The purpose of the lesson: formation of concepts about the main strokes.
Lesson type: combined (repetition of what has been covered, acquisition of new knowledge, consolidation of new knowledge).
To achieve the goal, it was planned to solve the following tasks:
- Educational: formation of auditory ideas about strokes (legato, non-legato, staccato); formation and consolidation of gaming skills for the execution of basic strokes.
- Educational: nurturing a thoughtful attitude to classes, a culture of performance, and aesthetic taste.
- Developmental: development of musical ear, sense of rhythm, imaginative thinking.
Visual material for the lesson.
1. Images solid line, dotted, graphic legato (the circles touch each other, but do not overlap each other), non-legato (the circles are at a short distance from each other), graphic staccato (dots).
2. Reproductions of paintings by J. Seurat, P. Signac, I. Shishkin.
3. Associative series in the form of a presentation.
4. Musical examples: Choir of hunters from the opera by K.M. Weber “The Magic Shooter”, Brazilian folk dance “Sambalele”, M. Kachurbina “Bear with a Doll”, L. Beckman “Christmas Tree”.
Lesson Plan
1. Greeting. - 30 s.
2. Setting - 30 sec.
3. Warm up. (C major scale with the right, left hand - non legato; with the right hand “I am sitting, studying” - legato; with the right hand thirds of C major - non legato). - 2 m.
4. The concept of a stroke. - 2 m.
5. Playing in an ensemble. (March; creative task; teacher demonstration). - 5-7 m.
6. Fixing the legato stroke. (Singing; “A cat walks on the mountain” - work on the quality of performance). 5-7 m.
7. Associative row - 3 m.
8. Physical minute. (“Hello, hello”; “Bear with a doll” - movement to music). -2 m.
9. Staccato touch - developing gaming skills. (Rain; Horse).-10 m.
10. Consolidation of the skill. (Ensemble “Six Ducklings”).-3 m.
11. Summing up. (Strokes as a means of artistic expression). - 3 m.
12. Homework -1 m
During the classes
Hello, Tanya and dear teachers! Tanya, this is our first open lesson, I wish you to be active and attentive so that the work becomes interesting and fruitful.
The topic of the lesson is mastering the basic strokes of initial stage training. We traditionally start with a warm-up, playing the C major scale in the character of a march. (Right and left hands separately); thirds (right hand). Next exercise- “I’m sitting, teaching” (with my right hand).
You played in two ways, the notes sounded either separately or coherently, melodiously. You are already familiar with the concept of a connected game, this is (student’s answer), and playing separately, incoherently is called - (answer). I must tell you that legato and non-legato are strokes. The strokes represent the nature of the sound being extracted. We can say that a stroke is also the result of the performer’s action. Tanya, why do you think we play some music melodiously, legato, while for other music a non-legato touch is better suited? Can everything play the same? (answer). Yes you are right. Music is very diverse, each has its own character, like each person. And the strokes are closely related to this character, help to reveal it, and convey the mood of the music. The word “stroke” translated from German is a line. Which feature (line) in your opinion corresponds to legato, which is non-legato? (visual material). (Answer). That's right, legato can be represented by a long line, and a dotted line - non-legato. For us, it is more correct to depict sounds like this (visual material): circles - graphic legato (the circles touch each other, but do not float over each other), non-legato (the circles are at a short distance from each other). How are these images different? (Answer). The same thing happens in music, the sound of non legato is small distances, caesuras between notes. You know, many marches are performed with a non-legato stroke, it’s comfortable to walk to. I suggest you compose a short march to these words. (Selection of a melody for a given text: “One, two, line up. One, two, off to the parade!”). The fingers actively play notes, as if they are walking across the keyboard, we convey a cheerful character, the soldiers raise their legs. Another non legato sound may sound like this: (the teacher performs an excerpt from the Hunter Choir from the opera “The Magic Shooter” by K.M. Weber; an episode of the Brazilian dance “Sambalele”). This kind of dance music is played at Brazilian carnivals, have you ever seen a carnival? This is a very colorful procession with cheerful songs and dances. In Brazil, this holiday lasts several days. Do you have a favorite holiday? (Answer). Let us sing the most popular New Year's song, you will recognize it by the sounds of the introduction. (We sing “A Christmas tree was born in the forest,” accompanied by the teacher).
