develop taste and observation, activate auditory attention, and train harmonic hearing. Target creative exercises- in acquiring and consolidating the basic skills of sight reading, recording dictation, analyzing harmonic intervals and chords by ear.
Innovation of a teacher in modern conditions of teaching the subject
Modern model innovative school focused on the task of implementation individual program personality development, on the formation of the student’s cognitive motivation and his creative initiative. The search for new techniques and methods of teaching helps solve this problem. As a result, an innovative teacher should strive to reveal creative potential students - pupils of children's music schools, children's art schools and art colleges, for whom the disciplines of the musical theoretical cycle will become the “territory” for the development of talents and creative abilities. The content of Solfeggio lessons involves relying on the use of traditional forms of work, such as dictation, auditory analysis (elements of musical language and holistic), vocal intonation. In the event that these tasks are set out in in an entertaining way, they activate the emotional response and play initiative of students. This is also facilitated by the use various forms creative tasks: free composition and according to given conditions, additional composition, improvisation, which must be used at all stages of the lesson: both when mastering theoretical concepts, and when developing students’ hearing, and when developing musical intonation skills. It is also proposed for use such standard form works like sight reading (with its own accompaniment) of melodies with classical laws harmonic accompaniment or pop-jazz songs and melodies using alphanumeric designations. It is possible to connect a heuristic component due to the implementation of genre vocal or instrumental improvisation on a given sample (from the list for sight reading): in the genre of march, polka, waltz, tarantella, tango, ragtime or in another genre - at the student’s choice, with accompaniment in the texture in in accordance with the chosen genre. Improvisation or spontaneous, momentary composition is one of the most interesting and most complex shapes creative music-making, which implies freedom creative self-expression and mobilization of the student’s creative abilities. Improvisation fills study time with the spirit of creativity and, thereby, overcomes the boundaries of everyday life, turning the “strict” discipline of Solfeggio into an exciting activity.
Conclusion
Harmonic hearing is one of the components of musical hearing and any form of their manifestation is directly related to the functioning of internal hearing. Harmonic hearing is, first of all, the ability to mentally imagine in the hearing centers the sound of a polyphonic composition of a harmonic or polyphonic nature. Harmonic hearing can be developed in any child. However, even with the most careful work of the teacher, the result will still be different for different students. Internal harmonic hearing develops slowly. The possibility of his education is limited only by the ability to mentally imagine from a musical text or from memory the sound of any previously heard polyphonic work. This is a long and labor-intensive process that requires a lot of patience, endurance, internal composure and perseverance of the teacher and student. The main condition successful development harmonic auditory perception is the systematicity and consistency of work, gradual complication from simple to complex. It is necessary to create such working conditions in the classroom under which students would feel comfortable, freely operating with familiar harmonic means. And, most importantly, there is a constant harmonic basis that accompanies the main forms of work in the solfeggio lesson. Undoubtedly, the most important principle conducting solfeggio lessons for students is their fascination, which is based on the connection between music and life. It is this principle that turns out to be a kind of antipode to the formalistic presentation of program material. Classes then take place in an atmosphere of emotional warmth, mutual trust between the teacher and students, who feel involved in creativity in the process of “immersion” in the field of music. Students must live during the lesson, live in musical images, experience and emotionally respond to all the vicissitudes of the lesson. Overcoming “theorizing” in the classroom should become a rule for the teacher. The development of harmonic hearing contributes to the development of creative skills, which is important. After graduation theoretical concepts are forgotten, but the skills of singing, selection by ear and improvisation (composition) remain for life. Teaching is inextricably linked with education, and the effectiveness of student learning is determined not by what the teacher tried to give to the students, but by what they learned during the educational process.
