Methods for teaching the game on the instrument plan abstract. "A comprehensive methodology for teaching wind instruments in primary school"

Summary of the lesson in mathematics:

Wind instrument teacher.

MBOU DOD DSHI p. Berkakit

Gryzhuk Yulia Valerievna

2018

Outline plan

Item: wind instrument class

Class: 2

Lesson type: individual

Lesson topic : "A comprehensive methodology for teaching wind instruments in primary school»

Used educational system (methodology, technology)

- The teacher creates conditions for the spiritual growth of the individual, her need for self-improvement;

- A prerequisite for learning is to create the prerequisites for the transition from education to self-education;

- Way of joint activity in the system: teacher - student; student - student; student - parent teacher - parent (closed circuit).

– The teacher develops creativity in the child. It is important to determine the abilities, orientation, potential of each student, his life and professional orientations and direct his development. The teacher also uses active forms and methods of education and upbringing, an activity approach to learning, movement and development based on personal experience to the comprehension and accumulation of new experience and knowledge.

Health-saving technology;

Game technology;

Student-centered technology with a differentiated approach;- developing education;

Artistic.

Methodical materials:

Gotsdiner G. Musical psychology - M., 1987.

Skok G. How to analyze your own pedagogical activity - M., 2000.

Kirnarskaya D. Musical ability. - "Talents-XXI century".

Berger N. The modern concept and methods of teaching music - S.-P., 2004. Ginzburg L. About work on a musical work - M.1977.

Kryukova V. Musical Pedagogy. Rostov on Don 2002.

Mulberg K. Theoretical foundations of learning to play woodwind instruments. Kyiv, 1985.

Platonov P. Questions of Teaching Methods for Playing Wind Instruments. - M., 1978.

Rozanov V. Fundamentals of Teaching Methods and Playing on Wind Instruments. - M., 1988.

Kryuchkov A. Fundamentals of performance breathing when playing wind instruments musical instruments for primary and secondary students special education. M., 1985

Technical training aids (if used in class)

The list of audio and video recordings used in the lesson, visual aids etc.

Lesson equipment :

lesson plan;

two saxophones (one for the teacher);

piano;

music stand;

musical material;

didactic material (task cards, children's drawings).

Lesson Objectives :

Educational :

Formation of basic skills when mastering playing the saxophone:

1. confident closing of the valves with the fingers of both hands, the flexibility of the fingers

for some fingerings;

2. training in the correct "free" setting of the lip apparatus

(embouchure);

3. correct use of performing breath when playing;

Developing:

Development of skills for independent and creative work from the first lessons

music;

Development of hearing, memory, rhythm, musical thinking;

Development of basic skills in mastering the saxophone.

Development of a general outlook, development of the will and control of one's behavior.

Educational:

Education of aesthetic taste.

- education of perseverance and diligence.

Lesson objectives:

preparation of a sensitive, educated musician - an orchestral and chamber performer, as well as a soloist who is well versed in the means of expression inherent in his instrument and is able to reveal to the audience the content of musical works;

learn to listen and hear yourself in the process of performance.

Methods and techniques for the implementation of the tasks:

Observation;

Hearing;

Practical;

Visual;

Expected Result :

- strengthening the initial skills of playing the saxophone in combination with

improving the physical and psychological state of the body.

- learn how to play an instrument freely

Master the main tasks in the technology of the game.

Gain experience in analytical work when performing etudes, scales,

exercises and plays

Main part of the lesson:

"A comprehensive methodology for teaching wind instruments in primary school."

1.Introduction: getting to know the instrument

The saxophone is a relatively young instrument, the inventor of which was the talented Belgian master Adolf Sax (1814-1894). After a long search and experimentation, he managed to make the first copy of an unusual musical instrument, which received the name of its inventor. This happened around 1840. Sachs was the first to perform in concert before the public, demonstrating all the virtues of the saxophone with his playing.

Saks further developed his design idea, which led him to create a whole family of saxophones. He made the first family for use in an opera and symphony orchestra, and the second - as part of a brass band. Moreover, each variety of the saxophone received its name in accordance with the accepted names of singing voices: sopranino, soprano, alto, tenor, baritone and bass. Saxophones of the first group did not stand the test of time and gave way to instruments of the second family. It is on them that saxophonists play today on the concert stage, in the orchestra, and in the ensemble.

The first to feel the beauty of the timbre of the saxophone, primarily as a member of the opera and symphony orchestra, were the outstanding French composers of the 19th century G. Berlioz, A. Thomas, J. Bizet, J. Massenet, JI. Delibes, K. Saint-Saens, V. d'Andy and others. It was they who anticipated the future of the saxophone and the prospect of its participation in various academic forms and genres of musical art. Especially many beautiful compositions for saxophone were created in the 20th century. A. Glazunov, C. Debussy, F. Schmitt, J. Iber, P. Hindemith, P. Creston, E. Vila-Lobos, A. Jolivet, G. Dubois, E. Bozza, E. Denisov wrote music for him, A. Eshpay and others. In addition to solo and orchestral performance, the ensemble form of playing the saxophone has become widespread. In addition to works specially written for the saxophone, the performers' repertoire includes many arrangements and transcriptions. classical music, which also reveal the natural possibilities of the instrument.

Great achievements have been achieved by saxophonists in the field of jazz music, where the instrument has taken a leading position for a long time.

The saxophone belongs to the group of woodwind instruments and has a complex structure. It consists of three main parts: a mouthpiece withreed, mouthpiece tube and body with a developed system of valve-lever mechanism. The end of the instrument tube has the shape of a bell turned upwards.

An important part of the saxophone ismouthpiece, representing in its appearance a hollow beak-shaped cylinder. It is made of rubber, ebonite, plexiglass or a special metal alloy. The mouthpiece to a large extent has an impact on the sound of the instrument, or rather on the coloring of the sound. Mouthpiece slides on and off the mouthpiece easily

2. Rational setting.

In order to successfully master the technique of playing the saxophone, especially at the initial stage of training, the future musician first of all needs to understand the basic rules of staging well, followed by their implementation in the process of individual work.

The concept of "staging" means a set of rules for the rational position and interaction of all components of the musician's performing apparatus (breathing, lips, fingers, hands, etc.). Rational setting helps the saxophonist to achieve high-quality playing results with the least effort and time, to avoid unnecessary, additional muscle tension. Task correct setting- to promote an effective, disciplined organization of lessons on the instrument, in which the choice of techniques, methods and pace of work should be made taking into account the level and duration of the musician's training, as well as his individual abilities.

Rational setting includes the following elements:

1. General setting - a convenient way to hold the saxophone in your hands, the correct position of the body, head, hands, fingers and feet.

2. Staging performing breathing - ways of arbitrary control of breathing and the rules for changing breaths during the game.

3. Setting the embouchure - the most appropriate location of the mouthpiece on the lips, the shape and nature of the action of the embouchure and the lower jaw.

4. Articulation setting - the position of the tongue, the shape of the oral cavity.

5. Fingering setting - the location of the fingers on the instrument, the organization of accurate, coordinated, stable reflex, free and economical actions of the finger apparatus.

The most important prerequisite for the formation of skills in the performance technique of a saxophonist is compliance with the requirements that ensure the overall performance of the game. They boil down to the following points.

The body and head of the saxophonist should be kept even and straight, without any deviations to the sides and tilts back and forth. The playing posture should be natural, relaxed, regardless of whether the saxophonist practices the instrument while standing or sitting. In this case, the chest should be slightly raised, and the shoulders should be deployed. This will give greater freedom to the work of the respiratory muscles.

A good support on the legs helps to maintain the correct posture of the body when playing standing up. To do this, it is better to push them to the width of the foot, turn the socks, and push the left leg forward a little. When playing while sitting, it is recommended to sit straight, on half of the chair, without relying on its back. It is strictly forbidden to put one foot on the other. The alto saxophone is held in the hands obliquely along the body, leaning with its lower bend of the tube on the right thigh of the player. To adapt to the stable position of the saxophone, a special strap with a carabiner allows you to set the required height of the instrument suspension.

