Lesson plan for a music school in the specialty. What do children study at music school? Open lesson at the music school-studio "rhythm groups with sixteenth notes"

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We could choose an instrument only after listening.
Parents were not allowed to attend the audition itself. in the words of a child:
sang a song (mixing the snow with a spoon), asked to repeat the rhythm (tapping) and, turning away, say how many keys on the piano were pressed (1 or two)

At the music school they strongly encourage her to enroll. My husband and I are not happy. Thanks everyone for the advice and opinions. I listened exclusively to everyone. We are entering a music school. According to the so-called program "preparatory department".

Discussion

My story: -twenty years ago. When I finished music. school (with absolutely no intention of becoming a musician), I, like your daughter, was offered to enter a music school. Because I had to enroll only after 1 year, then a teacher from the school volunteered to study with me that year. At the end of May, we discussed everything, chose a program, d.z. for the summer.... Over the summer I almost never sat down at the instrument, etc. In the fall the issue resolved itself.
Maybe you should also take a little break from this topic. If your daughter feels the urge, then in the fall she can set her priorities, and if she doesn’t even remember music, maybe it’s not her calling.

Yes, your instrument is, of course, very common, in this context it would be better to have something rarer. The boss’s eldest daughter, for example, followed this path, she’s graduating from Gnesinka this year. But she has a harp. She studied in a very cool school secondary school, left her for the Gnessin School, I don’t remember in which class, then I entered the Gnessin Higher School. So, the former classmates who looked down on her and all graduated from all sorts of MGIMO and HSE, now notice, not without anger, that they are much less successful in life than she is. The girl is studying, but she already works seriously and earns very well. But they make do with the office plankton where dads are assigned. So all sorts of options are possible :)).

We are entering a music school. The daughter unexpectedly showed a desire to take up music. I’ll ask about music education. Music school - choir department. To enter specialized school like TsMSh you are very frivolous. clarinet...

Discussion

Boarding school is for non-residents. Muscovites all live at home. Yes, and nonresidents who came with their parents and rent apartments also live at home. Boarding is not a requirement, but simply a way out for those who have nowhere to live:))))

I mean the Central Music School. In Moscow there is a secondary school named after. The Gnesins are also a ten-year school, on the same principle as the Central Music School, only no boarding schools.

But in general, you need to go to a specific teacher, and not to a specific school. It may turn out that the real teacher for your child does not work at the Central Music School or at Gnesinka....

Think about this aspect too.

You are very frivolous about entering a specialized school like the Central Music School. At the age of 9, without intensive training in solfeggio and an instrument, it is unrealistic to enroll. At 4-5 years old, if a child has absolute pitch and is very smart, you can enroll; anything later requires very serious preparation. Go to teachers for consultations, if someone likes the child, you can prepare for exams. The exams at the Central Music School are very serious throughout June; prodigies from different countries and cities enter the exams; the Gnesinka exams are simpler in form, but the requirements are the same. All these efforts can be made only if the child does not see any other path in life other than music, and you understand that this is exactly the kind of education system he needs. Brass players have very high demands on sound quality. Last year, my son did not enroll precisely because the sound was not bright enough (transverse flute, 8 years old). We have been working on the sound all year, preparing, although the data is very good, we are not at all sure of success.
The transverse flute is the most common instrument; from the point of view of entry, it is better to choose something less popular. In general, it is better to look for a teacher who both you and your child will like.

Music school - choir department. Education, development. Child from 7 to 10. Music school. Section: Education, development (application to a music school when a child makes mistakes of parents at children's music schools: choosing a school, teacher, musical instrument...

Discussion

My son entered the Haydn choir department at 6.5 years old, but was not accepted due to his age. And in the year while I went to preparatory department, I decided to practice an instrument + choir once a week. She is now finishing 2nd grade.
The choir department is very strong, and as they say there is the strictest discipline, it is difficult to even miss classes sometimes. Then boys' voices begin to mutate around the age of 12.
That’s why I’m for the tool, especially since there’s a large selection. Very good brass teacher in the old building. The boys play the saxophone wonderfully.
I recommend going to the consultation with your child. In addition to the fact that he will see the class where they will take place entrance exams, teachers will analyze examples of tasks: clap the rhythm, repeat the note played with your voice.
Good luck to you!

Shk. them. Haydn - very good school. She is well-known and good standing in Moscow.

Mine is studying in music college close to school Haydn, 3 bus stops, also in Novokosino, and we attended this school. There's a strong string department there. I don’t know about the choir.

But actually, not far from you, on Vykhino, it seems, there is a children's art school named after. Balakireva. There is an amazing choir department there, a boy we know is studying there; they are terribly delighted with the school, and with the atmosphere, and with the choir itself. If it’s convenient for you to travel there, it’s better to try Balakirevka.

Raising a child from 7 to 10 years old: school, relationships with classmates, parents and I really want to hear opinions on whether to give it to me youngest daughter At the age of 4-5, if a child has perfect pitch and is very smart, you can enroll in a music school, all that...