Download:
Preview:
Development of harmonic hearing in solfeggio lessons in the senior classes of the Children's Art School
The main goal of education at a children's music school is to educate a harmoniously developed personality through music. The set of abilities that a developed personality must possess must include both general and special musical abilities. As a result of training and upbringing, the general properties of a person are differentiated, qualities arise and develop that ensure the success of performing one special type of activity. Training of special abilities influences the development of general properties and qualities of the individual. Special abilities for different types of activities often deeply interact with each other and, in the process of formation, strengthen and enrich each other. Special abilities include: ear for music, memory and imagination. The development of hearing in children begins, as a rule, with the ability to distinguish simple sounds, but later musical hearing acquires a complex and differentiated form. The subject of solfeggio is a practical discipline and is aimed at developing musical abilities. It develops in students a certain system of knowledge and skills necessary for their subsequent musical activity. An integrated approach to learning at the modern level involves working on the development of all components of musicality: ear for music, sense of rhythm, musical memory, imagination, emotional responsiveness to music and aesthetic taste. The problem is that children come to first grade with varying degrees of musicality, i.e. with different musical ears. Some children have a good ear for melody and have a voice, others somehow sing in 2 or 3 sounds. Thus, solfeggio teachers face the difficult task of developing the musical ear of any child who comes to a children's music school. The successful development of musical hearing depends on many factors, among which an important point is the earliest possible immersion of the child into the world of sound images and ideas. Analyzing the main forms of musical hearing - melodic and harmonic - the famous scientist B. M. Teplov came to the conclusion that they are based on two abilities: the modal sense, which is the emotional component of musical hearing, and the ability of musical auditory representation, which is the auditory component of musical hearing Thus, “musical ear cannot be considered as a single ability. It is a combination of at least two basic abilities.” He further states that “the ability for auditory representation... together with the modal sense lies at the basis of harmonic hearing.”
Musical hearing includes several types:
pitch;
melodic;
polyphonic;
harmonic;
timbro-dynamic;
interior.
All of them are amenable to development and education in the process of teaching children at a music school. Of course, the effectiveness of training can only manifest itself with comprehensive development. However, each type of musical hearing can be discussed separately. This work will examine one aspect that is extremely important in the education of a young musician - the development of harmonic hearing in solfeggio lessons.
Development of harmonic hearing in the process of solfeggio lessons
The purpose of this methodological development involves creating the necessary conditions for further intensification of the educational process in the education of harmonic hearing in high school students of the Children's Art School and the formation of stable intonation skills.
Methods and forms of work on the development of harmonic hearing
The modern musical language that surrounds us is very complex. It is necessary to prepare children to perceive it from the elementary grades. Studying various harmonic consonances makes it possible for students to develop a versatile harmonic ear by the end of their studies at a children's music school. Students often want to find an accompaniment to their favorite song, and the solfeggio teacher should help them master the chords needed when choosing an accompaniment. A well-developed harmonic ear helps students play works in their specialty more meaningfully and emotionally, and better hear the harmonic colors of chords when listening to works on musical literature. And in choral singing and in the orchestra, an ear for music also develops, including harmonic. Harmony sharpens intonation, educates and develops children's musical ear, and gives them a lot of vivid impressions. In the solfeggio course, work on the development of harmonic hearing is an important part of the entire learning process in a children's music school. This methodological development will discuss the forms and methods of working on the development of harmonic hearing, as well as exercises that help in the development of this type of hearing. Depending on the stage of training - explanation of a new topic; consolidation of the topic; final check, you need to use two groups of methods:
1) Theoretical forms of work: messages, conversation.
2) Practical forms of work: compositions, selection of accompaniment, improvisation with a given condition.
Along with the presentation of theoretical material, you should use:
1) Recordings of choral and instrumental works in order to identify the importance of one of the leading means of musical expressiveness - harmony.
2) Visual aids, tables.
During the solfeggio lesson the following forms of work are used:
Intonation exercises, solfege;
Auditory analysis;
Theoretical information;
Dictation;
Creative exercises.
Therefore, at the second stage (fixing the material) there are different forms of work. Among them:
1) singing in intonation exercises of degrees, intervals, chords in key and from sound. At the same time, demand from students clarity and adherence to a uniform tempo in performance;
2) harmonic analysis of a small fragment of the work;
4) sight reading in transport by keys and intervals, solfing of learned melodies with previous theoretical analysis;
5) composing melodies in the form of a period according to a specific task, selecting accompaniment, improvisation;
At the end of each quarter, a final test lesson is held, in which practical and theoretical forms of work are used. The test lesson includes:
1) written work on musical literacy (constructing scales, intervals, chords, performing creative tasks);
2) written work in solfeggio: single-voice or two-voice dictation, simple in texture, recording of interval and chord sequences in the form of numbers in rhythm;
3) oral survey: solfing of one-voice and two-voice numbers, sight reading, in which it is necessary to analyze the structure of the number, tonal plan, harmonic basis;
4) creative tasks: before composing melodies according to the proposed beginnings, composing a second voice, harmonizing melodies, performing students’ own compositions.
