Methodical work
“Not a “specialty lesson”, but a Music lesson - for a Child”
The lesson is the central phenomenon of modern educational process. Humane pedagogical thought today is changing value guidelines lesson: not the amount of knowledge - but “attitude towards knowledge”, not “lesson effectiveness”, but “lesson luminosity”. The task arises of spiritualizing the lesson, turning it into a significant phenomenon in the child’s life.
Professional music training, in contrast to the general education system, is an example of the sustainability of tradition and constancy. The need for transformations here is not so obvious due to the specifics - the individual form of communication between teacher and student, which provides endless possibilities for creativity. The lessons of outstanding music teachers represent a truly cultural phenomenon, which is natural, because the school (“rock” - Latin) is, first of all, the Teacher, and the school in him. Great musicians throughout the history of performance saw the task of the teacher in the formation of deep, thinking artists... And then the lesson is a highly creative act, the joint creation of Music... At the same time, the task - how to implement the lesson as a cultural phenomenon in the life of every music school student - remains unsolved. The approach to a lesson in the practice of primary education is characterized by a narrow focus on the transfer of performing experience. A lesson with a schoolchild is not much different from a lesson with a student. And with the “auxiliary” role of education, Music itself often turns out to be unclaimed in the lesson. Lesson in music school extremely pragmatized... It is obvious that today primary music pedagogy, and violin pedagogy in particular, is faced with the task of turning a “specialty lesson” into a Music lesson - for the Child...
Since it is the lesson that is the bearer of the function of individualizing learning, in order to truly become for the child the opportunity to realize the best aspirations and the joy of improvement, the consistent implementation of the following principles and tasks is necessary:
I. Subordination of the teaching function of the lesson to the spiritual and moral principle. A music lesson should be a phenomenon of a different life from everyday life, introducing the child into the world of ennobled feelings, thoughts, images, and forms of communication. “The life-giving essence of a music lesson is that it is the very life of the child in the lesson in sounds and images... leading along the path of knowledge of the world, along the path of self-improvement... The knowledge, abilities, skills that the student masters are subordinated to the spiritual principle” (V. Medushevsky). “It is necessary to forever exclude from the student’s consciousness any prosaic view of music” (V. Razhnikov).
II. The principle of “individual entry” into the system of knowledge and mastery. It is necessary to ensure maximum degree of freedom for the student: the possibility of co-creation in choosing the form of the lesson, forms of musical activity in the lesson, in planning (setting goals and objectives) ... Thus, the forms and content of the lesson are oriented towards creating conditions for the manifestation of the student’s self-awareness, initiative, the will to improve, to learn. As B. Asafiev said, musicality, which requires multiple ways of “capturing,” “for one may manifest itself in the ability to reproduce music, and for another, in a sensitive conversation about the experienced impression.”
III. And accordingly, in contrast to the traditional emphasis of the lesson on the goal of transferring the experience of mastery, the main thing in working with beginners is the experience of self-improvement, and, more importantly, the joy of self-improvement. As stated by Ya.A. Komensky: “The main thing at the beginning of education is that the student does not hate what he has not yet come to love.” To do this, it is necessary that the activity and manifestation of the teacher’s will correspond to the activity and energy of the student’s aspiration. Not “a recipe for skills and techniques, but above all principles and “meanings.” Let's consider specific forms of solving the tasks.
The principles of expediency and commensurability are leading in the approach to planning and organizing a lesson, in choosing the form of a lesson and its duration: each student should receive help from a teacher in the form and extent that is relevant for him, that is, conscious, desired.
That. the lesson appears in three “hypostases” - interconnected value aspects:
- “lesson-communication” (principle of energy);
- "lesson - joint creativity"(activity principle);
- “lesson - actual help” (principle of commensurability).
In order for each lesson to be life for the child on a different level of consciousness, different from the ordinary one, the subject of special attention should be “ atmosphere" of the lesson. Nothing harsh should take place in a violin lesson. The level of thought at which communication in the lesson will take place depends on the teacher. A preschool child “communicates” with the “Violin Queen”, with the sound-voice of Beauty... An older student masters a piece of music, recognizing it as a manifestation of great thoughts, the life feats of their creators. The attitude towards a musical work as an expression of thoughts that are significant and important for people creates the basis that determines the method of working with musical material. Thus, following the principle of developing musicality through the refinement and spiritualization of perceptions, one can more quickly lead to a solution to a rhythmic or intonation “problem” through a moment of silence - silence that “cleanses” the child’s rhythmic sense, hearing, than through repeated, often coarsening repetition...
In cultivating musicality, it is important that the teacher pays close attention to all manifestations of the child’s inner life: bringing the rhythm and nature of activities in the lesson into line with it. Individual lesson We, music teachers, need to comprehend today as an opportunity (one of the few in modern conditions) to support the spiritual life of a child with attention to those “silent” manifestations of Music with which life is full. From a conversation with a student (8 years old) in class:
My class and I were in the church, and there I saw such an icon with an Angel that when you look at it, something changes inside, as if it becomes brighter.
Is it like this for everyone (other children)?
No, not everyone. Some just watched. Probably a must see.
Does this happen when communicating with musical works?
Yes, it happens to me... But that’s what music exists for...