The comfortable lip fit of the mouthpiece with the reed is adjusted by turning the mouthpiece on the mouthpiece without changing the position of the head.

The general setting of the saxophonist is characterized by the withdrawal of the right elbow somewhat back, away from the body. The fingers are placed on the main (mother-of-pearl) keys, at a distance of about one centimeter from their surface. They should be (with the exception of the thumbs) in a rounded, relaxed state, and in the area of ​​\u200b\u200bthe fold of the first and second phalanges, approach the vertical position. Touching the keys and levers is carried out with fingertips without increased pressure, with some advance of the sound attack. When you press the side valves with your index fingers, small movements of the brushes should be connected. The correct position of the fingers is facilitated by the natural state of the wrists, which, together with the hands, form a straight line. When the fingers of the left hand touch the side valves, there is some deflection of the wrist.

Breathing technique .

In the process of consistent development of the individual technique of playing the saxophone, the formulation of professional, that is, performing, breathing is of particular importance.

The professional breathing of a saxophonist is a specific one: in addition to the physiological function (continuous gas exchange), it performs the function of timely air supply to the instrument. This breathing is based on the skill of arbitrarily controlling the phases of inhalation and exhalation by the saxophonist. Both phases of breathing are interconnected and proceed in their own special conditions: quick, short inhalation and long, even exhalation. The main difficulty of performing breathing technique lies in the coordination of two respiratory phases. The skillful use by the saxophonist of the natural flexibility of the respiratory muscles and the use of a rational type of breathing help to overcome this difficulty.

When playing the saxophone, the breath is taken quickly and silently through the corners of the mouth and partly through the nose. When inhaling, the saxophonist should not take in too much air in order to avoid excessive tension of the respiratory muscles. It is also necessary to ensure that the shoulders do not rise when inhaling. The inspiratory rate should correspond to the time allotted for the change of breath: the shorter the pause, the faster the breath is taken, and vice versa

There are two types of breathing - diaphragmatic and abdominal.

Diaphragmatic type of breathing is characterized by the active movement of the diaphragm and lower ribs. It is usually used when playing short musical structures or in cases where the saxophonist has little time to breathe. And vice versa - when there is enough time allotted to reproduce the breath, then they resort to a deep type of breathing - chest-abdominal, which allows you to perform long musical phrases without forced overstrain.

The development of breathing technique can be carried out in two ways: without an instrument and in the process of playing it.

The first method has an auxiliary character. It is based on the performance by the saxophonist of various complexes of general physical and special breathing exercises favorably contributing to the general vitality of the body and strengthening the respiratory apparatus. Breathing exercises are especially useful for a beginner saxophonist, which enable him to quickly acquire the skill of conscious control over the frequency and depth of inhalation, the ratio of the duration of inhalation and exhalation, and the degree of tension in the respiratory support zone.

The second way in which breathing technique is developed is the main one. It is characterized by the systematic play of long sounds in various dynamic shades, as well as the performance of music of a slow nature and, of course, different kinds exercises.

Likewise blowing up notes withf on pand back. Playing long notes in octaves.

3. Sound extraction. The formation of the ear cushion.

When playing the saxophone, the most subtle and complex actions are performed in a certain way by shaped and trained lips. The totality of the labial and facial muscles involved in sound production, and their characteristic position around the mouthpiece with a cane, form a special physiological complex - embouchure (fromFrench the words bouche - mouth and emboucher - put to the mouth. For the correct setting of the ambyushura, the following conditions must be met:

1. breathe deeply without raising your shoulders.

2. Slightly tuck the lower lip over the lower teeth.

3. put the upper teeth tightly on the mouthpiece in the center, close the jaws.

4. keep lips in a half smile.

5. put the tongue under the cane and silently blow air, at the same time removing the tongue deep and down, while not puffing out the cheeks.

6. pull the sound, monitor the evenness of intonation.

The first sound is made on the mouthpiece, and only when the intonation becomes stable, lessons on the instrument begin. For training the lip apparatus, as a rule, exercises for the development of breathing techniques are suitable. Also at the initial stage of training, the elasticity of the labial muscles is trained on simple studies:

As the motor skills of the embouchure are fixed, strength and endurance appear in the lips, it is possible to complicate the training exercises, move on to mastering the extreme registers of the instrument.

Setting the embouchure is inseparable from auditory anticipation of the quality of the extracted sound. Muscle memory and hearing interact simultaneously, thus providing the necessary timbre, dynamics and intonation sound of the saxophone in different registers. The embouchure coordinates its work with other departments of the saxophonist's performing apparatus, uniting with them into a complex sound-forming chain.

The saxophonist needs to constantly monitor the condition of his lips, protect them from various injuries, chapping. If the lower lip is cut with teeth, then you can use linings for teeth made of paper, cotton wool, elastic rubber, or order a special lining from dental prosthetists.

Sound attack.

When playing the saxophone, the beginning of the extraction of sound is carried out different ways associated with the simultaneous movement of the tongue and the exhaled air stream. This initial moment of sound production is called the attack of the sound. The saxophonist should attach special importance to the attack, as it characterizes the individual performing manner of pronouncing the sound.

The attack of sound is provided by the active work of a whole group of muscles of the tongue, which, when contracted, change the configuration of the tongue: make it flat or thickened, relaxed or dense.

Before the sound is extracted, the tongue is in the front position, touching the inner side of the muscular "cushion" of the lower lip, and the upper part of the reed.

intonation stability and tone quality.

Consolidation of this initial performing skill can be carried out on the basis of work on a special exercise, for example:

4. Technique of the game.

Of great importance for the individual adaptation of the saxophonist to his instrument is the development of various constantly interacting movements of the fingers of both hands, which provide the necessary contact with the valve-lever mechanism of the saxophone.

The saxophonist's finger technique implies the ability to play fast, clear, coordinated and stress-free. This quality is acquired in a certain sequence (from simple to complex) and subject to long and thoughtful studies. The work of the fingers is coordinated with the playing functioning of breathing, embouchure, articulatory apparatus and hearing.

The formation of gaming skills of the finger apparatus has the following general patterns:

1. At the initial stage of work on finger motor skills, a motor skill is formed progressively, on the basis of a repeating cycle of exercises, that is, fixing the reflex stereotype of movements.

2. At the subsequent stage of technical work, motor skill stabilization occurs, the movement of the fingers acquires a variable character: when the intonation, dynamic and timbre conditions of the game change, they can perform actions with various fingering combinations, and when extraneous external stimuli appear, the fingers act stably without fingering violations and disruptions.

3. Depending on the game situations, certain learned fingering movements, no matter how well they are automated, can be performed either unconsciously or consciously.

4. Reflex consolidation of skills is best acquired when working on technical material at a slow pace, through multiple repetitions, the number of which should be optimal and individual for each saxophonist.

5. During the transition from the initial stage of automation of movements to the further improvement of finger fluency, the fixation of motor skills slows down somewhat, while the growth of performing technique occurs in leaps and bounds - with ups and downs.

In the process of working on finger technique, the saxophonist develops a specific musculo-motor sensitivity, which allows him to precisely coordinate the motor actions of the fingers in spatial, temporal and fingering terms. It is necessary to develop the technique of fingers on the following exercises:
When playing various exercises, scales and etudes, the main task for a beginner saxophonist is the free setting of the playing apparatus (hands, fingers, embouchure, breathing).

5. Analysis of the result of the lesson:

The main goals and objectives of the lesson were to teach the child how to play the instrument correctly. The child learned the initial principles of setting up the entire apparatus as a whole: this and how to hold the instrument correctly, how it is necessary to hold the head and body while doing this, how the labial apparatus and fingers should work. Also, the child knows in what sequence he will be engaged, what exercises for the development of certain types of technology he will use in the process of classes. The skills acquired in the initial lesson must be developed and maintained throughout the entire learning process at a music school.