Intonation exercises
Intonation exercises include not only singing scales in different ways and melodic sequences, but also various forms of working with intervals, chords, intervallic and chord sequences. The resolution of the steps is carried out in the form of a melodic turn, designed rhythmically and metrically, tuning the ear to a given key without harmonization. Children are convinced that steps I, IV, V are the main ones, thanks to their ability to tune their hearing to the desired tonality. The resolution of intervals follows the same principle: a given interval is resolved through a harmonic turn (a two-voice intervallic sequence) into the tonic in such a way that a clear auditory tuning is created in the desired key. The resolution of chords is built in the form of a harmonic revolution, tuning the ear to the desired key. It is desirable that each interval and chord resolution belong to a certain type of harmonic turns - authentic, plagal full, and tonic and appear once - at the end of the sequence. For the development of purity of intonation and harmonic hearing, exercises to resolve dissonant intervals, exclusively on a modal basis, play an important role. After some tonal adjustment, students sing the given dissonant interval with resolution in major and minor. Students also sing intervallic chains in which diatonic intervals, tritones, and characteristic intervals are found. First, it is useful for the whole class to sing the top voice of the chain in the desired rhythm and time signature, then the bottom voice. After this, students sing this intervalic chain in two voices vertically: some sing the base of the interval, and the other the tops. This form of work teaches students to listen to each other and prepares them for polyphonic singing. It is useful to denote harmonic functions in interval chains. Along with intervallic chains, one-tone harmonic sequences, as well as sequences including alteration, deviation and modulation, should be introduced into intonation exercises. First, chord progressions are given, consisting of the main triads of the mode (T53 S53 D53, and then D7 is introduced with inversions and resolutions). After this, you can start singing small plagal and authentic cadence turns, which may include D7, МVII7, УМVII7, II7. These chord chains should be sung vertically with conductor and an ensemble of three or four students.
Playing the piano
For the development of harmonic hearing, it is very important to play intervallic and chord harmonic sequences on the piano, as this makes it possible to listen to the complex sound of a chord and chord chains. The main point of these exercises is to develop the imagination and fantasy of students. For those who cannot immediately perform the exercises, it is useful to first read it vertically, chord by chord or interval by interval, then sing the upper or lower voice, and only then play the sequence on the piano, achieving the required character. It is also useful to sing one of the voices while playing the other voices on the piano. You should first play chord chains with one hand, in a close position, then play the bass with your left hand, and the rest of the sounds with your right. These small cadences must be played in any major and minor key with both hands. This method greatly develops students’ hearing and musicality, making theoretical assignments closer to live, meaningful music. It is advisable to play intervallic chains with harmonic accompaniment.
In the development of harmonic hearing, an important role is played by singing two- and three-voice numbers in duets and trios. Simpler numbers with familiar subvocal intonations can be sung from sight in a choir or in groups. A student singing the part of one of the voices of a musical work, in addition to fulfilling all the conditions for single-voice singing, must comply with the rules of polyphony. The main ones are structure (precise pitch, pure intonation of harmonic consonances and chords arising from the combination of melodic lines of choral parts) and ensemble (unity of tempo, rhythm, dynamics). As homework, it is useful to have one voice playing the piano and the other voice singing and conducting. It is useful to sing examples not only by solfege, but also without naming notes - for syllables, for vowels. And only then start singing polyphony with the text. The foundation on which polyphonic singing is built is unison. When students sing in unison, they should achieve unity of voices and a unified performing manner of expressive singing. At the beginning of learning two-voice singing, some students switch to singing the part of another ensemble member. Singing both parts in advance allows you to notice the peculiarities of the melodic pattern of each voice and thereby helps ensure that each member of the ensemble consciously sings his part, without straying into the other. In parallel with the development of the skill of polyphonic singing, in the sections on intonation exercises and auditory analysis, harmonic intervals between voices, chords, and cadences are actively reinforced. As musical material we use collections of two-voice singing by Kalmykov and Fridkin, Ladukhin, Dragomirov. Polyphonic singing greatly develops harmonic hearing, strengthens internal auditory ideas, and is a solid basis for mastering the laws of harmonic language.