Discussion

music school is a very big burden if you are sure that you don’t want to turn your daughter into a music star- not worth it
before you start music classes. school is almost a year old, maybe try to hire a private teacher first, let her study at home for now according to a simplified program, and my daughter will decide whether she likes it or not, if she likes it, then with next year go to full load in music. school

Piano competition?! At our school they take everyone there :-) this is the simplest instrument, IMHO, even those who just want to develop their missing hearing go there.
Auditions at music schools in late April - May. I don’t know what they did with the child at the audition, they were taken away and 2 hours later released to their parents :-) my daughter said that they were asked to sing a song and tap given rhythm, repeat the note played on the piano, then the combination of notes, examined the hands.
If you are not going to the Central Children's Music School, then you will enter without preparation, if only the child had the data.
In the questionnaire, I wrote our wishes for the instrument, but based on the results of listening, the teachers themselves will give you recommendations.
A child without specific desires will play any instrument if the teacher is good :-) So look at the teachers.

The teacher is important (I spent a long time choosing and persuading them to take it). We have a background, but there are no options; I graduated from this school myself. My daughter went at five, a little early (I realized this now), but communication with a good man twice a week - this carries not only a musical “load”. OUR friend hated the piano, now she enthusiastically “blows the pipe” (recorder, they start with it). Look at the school for yourself, the teachers, how interesting they are to you, they can be very creative personalities those who get carried away with their students and those who have classes later have to wait a long time for their lesson... this is also important. Unnecessary, forgetting to warn if they get sick, and the mother ran away from work, brought the child... and in vain. All aspects are important.
The piano is a universal instrument, but their theoretical disciplines are also more solid compared to the populists-instrumentalists-choir singers. First class in two places - mmm... Can you handle it? You'll have to drive and exercise.
Happily!

Explain to me why a child needs a music school? I don't understand. My husband can’t explain it. the child is only 6 years old, school, first Why does a child need a comprehensive school? Well, if you really want to study, find teachers for your child, let them come a couple of times...

Discussion

Well, there’s me, who studied for 5 years at home with teachers, and there’s my friend, who studied for 4 years at a music school... heaven and earth... I’m a phonographer, but years later I can only beat a siskin-fawn , although if I take the notes, I can figure it out, of course... and she plays a bunch of pieces from memory and easily selects the melody and chords...

so it’s still more effective in a music school, where there is solfeggio and choir... learning music without solfeggio is generally self-indulgence, in my opinion...
But at home you can only practice to develop hearing and motor skills...

Those who want to teach Chinese(MGIMO) first asked who graduated from music. school, and my brother was a leading dancer in an amateur ensemble of Russian people. dance, said that music education helped.

Public lesson teacher of Children's Art School named after. A.A. Pantykina Shvetsova M.N.

The date of the: 18.11.2012

Present: Deryabina T.V., Zakirova G.G.. Ivanova I. Anatol.

Lesson topic: Development of technical skills in initial period learning from the example of scales and other elements of technique.

Methodological support lesson:

G.M. Tsypin, Learning to play the piano, M., Education, 1984

S.E. Feinberg, Pianism as an art, M., Classics-XXI, 2003

Konrad Wolf, Lessons from Schnabel. M, Classics - XXI. 2006

I. Hoffman, Piano playing. Answers to questions about piano playing, M., Classics-XXI. 2002

S.V. Grokhotov. How to teach to play the piano. First steps, M.. Classic - XXI,

2005

The purpose of the lesson: Creating conditions for the successful development of scales and other elements of technique.

Tasks:

Provide psychological well-being students in class, promoting better perception of the material.

Use various exercises for mastering scales, chords and arpeggios.

Achieve high-quality execution of scales and other technical elements.

Encourage the student to reflect, self-control and introspection.

Lesson Plan

Methodical message

Working on the C major scale . chords and arpeggios.

Working on scales

Mastering legato exercises.

Mastering exercises for placing the first finger

Playing scales separately with each hand and with both hands in a divergent movement from one sound.

Working on chords

Mastering finger support exercises.

Playing chords separately with each hand in two octaves.

.

Mastering three-note legato exercises.

Mastering four-note legato exercises.

Playing arpeggios of three sounds separately with each hand for two octaves.

Playing arpeggios of four sounds separately with each hand for two octaves.

Working on long arpeggios.

Mastering the exercise of placing the first finger.

Mastering exercises for positional play.

Playing arpeggios separately with each hand for two octaves.

III The result of all the work: Play the C major scale two octaves separately with each hand, with both hands in a divergent movement from one sound, chords two octaves separately with each hand; short arpeggios of two octaves separately with each hand; long arpeggios of two octaves separately with each hand.

Our hands are not built parallel, but symmetrically, so even an advanced pianist finds it difficult to play the same thing with his right and left hands an octave or two apart - therefore, starting to play the scale in forward motion inappropriate. When we learn the scale, we need to play with each hand separately, starting with the right hand from the bottom up, and with the left hand from the top down. When playing with two hands, you must start in opposite movement earlier than directly. This will not be a great difficulty for the student, since he began to play the scale when the sounds of which it consists were learned earlier.

The scale should be played at a moderate tempo, since only then is legato control possible. Always prepared fingers, clear pronunciation and proper placement of the first finger. To perform the scale confidently, you should pay attention to the fact that the fourth finger always has its place. Each time, setting a scale, the teacher determines the position of the fourth finger in the right and left hands. Attentive attention to fingering fosters accuracy and precision in performance.