Check Forms homework student:

The house is given:

1. Playing long sounds in direct sequence - 10 min. Playing the scale analyzed in the lesson.

2. Independent analysis of the study.

3. Work on the work, fulfillment of the tasks set in the lesson.

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1 Outline of the open lesson of the teacher Gorobtsova Galina Vyacheslavovna in the piano class. The lesson was conducted with Georgy Gorobtsov, a 3rd grade student of the General Aesthetic Department. A variable-adapted program on the subject "Special Piano" was used. All sections that are applied in the lesson help to solve the main tasks. Topic of the lesson: "Formation of skills in reading notes from a sheet." The purpose of the lesson: Development of musical horizons, activation of thinking, hearing, coordination when reading music from a sheet. Tasks: educational - mastering by the student of theoretical knowledge and practical skills; developing Type of occupation: - development of musical graphics; - development of coordination; - development of a musical eye; - development of rhythmic skills; - metrorhythmic organization of performance; - acquisition of auditory control skills. Lesson of consolidation and systematization of knowledge and skills. Teaching methods and technologies: - visual; - verbal; - practical; - emotionally cognitive; - generalization methods; - gaming technologies; - health - saving technologies. Lesson equipment: - musical instrument; - musical material; - teaching aids; - didactic material.

2 Lesson plan I. Organizational stage. a) greeting, psychological mood of the student; b) the message of the topic of the lesson and its tasks. II. Main part. 1. Mastering the musical alphabet 2. Exercises for the development of coordination 3. Mastering musical notation 4. Rhythmic exercises 5. Development of the skill of "look-hear" forward 6. Formation of the skill of quickly memorizing the text "photographing" 7. Ensemble music-making III. Final part Summing up (evaluating the effectiveness of the lesson). Homework. Course of lesson II. The main part The formation of skills in reading music from a sheet is associated with the consistent solution of a whole range of practical and pedagogical tasks. With regular sight reading, the student’s musical horizons expand, their ear for music and thinking develop, the task of organizing the pianistic apparatus becomes easier, quick orientation on the keyboard is developed, complex motor skills develop, the basis for accompanist practice and playing in an ensemble is formed. Where does the formation of sheet music reading skills begin? From acquaintance with the musical alphabet. I use three circles of the musical alphabet in my work: - the first circle is seven note sequences arranged in order, where each of the seven notes can be the first. We pronounce the first circle of the musical alphabet from the given sounds. -the second circle of the musical alphabet is "terts" sequences, where each of the notes can also be the first. We pronounce the second circle of the musical alphabet from the given sounds. - Today we will get acquainted with the third circle of the musical alphabet, these are “quarter” sequences. Question to the student: tell me, what is a “quart”? Answer: A quart is an interval with a width of four steps. - Now you will play and name the notes, stepping through this interval from the C key of the first octave until you get to the C of the fourth octave. And then, you will go back in reverse order, continuing to name each played key. The student plays and pronounces the third circle of the musical alphabet. - I have a card in which all the options for the third round are written, at home you will continue to study it on it. Actions related to motor skills are the most elementary link in the formation of sheet music reading skills. The formation of such an orientation, the development of the visual representation of the piano keyboard, begins in the process of studying scales and exercises. We learn the scale with a non legato technique of one octave, and then we play with different strokes, without looking at the hands. It is best to choose a scale using black keys such as: D, A, E, B major, and later minor: C, G, D. It is the black keys that will serve as a reliable guide for fingers that are deprived of the support of vision.

3 The student is invited to play any of the named scales with non legato and staccato strokes. At the same time, we try to concentrate all his attention on sound and articulation. From the very first lessons, there is a development of musical graphics with the study of two keys at the same time, and we number each line in both the treble and bass clef with the numbers 1,2,3,4 and 5. The additional line of the note “to” of the first octave received the number zero. Contrary to tradition, bass clef lines are counted from top to bottom. - Find and play the key that is written on the fourth line in the treble clef; on the first line in the bass clef; zero line with the right hand, between the fifth and fourth in the bass clef with the left hand at the same time. - And now play the fa key of the second octave and say on which ruler it is written; key mi of a small octave and name its location on the stave. Playing according to notes presents new difficulties for the child. It is advisable to reduce the range of problems to a minimum. Playing at the initial stage with one finger allows you to concentrate on the correct extraction of sound, the pieces should not be complicated, the child should play, looking at the notes. - Now we will play the Pathfinder exercise (from the study guide “To Music with Joy” by O. Getalova and I. Vizna.) And if in the past lessons you “followed the trail” either in the violin or in the bass clef, then today we will take exercises using two keys at the same time. Question: What note will you start the game on? Answer: from note to. - Your task is to look at the notes, to determine where and how the melody moves: in leaps, stepwise movement up or down. It is known that metro-rhythmic skills develop in children much faster and easier than pitch skills, so some teachers do not pay enough attention to metro-rhythmic education. In order to make it easy for students to navigate in rhythm, rhythmic difficulties were not created when reading notes from a sheet, it is advisable to use special rhythmic exercises, isolating and separately working out the ratio of various rhythmic figures. At the initial stage of training, two rhythmic figures are sufficient (half and two quarters, or a quarter and two eighths). Question: if I walk in quarters and you in eighths, how many times faster should you move? Answer: twice. - Let's walk you in eighths, and I in quarters. - And now let's change, I'm the eighth, and you're the fourth. Question: in the last lesson, you and I sang the song “Our Kitten” with words. What are the durations here?

4 Answer: quarter and half. - Have you noticed that the words help you feel the rhythmic pattern of this song? Tap the rhythm by pronouncing rhythmic syllables. - And now let's analyze the Russian folk song "Karavai". Q: What is the size of the song? Answer: 4/4 Question: look carefully at the first bar, what can you say about it? Answer: it has two beats instead of four, which means it's an overbeat. Q: Do you remember what a backbeat is?

5 Answer: In the play, the measure once lived, The very first measure was, But a misfortune happened to him, Tore into two parts. The beat of this beginning, Behind the whole play stood up. And the end of the same measure Climbed into the beginning, became the lead-in. Therefore, now the account is kept in it the other way around. - I will play the accompaniment, and you slap the rhythm of the melody: It is advisable to start directly reading works from sight at the beginning of training with an easier task of reading the melody (playing with claps, voice, etc.). It is also possible to use special exercises: The teacher plays a piece, and the student says the notes aloud:

6 The teacher starts playing the phrase, the student continues it, naming the notes aloud, but maintaining the continuity of the movement. Thus, the ability to carefully follow the notes and “look and hear” ahead is developed. Among the exercises that develop the skill of accelerated perception of the text, the so-called photographing plays an important role. The student is shown a piece of text (motive, phrase, sentence), which he must remember, mentally present in sound and play. At the time of execution, the student reads and memorizes the next fragment. First fragment: Second fragment: It is very useful to use ensemble forms of music-making at all stages of training. Such a game introduces the student to relatively complex sounds that are inaccessible to him in solo performance, disciplines the will, trains attention, helps to feel the rhythmic movement of music. - Now you and I will sight-read an ensemble called "Toy Bear". Try to look ahead, listen carefully to the second part, follow the rhythmic development of the piece.

7 III. Final part The formation of the skill of quick parsing and reading of musical text is closely interconnected with the general musical and pianistic development of the child. Best Results sight reading skills are achieved when this skill is formed from the first steps of a pianist's training. Experience shows that even weak students, systematically playing from a sheet, move forward much faster and more confidently. They develop an interest in playing the instrument. The teacher should use all available opportunities to instill in his student a love for sight reading, independent music making. Question: What did you learn in today's lesson? Answer: the third circle of the musical alphabet, got acquainted with new songs. Homework to repeat the first, second and learn the third circle of the musical alphabet, play scales and read from sight. Evaluation of the work done by the student: has the goal of the lesson been achieved (mastering the skills of reading from a sheet?) Have you begun to understand better how to work at home?