Working on classical works requires a special tone, a special “lesson space”, when improving the quality of performance takes place against the backdrop of a serious conversation about life - death, about eternity... As “reading for a thinking person is not the absorption of books one after another, but the creativity of the spirit”, Thus, the discovery of music comes through deepening into the world of musical thought. And then one activity - deep communication while working on a piece by Bach or Mozart - under appropriate conditions can reveal to a child the beauty of great music. From the words of a third grade student about Mozart’s Sonatina: “This is Divine music! How did the composer hear it?! It’s like angels are singing...”
Not every student at a music school will become a musician, but, in the words of G. Neuhaus, “every student must be introduced into the area of spiritual life, moral principles,” into the area of culture. And basically this problem is solved by an individual form of communication with the student, an individual lesson - the opportunity for intimate and subtle communication between an adult, a child and Music.
Cultivating sensitivity to music and “sounding” space can also be cultivated through lessons in nature. The sound of a violin by the river or in the silence of the forest reveals a different, “living” life of musical tone, inaudible in the enclosed space of the classroom, and fosters sensitivity and respect for rhythm and intonation. Talented music begins with sensitivity to the music around and within...
A lesson can be called a living “child’s life in music” only if the child has the opportunity to freely express himself and have a full emotional life that corresponds to age and personal conditions. A lesson in a music school offers a wide variety of organizational possibilities: there are numerous options for combining individual and group forms, independent work, working with a teacher, student mutual learning. When children’s lives are organized as a collective activity and have a common semantic axis, the lesson can take on more “flexible” forms: the lesson system approaches a “workshop”, when each student has the opportunity to study with the teacher for the time he needs (and 15-minute consultation lessons, and long-term, hour-long or more, in-depth lessons). In the presence of classrooms Several people can study simultaneously (“around the teacher”): some on their own, some in an ensemble, some teaching a junior...
It is necessary to give children the opportunity to teach each other. Children have their own language, greater mutual understanding than with adults... Often you have to make sure high efficiency classes of an older student with a younger one, despite the fact that the “burning eyes” of children asserting their independence is an intrinsically valuable phenomenon from the point of view of education. The elder, acting as a “teacher” in such classes, naturally strengthens and organizes his knowledge...
It is also necessary to remember that even when a child, sincerely wanting to practice the violin, comes to our class, the student in it has yet to be born and then mature, and the entire process of learning at a music school is only the very beginning on the path of becoming a Student. (D.B. Elkonin called educational activity “the second profession of every person”). “The student” begins with “questioning”... Only in freedom, cultivating the sprouts of independent aspiration, can one help this difficult and “subtle” process of student self-creation. How is the child’s freedom realized in the lesson? First, the student may "prefer" individual work with a teacher, “independent” work in the classroom or work with older students. We support every manifestation of concentration, subordinating lesson “regulations” to the manifestation of student will, since true development occurs only through self-deepening, self-concentration, with sufficient energy tension...
Nurturing creativity is possible while maintaining the desire for self-organization, all manifestations of independence and responsibility: for conducting a lesson (student - “teacher”), for a junior “ward” (when a certain part of the work is carried out under the guidance of an older student)…
We practice group lessons, where one of the students plays the role of teacher. The lesson is pre-planned: types of work, goals are determined, time is planned. At the end, the lesson is analyzed by all participants: “what was learned”, “what was the most interesting and useful”, “what should be improved, changed”...
Lesson from IV grade student Anna S. (edited student's notes) :
Also participating: 2 students of the second grade, one of the fourth. (Lesson 45 minutes):
1. Improvisation in D major 5 minutes (collective);
2. Natasha (IV grade) plays her etude (detache), explaining its tasks to others. Competition: whoever remembers how much by heart and can play (or sing) for 10 minutes;
3. Everyone worked on the “detail” touch on the D major scale for 10 minutes (unison. In the octave, in the third, one at a time “in a circle”). The goal is to improve the sound.
4. The rest take turns playing their sketches, everyone listens, and says what to improve. 10 minutes ;
5. Sight reading (“Ancient Music”) 5 minutes;
6. Homework: everyone plans their work; everyone: writing a play in D major. 3 minutes.
Modern psychology, as one of the aspects of the “enrichment strategy” (in the development of giftedness), puts forward teaching a child the ability to plan, organize and evaluate his work. Student-led lessons develop these abilities naturally and intensively. Their basis is a child’s desire for independence and adulthood. Cultivating a “student” also requires cultivating the ability to be a teacher for others - to pass on acquired knowledge and skills...
Collective lesson(classes with a group of 2-4 students) - one of the most effective forms of education and training in initial stage. This form has not yet become widespread in the practice of music schools. Perhaps due to the fact that the group form realizes its rich potential only in harmonious combination with an individual lesson and with the organization of children's mutual learning. It is also necessary to align the purpose and content of such a lesson with the individual tasks of each of its participants and real opportunities groups.
The advisability of group classes at the initial stage is as follows:
1. At the beginning of training, the main thing is not the detailing of skills and knowledge, but ensuring the widest possible “field of vision” of the “image” of violin playing, general principles mastery, principles of improvement. It is advisable to introduce a group of children to new knowledge and skills. Detailing is done in an individual lesson.
2. Ages 6 - 12 years are the most “social”. Activity, initiative, and interest of children naturally and easily manifest themselves in the group, in collective activities...
3. Groups of children of different ages (it is desirable that the difference does not exceed 3-4 years) and different levels preparations allow us to comprehensively and harmoniously solve the problems of teaching and upbringing: for the younger ones it is “initiation” (“I also want (can) do this”), for the older ones (acting as leaders in the group) it is an opportunity to translate knowledge and skills into a conscious form...