Tell me, please, what did you do with the sounds when singing? (Answer), that is, you performed legato. In song (vocal) music this touch is mainly used. You and I have a song, “A Cat Walks on a Mountain,” we will play it, but first read the words to it. (The student reads, we find out that this is a lullaby). Tanya, what state, mood should you convey? (Answer). Do you need to play melodiously, or with a stroke? (Answer).
(We are working on the piece: a legato touch, a change of fur, shades).
Do you think anything will change if you play non legato? Listen to what happens. (Plays non legato; reasoning). Yes, the melodiousness and smoothness have disappeared, the cat has turned from affectionate to cocky, he would rather wake you up than rock you to sleep. The character of the song has changed. Let's return it to its purpose as a lullaby and play it expressively. (We evaluate the performance).
I want to show you a few illustrations, your task is to determine which images, lines are associated with the legato stroke, reveal its meaning, according to your feelings. (Associative series-viewing, reasoning, brief conclusions).
And now I suggest physical. just a minute. Let’s do a rhythmic warm-up “Hello, hello.” (They will be performed in the form of a dialogue, with movements illustrating the text’s meaning, each syllable has its own duration, we color it intonationally):
Hello, hello, we are waiting for you!
We got wet with rain.
Where's your umbrella?
Lost...
Where are the galoshes?
The cat took...
Where are the gloves?
The dog ate it!
It’s no problem, guests, come through the gate, go up the threshold, and join us for a festive pie!
The warm-up continues. I suggest you perform movements to the most famous polka “Bear with a Doll”, you can use a tambourine. (Movements to music, accompanied by the teacher).
Thank you, well done! Tell me, what is the nature of the music played? (Answer). Did you notice how the notes sounded, connected or separate? (Show on instrument). (Answer). Yes, the sounds were performed briefly, clearly, conveying light jumps, the polka is danced with small jumps. Your strikes on the tambourine were also clear and light. Tanya, how would you depict raindrops? Sit down at the instrument, you will fantasize. (The student performs, the teacher harmonizes). The droplets fall easily, between each drop there is a moment of pause, listen. Such a clear, light sound is called staccato; this stroke, translated from Italian, means sharp, abrupt. Staccato, like other strokes, serves to convey the character of the music. Let's learn how to play notes staccato. (Working on the children's song “Horse” - with the right hand; with the left hand on chords; with the right hand in the third - wrist staccato). Can you distinguish by ear the difference between staccato and non-legato? (show; student answer). The sounds are shorter, the distance between them is greater, and can be graphically represented by staccato dots.
Today you got acquainted with a new touch, we will reinforce it by performing the familiar song “Six Ducklings”, look at what notes you will play staccato, get ready (playing in an ensemble). Tanya, name the strokes you know (answer). Strokes are a means of artistic expression; they are used not only in music, but also in other forms of art. For example, a ballerina performs smooth movements with her hands, this will be - (answer), and jumping on pointe shoes - (answer). Do you remember how the word stroke is translated? (Answer), right, so you definitely can’t do without strokes in fine art, there are a great many different lines. At the end of the 19th century, in France there lived artists who created their paintings using only dots; these artists were called pointillists. I suggest you get acquainted with this example. (View illustrations, paintings by Seurat, Signac). To convey the general mood of the painting, the artist uses both thick strokes and light strokes. (Landscapes of Shishkin). Why do you think we become familiar with strokes and master their execution? (Answer). So that you, as an artist, can paint a musical image with sounds, express the mood of the music.
Thank you for your work in class; homework It will be like this: using the strokes you know, draw a flower, a butterfly, or a tree, or maybe you want to depict a whole landscape. I wish you success! Our lesson has come to an end, for good work you can give a grade of five. Goodbye!
Lesson type: combined.
Goals and objectives of the lesson:
1.Educational: to form, generalize and deepen the student’s knowledge of the basics of working on performing technique.
2.Developmental: development of aesthetic taste, development of imaginative thinking, musical - performing and ideological - artistic development.
3.Educational: instilling in the student attention, determination and perseverance in mastering the techniques and skills of playing the instrument, the ability to analyze their performance.