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The method of teaching children to play instruments depends on:

• - instrument belonging to a certain classification group and subgroup;
• - the principle of sound extraction;
• - the age of the performer and the tasks assigned to him;
• - the level of physical, musical, emotional development of the performer;
• - availability of conditions (material, temporal, organizational) for learning to play the instrument.

The methodology for learning to play any folk musical instrument should include the following steps:

• 1. Acquaintance with the instrument - the history of creation, design features, performance capabilities;
• 2. Setting up the performing apparatus - body, hands, embouchure, etc.;
• 3. Mastering the basic techniques of sound extraction;
• 4. Development of performing skills - work on artistic, expressive, emotional, musically competent and technically perfect performance of a musical work;
• 5. Work on a piece of music.

Methodology for learning to play percussion instruments

Percussion instruments are especially attractive to young musicians. Learning to play most of the percussion instruments of the orchestra (ruble, rattle, clapperboard, etc.) does not require a long time and special training, while the development of appropriate playing skills allows in the future to master more complex percussion instruments (belfry, firewood, etc.) .), playing techniques (on three, four or more spoons), as well as musical instruments of another group of the orchestra.

In the process of getting to know the percussion instrument, children:

• · Learn about the history of its creation;
• · Study design features, performing (including technical) possibilities;
• · Allocate characteristics that determine the specifics of a particular tool;
• Establish belonging to a subgroup according to the sound-generating element:
  • - tool body - noise;
  • - membrane, membrane - membranous;
  • - plate - lamellar;
  • - the presence of several sound-like elements - combined type;
• Learn how sound is produced
• - from the impact of fingers, palms, sticks, hammers, mallets, instruments (similar and dissimilar) or parts of instruments against each other;
• - as a result of shaking;
• - friction (sliding);
• - other methods of sound formation, including mixed ones;
• · Learn the properties of sound (indefinite or definite pitch, timbre characteristics, dynamic possibilities, etc.);
• · Acquire knowledge about the features of the use of percussion instruments (creating an ostinato rhythmic background, sound-visual effects, sound imitations; playing solo, in an ensemble, the effort of dynamic shades, etc.)

Because the proposed methodology is aimed at children of preschool and younger school age, then it includes game techniques. For example, when learning nakr, a child can "talk" to a magic pot that responds to the voice (vibration of the instrument's membrane). The game situation allows this case in a figurative form, get acquainted with the features of the sound production of this instrument, which belongs to the subgroup of webbed percussion.

Studying the belfry, children find familiar images in its configuration: a fungus, a bell, a hedgehog, etc. Characterizing the sound of the belfry as long, sonorous and lingering, they come to the conclusion that the sound of the instrument depends on the material from which it is made, as well as on the presence and the size of the resonator, the size of the instrument, the features of sound production on it, etc.

When playing a percussion instrument, the main role belongs to the hand, although the shoulder and forearm also participate to one degree or another. A movable, flexible, elastic brush works wonders, performing intricate rhythmic figures rich in timbre colors. The muscles of the hand should not be tense, which will help to avoid stiffness and tightness of movements when playing the instrument, as well as rapid fatigue.

The process of learning the game should begin with a special propaedeutic warm-up of hands without an instrument. This will allow you to prepare the user's apparatus for the game, form and reflect the muscle sensations necessary for the game, and develop hand coordination. For example, before the children begin to play the Kursk rattle (reception of the game “Wave”), the warm-up game “Driver” is played with them: they imitate the movements of the hands of the driver turning the steering wheel of the car. Or before the children play on the box, they are invited, changing hands, to “drum” on their knees.

On a number of instruments (box, shepherd's drum, nakrah, firewood) the musician plays with two objects (sticks, spoons or hammers). The order of alternation of hands in this case is determined by the metric structure of the measure (the right hand strikes are made stronger or relatively strong beats, the left hand strikes - on weak beats) or the convenience of fingering when performing a particular work.

learning techniques

Different groups of instruments require the development of playing techniques of various degrees of difficulty. Therefore, those participating in the orchestra should be given differentiated tasks, taking into account their individual capabilities.
In the methodology of teaching playing instruments, it is important to establish the sequence of performing various musical assignments. There are no long and strong pedagogical traditions in this matter yet. As in any performance, it is necessary to use the correct playing techniques when learning pieces. Continuity in collective and individual work is important: in general classes and in independent music-making, in holiday performances and entertainment.
The expressive performance of the work (on various instruments) by the teacher, the demonstration of techniques, methods of sound production and explanations - well-tested, traditional methods - can still be supplemented by others. Children are offered to “examine” the instruments on their own, they are given simple creative tasks and are encouraged to self-study in independent studies. When training takes place in a combination of these methods, one can count on pedagogical success.
In practice, they often start learning to play many instruments at the same time, although each instrument requires different performance techniques, or they learn the whole piece at once. At the same time, some children have to wait while others learn. This tires the guys and scatters their attention.
Obviously, something else might be appropriate. Having introduced the children in general classes, for example, with the appearance of the zither, with the basic techniques of playing it, having learned 2-3 chants over the course of several lessons, the instrument is later transferred to the group. During the games, the children continue on their own initiative
get acquainted with the instrument, the teacher helps them. Meanwhile, in general class is on familiarity with another instrument. Moreover, sometimes the most capable children are invited to inspect the instrument, find ways to play it, and then the teacher makes his own corrections.
Gradually, children are introduced to instruments that have diatonic or chromatic scales: metallophones, triplets, accordions, zithers. The shock group requires less time to get acquainted with it: two or three instruments can be brought into the lesson at once, for example, a drum, a tambourine and castanets, since children reproduce only the rhythm on them.
Consider the features of the teaching methodology in terms of the following tasks: mastering the technical methods of the game; sequences of tasks for mastering the game on individual instruments; learning some pieces.

Technique

Playing techniques depend on the design of each instrument. First of all, it is necessary to establish the correct initial position and the location of the instrument in relation to the child.
Metallophones, zithers are best placed on small stands located at the level of the knees of the players. If there are no stands, the tools can be placed on your knees. Wind instruments (before the start of the game) are also placed on their knees. The drum and tambourine are held at waist level, and the triangle is hung on a stand, or the child holds it in his left hand.
It is very important to teach the correct techniques of sound production. When playing on glockenspiel the hammer should be held so that it rests on the index finger, and the thumb holds it on top. The blow should fall on the middle of the plate and, most importantly, be light. The brush must be free. If the child keeps the hammer clenched in his fist, strikes loudly, holds it on the record, then the sound will turn out to be “dirty”, unpleasant.
When playing on zither the mediator must be clamped between the thumb and forefinger. The sound is produced by a light, elastic movement along the string. At the same time, one should strive not to touch unnecessary strings.
Castanets they sound very loud, so they are taken in the right Hand and lightly hit with “petals” on the palm of the left. The sound is somewhat muffled, and the rhythmic pattern is clearly audible.
Dishes children hold on to the straps and hit one against the other in a sliding motion. To stop the sound immediately, the plates are applied to the knees. Sometimes the cymbals (hanging them up) can be hit with a stick, the end of which is covered with several layers of soft mater or wadding.
When playing on triangle it is necessary to strike with a stick in the middle of its horizontal part. The sound should be light and elastic.

and if it continues for a long time, you should press the triangle with your hand - the sound will immediately stop.
Tambourine makes sounds of different character, depending on whether they hit his membrane with fingers, the soft part of the palm, or one thumb. If, in addition, the place of impact is changed—closer to the wooden frame (where the resonance is stronger), towards the middle, strike the frame itself, or, finally, alternate these impacts, then an interesting timbre juxtaposition of sounds can be achieved.
Play on triolet And Melodies-26 follows the same steps. The child blows into the hole of the tube, expending breath evenly. At the same time, he presses the desired key. The keys of the triola are colored, each has its own color and name. First keys - re, fa#, salt and further scale salt major. Therefore, it is possible to perform melodies on the triol in G major and partly in other keys, but in a limited range.
The instrument, called Melody-26, is built on a chromatic scale (two octaves), and practically any melody within two octaves can be played on it.
When the child feels the differences in sound quality, when he himself begins to navigate the various methods of playing, he will develop auditory control and the ability to correct inaccuracies in his performance.