The types of lessons with a group can be endlessly diverse. Some types:
Lessons "monothematic"- work on one of the types of equipment, familiarization with the genre, form of a musical work, etc. Such a lesson may contain a variety of activities that serve a multifaceted, holistic approach to the phenomenon...
Lesson “What are “Variations””. Children prepare for the lesson by independently “collecting material”: theoretical information, seniors - prepare appropriate works from their repertoire. Lesson content: listening to works performed by older students and the teacher; composition, sight reading of works with elements of variation, analysis of a new work, which those wishing to include in their programs. We talk about variation as a phenomenon. Children are tasked with finding its elements in the executable program, “sight-reading” several works in the form of variations, and also finding a manifestation of a sign of variation in the surrounding life.
A lesson devoted to one topic, one musical phenomenon is a good opportunity to develop both the ability of attention and the habit of deep, comprehensive “coverage” of the phenomenon - the development of interest in knowledge. The group “guarantees” a harmonious emotional atmosphere and, while using the energy of the participants economically, provides the opportunity for intense and multifaceted work.
"One Sound Lesson"(duration 20-30 minutes). Group - at least three people. The purpose of the lesson is to provide an opportunity to understand great opportunities sound (as a phenomenon of music and life), as well as mastering the principles of sound production on the violin. The lesson is appropriate at the beginning school year, quarters, when it is necessary to intensify attention and perception. We start the lesson with a conversation. Questions were asked at home: “What can one sound do?”, “Is it possible to “say” a lot with one sound?”, “Which sounds do you like more - quiet or loud?”... From a children’s conversation: “A quiet sound helps you think...”, “Loud carries power, I like it better...” We listen to the same sound in different harmony, changing “moods” - “images”. We play violins: harmony - (“image”) changes - clarifies the pitch of sound, requires a different “tone”. “We talk”: one performs, the rest must “hear”, “what the violin said”... etc. By changing images, we “discover” the “depth of sound”, “sonority”, “softness” - we discover “tone” as a carrier of meaning... We explore dynamic nuance: image - technology... We end the lesson by telling a fairy tale... about sounds - builders and destroyers. We talk about what was most interesting in the lesson, what was difficult... If the lesson was a success, children, as a rule, continue to develop the taken “directions”, fantasize: “I’ll draw a sound-messenger at home...”, “I’ll try to find the strongest sound on my violin” and etc. Accordingly, homework... We call this type of lesson a “discovery lesson” or a “lesson on the secrets of mastery.”
Technique lessons in the group they are loved even by those students whose development in this regard is lagging behind: everyone can show their strengths: if not immediately perform on the instrument, then figure it out “faster than others” or “come up with a better task” for the next lesson. Technique classes in a group are based on the energy inherent in children: “Who is faster”, “Who is cleaner” (scale, etude, exercises...). Mastering a new type of technology is most advisable with 2-3 students of approximately the same level of development. For example, “double notes”: a group provides many opportunities (performing in two voices, singing and listening, composing, selecting harmonies; observing, comprehending and, most importantly, independently and together discovering the essence of a new skill).
"Lesson - playing music" gives to the student complete freedom, emphasizing the artistic essence of music-making. New works, “from sight”, as well as “favorite” ones are performed. Composition, improvisation - at the initiative of students. Conversations about the content of the music being performed, with the involvement of literature and painting. Listening to masters perform in sound recordings... In such lessons, the children's initiative is leading; this is an improvisation lesson. Its main goal is to give the child the opportunity for emotional realization in music and in co-creation. The duration of such communication lessons is 1-1.5 hours (“paired” lessons). Conducting this kind of classes is necessary during periods when interest in learning is reduced (at the end of the study periods).
Traditional forms of music playing - "ensemble" and "sight reading", - with the purposeful and systematic application of the form of a group lesson, collective training, they expand their functions and capabilities. As types of musical activities, they are included in almost every lesson (individual and group). Ensemble and sight-reading lessons, in addition to traditional learning objectives, aim to broaden familiarization with music and accumulate repertoire. For us, this is a repertoire for concert-conversations, which has a constant “structural basis”: early music; music by I.S. Bach, Mozart; P. Tchaikovsky; Belarusian... Pupils of grades III-IV (the most active) always have 10-12 works in their repertoire... During independent studies, the younger ones master the repertoire under the guidance of the older ones. When working with student chamber ensembles, it is important to maintain a constant composition.
Sight-reading in a group becomes more like “thoughtful music-making.” Students are tasked with immediately “catching”, feeling the idea-essence of the work, therefore the style, the nature of expressiveness. The method is as follows: after visual “reading” and an interview, the work is performed (in whole or in part, depending on the volume and complexity) by one of the participants, the rest “perform” “ideomotor”, mentally, being ready to “pick up”... We talk again: the main idea - image, idea - tonal plan, texture; form, accents of “meaning” - culmination; character of strokes, dynamics, rhythmic features; technical difficulties execution. The work is performed either one by one in full, with discussion, or together by periods or sentences. The task is to maintain integrity. Sight reading with the youngest includes singing, a graphical diagram of a melody, and other auxiliary forms. Traditional difficulties in sight reading are overcome by children in a group easier and more naturally, since the work is based on free choice: perform or listen, sing..., “join” the performance when ready... etc. In a group, when each participant alternates performing - listening - comprehending, the main thing is harmoniously brought up - the ability to hear and perceive what is being performed.