While working on the major scale, at the same time begin to master chords and arpeggios. These are necessary elements of technique that develop stability, good support in the fingers, positional play, the placement of fingers in the tonic triad and its inversions. The student begins to hear first two-voices (thirds of the tonic triad with 1-3 fingers, 3-5 fingers), then three-voices (chords of the tonic triad with 1-3-5 fingers). The upper voice is often hard to hear in chords. To do this, the weight of the hand must be directed towards 5 and., tilting the hand towards it. After mastering the chords of the tonic triad, include its inversions in the work. Then play short and long arpeggios.

When starting to work on scales and other elements of technique, the student is faced with the difficulty of placing the first finger. Often the student strains the first finger or unsuccessfully adapts to its placement. Hitting a key too late or pressing it too hard will result in uneven playing of scales. Also difficult is playing legato, in scales and arpeggios, aligning chord voices, playing with support, maintaining a melodic line.

Therefore, it is necessary to develop exercises to help the student. ,

The exercise must correspond to the task at hand. It is needed to overcome the difficulty encountered.

The exercise should be easier and simpler than the difficulty being overcome.

It is advisable to keep the exercise as short as possible.

A properly organized exercise achieves results in a short time.

In the exercise, you should ease the difficulty being overcome. The goal should be

easily achievable. You need to develop exercises that work flawlessly.

Lesson content

II Work on scales, chords and arpeggios with first grade student Katya Shchukina.

1. Working on scales

From work the thief lay down A tov exercise eni I:

a) Play and sing with words in sequences of two sounds, three sounds and

five-finger, right hand, then with your left hand.

b) Make five-finger exercises more difficult.

From work p odk first finger fret:

a) On the instrument cover: put your hand and “bring in” the free first

finger to the second, third, fourth and fifth fingers of the right and left hand.

b) On the keyboard: Lean on the fifth finger, and use the rounded first finger to freely “walk” across the keys. With a flexible brush, very light eighth notes that sound in the background long sound, (see Attachment)

c) Exercise “Droplets”: Rely on the third finger on the note C sharp, then F sharp, and with the first finger it is easy to play each eighth note in a staccato manner, alternating sounds lower and higher. (see Attachment)

d) Exercise on lining up black keys: First play a group of two, then three black keys. Repeat each link several times in different octaves with the right and left hands. Place your first finger under your palm in time, helping your hand move in the right direction. Listen to the evenness of the melodic line, (see Appendix)

e) Exercise for placing on white keys: from each degree of the scale, play five notes in order with your right hand up, and with your left hand down, placing the first finger after the third. Monitor the clarity of pronunciation and evenness of the melodic line (see Appendix)

Play the C major scale with the right hand one octave, then two octaves. Same with your left hand. In a divergent movement from one sound “do” to one, then two octaves. Control the evenness of the sound when placing the first finger, the development of the melodic line, and the connection of sounds in legato.

Working on chords

Work out the opo ru pal people in exercises.

a) Play thirds of the tonic triad with the first - third fingers, third - fifth fingers in different octaves with the right, then with the left hand.

b) Play fifths with the first - fifth fingers in different octaves with the right hand, then with the left hand.

P ready strike a chord, listen at voices in exercises

a) For the student to play the thirds of the tonic triad with the first and third fingers, and with the third and fifth fingers.

b) Play fifths with the first to fifth fingers in different octaves separately with each hand. Listen and sing voices.

c) Play a chord. The teacher is the lower and middle voice, the student is the upper and vice versa.

d) Play the tonic triad with the first, third, and fifth fingers alternately, holding each sound. Listen to the sound of voices. Play chords in different octaves. Next, master the inversions of the tonic triad, memorizing the fingering.

Play chords: tonic triad with inversions separately by each hand for two octaves. Control the sound of all voices of a chord.

Working on short arpeggios

Otrab O learn legato in the exercises:

a) Play arpeggios of three sounds. The hand “breathes” after each link

b) Play an arpeggio of three sounds with a unifying movement of the hand from the first finger to the fifth finger. Lead the melodic line up, then down. (See Attachment)

c) Play an arpeggio of four sounds, removing your hand after each link.

d) Play arpeggios with light accents of three sounds to remove the stress from the first finger. (See Attachment)

Play short arpeggios of four sounds separately with each hand for two octaves. Control the evenness of the sound, legato connection.

I. Technology is general concept, including scales, arpeggios, chords, double notes, octaves, all kinds of touches, legato, staccato, as well as dynamic shades. All this is necessary to form a complete technique.

All equipment classical period, and even the romantics are saturated with scale-like sequences or its individual types, as well as arpeggios. You need to be prepared for this in advance. Students who have not completed scale school will be noticeably behind in technical development. Without conscious and targeted development technique it is impossible to achieve any results in the art of playing the piano. Therefore, the formation of technical skills in student pianists needs to be done already at initial stage training.

One of most important tasks- this is the development in the student of spatial accuracy of the finger apparatus, that is, the ability to accurately, cleanly and accurately hit the desired keys with his fingers. We often observe cases of sloppy, as they say, “dirty play.” Therefore, the teacher must, first of all, not allow any inaccuracies in the student’s game.

Work on technology should be carried out systematically. Already in the initial period of training, the student becomes familiar with various types exercises that gradually develop his diversified technical skills.

First, this is a series of non legato exercises. Here a good feel for the keyboard is developed, correct movements and finger stability are learned, and most importantly, the student gradually gets used to controlling the sound of each key pressed by ear.