Job sequence

At the beginning of training, the methodological techniques of the leader are directed, naturally, to arouse in the child an interest in a new type of occupation for him.
In the nature of the sound of each musical instrument, one can find an analogy with some natural phenomenon - the voices of birds, animals, human speech. The teacher, for example, draws the attention of children to the fact that the birds sing high, loudly, gently, and this can be depicted on the zither.

The metallophone conveys well the sounds of falling raindrops: at first they fall rarely, then they ring more and more often, more often - the rain intensifies.

The sound of the triola is lingering, as if someone is shouting in the forest, calling.

And the flute or Melody-26 says to all the guys - get ready for a hike.

On the drum, the sticks knock out a fraction, like thunder rumbles (the teacher makes alternate quick strikes with two sticks).
The meaning of such techniques is to familiarize children with the expressive possibilities of each instrument.
At this initial stage, it is also useful to prepare children for coordinated joint actions, to develop the sense of the ensemble, which is so important for playing in the orchestra. For this purpose, peculiar rhythmic "orchestras" are used. Children clap their hands, stamp their feet, tap with wooden sticks, bars, plastic boxes - empty or filled with pebbles, peas, etc. And here sound extraction techniques can be different. So, if you hit one palm against the other with half-bent fingers, then the sound is booming and deaf; if you strike with “flat” palms, as in “cymbals”, then the sound is distinct and sonorous.
It is possible to strike the fingers of one hand against the palm of the other, and the sound differs considerably depending on whether the fingers are held outstretched or free and half-bent. The stomp of the foot is also different: the whole foot, one toe or heel, alternately - then the toe, then the heel. The so-called "slaps" are used with the palms or fingertips on their thighs.
Wooden, plastic, metal objects also allow you to extract sounds of a different nature. Children with interest
listen to them, performing rhythmic tasks, master the skills of joint or sequential actions. Children are given, for example, the following exercises:

musical echo

Children are divided into two subgroups.
1st line. The teacher taps with sticks.
2nd line. The first subgroup of children taps with their toes.
3rd line. The second subgroup of children taps their fingers on the palm of the other hand.


Such exercises can vary in rhythm and in different ways of clapping, stomping, “slapping”, etc.
The movement of the train is well imitated, for example, by alternating kicks with a toe, then with a heel, or with hands, then with fingers, then with a deaf clap. In this case, the tempo can arbitrarily accelerate or slow down, and the sound intensifies or subsides.

1st line. Heel strike.

2nd line. Toe kick.

It is useful to introduce children to the perception and expressive performance of rhythmic recitative intonations of the voice. At first, you can show their expressiveness in simple rhythmic sentences, speech intonations, and recitative. As you know, recitative is close to melodious recitation. It contains natural colloquial speech intonation rises and falls, accents, pauses are clearly audible.
It is advisable to draw the attention of children to the fact that in various game and life situations one can use rhythmic sentences and musical and speech intonations.
Let us give examples of various techniques that consistently lead children to expressive performance.
The teacher invites the children to guess who she called - Tanya or Andryusha. Children should recognize this with a rhythmic pattern performed by an adult in clapping or on a metallophone:

Children will find out what the girl was called - Tanya or Tanechka:

After that, the guys can call each other on their own. Coming up with a certain rhythm, they lay out cards on a flannelograph, using them from the appendix to the Musical Primer. Wide cards depict quarters, narrow cards represent eighths:

They can perform the same rhythmic pattern on a metallophone, a triode, or on percussion instruments.
From the performance of a rhythmic pattern, children move on to recitative. They are invited to call each other, but in different ways: affectionately, angrily, inquiringly, invitingly. Children come up with expressive intonations that approach sung speech. These are not yet vocal intonations with their precise pitch and melodious sound. They are spoken. Either raising or lowering the intonation, the guys are simultaneously looking for similar ones that sound on musical instruments, thus composing short chants.
Further training proceeds in the following sequence: first, playing on one instrument is mastered, then on another, etc. At the same time, the volume of performance skills increases: first, rhythmic patterns; then melodies built on narrow intervals; later melodies, including significant segments of the scale and wider intervals.
Learning the melody of simple pieces, songs, and chants, children must cope with two difficulties: to reproduce the rhythmic pattern and the melodic line. First, when mastering the techniques of correct sound extraction, the teacher offers the children an easier task - playing the rhythm, learning the techniques of correct sound extraction, the initial pieces of the "Musical Primer". Their artistic advantage is that rhythmic jokes are given with piano accompaniment, and this makes them more expressive.
After the performance by the teacher, the children easily learn the tune and sing, clapping the rhythm. It is good to use cards from the application "Music Lotto" ("Music Primer").

Cards are laid out on a flannelgraph:

Children are offered to count the sixth plate on the metallophone (from the beginning) - “this is a note la", and then play a rhythmic pattern - the song "The sky is blue." The teacher accompanies the piano. The secondary performance is accompanied by collective singing. The task is mastered, and the guys will be able to play the song on their own.

The sky is blue
Music by E. Tilicheeva

[Calmly]

At the following music lessons, an individual survey is conducted: children perform this song on different sounds (records). They are called notes (their location on the records is familiar to children): “Play the note mi, on a note before" etc. At the same time, you need
but remember that children are able to sing and accompany themselves on the metallophone only a well-learned song, since the sound of the metallophone is higher and does not correspond to the voice capabilities of a preschooler. It is easy for a child to get lost, since the same note on the metallophone sounds in a different octave (higher).

Having learned a few rhythmic chants, you can proceed to the next tasks - first, learn the chants, consisting of close intervals, and then from wider ones. The teaching method remains the same. It should be remembered that the poetic text facilitates memorization and allows children to use the learned works in independent studies. It is also important to consistently complicate tasks. Easiest to play seconds, their sounds are side by side. Therefore, after exercises on one sound, it is advisable to play chants built on this interval (for example, the Russian folk chants "Magpie-magpie", "Accordion" by E. Tilicheeva, etc.).

magpie-magpie
Russian folk song

Harmonic
Music by E. Tilicheeva
[IN medium tempo, rhythmically]

Assimilation of more complex performing techniques gradually makes it possible to complicate the repertoire. Stepwise moves appear in the chants within small scales, the intervals expand. Piano accompaniment, vividly and expressively presented, is of increasing interest to children It is important that children listen to the means musical expressiveness and feel the mood of the music. Each work of art is original, peculiar in its own way, and the methods of mastering it should be different.
The musical perception of children is activated if, after the first listening to a piece, they are asked, for example, such questions: “On what instruments is it better to perform this piece?”; “In what part of the piece should other instruments be played, and which ones?” Children usually choose instruments more easily if the piece is clear enough in character, has a clear musical form, and is built on parts that are contrasting in character. Of course, children cannot orchestrate a piece. But it is important to use an interesting technique in which they try to compose and make their “decision” - which instrument should sound in one or another part of the piece. With a skillful, tactful approach, you can influence their proposals in a timely manner and direct their responses.