4.Health-saving: correct posture, hand position, instrument installation.
Lesson format: individual.
Methods: playing an instrument, conversation, observation, demonstration of video material, gaming methods.
Implemented pedagogical technologies: artistic, information and computer.
Equipment: musical instrument(accordion), music literature, didactic material(cards), computer.
Used Books:
1. V. Semenov " Modern school playing the button accordion."
2. D. Samoilov “Anthology of the accordion player 1-3 grades.”
3. Yu. Akimov, V. Grachev “Anthology of the accordion player 1-2 grades.”
4. Compilation and performing edition by F. Bushuev, S. Pavin “Anthology of the accordion player 1-2 grades. for children's music schools."
Repertoire plan lesson:
1. Positional exercises.
2. C major scale, arpeggios, chords.
3. R.n.p. "Cornflower", r.n.p. “Don’t fly, nightingale”, M. Krasev “Little Christmas tree”.
4. K. Cherny “Etude”.
5. L. Knipper “Polyushko-field”.
6. Lesson grade, homework.
Lesson structure.
1. Organizing time. Presentation of the student and the range of tasks facing him.
2. Main part:
Introductory speech by the teacher: “Technology, in in a broad sense words are a means of transmission artistic content works. IN in the narrow sense This extreme precision, finger speed, coordination of movements. At the initial stage of training, in order to develop primary motor skills in a student, it is necessary special exercises, preparing it for execution technical problems».
2.1 Game of positional exercises. Pay attention to the student’s seating position, the position of the arms and legs, and the installation of the instrument.
Teacher:“Bayan technique is based on standard formulas: scales, arpeggios, chords.”
2.2. Game of scalesC major in whole, half, quarter, eighth durations with counting out loud in various strokes, arpeggios, chords.
2.3. Checking homework .
Playing previously learned pieces, pointing out the disadvantages and advantages: r.n.p. "Cornflower", r.n.p. “Don’t fly, nightingale”, M. Krasev “Little Christmas tree”.
Teacher:“The successful development of technology is impossible without working on sketches.”
2.4. K. Cherny “Etude”. Overcoming a technically difficult place, precise fingering, changing fur.
2.5. Conducting physical education. Game "Parsley". Initial position: arms down, relaxed. At the same time, shake your arms and legs to relax the muscles until you feel warm. Game with rhythm cards. Clapping the rhythm shown on the cards.
2.5. L. Knipper “Polyushko – field”. Conversation about the life and work of the composer. View composer photos on your computer. Conversation about the song “Polyushko-field”. This is a Soviet song about the heroes of the Red Army, which, due to its popularity, is considered folk. Meanwhile, the song has authors: music. L. Knipper, the author of the words is the poet V. M. Gusev. It was written in 1933. The melody formed the basis of L. Knipper’s 4th symphony “Poem about a Komsomol Soldier” and was the leitmotif of this work. The history of the song's creation.
2.6 Work on text, character and fingering.
First, the entire piece is performed in order to understand which of the tasks developed by the teacher have been realized. After playing, it becomes clear that due to an incorrect change of bellows, the musical phrase is cut off, as a result of which there is no expressive intonation.
Working on fur control. During the learning process, it is important to learn to consciously and competently determine the moments of change in fur direction. At the initial stage of training, changing the movement of the bellows should be done after removing the fingers; in the music books in the text there are corresponding signs that determine the exact change of bellows, they must be adhered to. The teacher asks each phrase to lead to the moment of culmination. To make the task easier, the student plays with each hand separately and pays attention to changing the bellows. After successfully completing the work, we will complicate the task by playing the piece with both hands together. The teacher asks the student to determine the level of his performance and analyze it. The student is given the task: “let’s imagine that we are on stage, try to play as at a concert.” The teacher praises the student for the effort that was put into solving the assigned problems.
3.Summing up, analysis.
4.Homework.
5. Mark.
Gutsul Elena Anatolevna
Job title: accordion teacher
Educational institution: MKOUDO "Katav-Ivanovo Children's Art School"
Locality: Katav-Ivanovsk city, Chelyabinsk region
Name of material: Public lesson
Subject:"The initial stage of training in the accordion class"
Publication date: 13.10.2016
Chapter: additional education
Open lesson of the accordion teacher Gutsul E.A.