Gradually, the tasks become more complicated and non legato exercises are replaced by legato exercises. the main task at this stage - the ability to smoothly connect sounds, achieve audible legato.

You should start by connecting two sounds 2-3 p.. 3-4 p.. 1-2 p., 4-5 p. then three sounds 2-3-4 p., 1-2-3 p., 3- 4-5 p.

My students play and sing with words like this.

The final legato exercise is five-finger sequences. They are the basis for starting to learn scales. Having mastered five-finger exercises, the student will learn to accurately place his fingers on the keys, connect sounds legato, and lead a melodic line.

Scales - next stage working on the exercises. Here the skills of playing legato are consolidated and developed, the smoothness and evenness of the melodic line is developed, finger fluency develops, the student gradually begins to become familiar with the basic patterns of fingering, technical formulas, etc.

Scales should be started to be played only when the student already knows them perfectly, so that he can sing with his voice. Without thinking, he can build any scale on the keyboard from each note with one finger. Only when he knows the scales can he begin to play them.

Usually they start with the C major scale, then play the G major scale and continue like this. adding one sign at a time. From a pianistic point of view, it is much easier for a student to play a scale with black keys, as this promotes a comfortable position on the keyboard (“long” fingers on black keys). In this case, the hand lies naturally.

But often people start learning scales in the order of the circle of fifths. The C major scale is easier to learn than a scale with many sharps. It is better to start playing the scale with the first and second or first and third fingers, keeping the hand close to the black keys so that the student does not have to fidget with his hand. When he can play any of the major scales quite freely at a moderate tempo with two fingers, you can begin to gradually apply the usual more complex fingering. Having mastered the major scale, separately with each hand, start playing with both hands.

Working on long arpeggios

Work out podk ladyvani e first finger.

a) Play legato alternately the sounds of the tonic triad in the first and second octaves with the first and third fingers (C-G-C), placing the first finger under the palm separately with each hand.

b) Play on legato alternately the sounds of the tonic quartersex chord in the first and second octaves with the first to fourth fingers, placing the first finger under the palm separately with each hand

Otrabo perform positional play in the exercise n iyah:

a) Play holding the sound “do” with the first finger. Accurately hit the next “do” sound with your first finger. Quickly move your hand closer to the keyboard.

b) Move your hands from position to position, bringing the first finger under the palm, first to the third, then to the fourth fingers.

c) Show the technique of “sliding” from position to position without observing legato at the moment of transition from the third or fourth fingers to the first (positional play).

Play long arpeggios separately with each hand for two octaves. Control the evenness of the sound when placing the first finger, the development of the melodic line, and the connection of sounds in legato.

The result of all the work : Play the C major scale two octaves separately with each hand, two hands in a divergent motion from one sound, chords two octaves separately with each hand; short arpeggios of two octaves separately with each hand; long arpeggios of two octaves separately with each hand.

Feedback about the open lesson
teacher of Children's Art School Shvetsova M.N.

Lesson date: 11/18/2009

The lesson was conducted with a first-grade student Katya Shchukina.

The lesson, taught by teacher M.N. Shvetsova, was quite well organized and planned. The teacher strictly followed the planned lesson plan; clearly formulated the purpose of the lesson, tasks; has a good command of the lesson material, which is confirmed by the methodological message.

To cover the topic of the lesson, the teacher selected the necessary material. The teacher clearly explained the need for each task. A variety of exercises have been selected to prepare for performing scales.

M.N. Shvetsova stimulates the student in the lesson, moderately encourages and encourages, uses the method of personal demonstration, helps, suggests how to cope with the difficulties that have arisen.

Development of technical skills, during primary education, develops in the student perseverance, hard work, determination, and desire to achieve goals.

Ivanova I. A.

FEEDBACK ABOUT THE LESSON

The topic of the lesson, “Development of technical skills in the initial period of training using the example of scales and other elements of technique,” ​​is covered quite fully. The goals and objectives of the lesson are achieved through changing types of activities and changing tasks.

In his work with the student, the teacher uses a lot of preparatory game exercises and approaches assignments creatively. During the lesson, an extensive methodological message was heard, and step-by-step work was shown with a preparatory class student on the C major scale, chords, long and short arpeggios. Used a lot visual materials. The teacher's tone is friendly and calm, which promotes the student's active participation in the learning process.

Educational, developing and educational purposes The teacher completed the tasks assigned in this lesson.

Teacher

This master class was held as part of the Week open doors Kezhemsky district center children's creativity Kodinsk, Krasnoyarsk Territory.

In the Kezhemsky Central Children's Theater there is a children's music school-studio, one of the academic subjects in which is “solfege” (photo 1).

MASTER CLASS INFORMATION CARD

LESSON INFORMATION CARD

PROGRESS OF THE MASTER CLASS

I. Organizational moment

The teacher welcomes the participants, informs them about the procedure for working in the master class mode, checks their readiness for the lesson and the availability of the necessary materials.

II. Introduction to the topic of the lesson, methodological message with demonstration

– Italian word "solfeggio" comes from the word " solfo", which means notes, musical signs, scale. This is the name of the lessons in which they are engaged in the development of hearing: they sing melodies from the notes, write musical dictations, determine various intervals and chords by ear. During solfeggio lessons, children are instilled with a love of folk music, the work of Russian and foreign composers, and their musical abilities are developed: hearing, rhythm, memory.