Methodology for learning individual works

The more complex the piece, the more developed the piano accompaniment of the song, the more leisurely the learning process should be. Consider two examples: "Rain" and "Our Orchestra".
The first song is "Rain". Russian folk song in the processing of T. Popatenko is built on the motif of two sounds lying side by side (major second). This motif is repeated many times with a small rhythmic variant - at first, the chant begins with a strong beat of the measure (“Rain, more rain!”), And then with an off-beat (“Let's give you thicker”). The general character of the piano processing is mobile, clear, and light. The texture is transparent - many pauses, the main stroke - staccato. There is an introduction and a conclusion. In the introduction, a simplified motive of the song sounds, and the conclusion, as it were, “draws” raindrops.
The transparent nature of the song should not lose its charm when instrumented. In the introduction, one can hear, as it were, the roll call of two registers. Finally, there are triangles. They very well reproduce the character of the "droplets", especially since the melody of the conclusion cannot be conveyed by the sounds of children's metallophones and zithers. In this piece, it is desirable to use a small number of instruments that are distinguished by a light, sonorous, abrupt sound.
The sequence of lessons for learning this song can be outlined as follows.

Lesson 1. Children listen to this familiar song performed by an adult. Attention is drawn to the light, transparent sound of the piano part. The children remember the song and sing it. The teacher offers to think about which instruments are best suited to her sound.
Lesson 2. After the song is played, discussion begins on how to instrument it. Attention is drawn to the nature of the introduction, conclusion and some difference between the second phrase and the first. Children's suggestions are discussed and practically tested. If one or the other version of the instrumentation turns out to be good, then it can be performed in its entirety in this lesson.
Lesson 3. If the option proposed by the teacher is being learned (suppose the children's options are not accepted), then you can first perform only the melody of the song (on the metallophone, zither), and for the time being, perform the introduction and conclusion on the piano. Attention should be paid to the timely entry of zithers
Lesson 4. The whole song is learned - at first without singing, then some of the children play, others sing, and, finally, everyone plays and sings.

Another song - "Our Orchestra" by E. Tilicheeva (lyrics by Y. Ostrovsky) is much more difficult for an ensemble performance. The melody is more varied, its range is already within sevenths, moreover, there are jumps, stepwise moves go up and down. Rhythm also has difficulties: there are notes with a dot. All this requires certain skills from children. In piano accompaniment and in melody are given musical characteristics sounds of various groups of instruments. It is enough to recall the measures where the words “Drums, drums, drum, drum” sound, in which a clear rhythm is given, as if imitation of a drum. Then a higher regi appears. Thus, the instrumentation is prompted by the composer and the poet. But in order for children to be able to participate in the choice of instruments themselves, obviously, they first need to perform a song without lyrics that suggest a solution.
Therefore, the following sequence of classes is appropriate:

Lesson 1. The teacher plays the piano part without singing. Children are offered musical riddles - they play separate phrases that to some extent characterize the sound various tools. They guess and name which instruments are suitable for a particular phrase. Then the teacher performs the song for the second time, but already sings and plays. In this way, children will find out if they named the instruments correctly.
Lesson 2. Learning the vocal part of the song. Children learn the melody. Then they sing it in batches: future performers on triplets sing the first phrase, on drums the second, etc. While singing, the guys imitate the movements of playing one or another instrument.
Lesson 3. Learning more complex parts: triol (1st four-measure) and metallophones with zithers (3rd four-measure). First, all the children play, then they choose those who will perform these parts, show them these parts, explain what note to start with, and offer to play. Then all the children play imaginary drums, and some of the children play real instruments.
Lesson 4. The learning of the parts of triols and metallophones continues. First learned last phrase metallophones, on which they perform a melody, and then a percussion group joins them - drums. The drum part is repeated. At the end of the lesson, the entire score as a whole is performed for the first time, but without singing.
Lesson 5. The performance of each part is repeated separately. All

Rain
Arranged by T. Popatenko
[Not very soon]

score, but at the same time some children sing, others play. Timely introductions of each group of instruments are controlled and dynamic shades are refined.
In further classes, the whole play is repeated and the acquired skills are consolidated.

Often in pedagogical practice there is such a technique: children perform a melody on their instruments, and an adult plays a melody and accompaniment on the piano. To diversify the sound, you can do it differently. For example, the whole play is performed by the teacher on the piano, and the children play a melody on the metallophone, but, as it were, an accompaniment, that is, sounds corresponding to the first (I) and fifth (V) or first (I), fourth (IV) and fifth ( V) fret steps.
Here, let's say, are three versions of the Ukrainian folk melody "Oh bursting the hoop" arranged by T. Popatenko. Metallophones in the first case duplicate the melody, in the second - the bass voice, in the third they play without piano accompaniment.
Another work is "Squirrel", an excerpt from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov. In this passage, the image of a fabulous squirrel is conveyed. To characterize the image, the composer used the melody of the famous Russian folk song"In the garden, in the garden." The melody of the song is cheerful, perky, dance character, but is performed at a moderate pace. When instrumenting a piece, it is necessary to select musical instruments with a light, sonorous and jerky sound. It can be a metallophone and a triangle.

When learning a piece, you can offer the following sequence of classes.
Lesson 1. Children listen to a play performed by an adult. Attention is drawn to the light sound of the melody, its perky, dance character. You can read an excerpt from the work of A. S. Pushkin "The Tale of Tsar Saltan." After the teacher re-performs the piece, the children are asked to think about which instruments are best used to play in the orchestra in connection with the nature of the music. Children's suggestions are discussed. One of the options is selected. The teacher plays a melody on a metallophone.
Lesson 2. The teacher performs the melody of the play without piano accompaniment. Children clap the rhythmic pattern of the melody. Then the party of the triangle is learned. Some perform a rhythmic pattern on triangles, others clap. Then the actions of the children change. Before learning the part of the metallophone, the teacher first performs the melody himself, which is then learned in parts (the 1st four-bar, then the 2nd four-bar).
Lesson 3. The learning of the metallophone part continues. Children perform the first part of the piece (1st and 2nd four bars) and the entire score is performed. When it is repeated, triangles are attached to the metallophones.
Lesson 4. Each part is performed separately without accompaniment and with accompaniment. Then the entire score is played. The attention of children is drawn to the clear execution of the rhythmic pattern.
Lesson 5. Each part is performed separately with accompaniment, then the entire score is performed. The attention of children is drawn to the expressiveness of the performance. When repeated, children can change instruments.

Our Orchestra
Words by Y. Ostrovsky Music by E. Tilicheeva

[Leisurely. Solemnly]

Squirrel (excerpt)
From the opera "The Tale of Tsar Saltan"
Music by N. Rimsky-Korsakov
[Moderately]

Learning to play musical instruments cannot be limited to just learning the repertoire. It is important that these activities are creative.
Exercises in which it is proposed to reproduce (by ear) a familiar melody, play a rhythmic chant at sounds of different heights (transposing), find a new technique for playing an instrument, of course, develop independence and auditory representations in children. But it is also important to create the prerequisites for the children's own creative manifestations. To give the opportunity to choose instruments for the performance of a particular piece, to encourage them to improvise.