(subject: specialty)
Student: Kirill Kirpichenko, age 7 years, grade 1 (7 years old)
Lesson topic:
Staging and development of the performing apparatus, formation of landing, mastering the keyboard of the instrument, development of technical skills and creativity in a specialty lesson.
Lesson type:
combined.
The purpose of the lesson:
Formation of performing and development of technical skills in playing the instrument.
Lesson objectives:
1. Educational: generalize and deepen theoretical knowledge student, to develop the skill of free movement right hand on the right keyboard. 2. Developmental: development of attention, ear for music when playing an instrument, technical performance skills, creative abilities. 3. Educational: instilling interest and love for the art of music. 4. Health-saving: correct posture, hand position, instrument installation.
Lesson format:
individual.
Technical means:
A button accordion for a student, a button accordion for a teacher, a remote control, a table, chairs, sheet music.
Repertoire lesson plan:
1. Finger exercises: development of finger independence “Teremki”, “Brothers”; development of muscle elasticity “Pull-Push”, “Wind-Up Cars”, etc. 2. C major scale with different durations. 3. D.p. “Cornflower”, Shplatova “Bobik”, D.p. "Drummer", D.p. “Rain” 4. Exercises for playing with two hands (accompaniment with major chords) 5. R.n.p. “Like under a hill, under a mountain”, R.n.p. “Lambs” (separately with each hand)
Lesson structure:
Formation of the performing gaming apparatus: the teacher, together with the student, does finger exercises to develop finger independence, to develop muscle elasticity, and to develop flexibility of the fingers and hand. Strengthening production skills. From the first lessons, the student learns to play without looking at the keyboard. To facilitate orientation, notches are made on the keys “Do” (1st row), “F” (3rd row), and “Salt” (2nd row) on the right keyboard. Before starting to sing the song, the student needs to place his fingers on the keys: do - second finger, mi - third, fa
- fourth. The 4-finger fingering used assumes a traditional placement, assigning a specific finger – the “master” – to each vertical row. Due to the fact that the first finger of the right hand is behind the fingerboard, the position of the right hand is fixed and helps to hold the hand in a certain position. This allows the student to better feel the key itself and ensures the stability of the hand position. But at the same time, it is necessary to remember that you need to keep the hole open between the inside of the hand and the fingerboard, the so-called “window”. To consolidate this skill, we do exercises without sound: vertical free sliding of all fingers along each row. At the end of the exercise, you need to free your hand: drop down, small swing movements with the hand. Mastering the basics of fur science using the C major scale as an example. The teacher pays attention to the evenness of the mechanics, the quality of sound production, the inadmissibility of deflection of the fingers, the feeling of three points of support necessary for contact with the left half-body, as well as the presence of a point of emphasis for the instrument during inner part thighs of the right leg while holding the bellows under compression. Developing a sense of tactile sensations, the ability to find the right keys and balance muscle efforts with the elasticity of the keys, avoiding excessive pressure and deflection of the joints, and maintain control over the correct position of the right hand. Familiarization with a new work using specific algorithm learning: 1. The teacher plays a new melody. 2. The student names the size of the new song, duration and reads the notes. 3. The student sings (if the song has words) and at the same time claps the rhythmic pattern. 4. The student plays the counting song out loud separately with each hand.
During the classes:
(preparatory stage) 1. Introductory speech by the teacher: introduction of the student, coverage of the lesson topic
.
2. Game finger exercises. At the initial stage of training, in order to develop primary motor skills in a student, special exercises are necessary that prepare him to perform technical tasks. The student, together with the teacher, does exercises to develop finger independence:
"Teremki"
Palms are closed in front of the chest. Pressing the ends index fingers towards each other, bend these fingers as much as possible so that they bend at the first joints. The mansion is ready for Mikhaila Potapych! We are building a second mansion for his wife Nastasya Ivanovna - the harmful fingers pressed together at the tips are bent.
For little Mishutka, the tower is built with ring fingers, and for Mashenka - with little fingers.
