Musical dictations. Musical dictation at solfeggio lessons Two-part solfeggio dictation online

CONTENT

Guidelines

First Class (Nos. 1-78) 3
Second class (Nos. 79-157) 12
Third class (Nos. 158-227) 22
Fourth grade (Nos. 228-288) 34
Fifth grade (Nos. 289-371) 46
Sixth grade (Nos. 372-454) 64
Seventh grade (Nos. 455-555) 84
Supplement (Nos. 556-608) 111

Section One (No. 1-57)125
Section Two (Nos. 58-156) 135
Addendum to the second section (Nos. 157-189) 159
Section Three (Nos. 190-232) 168
Section Four (Nos. 233-264) 181
Addition to the fourth section (Nos. 265-289) 195

METHODOLOGICAL INSTRUCTIONS

Musical dictation educates students in the skills of auditory analysis, promotes the development musical performances and awareness of individual elements of music. Dictation helps to develop inner ear, musical memory, sense of harmony, meter and rhythm.
When learning to record a musical dictation, you must use various forms work in this area. Let's point out some of them.
1. The usual dictation. The teacher plays a melody on the instrument, which the students write down.
2. Picking up familiar melodies on the instrument, and then recording them. It is proposed that students pick up a familiar melody (a familiar song) on ​​the instrument, and then write it down correctly. This type of work is recommended for students in cases where it is impossible to organize their homework for dictation.
3. Recording familiar songs from memory, without picking them up on the instrument. Students can also use this type of dictation in homework.
4. Recording a melody previously learned with text. The melody to be recorded is first learned by heart with the text, after which it is recorded by the students without playing.
5. Oral dictation. The teacher plays a short melodic phrase on the instrument, and the student determines the mode, pitch, meter and duration of the sounds, after which he sings a melody with the name of the sounds and conducting.
6. Dictations for the development of musical memory. Students, having listened to a short melody one or two times in a row, must memorize it and write it down at once in its entirety.
7. Rhythmic dictation, a) Students write down the dictated melody outside the pitch (rhythmic pattern), b) The teacher writes down the sounds of the melody on the board with dots or notes of the same duration, and the students arrange the melody metro-rhythmically (divide the melody into measures and correctly arrange the duration of the sounds in the measures) .
8. Analytical dictation. In the melody played by the teacher, students determine the mode, meter, tempo, phrases (repeating and changed phrases), cadences (completed and incomplete), etc.
When recording ordinary dictations, it is first recommended to give students short melodies so that they are played a small number of times and the recording is done by heart. To stimulate the recording of a dictation from memory, when playing a melody repeatedly, one should take relatively long breaks between its repetitions. The length of the dictated should increase gradually and be regulated by the development of students' memory.
The initial dictations begin and end with the tonic. Then dictations are introduced, starting with the tonic tercine or fifth, later with other sounds (with the obligatory ending on the tonic).
After students have achieved a confident technique in recording such dictations, one can begin to vary their conclusions, leading students further to record monotonal and modulating constructions with any beginning and end.
Before the dictation, it is necessary to give a tonal tuning in the form of a scale and a tonic triad or a simple cadence. If the teacher calls the mode and tonality, then the initial sound of the melody is determined by the students themselves. In the case when the teacher names the tonic and plays it on the instrument (or names the initial sound of the example), then the mode and tonality are determined by the students themselves. In most cases, the size is determined by the students themselves. The teacher must ensure that the recording of dictations is carried out by students competently and accurately.
G. Friedkin

First part study guide"Solfeggio with Pleasure" is intended for high school students of children's music schools and children's art schools and consists of an explanatory note that includes some guidelines, a collection of dictations and an audio CD. The collection of dictations includes 151 samples of classical and contemporary music domestic and foreign authors, as well as samples modern stage and meets the requirements of children's music schools and children's art schools for each level of education.

Task of this manual - the intensification of the educational process, the expansion of the auditory base of students, the formation of their artistic taste, and the main purpose is education a wide range literate music lovers who, depending on their abilities, can become just listeners or music lovers, and with certain abilities and diligence - professionals.

The manual was created on the basis of 35 years of experience of the author. All the presented materials have been tested over 15 years of work in * GBOU DShI "Accord". The author presents the musical dictation as a series of exciting tasks. In addition, many examples can be used for auditory analysis and solfegging, for example, Nos. 29, 33, 35, 36, 64, 73.

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Musical dictation is one of the most important, responsible and complex shapes work in the solfeggio lesson. It develops the musical memory of students, contributes to the conscious perception of the melody and other elements of musical speech, and teaches to write down what they hear.

In the work on the musical dictation, all the knowledge and skills of students are synthesized, their level is determined. auditory development. This is a kind of result of the entire learning process, because it is in dictation that the student must show, on the one hand, the level of development of musical memory, thinking, all types of musical ear, and on the other hand, certain theoretical knowledge that helps him correctly write down what he hears.