Techniques for the development of musical creativity

Children's musical creativity begins with an "examination" of the sound capabilities of instruments. This is very valuable, but children are often helpless in their search. The teacher directs these searches, offering the children to play how cuckoos, birds sing, how it rains, thunder rumbles, etc. But you can also apply an interesting method of collective creativity on metallophones, xylophones. If you stick notes F And si(IV and VII steps) or remove the plates of these sounds so that the children do not play them, then they can improvise everything at the same time. Children play on five sounds (do, re, mi, salt, la). Very interesting harmonic combinations are obtained, constantly and unexpectedly changing, but always very melodic. At the same time, children can play in any rhythm, but sometimes they are offered a given rhythm, for example, a quarter and two eighths. The significance of this technique lies not only in the development of harmonic hearing. Children begin to improvise themselves, to make their first attempts at creating "their own compositions".
It should be emphasized that the methodology for teaching to play instruments in kindergartens should be more organized and consistent than is the case in practice. The success of this training depends on the consistency of all forms music lessons children. In the classroom, they receive a certain amount of knowledge and skills, accumulate a repertoire.
Children willingly, with great pleasure use the songs and pieces they have learned in their games, perform them at holidays, entertainment. Acquaintance of children with new instruments, their performance of interesting tasks in choosing instruments for performing certain pieces and songs, the acquired ability to evaluate (by ear) quality performance, improvisation, the opportunity to participate in various ensembles - all this makes playing instruments interesting for children and valuable for their overall musical development.
Taking care of the development of children's creative manifestations, the teacher offers them a variety of tasks, for example, to evaluate the performance of a familiar melody, or improvisation by a friend, or their own own performance on any musical instrument; choose from among the proposed musical instrument, on which you can depict the singing of birds, the rustle of leaves, the howling of the wind, etc .; to choose musical instruments suitable for the timbre on which one or another play, song can be performed; convey on a drum or tambourine the rhythm of a march composed by the child himself; try to compose a dance tune, etc.
The role is clear music director and educator. They should not only be proficient in the methods of teaching classes, but also be able to play children's musical instruments freely, know the device and the techniques of playing them.
Playing instruments is an interesting and useful musical activity for children. Musical toys and instruments allow you to decorate the life of a child, entertain him and arouse the desire for own creativity. In the process of learning to play the instruments, auditory representations, a sense of rhythm, timbre, and dynamics are well formed. In the actions of the child develops independence, attention and organization.
The whole complex of methods for introducing children to entertaining and complex musical performance prepares them well for future classes at school.

QUESTIONS AND TASKS

1. What is the meaning musical toys and tools in the life of preschoolers?
2. Describe the types of children's instruments.
3. Tell us about the features of children's musical toys and instruments.
4. At what age is learning to play musical instruments recommended? List the learning objectives.
5. What musical repertoire is appropriate to use in learning to play the instruments.
6. What is the methodology for teaching preschoolers to play children's musical instruments?
7. On the example of any piece of music, make a summary of the classes during which the teacher teaches children to play the metallophone.
8. List the forms of learning to play children's instruments.

9. Reveal the techniques for developing children's musical creativity in the process of mastering playing the instruments.

LITERATURE

Standard program of education and training in kindergarten / Ed. R.A. Kurbatova, N. N. Poddyakova. - M., 1984.
The program of education and training c. kindergarten.—M., 1987. Education and training in kindergarten / Ed. A. V. Zaporozhets, T. A. Markova - M., 1976.-S. 308-341.
Vetlugina N. A. Musical education in kindergarten.—M., 1981.
Vetlugina N. A. Musical and game creativity in children 5-7 years old. Song creativity of children 5-7 years old // Artistic creativity in kindergarten. - M., 1974. - P. 107-120.
Dzerzhinskaya I. .L. Musical education younger preschoolers.- M., 1985.
Kabalevsky D. B. How to teach children about music? - M., 1982.
Kvitnitskaya E. N. The development of musical ear is a condition for the formation songwriting// Artistic creativity in kindergarten.- M., 1974.-S. 20-28.
Lukyanova M. B. Creativity of children in dances // Artistic creativity in kindergarten. - M., 1974. - P. 29-32.
Music and movement / Comp. S. I. Bekina, T. P. Lomova, E. N. Sokovnina. - M., 1981, 1983, 1984.
Teach children to sing / Comp. T. M. Orlova, S. I. Bekina. - M., 1986, 1987, 1988.
Aesthetic education in kindergarten / Ed. N. A. Vetlugina.—M., 1985.

Collections of musical and literary repertoire

Vetlugina N. A. Children's orke - M., 1976.
Vetlugin N. A. Musical primer. - M., 1972, 1985.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, L. N. Komissarova. - M., 1985, 1986, 1987.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, T. P. Lomova.— M., 1975—1980.—Iss. 1-5; .1980-1981.-Issue. 1-4.
Sun-bucket / Comp. M. A. Medvedeva. - M., 1984.

Methods of musical education in kindergarten: “Doshk. education "/ N.A. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarov and others; Ed. ON THE. Vetlugina. - 3rd ed., Rev. and additional - M.: Enlightenment, 1989. - 270 p.: notes.

Federal Agency for Culture and Cinematography

Saratov State Conservatory named after

Department of Special Piano

Working programm

"METHOD OF TEACHING THE GAME

ON THE INSTRUMENT"

Specialty 070101

"Instrumental performance" (piano)

Saratov, 2006

The program is designed in accordance with

The work program is developed on the basis of a standard program,

approved by the Ministry of Culture of the USSR, 1977.

Compiled by:

Professor of the Department of Special Piano at the Saratov State Conservatory. , Ph.D. in History of Arts,

Reviewers:

, Candidate of Art History, Professor

, Candidate of Pedagogical Sciences, Associate Professor

Explanatory note

Goals and objectives of the course

Goals university course on teaching methods of playing the piano in modern conditions consist in educating a generalist trained to conduct a special class in a music school (college, lyceum), piano classes for vocalists and instrumentalists, concertmaster and chamber classes, methods, teaching practice, for teaching piano in music schools and cultural and educational educational institutions. This course is designed to provide students with the knowledge, skills and abilities necessary for this work, to form an integral system of views on the musical and pedagogical process, to promote the development of interest in pedagogical work, the need to consider it from the standpoint of modern requirements for advanced cultural figures.

The course of methodology is successively connected with other disciplines of the pedagogical cycle studied at the university and college, and, without duplicating them, solves the problems of theory and practice of teaching in relation to piano teaching at a higher level. When reading the course, the experience gained by students in a special class is generalized and systematized, and their knowledge in the field of the history and theory of performance and pedagogy, gleaned in the course of the history of piano art, continues to deepen. Particular attention is paid to achieving an organic unity between the course of methodology and the pedagogical practice of students.

Music pedagogy is a complex field modern culture, where comes to the fore co-creation, cooperation teacher and students. The proposed forms and methods of organizing the educational process are focused on identifying the independent position of students. The effectiveness of mobile forms of contact between a teacher and students is emphasized, which create a potential field for the manifestation and development of students' personal qualities. Seminars are built using elements of game situations, including preliminary interviews, discussion discussions, control summing up. The system of test questions serves the same purpose, allowing to find out the need and sufficiency of the knowledge gained by students in the learning process. The theoretical information obtained is projected onto a specific composition or onto the process of individual pianists' lessons. The attention of students is directed to the fact that they must learn to operate with modern terms and concepts, introduce them into the practice of performing and pedagogical work.

An effective means of increasing the content of the educational process is the saturation of the lecture course of the methodology elements problematic, problem situations built on contradiction, that is, on the study of “contradiction in the very essence of objects”. This takes into account the fact that students should not be confronted with an unsolvable problem. It is important to find a way to resolve the contradiction between knowledge and ignorance, between the student's individual experience, which may be limited, and theory, which is a general concentrate of knowledge tested by practice, between ordinary and scientific knowledge. As a result, the student's thought is actively involved in the work, he is required to think and reason with the help of existing knowledge in order to come to new knowledge based on the generalization of already known material. As a result, students develop the ability to independently see problems in theory and practice, to be sufficiently prepared to resolve them.

Almost any topic of the methodology course can be presented in opposition to several theoretical positions and views, in the clash of alternative opinions of outstanding musicians-teachers. This form of material presentation encourages students to search for the optimal solution, increases their individual activity in determining the answer. In this case, young specialists are brought up by the very form of presenting information, the richness and ambiguity of the material under consideration. The future teacher should not mindlessly follow the standard and stereotyped path, which can lead to a "dead end" situation. The decisive factor in music pedagogy is individual aspect professional skills training. This statement does not mean a rejection of the general principles of pedagogical art, but highlights a personal profile, a personal approach to the development of students. Generally accepted and positively proven pedagogical attitudes should be refracted through the prism of individuality, the dissimilarity of different students.