And one of the most interesting forms of classes for children is “series lessons”, “immersion lessons” dedicated to the music of one composer (in preparation for a concert-conversation), when, combining group, individual and self-group lessons, we “go deeper” into the music of one style, plan, studying the life of the composer and all together “delving” into the essence and details of the performance of each work. These are long-term lessons (due to paired individual and group lessons). Such lessons can be called “lessons of inspiration”: tension, teamwork and single task provide intensive advancement to each participant both in understanding music in general and in performing skills.
It should be noted that the collective form of education intensively develops the capabilities of students, subject to voluntary participation.
Assessment, being a meaningful component of each lesson, excludes the marking form. The dryness of the “score” is unacceptable where the goal is to awaken internal incentives and internal regulators of activity. Together with the child, we summarize the work, celebrate achievements, plan the next lesson and learning goals. Some students have personal diaries activities that help to exercise self-control. Homework for kids - beginners exists in the form of wishes. The teacher, together with the student, at the end of each lesson “says”, “what is important”, “what can be improved” (2-3 theses).
The ability to work independently and be economical in homework largely depends on the integrity of the lesson, which, in turn, is the degree of “manifestation” of the main task - the main “idea” of the entire stage of learning. For the student, the “super task” should be clear - the thread that ties together both the elements of the lesson and the lessons into a single process... The “super task” - the goal of the learning stage - can manifest itself in three levels: understanding music, mastering figurative and artistic means, technological skills, and should be clear not only to the teacher, but also to the student: I am learning to “hear the melody”, “I am learning to clearly “see-feel” the image of each work”, or: “I am improving such and such a type of technique”, etc. (Together with your students, you can plan tasks in writing for the quarter, month, week...)
Thus, by cultivating self-awareness by the relevant organization educational activities, creating opportunities for the realization of student freedom, striving to spiritualize communication in the lesson, we multiply the possibilities of the music lesson as a means of initiation creative forces child and the development of the need for deep communication with Music.
Organization of educational activities in the classroom depending on the age of students
Preschooler (5-6 years old).“Know how to use a child’s natural curiosity, lead it, direct it, and you, without teaching children systematically, in a school way, will teach them a lot, a lot.” "How smaller child, the less systematic there should be in classes with him and the more interesting the subject and the very method of teaching should be for him.” The life of a preschooler is a holistic, vibrant world. Perception is synthetic. A rational approach to reality is not characteristic of this age. It is not easy for a preschool violinist to “understand” the need for the “correct” position of the hands and instrument. But the “image” of a violinist playing easily, naturally, beautifully, the “image” of sound - the “voice of the Queen Violin”: sometimes gentle, sometimes decisive, sometimes “lunar”, sometimes “solar” - is close to a child. One should proceed from image and integrity in everything when working with a beginner. It’s not so much the consistency and quality of the elements of mastery, but the brightness of impressions, maintaining a natural craving for research and experimentation. Emotional life, imagination, how main source future creativity should be the subject of protection and education at this age. “Fairy tale lesson”, “research” lesson: “What can a Bow do?”, “How many voices does a Violin have”, Creativity lesson: improvisation on an instrument, singing - composing melodies for poetry and selecting them on the violin and piano. Lessons are mainly group. Improvisation is their leading start. Since it is at this age that “following the individuality” of a child is a decisive condition for the manifestation of his creative powers, energy, and confidence in the future. own strength. Children's initiative is the main goal of the teacher in a lesson with a beginner (“Let's play “About the Blue Bird!” “I want to play by notes!”). A lesson with a preschooler should be filled with good music: flexible melodies of folk songs, classical works... Lessons are appropriate: preschoolers - students in grades I - II. Participation of an older student in a lesson provides opportunities for meaningful music-making, initiates students, and provides additional learning opportunities. The elder performs the melody, the kids - “accompaniment” (rhythm intonation); rondo-improvisation: kids theme-refrain, elders - episodes... Together we “explore” the “possibilities of the violin”: “harmonics” and “trills”, “chords” and “double notes”, strokes... - in fairy tales-improvisations: “About travel ”, “flights”, “stars” and “magic Princesses”... It is important that the teacher does not just use games and fairy tales to “introduce” elements of mastery, but lives together with the children in the world of these genuine meaningful images future technology(older students help introduce the Violin into “our” world from the first lessons). In a group, a child has the opportunity to have a multidimensional vision of the whole, as well as freedom of expression: either he sings along, or plays along, or simply listens and observes...
Age up to 7 years is perception - “absorption”, non-analytical, non-discrete. The environment, atmosphere and variety of activities and quality of experiences are the main factors of learning. And it is precisely this brightness, diversity and freedom of self-expression that should be ensured in the classroom. It is necessary to encourage the child to self-identify without imposing learning task, but offering some form of activity... “What do you want to play today?” “Voice” which of the strings do you especially want to listen to today..?” We cultivate attention, encouraging observation and resourcefulness: “What can be improved in our performance” (the group is working) and “What “secrets” of the bow have we “discovered” today..?” Classes can be quite long. The decisive condition is the student’s readiness and desire to study, which manifests itself as initiative, activity... Lessons should be “awaited” for the child; meetings 2-3 times a week (25-45 minutes each) seem most appropriate. Sincere communication with a preschool student reveals in each of them extraordinary sensitivity and wisdom, brightness of imagination; to realize them in educational activities is the task of a lesson “built” on the basis of the possibility of self-expression of the student...