You can develop a sense of rhythm in every type of work, but for more successful effective result It is sometimes necessary to isolate and separately work out, comprehend the metro-rhythmic relationships in the works being studied, and also apply special rhythmic exercises.

In elementary grades, this is tapping the rhythmic pattern of a familiar song, melody, repeating the rhythmic pattern performed by the teacher or written on the board, or on rhythmic cards.

Let's see what this looks like in practice.

The teacher sings the first phrase of Russian folk song“There was a birch tree in the field” (Figure 1), the second phrase is clapped by the students, the third by the teacher again, and the fourth by the students. For this exercise, it is very convenient to use songs that have the structure of a “pair of periodicities”: “And I’m in the meadow” (Figure 2), “Will I go, will I go out,” “Walk, cabbage,” etc.

Rice. 1. Russian folk song “There was a birch tree in the field”

Rice. 2. Russian folk song “And I’m in the meadow”

– In middle and high school, you can develop and consolidate a sense of rhythm with the help of other exercises: these are two-voice rhythmic scores, rhythmic canons, rhythmic dictations.

Conducting, and sometimes other forms of metrorhythmic pulsation (tapping beats with one’s hands, or with a pencil on the table, or beating with one’s foot), play a major role in developing a sense of metrorhythm.

Question to students:

– Guys, tell me METER and RHYTHM are the same concepts or different?

Answers:

- Different. Meter is the pulse of music; it can be two-beat or three-beat. The meter does not change throughout the entire piece.

– Rhythm is a series of durations; each piece of music has its own rhythm. The rhythm that Beethoven used in the Fifth Symphony for the Fate Motif cannot be confused with another.

– In music there is a basic and special division of durations. The main thing is division by two: a whole duration is divided into two halves, a half into two quarters, a quarter into two eighths, etc. This division principle is well represented in this “pyramid” (Figure 3):

Rice. 3

– You can also imagine this division in the form of an apple (or cake), which is cut in equal parts 2 – half notes, 4 – quarter notes, 8 – eighth notes (Figure 4).

Rice. 4

– At the initial stage of training, i.e. in the lower grades, acquaintance with durations begins with quarter notes and eighth notes. These durations correspond to concepts such as walking and running. Then half and whole ones are studied, and even later smaller ones, sixteenths in various combinations. As a rule, thirty-second and sixty-four in school practice do not apply.

– The temporal relationships between certain durations can be demonstrated by singing the C major scale:

Students sing the C major scale in different rhythms. When singing with half notes, the melody follows broadly, melodiously (Figure 5), quarter notes give the melody aspiration (Figure 6), eighth notes give playfulness (Figure 7), and sixteenth notes give motority (Figure 8).

Rice. 8

- In accordance with software requirements In 4th grade, children are already familiar with sixteenth notes in various combinations. This is a group of four sixteenth notes rhythm groups an eighth and two sixteenths, two sixteenths and an eighth. At the beginning of the year, the children were introduced to another rhythm: dotted eighth and sixteenth. Students master all these groups of durations by singing exercises and beating out a rhythm while counting out loud.

Students tune in and sing this example using sheet A (Appendix 1). The teacher draws attention to the fact that a group of 4 sixteenths occupies one metric beat (Figure 9):

They also clap this sample while counting out loud, working on sheet B (Appendix 2), (Figure 10):

Similarly, children demonstrate practical mastery of other rhythmic groups with sixteenth notes - eighth and two sixteenth notes (Figures 11, 12):

Rice. 12

Two sixteenth notes and an eighth note (Figures 13, 14)

Rice. 14

– Children really like examples where vocal and rhythmic lines are combined; they require more careful elaboration, but then give more satisfaction from the work done (Figure 15):

Rice. 15

– The eighth with a dot and the sixteenth are the most complex rhythmic patterns we have mastered, its mastery requires the introduction of an additional syllable in the count: raz-i, "on the" two – and (Figures 16, 17):

Rice. 16

Rice. 17

III. Preparation for practical work

For practical work, students are offered the “Finger Exercise,” the essence of which is as follows: the teacher tells the children that his two hands are two shares in the size of two quarters. The thumb is bent inside the palm, students see four fingers outside each hand. If the fingers are connected to each other, then this is a quarter duration, and the students clap it, counting “one-and-two-and” (photo 2).			Photo 2
If the fingers are connected in twos, then these are two eighths (photo 3).	Photo 3	If all fingers are located separately, then they should be defined as sixteenths (photo 4).	Photo 4
– Rhythmic patterns compiled in this way allow the teacher to compose any exercises for clapping and recording:
Eighth and two sixteenths with two eighths - in photo 5,	Photo 5	four sixteenths and two eighths - in photo 6.	Photo 6
Half - in photo 7,	Photo 7	an eighth and two sixteenths on both beats – in photo 8.	Photo 8
The dotted quarter note and the eighth note are shown in photo 9.	Photo 9	An eighth with a dot and a sixteenth on both beats - in photo 10.	Photo 10

– You can also depict a syncopated rhythm: eighth, quarter, eighth, or two smaller ones: sixteenth, eighth, sixteenth.