Auditory analysis
In the Children's Music School program, auditory analysis is carried out in two plans: a holistic analysis of the work, its form, tonality, genre features, tempo, and the main means of expression characteristic of this work; and analysis of the elements of musical language, that is, intervals, chords, modes, and so on. Harmonic auditory analysis is best done in the class by all children. The choice of material for such analysis depends on the level of the group and on the initiative of the teacher. It is helpful to select a variety of examples, where possible incorporating topics and elements covered in class. You can use fragments in the form of periods from sonatas and symphonies by W. Mozart, L. Beethoven, F. Schubert, M. Glinka, P. Tchaikovsky. In addition, for auditory analysis it is important to include fragments from works in the specialty. This analysis allows you to feel the connection between the specialty and theoretical disciplines. Identifying this connection helps to increase children's interest in solfeggio and musical literature and significantly affects the quality of musical education in general. In addition to the oral analysis of the harmonic means found in the example, other forms of work can be recommended: 1) recording the digitization of the example;
2) intonation and playing this number on the piano;
3) finding a similar harmonic phrase in works in the specialty;
4) creatively gifted students can be asked to compose a short musical theme using this chord progression. In high school, you need to do harmonic analysis without the help of a piano: students look at the musical text and write down the harmonic sequence digitally. In the sixth grade of the Children's Art School, among the chords they use D7 with inversions and resolutions, introductory seventh chords, in the seventh grade in chord chains there is modulation into parallel and dominant tonality, deviations, modulation in the tonality of the first degree of kinship. In high school, students must find a modulating chord and mark the transition to a new key. If you constantly teach students to pay attention to the details that make up a musical image, then this, first of all, will contribute to the development of the skill of quickly navigating musical material. In addition, using samples of musical literature, we promote students’ assimilation of individual intonations, showing them in certain modal relationships and noting their significance for the artistic expressiveness of a given example. In this form, classes are more lively, and students are more active and interested. Analysis should be done in every lesson, varying it depending on the task. So, in one lesson the example given by the teacher is analyzed; in the next lesson a dictation on this topic is given. Next, homework is assigned - to analyze a musical example in accordance with the material being studied. In addition to analyzing the elements of musical language, it is necessary to engage in a holistic auditory analysis of a musical fragment. To do this, you need to take easy piano pieces, romances, and choirs. For example, "Children's Album" by P. Tchaikovsky, "Children's Scenes" by R. Schumann, songs and romances by A. Varlamov, A. Alyabyev, A. Gurilev, songs by L. Beethoven. In a holistic auditory analysis, one must go from the general to the specific. The teacher outlines an approximate range of questions for the students to answer. For example:
1) What is the content of the play? To what culture and national era belongs to the composer? Tempo, size, dynamics?
2)What is the form of the play? Rhythmic features.
3) Features of the melodic pattern, number of phrases, location of the climax.
4) The nature of the texture.
5) Tonally - the harmonic plan of the play. Types of cadences.
For such an analysis, it is necessary to select works that are bright in content and clear in form. For example: Prelude in A major by F. Chopin, “Morning Prayer” by P. Tchaikovsky. In auditory analysis, students also guess the intervals of chords out of scale orally or in writing.
Visual aids
During lessons, you should use a drawn keyboard in various exercises on musical literacy (intervals, chords, chromatic scale), as well as to develop inner hearing, sense of harmony, dictation and solfegge skills. Interval and chord charts and rhythm cards are also used. Visual aids in a solfeggio lesson help students better master the various elements of the musical language: scale degrees, intervals, chords, mode functions, types of voice movement in two-voices, and so on. These are various tables and cards.
Creative tasks
Creative tasks can be different:
1) Essay:
Melodies of different genres in 2-part and 3-part form;
Melodies using intonations of passed intervals and chords;
Composing a programmatic piano miniature (with a title or epigraph) or a piece for a folk instrument with piano accompaniment.