If a preschooler is a “poet” and a “researcher”, then junior schoolboy(7-9 years old) - this is “ diligent student" Teaching is the leading activity of this age. A student at this age is usually diligent and obedient. But the teacher should think about how to strengthen and allow this quality of “apprenticeship” to develop - as the basis for further desire and ability to improve. The educational goal of each lesson with a student of this age is to “instill a taste” for learning, for the process of acquiring and creative application knowledge, skills. "Horizons of Excellence." Lessons in “virtuoso playing” (scales, etudes in a group). Lessons-competitions: “Who is faster? Who is cleaner?..”, “Who has learned more” (“Not better than others, but better than yesterday’s self”). IN group lesson children “celebrate” each other’s “achievements” and plan areas for improvement. Initiative is encouraged: “I want to learn how to play “sotiye””, “I will learn all the etudes of this section at home...” We conduct lessons on “favorite type of technique” (one of the students plays the role of “teacher”). Strengthening the manifestation of creativity: lesson by student I -II class necessarily includes the composition of etudes, exercises, plays..., improvisation. Such classes are advisable in a group with children of approximately the same development level. Technology, which easily develops at this age, should be a subject of voluntary aspiration. We use the “desire saturation” method. With the help of group lessons: when etudes and exercises are included in an individual program, after watching the work of others and participating in group technique classes, the student “lights up”: “I also want to play etudes on spiccato!” “Ask me!”
Children of this age are receptive to learning, where the teacher is an older friend. By this period, “teacher-student” pairs have already naturally formed, where each of the elders has his own “ward.” Independent “lessons - mutual learning” are most effective during this period. Together we plan tasks, “methods” for improvement, and after the lesson we “evaluate” the achievements of both the “teacher” and the “student”.
An individual lesson with a 7-9 year old student necessarily includes elements of self-analysis of activities, goal setting, and self-control. The lesson can begin with a conversation: “What was most successful in homework What was difficult? What do you need help with?.. etc.” We finish by setting tasks for independent work ( self recording in the diary). Elements of planning: what “skill do you want to master”... etc. ... The tasks of cultivating attention at this age require not to overload the student’s perception with many goals, with many impressions. It is advisable, while developing the ability to concentrate, to encourage research and study of the phenomenon “from all sides” (“Monothematic” lessons): “Intervals - intonations...”, “Sound and silence”... At the same time, use all the variety of types of musical and educational activities.
At this age, it is advisable to “promote” in all directions, “lines” of mastery: not so much technological detail, but integrity, breadth. Group technique lessons, lessons exploring the expressive capabilities of the instrument, familiarization with the variety of forms of musical works in violin performance... etc. Ensemble music playing and composition for children in grades 1-3 are among the most effective, developmental forms of activity. most lesson content. Main function“lesson” in relation to a child 7-9 years old - strengthen in consciousness own capabilities(“I can do anything!”) and the desire for improvement. In our class, this is helped by “permanent” competitions for students in grades 1-2 (“Who has learned the most in a week, in a month...”, “Become no better than others, but better than yourself yesterday”).
10-12 years old. Early adolescence. This is a period of formation of a worldview and development of independence. The child strives for “adulthood.” The leading focus of the lesson is understanding the content of the music being performed and the principles of mastery - awareness of the system. An individual lesson acquires personal significance for the child: there is a conscious desire to learn from an adult, to learn from an adult teacher. Conversations about Man, Music and Life - in accordance with the “musical material” - acquire the “status” of an intrinsically valuable activity in a music lesson. It is at this time that strengthening attention to the intonational nature of musical activity and practical mastery of intonation means opening up the child’s possibilities for independent knowledge and improvement. Not just “how” (instrumentally and technically), but “for what”, what is the meaning, “essence” (of this or that work, or type of educational musical activity) - these are the accents of this period of training. The desire for adulthood manifests itself as a willingness to accept responsibility. We give the opportunity to express this desire for “big things” in self-training and holding concerts and talks. (Children of this age are the “core” of the group of “researchers” and “educators”). Group lessons are advisable in the form of the above-described “lessons - series”, “lessons - “immersions””, which naturally allow you to create conditions for maximum tension of the teenager’s strength, mind, feelings, and will. One half of such a “lesson” is conversation - discussion - study of music, era, style..., “selection” of the necessary aspects and “accents”. Another is joint work on the quality of performance of works... Lessons of this kind especially “promote” students of this age in their conscious attitude towards music and performing arts. Work on improving performing means, and “on technique” in such “serial” lessons is based on a wide “field” of vision of artistic and semantic tasks and, accordingly, on an independent student generalization: “searching for a stroke” “for Mozart”, working on the “sound of Mozart” etc.
At this age (10-12 years) differentiation of learning is carried out. Individual lessons with students in the “vocational guidance” group are distinguished by more detailed, in-depth work on performing means, on the “technology” of mastery. But in both groups, the main focus of attention in the lesson is intonation, musical activity - as the conscious creativity of thought and image. Lesson with a student III-V class we start with an “analysis” of the previous meeting - “What has been achieved”, “What are the opportunities collaboration implemented”... etc.