The rhythm shown by the right hand is the strong beat for students, the rhythm in the left is the second, weak beat. First, the exercise is worked out while sitting and counting out loud; when there are no mistakes, you can work standing, beating a two-beat meter with your feet. Thus, in this exercise, the interaction of meter and rhythm is worked out, new rhythmic groups are learned, coordination of arms and legs is improved, and loud counting does not allow rhythmic falsehood. In addition, the emergence of the rhythm of each subsequent beat occurs “in real time,” which requires students to concentrate and pay attention. The pace of the exercise can vary from slow to vigorous, depending on the level of the group. You can start working on this exercise from the very beginning. early period learning when students know quarter and eighth notes. IN in this case There are senior students in the lesson, so the following durations are used: quarter notes, eighth notes, sixteenth notes in various combinations.

Students “warm up” by clapping rhythms shown by the teacher.

IV. Practical work No. 1: rhythmic dictation

Students clap the rhythm 3-5 times as shown by the teacher while counting out loud, then repeat it individually - with their feet and hands (photo 2, 5, 6, 7, Figure 18), in order to then write it down on a piece of music paper.

Rice. 18

V. Practical work No. 2: solving mathematical examples for addition, subtraction, multiplication and division of durations

– In this work, the numerical relationships of durations are mastered, within the framework of the main division. The division of durations is based on operations with fractions (Figure 19).

Participants complete the task on sheet C (Appendix 3).

Rice. 19

VI. Lesson summary

– Numerical relationships in music are very important, and any violation of them can lead to the destruction of the musical structure. Rhythm is one of the main means of musical expression, and every musician should treat rhythm very carefully. Rhythmic falsehood is considered the most unpleasant and gross mistake.

– I would like to end our meeting today with the following words:

“Rhythm is the patterns of musical time, beautiful and intelligent.
The meter marks the time when sounds appear in the pattern.
Tempo tells how quickly the pattern unfolds.
And the pattern itself, i.e. Rhythm is already music!”
E. Finkelstein.

- Our lesson is over. Thank you to the students for your work in class, thank you to our dear guests and colleagues for your attention and participation.

Literature:

1. Kaluzhskaya T. Solfeggio. Program for children's music schools, music departments art schools, evening schools general music education. – Moscow, 1984.
2. Lebedev S., Trubinov P. Russian book about Finale. – St. Petersburg: Composer, 2003.
3. Metallidi Zh., Pertsovskaya A. We play, we compose, we sing. Solfeggio for 3rd grade children's music school. – St. Petersburg: Composer, 2011.
4. Musical encyclopedic Dictionary/ I.P. Dabaeva, O.V. Tverdokhlebova. – Rostov n/a: Phoenix, 2010.
5. Sirotina T. Rhythmic alphabet. - Moscow.: Music, 2007.
6. Davydova E., Zaporozhets S. Solfeggio for 3rd grade children's music schools. – M.: Muzyka, 1997.
7. Davydova E. Solfeggio for 4th grade children's music schools. – M.: Muzyka, 1999.
8. Finkelstein E. Music from A to Z. Entertaining reading with pictures and fantasies. - St. Petersburg: Composer, 1993.

A specialty lesson at a music school is special kind activities that are not similar to lessons in a secondary school, because This individual lesson teacher with a student, whose goal is to master a musical instrument, instill a love for music, discover creativity, broadening your horizons and, as a result, increasing your intelligence.

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Municipal budgetary educational institution

additional education for children

Children's music school No. 3 of Volzhsky

Methodological report

« »

prepared

teacher

Bliznyuk Elena Vladimirovna

Volzhsky

2015

METHOD OF CONDUCTING A PIANO LESSON

Various forms of lesson delivery. Sequence of work with the student.

The lesson is the main form of organization of educational and educational work and is a time-limited, organized system of teaching, educational interaction between teacher and students, as a result of which children acquire knowledge, develop skills and abilities, develop their abilities and improve the teacher’s experience.

A specialty lesson in a music school is a special type of activity, not similar to lessons in a general education school, because This is an individual lesson between a teacher and a student, the goal of which is to master a musical instrument, instill a love of music, discover creative abilities, expand horizons and, as a result, increase intelligence.

The forms of teaching are extremely varied. In many ways, they are determined by the individuality of the teacher - his methodological views, tastes, and habits.

Types of lessons. The following types of lessons are used in schools: theoretical lesson, practical lesson, independent work, lecture, conversation, seminar, excursion, concert, film lesson, conference, collective analysis, test lessons. The more options from this variety a teacher-musician uses in specialty lessons, the longer the student’s interest in the instrument will be maintained.

Types of lessons. Any lesson should be dedicated to completing a task. Depending on the setting of these tasks, lessons can be divided into the following types:

A lesson dedicated to learning new material,

lesson - correcting mistakes,

lesson - consolidation of what has been learned,

combined lesson.

The last type is the most suitable for a music school.

What is more appropriate to start a lesson with - with exercises, sketches or artistic repertoire, and if with works, then what genre? It's usually helpful to work on what's most important to you first. at this stage and which may take relatively longer. If you need to cover a large repertoire, it is advisable to study part of the works in detail in one lesson, and the rest in the next. It is better to devote time to reading notes and playing scales somewhere in the middle of the lesson to refresh the student’s attention.

Conducting a lesson

Lesson structure.The structure of the lesson (organization of educational work) is of fundamental importance, since it largely determines the effectiveness of training and its effectiveness.

Of course, there is not and cannot be a single recipe here. The content of the lesson and its structure depend on many factors. From the purpose of piano training - professionally oriented or carried out as part of general music education. It depends on whether the piano is a special or additional instrument.