"Brothers"
Raise your hand, palm straightened, fingers closed. (Brothers sat in the hut) We move the little finger to the side and hold it in this position for 2-3 seconds. The little finger sways slightly, then returns to starting position. (The little one wanted to go for a walk. But it’s boring for him to walk alone. He invites his brother to go for a walk together) Move two fingers pressed to each other to the side: the little finger and the ring finger; hold them in this position for 2-3 seconds. The little finger and ring finger sway slightly, then return to their original position. (Yes, it’s boring for the two of them to walk. They invite the three of them to go for a walk) Move three fingers pressed to each other to the side: little finger, ring finger and middle finger, hold for 2-3 seconds. (It’s sad for the elders to sit in the hut. They call their brothers home to them.) The thumb and index fingers are connected four times at the tips. All fingers join together in a pinch, the hand relaxes. Then the other hand works. Exercises to develop muscle elasticity
"Pull-push"
The arms are lowered down, the backs of the palms are connected. Index fingers and the middle fingers are crossed with the same fingers of the other hand; their ends interlock. The clasped fingers alternately move back and forth. When repeating the game, the middle and ring fingers are interlocked. (Pull-Push is running, in a hurry, but won’t budge.)
"Wind-up cars"
The players interlock their fingers (only their thumbs are not interlocked) and turn into wind-up cars. The key is in the hands of the leader. The presenter “starts” the cars with three turns of the key. Inhale and the cars start moving, with the sound “zh-zh-zh!” Thumbs They begin to spin around each other, faster and faster. Until the plant runs out (as long as there is enough breath). Such hand exercises are an additional means to facilitate primary staging skills, and also help to interest the child, develop his creative thinking, attention, and ability to control his body.
3.Playing an instrument. The teacher pays attention to the student’s sitting position, the position of the arms and legs, and the installation of the instrument, because correct landing, positioning of the button accordion and
provides stability of the instrument and freedom of movement of the hand and fingers.
(control during the lesson)
(main stage) 1. Playing the C major scale. The student plays the scale in whole, half and quarter durations, counting out loud. When playing with whole durations, the change of bellows is carried out through a note, with half durations - through two notes, and with quarter durations - through four notes. The teacher monitors smooth and even fur handling, and also draws attention to the inadmissibility of deflection of the fingers in the first phalanx. 2. Playing previously learned plays, making a joint analysis with the student of the shortcomings and advantages: D.p. “Cornflower” (played with singing, calm, soft character) O. Shplatova “Bobik” (played with singing, cheerful, joyful character) D.p. “Drummer” (playing with singing, cheerful, marching character) D.p. “Rain” (played with singing, the character is cheerful, light) Discussion after playing each song: whether it was possible to convey the character, whether the change of bellows, fingering, finger swing was observed, whether the correct landing was observed. 3. Mastering accompaniment with major chords. Playing exercises with two hands with major chords in accompaniment. 4. Conducting physical education. "Humpty Dumpty". The exercise is performed standing. Raise both arms up and throw them down through the sides, slightly tilting your torso forward. The arms swing by inertia, at the same time the words are pronounced: “Humpty Dumpty.” “The Soldier and the Little Bear” is performed while sitting on a chair. At the command “Soldier”, straighten your back and sit motionless, like tin soldier. At the command “Bear Cub,” relax and round your back, like a soft, plump bear cub. 5. Learning new songs: R.n.p. “Like under a hill, under a mountain” (playing by a teacher with words, determining character, size, reading notes, playing with each hand separately); R.n.p. “Limbs” (playing by the teacher with words, determining character, size, reading notes, playing with each hand separately). (final stage) 1. Mark 2. Record homework.
Lesson Analysis:
The result of the lesson showed that the tasks set by the teacher were comprehensive
disclosed: - clarity and clarity of assigned tasks. - a variety of musical material that promotes the development of the child’s creative abilities. - creation of a figurative series ( figurative comparisons, associations). - activation of auditory control. - feed theoretical concepts in the context of a musical image. - self-analysis by students of performed works.
Used Books:
1. O. Shplatova “First step” 2. D. Ugrinovich “Bayan, preparatory group” 3. V. Stativkin “School of playing on an elective-ready button accordion.” 4. D. Samoilov. "School of playing the button accordion." 5.E. Mushkin “Staging and development of the accordion player’s performing apparatus”
Municipal educational institution additional education
"Children's School of Music» No. 1 of the city of Taishet
Open lesson on specialty
(Branch folk instruments)
On the topic: “Working on an artistic image in works of different characters.”