13-14 years old. Senior student. The leading activity is communication in the learning process. The desire for “adulthood”, self-esteem, development of motivation for educational activities. For a teacher, the “musical” consciousness of a VI-VII grade student is an indicator of the quality of the entire previous period of education and upbringing. If in the early stages the child’s spiritual energy was not suppressed by disharmonious training, then by the time he completes his studies at a music school, each student can have the “fruits” of his musical experience in the form of joy from communicating with classical music and a conscious need for it. An individual lesson during this period most fully realizes its co-creation capabilities. Independence and freedom, the need for which is the main quality of a teenager, by this time have the opportunity to be realized thanks to the skills of independent work, the ability to see perspectives, understand the meaning of activity and increased confidence in one’s strengths and abilities. Individual lesson - main form working with high school students. - this is both an in-depth, detailed mastery of violin skill, and a conscious relationship with music filled with personal experience. The content of the lessons includes listening to masters perform (comparing interpretations) and studying works without an instrument. Wide Attraction theoretical knowledge, a detailed analysis of the piece being performed (mode-tonal plan, features of form, texture) is the most appropriate “approach” in working with a high school student, when a “living” attitude to music is fixed, when music is recognized as a creativity of thought, as a carrier of spiritual and moral impulse. The older student conducts lessons with the younger ones and participates in group lessons as an “assistant” to the teacher. Purposefully learns to convey the experience of mastery and knowledge.
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1 M. Montessori based the entire learning process on the principle of identifying and developing children’s concentration on an independently chosen activity, calling it the principle of “free self-development in a pedagogically organized environment.”
2 In this example, the lesson “plan” is slightly “adjusted” by the teacher - joint planning. But completely independent work is also possible (depending on the level of preparation and consciousness of the students). It is possible in a group lesson to combine work with a teacher and with a “teacher”-student.
3 This part of the work is a fragment of the author’s article (translated into Russian), published in the magazine “Musical and theatrical arts: problems of publishing” (No. 1, 2002).
Literature
1. Komensky Y.A. Great didactics // Pedagogical heritage. - M., 1989
2. Neuhaus G.G. Reflections, memories, diaries. - M., 1983
3. Popova L.V. Education of the gifted // Psychology of giftedness in children and adolescents. Ed. Leites N.S. - M., 2000
4. Sukhomlinsky V.A. Wise power of the collective. - M., 1972
5. Kapterev Teaching children preschool age// Story preschool pedagogy in Russia. - M., 1999
APPLICATION
(from dialogues in music lessons)
"Opening"
Frasa (6 years old): my eyes light up when I show the virtuoso capabilities of the violin..
- “Play so quickly, quickly”...
I play a scale passage.
Frasa claps her hands, laughs, and suddenly, listening closely: “There was such a beautiful, beautiful sound up there!”
I play slowly, I get to A 3, she: “here, here he is” and, bringing her head closer to the violin (with her ear), listens, a blissful smile on her face...
He is happy when I show how the bow can “jump” and play chords and double notes. He won’t let me play for a long time: “Give me, give me, I’ll do it myself!” Looks for consonance (double notes), joyfully “climbs” up to the stand...
She likes to play the I (E). But suddenly he notices: “Why don’t we play on the G string, she’ll be offended!”
I show the girls how to listen to the “last sound” in the play so that it “flies” to the very end of the hall and dissolves in silence... They are playing, suddenly Yana: “And the last sound! We didn’t listen”... And Frasa, with difficulty “singing” “On a Green Meadow” (the bow is not listening yet), touchingly, attentively, carefully leads and carefully takes off, freezing with the bow over the string: “the last sound flew...”
"About the important"
I tell fifth-graders that they need to be “responsible” for every sound they make—fill it with a certain thought—meaning. Not a single sound - no meaning! Each interval is a “word” in a musical text.
So, the main thing: sound is the carrier of thought. The combination of sounds is intonation, “a thought gathered into grain.” A sentence is an expanded thought. That. music is a thought expressed, embodied in sounds... To learn a piece of music means to “recognize”, “decipher” the thoughts hidden in the “icons” and voice them.
Marina: “So the musician must be a kind person, otherwise he will not understand and will not be able to play Mozart’s music...”
Natasha: " Rude man strengthens itself with rough sounds, and the subtle, kind one with subtle sounds...”
"Story"
I asked Frasa, who was mastering Tchaikovsky’s “Old French Song,” to think and tell me the “story” that could be expressed by this music... Frasa herself reminded me in the next lesson: “History... history!” (and looks with enthusiastic anticipation...)
The story of "Song"? You already know?
Yes, I know... This cat is looking for her kittens... Searching, searching... Searching in yards, searching in basements... She’s sad, she can’t find...
And then I found it and was delighted...
But why then does this topic come back again? If “found”, then everything should end happily?! Think again...
In the next lesson:
Frasa: “The cat is looking, looking...
Then hope... She thinks: “Now I’ll find it”...
But... he doesn’t find it”...
"We're learning the concert"
Anna is 6 and a half. Anna Vivaldi plays. Part 3... Difficult, a lot, long... But very, very beautiful... What is this story about, Anna?
About how a person, and then 2, 3 people walked up the mountain for a magic stone... Everyone can make all people happy...
Here is joy - this is a song about a magic stone... Here they are, climbing a mountain... Here they meet an obstacle. They overcome... They talk about the miracle stone again... And the theme of the Concert sounds, sounds... A solemn, inviting “word” flows...
Again the enemies are in the way, hope trembles, the will grows stronger... Victory is with us, because justice and truth are with us...