The content of the lesson, its form and flow are also determined by the individual manner of the teacher. Moreover, the latter deals not only with different students in different ways. Techniques and methods of work, means of didactic influence do not remain unchanged during classes with the same student. What matters here is the student’s age, the degree of his preparedness, his personal qualities - he is talented or incapable, diligent or lazy.

The organization of the lesson also depends on many factors: to whom it is given - a well-known student or a beginner, when it is held - at the beginning of the semester or, say, closer to the reporting performance, what repertoire is being worked on.

And besides all these differences, it is really impossible to reduce the living, sometimes unpredictable, freely woven matter of the lesson to a certain matrix. And yet, each lesson has stable components; proven techniques are used that have been tested in the activities of many generations of pianist teachers.

Typical lesson structure:

Checking homework (identifying shortcomings, summarizing previous work),

Continuation of work (elimination of deficiencies using already known or new techniques or approaches),

Summing up the work (assessing the student’s readiness for the lesson and his activity in the lesson), recording homework.

Checking the task.

How should homework be checked?

The method of so-called “incidental corrections”, in which the teacher, listening to the student, begins to interrupt him and give instructions, has been repeatedly and quite rightly condemned in the literature. As a rule, you need to listen to the end of everything that the student brought to class. The student, psychologically tuning into the fact that it is necessary to play without stopping, gets used to concentrating all his strength on this task and thereby develops important performing qualities. While listening to a student, you need to remember well all the features of his game and point out its advantages and disadvantages. The ability to listen is a necessary component of technology pedagogical work, a sign of both pedagogical talent and skill. Listening carefully to the student, the teacher makes a quick analysis of his game. Comparing it with what he demonstrated in previous lessons, the teacher determines how far the student has progressed in mastering the work, what are the prospects for the “maturation” of the thing. While listening, you need to have time to notice, summarize and systematize shortcomings, establish the cause of failures, think about how to help the student, and, if necessary, once again adjust the planned action plan.

When evaluating a student’s performance, one must not turn into a recorder of shortcomings, noting only errors and errors. One must be able to hear the merits of a student’s performance, grasp his own idea in the still imperfect rendering and help realize it.

You should not overload the student's attention with many comments. Experienced teacher draws, first of all, the student’s attention to the most important thing - to general character execution, on the most important details, on gross errors. Used in class various methods, helping the student understand the nature of the music being performed and achieve desired results. Most often, the teacher plays the entire essay or excerpts and provides verbal explanations.

The teacher's performance of the work.

Playing works is important because the content of any work, even the simplest one, cannot be fully conveyed in words or in any other way. It is necessary, however, to immediately note that the teacher’s performance of the studied compositions in class is by no means always useful. Performing too often or having to play every new piece can hinder the development of a student's initiative. When asked how to play in class, you can general form answer - perhaps better. Good performance will enrich the student with vivid artistic impressions and serve as an incentive for his further independent work. Much more often, the teacher’s performance is insufficient high level. Some teachers allow themselves not to prepare for classes, apparently believing that their authority gives them the right to show “in general outline", With big amount errors or be limited to the performance of individual simple passages. Oddly enough, some teachers consider it possible, sitting next to a student, to “show” him certain phrases in a completely different register, and most importantly, without paying attention to the quality of the sound. In some cases, teachers deliberately show certain places, deliberately exaggerating the shortcomings of student performance in order to make them more prominent. This method of work can bring certain benefits, but it should not be used often. It is useful to perform entire compositions in initial stage studying it in order to interest the student. The performance of a work before starting work takes place mainly in children's schools and, moreover, in the lower grades. This is often of great benefit, since it is sometimes difficult for a child to understand some essays on his own. From the very first steps of learning, it is necessary to give students systematic tasks to independently familiarize themselves with the work in order to develop their initiative.

Verbal explanations and other forms of work with the student.

The second way to reveal content is through verbal explanations. The teacher must be able to talk about music, and perhaps in a more figurative, poetic, and exciting way. Verbal explanations and figurative comparisons only then they achieve the goal when they are close and understandable to the student. When working with advanced students, it is usually more advisable to use individual figurative comparisons relating to the nature of the sound, various details or the concept of the whole. When working with students, it is important to address issues of the composer's style. Advanced students should be introduced to materials that reveal the artistic views of the author and the era in which the work was created. By revealing the most essential features of the composer’s work while working on a work, the teacher helps the student subsequently solve similar problems in other works by the same author.

We must remember that a lesson is not a monologue by a teacher. Even if he were Chrysostom three times, be able to speak convincingly, intelligibly and brightly, his speeches will not bring the desired benefit if the answer is the silence of the student. You need to talk to the student not only for feedback. The lesson should be a dialogue. Of course, the dialogue between teacher and student is constantly conducted in the language of music, but a “conversation” between two pianos is not enough; an exchange of thoughts, feelings, and considerations about and in connection with the works being studied is also necessary.

The ability to talk about music helps to understand its difficult language. Nathan Perelman notes: “Only one correctly found word-extract can, after dissolving, give the desired character to what is being performed, for example: anxious, jubilant, sad, triumphant, shy, proud, etc.” Anton Rubinstein, according to the memoirs of I. Hoffmann, loved to demand from his students that they be able to indicate the character of the play, and not with one or two, but with a whole series of verbal definitions.