Teacher: Gumirova O.V.
Taishet 2016
Lesson type: combined (consolidation of knowledge, complex application of knowledge).
Lesson type: traditional.
Lesson format: individual.
Topic: “Working on an artistic image in works of different characters.”
An open lesson is held with an 8th grade student Grigory Rudakov, button accordion.
Target: creating conditions for developing the skill of working on an artistic image in diverse works.
Tasks:
1. Educational: consolidate the learned theoretical knowledge (define the concept “ artistic image works"), continue the formation of practical skills (teach to reveal the idea of a work, work on the means of musical expressiveness, perform at a medium tempo with assigned tasks).
2. Developmental: develop the ability to listen and understand the piece being performed, coordination of movements, imaginative musical thinking, creative activity through various activities.
3. Educational: to cultivate a love of music, to cultivate aesthetic taste, perseverance, hard work, concentration.
Teaching methods:
1. Perspective: verbal transmission and auditory perception. The teacher communicates ready-made information using demonstrations. The student comprehends and remembers.
2. Reproductive: students remembering the information communicated by the teacher. Promotes the formation of knowledge, skills and abilities through a system of exercises.
3. Practical: musical and didactic games, repeated actions in order to improve skills and develop musical ear.
Verbal, visual, practical;
Activation of hearing, appeal to the student’s musical perception;
Development of thinking, creative initiative;
Methods of control and self-control: when performing, listen to the sound being reproduced; correctly perform the melody and convey the rhythmic pattern.
Technical training aids:
Instrument (accordion), chair, remote control, sheet music, laptop, video and audio applications.
Psychological conditions at the lesson:
Mobilizing attention cognitive activity, optimal pace of the lesson, flexibility, the ability to compositionally rearrange the lesson taking into account the current situation, favorable psychological microclimate in the lesson.
Application pedagogical technologies:
1. Health-saving technology:
The muscles of the fingers develop, which has a positive effect on memory, which will develop more intensively.
Rational organization of the lesson: gymnastics for the eyes, exercise to relax the neck muscles with free turns of the head (right, left, up, down).
Alternation various types educational activities(playing scales and exercises is replaced by repeating learned pieces and listening to music).
2. Technology of person-centered learning:
Recognition of the student as the main one acting figure Total educational process There is a personality-oriented pedagogy. This technology is based on the recognition of the individuality and originality of each person, his development, first of all, as an individual endowed with his own unique subjective experience. In the lesson, conditions are created for the student’s self-realization, the development of individual cognitive abilities, creative imagination.
3. Technology problem-based learning:
This technology involves consistent and targeted promotion educational problems in front of the student. The student becomes active mental activity, expresses own opinion and actively absorbs knowledge.
4. Technology of formation of motivation or gaming technology:
Technology implies organization play activity aimed at searching, processing and assimilating educational information. Inclusions in educational process gaming moments increases the student’s interest in practicing the instrument, activates it creative activity. The teacher creates a so-called “success situation” in the lesson. The feeling of success increases motivation to learn, maintains interest and enthusiasm for playing the instrument, and encourages positive emotions.
Repertory lesson plan:
1. Chromatic scale for the right hand and exercises for the left hand.
2. Ya.Frenkel " Russian field"from the film "New Adventures of the Elusive".
3. “I’ll go outside” r.n.p. arr. O. Buryan
Lesson plan:
1) Organizational moment.
2) Warm up. Exercises aimed at freedom of the musculoskeletal system.
3) Working with musical material (using health-saving technology).
4) Problem situation based educational material.
5) consolidation of the material covered.
6) Lesson summary.
7) Homework.
During the classes:
1) Organizational moment. Greeting, sitting down at the instrument, active mood creative work.
Determining the purpose and objectives of the lesson, having previously surveyed the student about what he knows about “means of musical expression.” What connects them and how they interact with each other.
2) Warm up. Exercises aimed at freedom of the musculoskeletal system.
- right-hand chromatic scale with dynamic shades;
- a game chromatic scale right hand with dynamic shades, different strokes;
- repetition of the bass line in the left hand, used in a piece with dynamic nuances.