The last push, the climb, the pass... Wonderful mountains... Sparkling peaks...
And you are a miracle stone...
A stone is a savior, a stone is joy... A stone is joy...
Well done! Told...
This master class was held as part of the Kezhemsky Open House Week district center children's creativity in Kodinsk, Krasnoyarsk Territory.
There is a children's music school-studio in the Kezhemsky CDT, one of educational subjects in which there is “solfege” (photo 1).
MASTER CLASS INFORMATION CARD
| Subject: | Cultivating a sense of meter rhythm in solfeggio lessons. |
| Target: | The transfer by a master teacher of his experience through a demonstration of the sequence of actions, methods, techniques and forms of pedagogical activity. |
| Participants: | Pupils of the music school-studio, teachers of the Central Children's Theater, music teachers of secondary schools. |
| Methodological means: | Methodological message, live show, commented show. |
| Equipment for the master teacher: | Piano, blackboard, duration division scheme. |
| Equipment for participants: | Handout sheets A, B, C ( Annex 1, Appendix 2 , Appendix 3), a piece of music paper, a pencil, an eraser. |
| Duration: | 45 minutes. |
| Form: | Lesson at a music school-studio. |
LESSON INFORMATION CARD
| Lesson topic: | Rhythm groups with sixteenth notes. |
| Target: | Cultivating a sense of meter rhythm. |
| Tasks:educational | Reinforce the rhythmic turns learned in 3rd grade, the rules of the basic division of durations, timing skills in two-, three- and four-multiple meters; develop the skill of reading rhythmic scores; continue the formation of singing skills, monitor the degree of mastery of the duration ratio. |
| developing | Promote development cognitive interest, to develop in students the ability to overcome difficulties in learning. |
| educational | Foster responsiveness, mutual assistance, and responsibility. |
| Age of students: | 11-13 years old, 4th year of study at the CDT music school-studio. |
| Lesson type: | Combined. |
| Forms of work: | Group, individual. |
| Teaching methods: | Conversation, practical work. |
| Lesson plan: | 1. Organizing time(1-2 minutes). 2. Introduction to the topic: methodological message with demonstration (15-20 minutes). 3. Preparation for practical work (3 minutes). 4. Practical work No. 1: rhythmic dictation (6 minutes). 5. Practical work No. 2 mathematical examples on addition, subtraction, multiplication and division durations (8-10 minutes). 6. Lesson summary (3-5 minutes). |
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 junior classes- this is tapping the rhythmic pattern of a familiar song, melody, repeating a rhythmic pattern performed by the teacher or written on the board or on rhythm cards.
Let's see what this looks like in practice.
The teacher sings the first phrase of the 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 the program requirements in the 4th grade, children are already familiar with sixteenth notes in various combinations. This is a group of four sixteenth notes, rhythm groups of eighth notes and two sixteenth notes, two sixteenth notes and an eighth note. 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 a very early period of study, when students know quarter notes 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.
| Photo 2 | Photo 5 | Photo 6 | Photo 7 |
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:
- Kaluzhskaya T. Solfeggio. Program for children's music schools, music departments of art schools, evening schools of general music education. – Moscow, 1984.
- Lebedev S., Trubinov P. Russian book about Finale. – St. Petersburg: Composer, 2003.
- Metallidi Zh., Pertsovskaya A. We play, we compose, we sing. Solfeggio for 3rd grade children's music school. – St. Petersburg: Composer, 2011.
- Musical encyclopedic Dictionary/ I.P. Dabaeva, O.V. Tverdokhlebova. – Rostov n/a: Phoenix, 2010.
- Sirotina T. Rhythmic alphabet. - Moscow.: Music, 2007.
- Davydova E., Zaporozhets S. Solfeggio for 3rd grade children's music schools. – M.: Muzyka, 1997.
- Davydova E. Solfeggio for 4th grade children's music schools. – M.: Muzyka, 1999.
- Finkelstein E. Music from A to Z. Entertaining reading with pictures and fantasies. - St. Petersburg: Composer, 1993.
1. Listening to the program
J. S. Bach HTC Volume II Prelude and Fugue in G major.
L. Beethoven Sonata No. 14 Part III.
K. Cherny Etude in C major.
F. Schubert Impromptu in E flat major.
L. Zhumanova Oriental dance.
Brief performance assessment
2. J.S.Bach. Prelude and Fugue in G major
1) Checking homework:
Movement towards the main, reference sounds.
2) Methods and techniques:
- “swing” of the fingers on the lower basic sounds, achieving release of the wrist from excessive tension
Isolation method. Leave the necessary basic sounds, vertical thinking
Playing with dotted lines in basic sounds
Playing minor sounds silently (rocking the keys without pressing them)
When playing a repeating sound, do not release this key any longer and do not allow it to rise completely during the entire execution of the figure, but press it from half, from a half-raised position, with the remaining fingers play “hooking” with your hand on the “repeated” key, forming a kind of fulcrum game lever.
3. Work on the work. L. Beethoven Sonata No. 14 III movement. Arpeggio in the right hand.
Methods and techniques:
Assemble the arpeggios in the right hand into chords;
Slowly work on finger articulation, paying particular attention to the verticality of the strike. thumb and precision of the index finger;
Alternating accents of the first and fifth fingers strengthen the position of the hand;
Specially work on the middle fingers, they are important for the full sound of chords.