An apt word can express the essence technical method, convey the nature of the movement, point to the desired muscle sensations. Let us recall the expressions “a finger grows through the key”, “play as if according to the test”, “pierce the key with a finger”, etc. The message coming from a successfully found expression sometimes gives more than showing the instrument.

Along with performance, some teachers also resort to other ways of revealing the content of a work, for example, an emotional impact on the student through “conducting.” The significance of this method of work is that it allows the teacher to directly influence the student during performance.

Assignment and mark.

The last component of the lesson is the formulation of a new task, ensuring the student’s homework, independent work. This is perhaps the most important part of the lesson, in which the threads of everything that filled the lesson converge. If the teacher listened carefully to the student’s play when he showed him the result of his efforts, if he was able to determine the main direction in working on the program and skillfully introduced new material- explaining what needs to be done at home will not be difficult. The task should be feasible, understandable and interesting for the student.

We must be sure that the student clearly understands not only the volume of material that must be learned, but also the nature of the work on it. For this purpose, as well as to consolidate in the child’s memory the most significant of what was said to him, it is useful to ask relevant questions at the end of the lesson. Diary entries serve the same purpose. Some teachers write in large letters when working with children. in block letters so that the child can read the task himself; This teaches students to be more independent from the very first steps and helps improve the quality of homework.

Considering the great educational significance of grades, the teacher must be quite sure that the student understands why he received a particular score.

Bibliography

1. Alekseev A.D. Methods of learning to play the piano. Ed. 2nd, additional, M.: Muzyka, 1971.
2. Babansky Yu.K. Optimization of the educational process. M.: Education, 1982.
3. Barenboim L.A. The path to music making. Ed. 2nd, additional, L.: Sov. composer, 1979.
4. Bunin V.V. Pedagogy S.E. Feinberg. M.: Muzyka, 2000.
5. Galperin P.Ya. Actual problems developmental psychology. M.: Moscow State University Publishing House, 1978.
6. Ginzburg L.S. About working on piece of music. – 4th ed., additional, M.: Muzyka, 1981.
7. Hoffman I. Piano playing. Questions and answers. M., Art, 1938.
8. Kogan G.M. At the gates of mastery: Psychological prerequisites for success in pianistic work. M.: Sov. composer, 1961.
9. Kryukova V.V. Music pedagogy, – Rostov-on-Don, 2002.
10. Liberman E.Ya. Creative work pianist with original text. M.: Muzyka, 1988.
11. Milich B.E. Education of a student pianist. M.: Kifara, 2002.
12. Neuhaus G.G. About the art of piano playing. Ed. 2nd, – M., Muzgiz, 1961.
13. Perelman N.E. In the piano class. Short thoughts. – M.: Classics-XXI, 2011.
14. Timakin E.M. Education of a pianist. Ed. 2nd. M.: Sov. composer, 1989.
15. Shchapov A.P. Piano lesson at a music school and college. – M.: Classics-XXI, 2009.

Any adult is interested to know what children do for 5-7 years at a music school, what they study and what results they achieve.

The main subject in such a school is a specialty - an individual lesson in playing an instrument (piano, violin, flute, etc.). IN special class students receive most practical skills - mastery of an instrument, technical equipment, confident reading of notes. In accordance with curriculum children attend specialty lessons throughout the entire period of schooling, weekly load per subject is an average of two hours.

Next very important subject Total educational cycle is solfeggio - classes whose goal is purposeful and comprehensive development musical hearing through singing, conducting, acting and auditory analysis. Solfeggio is an extremely useful and effective subject that helps in musical development many children. Within this discipline, children also receive most of the information on music theory. Unfortunately, not everyone likes the subject of solfeggio. The lesson is scheduled once a week and lasts one academic hour.

Musical literature is a subject that appears on the schedule of high school students and is studied at a music school for four years. The subject broadens students' horizons and their knowledge of music and art in general. Biographies of composers and their main works are covered (listened to and discussed in detail in class). In four years, students manage to get acquainted with the main problems of the subject, study many styles, genres and forms of music. A year is allotted to get acquainted with classical music Russia and abroad, as well as getting acquainted with modern music.

Solfeggio and musical literature are group subjects; usually a group consists of no more than 8-10 students from one class. Group lessons that bring even more children together are choir and orchestra. As a rule, children love these items most of all, where they actively communicate with each other and enjoy playing together. In an orchestra, children often master some additional, second instrument (mostly from the percussion and plucked string group). Practice in choir classes funny Games(in the form of chants and vocal exercises), singing by voice. In both orchestra and choir, students learn collaborative, “team” work, listen carefully to each other and help each other.

In addition to the above-mentioned main subjects, music schools sometimes introduce other additional subjects, for example, an additional instrument (of the student’s choice), ensemble, accompaniment, conducting, composition (writing and recording music) and others.

What is the result? And the result is this: over the years of education, children receive a colossal musical experience. They master one of the musical instruments at a fairly high level, can play one or two other instruments, and intonate cleanly (they play without false notes, they sing well). In addition, at a music school, children receive a huge intellectual base, become more erudite, and develop math skills. Public performance at concerts and competitions they liberate the individual, strengthen his will, motivate him to success and help creative realization. Finally, they gain invaluable communication experience, find reliable friends and learn to work hard.