We monitor the quality of sound production, rhythmic pattern and freedom of the fingers of the right hand.
3) Working with musical material.
Listening piece of music on a laptop. Y. Frenkel “Russian Field” from the film “New Adventures of the Elusive”.
Discussion of the artistic image of the work. During dialogue, it is possible to use paintings and drawings to help understand the meaning of the work.
1. What do you think this work is about?
2. Do you know the words of the song?
3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the tempo in this piece? Dynamics, strokes, character of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part and what in the second? How is this change noticeable in the music?
6. Try to explain what an “artistic image” is?
Joint study of dynamic lines and phrasing structures, line features.
Determining the climax of the work, graphic image dynamics in the notes, singing the melody, showing the teacher on the instrument; comparison game method (the game of the teacher and the student is compared, analysis). Execution of the work in parts with the assigned tasks.
Performance of the piece “Russian Field” from the film “The Adventures of the Elusive Avengers” with the fulfillment of previously set tasks:
1. change the bellows in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical notes;
3. accurately maintain all durations;
4.keep a uniform tempo of performance;
5. achieve non-stop playing with both hands, while accurately following the musical text.
- physical warm-up(using health-saving technology) :
Exercise for the eyes - move your eyes to the right, left, up, down, close them, open them. Look at the closest object, then at the farthest object. Repeat several times.
Exercise to relax the neck muscles with free turns of the head (right, left, up, down)
4) Problem situation based on educational material.
Identify the artistic image in the next work yourself. Identify punchlines and phrasing movements without help computer technology.
“I’ll go outside” r.n.p. arr. O. Buryan.
5) Consolidation of the material covered.
Discuss all the work done in class. Repetition and consolidation of the material covered.
6) Lesson summary.
All means of musical expression have great importance in determining the composer's intention, because directly influence the character of a musical work and its internal content. Simultaneous concentration of attention while working on various means of musical expression significantly increases the effectiveness of mastering each skill separately and ensures a holistic, systems approach to learning, which helps to correctly determine the artistic image of a work. Emotional experience a piece of music helps develop the perception of music and has a positive effect on creative process, which contributes to the development of interest and the cultivation of a feeling of love for music with the formation of artistic and aesthetic taste.
7) Homework, grading.
Self-analysis and self-assessment of the student about the work done in the lesson with correction by the teacher. Definition of homework.
with a 3rd grade student
Topic: Development of skills in working on a polyphonic work
in accordion class.
Lesson type: combined.
Goal: to develop skills in working on a polyphonic work,
develop the ability to hear polyphonic fabric.
Tasks:
Educational: to form, deepen and generalize the student’s knowledge about
the genre of polyphony, its types using examples of covered and new material.
Developmental: develop the skill of performing two-voice polyphonic
fabrics, the ability to hear a combination of voices, their expressive features,
apply different strokes to highlight voices in the overall sound.
Educational: to cultivate interest in polyphonic music,
attention, dedication and perseverance in mastering techniques and
skills in performing polyphonic works.
Health-saving: correct posture, position of the student’s hands,
installation of the tool.
Lesson format: individual.
Methods: playing an instrument (individual and ensemble), conversation,
observation, control, self-control, accumulation of knowledge, demonstration
audio material.
Equipment: 2 accordions, music stand, table, chairs, sheet music,
music Center.
Used Books:
1. V. Lushnikov “School of playing the accordion”, 1988
2. B. Kalmykov, G. Fridkin “Solfeggio” part 2, two-voice.
3. J.S.Bach HTC, 2 volume.
Repertoire lesson plan:
1.
Scales in D major, B minor; playing octave, three chords and
four-sound.
2. G. Purcell “Aria”.
3. “Ivushka” r.n.p.
4. B. Lyubarsky “Song”.
5. J.S.Bach Fugue soldiez minor, KhTK, 2 volume.
6. L. Beethoven “Comic Canon”.
Lesson structure:
1. Organizational stage:
greeting, psychological attitude, communication of the lesson topic, goals and
tasks.
practical mood: playing scales, exercises.
2. Theoretical stage:
conversation with a student about the genre of polyphony, based on previously acquired
knowledge: concepts of “polyphony”, “subvocal polyphony”, “canon”,
"imitation", "fugue".