2) Selection of accompaniment to the melody in various textures.
3) Performing digital accompaniment.
4) Singing songs and romances with accompaniment.
The development of creative initiative plays a huge role in the learning process, promotes an emotional attitude towards music, reveals the individual capabilities of students, and arouses interest in the subject of solfeggio. All this is a necessary prerequisite for successful studies not only in solfeggio, but also in the specialty. Creative exercises develop taste and observation, activate auditory attention, and train harmonic hearing. The purpose of creative exercises is to acquire and consolidate the basic skills of sight reading, dictation, analysis of harmonic intervals and chords by ear.
Innovation of a teacher in modern conditions of teaching the subject
The modern model of an innovative school is focused on the task of implementing an individual personal development program, on the formation of the student’s cognitive motivation and his creative initiative. The search for new techniques and methods of teaching helps solve this problem. As a result, an innovative teacher should strive to reveal the creative potential of students - pupils of children's music schools, children's art schools and art colleges, for whom the disciplines of the musical theoretical cycle will become the “territory” for the development of talents and creative abilities. The content of Solfeggio lessons involves relying on the use of traditional forms of work, such as dictation, auditory analysis (elements of musical language and holistic), vocal intonation. If these tasks are presented in an entertaining way, they activate the emotional response and playful initiative of students. This is also facilitated by the use of various forms of creative tasks: free composition and according to given conditions, additional composition, improvisation, which must be used at all stages of the lesson: both when mastering theoretical concepts, and when developing students’ hearing, and when developing musical intonation skills. It is also proposed to use such a standard form of work as sight reading (with its own accompaniment) of melodies with classical laws of harmonic accompaniment or pop-jazz songs and melodies using alphanumeric notations. It is possible to connect a heuristic component due to the implementation of genre vocal or instrumental improvisation on a given sample (from the list for sight reading): in the genre of march, polka, waltz, tarantella, tango, ragtime or in another genre - at the student’s choice, with accompaniment in the texture in in accordance with the chosen genre. Improvisation or spontaneous, momentary composition is one of the most interesting and most complex forms of creative music-making, suggesting freedom of creative expression and mobilization of the student’s creative abilities. Improvisation fills study time with the spirit of creativity and, thereby, overcomes the boundaries of everyday life, turning the “strict” discipline of Solfeggio into an exciting activity.
Conclusion
Harmonic hearing is one of the components of musical hearing and any form of their manifestation is directly related to the functioning of internal hearing. Harmonic hearing is, first of all, the ability to mentally imagine in the hearing centers the sound of a polyphonic composition of a harmonic or polyphonic nature. Harmonic hearing can be developed in any child. However, even with the most careful work of the teacher, the result will still be different for different students. Internal harmonic hearing develops slowly. The possibility of his education is limited only by the ability to mentally imagine from a musical text or from memory the sound of any previously heard polyphonic work. This is a long and labor-intensive process that requires a lot of patience, endurance, internal composure and perseverance of the teacher and student. The main condition for the successful development of harmonic auditory perception is systematic and consistent work, gradual complication from simple to complex. It is necessary to create such working conditions in the classroom under which students would feel comfortable, freely operating with familiar harmonic means. And, most importantly, there is a constant harmonic basis that accompanies the main forms of work in a solfeggio lesson. Undoubtedly, the most important principle of conducting solfeggio lessons for students is their fascination, which is based on the connection between music and life. It is this principle that turns out to be a kind of antipode to the formalistic presentation of program material. Classes then take place in an atmosphere of emotional warmth, mutual trust between the teacher and students, who feel involved in creativity in the process of “immersion” in the field of music. Students must live during the lesson, live in musical images, experience and emotionally respond to all the vicissitudes of the lesson. Overcoming “theorizing” in the classroom should become a rule for the teacher. The development of harmonic hearing contributes to the development of creative skills, which is important. After leaving school, theoretical concepts are forgotten, but the skills of singing, selecting by ear and improvising (composing) remain for life. Teaching is inextricably linked with education, and the effectiveness of student learning is determined not by what the teacher tried to give to the students, but by what they learned during the educational process.