This course features a priority style aspect in the musical education of students. Here, the provision on the determining significance of performing activity, which can fruitfully influence the effectiveness of the future pedagogical work of a graduate of a music university, is updated. With the understanding of stylistic guidelines and the stylistic orientation of musical art, the possibilities of understanding and deciphering the compositional methods of musical development, motivation and reasoning in the use of expressive means of performance change qualitatively.

Paying attention to the pedagogical process of educating young musicians, the issues of understanding and reproducing the author's style, working with the author's text, performing reading of musical notation, comparative analysis of editions and interpretations are highlighted so that students can purposefully work on the development of professional skills, while simultaneously improving their "style education" and general musical level. In some cases, gifted students with artistic intuition feel the peculiarities of the author's style on a subconscious, mental level. As a rule, these are pianists who have broad musical erudition, who know the music of a certain author well, who have “replayed” a sufficient number of his compositions. But such a property of a student's perception of live music is rare. On the contrary, more often there is a misunderstanding when the performer thinks that he plays everything that is written in the text, fulfills the tempo, dynamic, articulatory prescriptions of the author or (more often) the editor and does not understand what questions he may have about the composer's style or style. execution. The course of methodology is designed to overcome this misunderstanding and overcome the dependent inertia of thinking of young musicians.

IN Lately highlighted in the specialized literature Rol intuitive start in the performing and teaching arts. Indeed, the personal aspect in any kind of creative activity is predestined. Understanding that, on the one hand, the special power of the impact of pedagogical skill lies in the uniqueness of the process, when it seems to those present in the class that the work “comes to life” before their eyes without any special “scientific” efforts, it would be wrong to think that artistic erudition alone , emotionality, intuition and temperament are enough to convey the meaningful meaning of a musical work. It is necessary not only to have serious and thorough knowledge in various fields of artistic creativity, but also to master certain methods, the system of education and upbringing, which makes it possible to optimally resolve issues that arise in the process of performing or pedagogical creativity.

Musical art, due to its direct emotionality and even irrationality, does not allow strict verbal equivalents to be applied to itself. As rightly noted, “music is precisely that “pure case” that is fully designed, first of all, for intuitive comprehension” and “those who communicate with music develop a special “organ” that not only adequately responds to various characteristics of sound, is not only able to decode its language, but can also understand what it says, although this understanding develops on the basis of operating non-conceptual elements» . In this case, intuition is formed in the field of the musician's artistic and imaginative thinking, it is fed by auditory representations, consisting of the memory of traditional and unusual memorable interpretations and the total volume of musical knowledge, is based on the results of one's own creative searches, and is enriched with emotional and psychophysiological impressions.

Working on a piece of music, the teacher communicates with the student, being in a completely different cultural and historical context in relation to the author of the composition. They are oriented to a different system of values, they have a different general artistic and musical education. A work created by the author in one era, but performed in another time, is perceived by a modern musician in a different associative halo. In the lessons on the methodology, it is hardly appropriate to talk about the identity or adequacy of the composer's and performing positions in the feeling artistic image musical composition. The objective of the course is to prepare and orient future teachers to the solution of a double problem: transferring the coordinates of the author's style and forming the individual style of the modern pianist.

Analysis and becoming new performing traditions this is also the task of the course of methodology, and therefore of the modern teacher. Working on improving the professional skills of their students, the teacher directs and corrects this process. IN in a certain sense it expands the boundaries of understanding the author's text, shows its versatility, reveals more and more new meanings of its existence in the modern world. One of the cardinal tasks of the piano class is that young musicians must bring to the author's text the features of the figurative and semantic context of modern culture and the individual originality of the very manner of performance. As a result, a musical composition created in the distant or near past becomes understandable to the modern listener, enriched with a new layer of information, providing itself with genuine artistic immortality.

The path to the deepest comprehension of a musical composition lies through turning to everything valuable that has been accumulated in the history of understanding music: to urtexts and editions, to various performing readings - “sounding editions”. The predominance of one point of view to create your own interpretation or when working on it with a student in the piano class is unproductive. Undesirable and overly critical negative attitude towards the individual desire of outstanding musicians to reflect their own understanding of the issue piano creativity different composers. There is a real need to supplement the work with knowledge of performing and general cultural traditions of different historical times (“verbal editions”).

to acquire the skills of collective discussion of open lessons;

learn how to work with special literature, abstract, draw up a plan-outline, draw up the necessary documentation;

Forms and types of classes

The methodology course is conducted in the form of lectures and seminars. The first of them are devoted mainly to the consideration of theoretical problems of teaching, the second - to their practical study and solution in the learning process. As active forms learning uses open lessons and discussions. Independent types of classes: analysis of the repertoire, abstracting of scientific and methodical literature, drawing up documentation of various types, including repertoire plans depending on the level of development of students, "modeling" the process of classes, drawing up a plan-outline, creating your own editions, attending lessons by teachers of the Department of Special Piano

Organization of the current, intermediate and final

knowledge control.

During a year each student is obliged to write a term paper, in which theoretical knowledge should be organically combined with their own performing and pedagogical experience. As topics for abstracts, the following can be recommended: analytical analysis and review of piano-pedagogical literature, methodological works, schools and teaching aids; performing and methodological analysis of a musical work; records of lessons in the class in the specialty with methodological comments and generalizations. In order to determine the strength of students' knowledge, consolidate educational and methodological skills, test the ability to work independently with educational literature, seminars are held on relevant topics. The duration of the seminars is determined by the thematic curriculum. At the request of the teacher or student, the course abstract can be presented in the form of a report and read at one of the seminars.

At the end of the first semester, control lesson, where the teacher gives a "preliminary" assessment based on the activity or passivity of the students' work for the six months, which serves as a guide and incentive for the subsequent work of students.

Results students' annual work is summed up in the exam. Students answer on an exam ticket, which includes two questions. The first one is dedicated theoretical problem course, the second - a topic related to the practical development of the pedagogical repertoire and methodological literature. When answering the second question, the student must make a performing and methodological analysis of one of the works of the pedagogical repertoire of the music school, music school or university, illustrating what was said by performing fragments of an essay or a whole play.

When deriving the final grade, the quality of work and the degree of student activity in the classroom during the year are taken into account.

The structure of the thematic plan of the academic discipline

Namenova section fishing and topics	student	The number of classroom hours for full-time form of education	self-sufficiency student
		Seminars		Group. Classes	Well. work
Methodology learning piano

THEMATIC COURSE OUTLINE

in order	Name of topics	Number of hours
	Seminars	Independent work of students
	Introduction: piano technique, history and stages of development: the main trends of modern music pedagogy
	Musical ability: general, musical and special (pianistic): psychological properties of the personality, necessary for pianistic activity
	The most important problems of work pianist teacher in children's music school: first lessons: difficulties and features of work with beginners: organization of game movements: and its staging principles
	"Individual piano technique based on sound-creating will" (prodigy complex)
	Open lessons: with a novice pianist, students of junior and senior classes of music school
	Planning the learning process, drawing up individual plans, characteristics: repertoire policy as an important component pedagogical skills: teaching and organizing student homework
	Work on the musical work
	performance reading
	Piano technique: artistic thinking and motor form of the pianist
	Classification of types of equipment: scales, arpeggios, octaves, chords, tremolo and trills, jumps: daily technical work pianist
	Discussion: exercise technique as a process of work on achieving performance skills
	E. Timakin "Work on technology" E. Lieberman "Work on technology"
	Forming elements performance skills in the process of working on a piece of music: sound work; ornamentation
	Fingering
	Control lesson on the material covered
	Pedal: meaning and varieties; styles and pedal
	Rhythm, meter, tempo, polyrhythm, agogics, complex rhythms: major rhythmic difficulties and errors, ways to eliminate