3. Practical stage:
performance of polyphonic pieces learned previously;
working on a new piece: intonation of the theme, highlighting
voices in the general polyphonic fabric;
listening to the recording of the Fugue soldiez minor from volume 2 of Bach's HTC, following
musical text.
4. The final stage:
reflection;
homework;
assessment of student work.
During the classes.
Lesson steps
Lesson content
Notes
Organizational
.
Setting goals
and lesson objectives.
Activation
attention.
Polyphony is
1. Teacher: Hello, Zhumagul!
Today our lesson will be completely
dedicated to one of the complex, but at the same time
it's time for something beautiful and interesting
genre of POLYPHONY. What's happened
"polyphony"?
Pupil:
"polyphony".
Teacher:
The hardest thing about
polyphonic
performance
works is the ability to hear
every voice, lead and develop them
melodic line in general
polyphony. These are the skills we will
develop on various examples
polyphonic music.
2. Teacher: Before we begin
to solve such a complex problem,
you need to prepare your device for
work.
Working with D major and B scales
minor (playing in unison, in an octave,
chords of 3 and 4 sounds, arpeggios).
Teacher: What do you know about
polyphony? When was this genre
most
Which
composers composed music in
polyphonic style?
Student's answer.
popular?
Follow
correct
landing,
position
tool,
hands
In conversation
rely on
knowledge
student
received for
lessons
Preparation
working apparatus.
Theoretical.
Receipt and
deepening knowledge
for execution
planned
work.
musical
literature,
specialties.
Voice analysis
ask
do
student.
canons,
Teacher: Polyphonic music
manifests itself in various forms And
genres: it could be vintage
dances (minuet, sarabande, allemande,
chime, jig, etc.), processing
folk songs with subvocal
polyphony,
investments,
fuguettes and fugues with imitation
way of development. Fugue is
highest form of imitation
polyphony.
1.Performance of “Aria” by G. Purcell.
Please note: upper voice
characterized by melodic flexibility,
more varied rhythm, lower
performed non legato, the line is his
reserved, sedate.
2. “Ivushka” r.n.p.
Teacher: Polyphony does not occur
only in the works of composers, but
and in folk music. among the people
there was the following tradition
song performances: started the song
sang, then the choir picked it up,
supporting voice to the main one
topic. This form is called
subvocal polyphony.
Execution
"Ivushka"
ensemble: student – “singer”,
teacher - "choir". To create more
bright musical
image
different registers are used
accordion.
songs
3. B. Lyubarsky “Song”.
Teacher: “Song” by Lyubarsky, above
which we work in our own way
close to the folk style. How many in
her voices? (two). In the song we can
highlight two verses.
In which
verse you see the signs
Practical.
Repeat earlier
studied
material,
expressive
execution.
Skill development
ensemble playing,
listening skills
general sound.
Working on a new one
material,
skill development
canonical games
imitation.
polyphony? (in the second). Subject
passes in two voices in the form
canon, i.e. the second voice says the same
melody, but two times late
tact.
Working on intonation and
phrasing the theme in each voice
separately,
skill development
execution of the canon,
keeping
expressiveness of each voice.
Skill
4. J. S. Bach “Fugue soldiez minor”,
Volume 2 of HTC (audio recording).
Teacher:
perform
polyphonic
works
expands the performer's capabilities
in terms of instrument proficiency,
variety of repertoire. But skill
listening to polyphonic music is not
less valuable quality for a musician.
To do this, let's turn to the complex
form of polyphony - fugue. Try your best
hear the main theme in each
voice, try to follow
musical text.
Listening to a recorded Fugue (accordion),
following the musical text.
Teacher: How many voices do you have?
did you hear? (three).
Formation
listening skills
polyphony,
picking out by ear
carrying out
main topic,
skills
navigate in
musical text.
Consolidation
game skill
canon.
Final
y.
1. Reflection.
5. L. Beethoven “Comic Canon”.
Performance in an ensemble with a teacher:
everyone plays their own voice, while
listening to general polyphonic
textile.
Teacher: After such an eventful
working on various forms
polyphony, what sensations, feelings,
Does this genre evoke emotions in you?
Has it changed? your attitude To
him? How?
"Song"
Lyubarsky - skill