Arpeggios should be played, accelerating the tempo, seeking all possible shades. A flexible brush helps change the shades of sound: touch the keys lightly, extract the sound energetically. These searches develop technique, help to perform arpeggios of the most varied nature equally freely and easily.
Alternating two sounds in the left hand.
Achieve sound and rhythmic evenness by shifting accents and changing metrical pulsation;
Increase the number of sounds per beat.
It is necessary to accurately feel the beats of the beat, the game must be accompanied by a count.
4. F. Schubert. Impromptu in E flat major I part.
Fine motor technology.
Methods and techniques:
Playing slowly, working on the sound, on its quality;
Phrasing, finding reference sounds, achieving unity of movement;
Get rid of jolts, additional swings, tossing of the elbow and wrist, wobbling of the shoulders, head, torso;
By increasing the tempo, achieve economy of movements: eliminate high lifting of the fingers, large displacements of the hand when placing the 1st finger, turns, changes of position. Every extra movement is a delay. The faster the tempo, the smaller and closer the movements should be;
Exaggerately emphasize those notes that need to be emphasized or fall on weak fingers;
Taking into account the comparative “weight” of the 1st finger, its tendency to “jump out” from a smooth sound line, play with it closer, easier, quieter than with the other fingers.
5. K. Cherny. Etude in C major.
L. Zhumanova. East Dance.
Octaves. Chords. Glissando.
Ways and techniques for working on octave technique:
1. The first requirement is a “strong” sound from both fingers. Flexible wrist.
2. Take the octaves a little laterally, as if arpeggiating from the upper sound to the lower one. At a fast pace, this technique generates a slight oscillatory movement of the forearm and hand from the 5th finger to the 1st and back.
3. Focus on black keys;
4. Use in the game not only the 5th finger, but also the 4th (and if possible, the 3rd);
5. “Technical” phrasing is of great benefit.
Ways and techniques of working on chords:
1. Perfect simultaneous playing of all sounds of a chord. The chord is taken by the hand, flying from top to bottom, not vertically, but somewhat laterally, in the direction from the 5th finger to the 1st, and the hand begins the “flight” in a softly assembled position, with the fingers freely brought together, opening and firmly falling into place only at the very moment of contact with the keyboard.
2. Protect your hands from being pinched.
3. Pay attention to the middle of the chords. It is on this that the hand should rest, as in “creeping” chords linked by common sounds.
4. Arpeggiated chords should not be played “somehow”, but “unfolded” sound by sound, in a very uniform and distinct sequence.
5. Leveling the sonority of a chord is achieved by auditory training. Listen carefully to the sound of each sound individually.
6. Give chords different sound colors. The means of “coloring” a chord is a subtle graduation of the strength of the sounds included in it.
Glissando – specific type piano technique:
1. Training at a slow pace is not allowed.
2. When playing, tilt your finger less, hold it almost vertically throughout the entire passage, expose the edges of the keys not to the flesh of your finger, but to its nail, and do not plunge your finger to the bottom of the starting key.
3. Start “sliding” not from below, from the bottom of the initial key, but from above, from the air, from afar (that is, earlier, to the left of the initial key), smoothly descending “planing” onto the keyboard.
4. Use different fingers - one third, second and third, second, third and fourth together - keep the hand in the usual playing position, that is, palm down, not up; only the hand is turned to the right, towards the 5th finger and flattened so that the first phalanges of the fingers are in the same plane with the metacarpus, and the last phalanges are folded under the first.
6. Listening to music (using technical means sound recordings).
J.S.Bach. Prelude and Fugue. G major.
L. Beethoven. Sonata No. 14 III movement
K. Cherny. Etude. C major.
Assignment: follow the notes to follow the movement and development of music.
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 the initial period of training using the example of scales and other elements of technique.
Methodological support of the 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:
Ensure the psychological well-being of the student during the lesson, which contributes to a better perception of the material.
Use various exercises to master 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 every octave or two - therefore, it is not advisable to start playing a scale in a straight movement. 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 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. Technique is a general concept that includes 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.
The entire technique of the classical period, and even the romantics, is 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 the school of scales 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 should be dealt with already at the initial stage of 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 of exercises, which 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 is the ability to smoothly connect sounds and 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. Hit it exactly next sound"do" with the 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.
The development of technical skills, during the period of initial training, develops in the student perseverance, hard work, determination, and the desire to achieve their goals.
Ivanova I. A.
The skills acquired during the lesson, as well as their development in subsequent lessons, are necessary for the student’s technical growth and successful performance of the concert program.
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.
The teacher in his work with the student uses a lot of preparatory game exercises, approaches tasks 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.
The teacher fulfilled the teaching, developmental and educational goals set for this lesson.
Teacher
Zakirova G.G.A specialty lesson at a music school is special kind activities that are not similar to lessons in secondary school, because This is an individual lesson between a teacher and a student, the goal of which is to master the game of musical instrument, instilling a love for music, opening 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
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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 the playing of a musical instrument, instill a love of music, reveal 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. Schools use the following types lessons: 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 is usually useful to first work on what is particularly important at this stage and which may take relatively more time. 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 teaching technique, 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 mistakes. 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. During the lesson, various methods are used to help 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. The question of how to play in the classroom can be answered in general terms - 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 not at a high enough level. Some teachers allow themselves not to prepare for classes, apparently believing that their authority gives them the right to show “in general terms”, with a large number of errors, or to limit themselves to performing 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 it 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. It's almost the most important part a lesson in which threads from 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
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