The purpose of the musical dictation is to cultivate the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.

The main tasks work on the dictation can be called the following:

• to create and consolidate the connection between the visible and the audible, that is, to teach the audible to make visible;
• develop musical memory and inner ear of students;
• serve as a means to consolidate the theoretical and practical skills of students.

Stage of preparation for recording a musical dictation

The process of recording a dictation requires the development of special, special skills, and therefore, before starting this form of work, the teacher must be sure that the students are very well prepared for it. It is advisable to start recording full-fledged dictations only after a certain preparation, the duration of which depends on the age, degree of development and susceptibility of the group. The preparatory work, which lays down the fundamental base of skills and abilities for students, providing in the future the opportunity to competently and painlessly record musical dictations, should consist of several sections.

Mastering musical notation.

One of the most important tasks of the initial period of study in the solfeggio course is the formation and development of the skill of “quick recording” of sounds. From the first lessons, students should be taught the correct graphic notation of notes: in small circles, not very close to each other; monitor the correct spelling of calms, accidentals.

Mastering durations.

It is an absolutely indisputable fact that the correct meter-rhythmic design of a melody presents an even greater difficulty for students than its direct musical notation. Therefore, the “rhythmic component” of the dictation should be given special attention. At the initial stage of training, it is very important that students simply master the graphic image and the name of each duration well. In parallel with the assimilation of the graphic representation of durations and their names, one must also work on the direct awareness of long and short sounds. After the names and designations of durations are well learned, it is necessary to start mastering the concepts bar, beat, meter, rhythm, time signature. As soon as the children have realized and mastered these concepts, it is necessary to introduce the practice of conducting. And only after all this work should one begin to explain the splitting of shares. In the future, students will get acquainted with various rhythmic figures, and for their better mastery, these rhythmic figures must be introduced into musical dictations.

Rewriting notes.

In the first grade, a simple rewriting of notes seems to be very useful. The rules of musical calligraphy are simple and do not require such detailed study as the spelling of letters. Therefore, all exercises related to the correct recording of musical texts can be transferred to homework.

Mastering the order of notes.

At the first stage of learning, auditory assimilation of the order of notes is also very important. A clear understanding of the musical sequence up and down, awareness of a single note in relation to others, the ability to clearly and quickly calculate the notes in order, through one or two - this, in the future, is the key to a successful and competent recording of a full-fledged dictation. Practice shows that mere memorization of notes is not enough. It is necessary to bring this skill to the level of automatism, so that the child perceives and reproduces notes, almost without thinking. And this requires constant and painstaking work. Various teasing games, repeaters and all kinds of echoes help here. But sequences provide the most invaluable help in this work.

Working on comprehension and auditory perception steps seems to be one of the most important in developing the skill of recording musical dictation. Work on the steps should be carried out constantly, at each lesson, and be carried out in different directions. The first is the ability to think in steps. It is very important at first to develop the ability to quickly and accurately find any individual step in the key. Here again, sequences can help - chants that are memorized over several lessons to automatism. It is very helpful to sing the step sequences; also a good help in such a fast stepwise orientation is the singing of the steps according to the hand signs and the Bulgarian column.

melodic elements.

Despite the huge variety of melodic material, there is also a fairly large number of standard turns in music, which are often repeated, are perfectly isolated from the context and are recognized both by ear and by analyzing the musical text. Such revolutions include scales - trichord, tetrachord and pentachord, movement from introductory tones to tonic, singing, auxiliary notes, as well as various modifications of these revolutions. After getting acquainted with the basic melodic elements, it is necessary to develop in students a quick, literally automatic recognition of them both in the musical text in sight reading and in auditory analysis. Therefore, melodic turns by ear, and sight-reading exercises, and dictations of this period should contain as many of these elements as possible or simply consist of them.

Very often the melody moves along the sounds of chords. The ability to isolate a familiar chord from the context of a melody is a very important skill that students need to develop. Initial exercises should focus on purely visual and auditory perception of the chord. Invaluable help in memorizing the melody of chords is provided by small chants in which the desired chord is sung and called at the same time.

As you know, the biggest difficulty in recording a dictation is caused by jumps. Therefore, it is necessary to work them out as carefully as other melodic elements.

Form definition.

The work of defining, understanding the musical form is of great importance for the successful recording of a musical dictation. Students should be very well versed in the location of sentences, cadences, phrases, motives, as well as in their relationship. This work should also start from the first grade.

In addition to all this preparatory work, some forms of tasks are very useful, directly preparing the recording of a full-fledged dictation:

Recording from memory a previously learned song.

Mistake dictation. The melody “with an error” is written on the board. The teacher plays the correct version, and the students must find and correct the mistakes.

Dictation with passes. A fragment of the melody is written on the board. Students should hear and fill in the missing bars.

The melody is written on the board in the form of a step track. Students, listening to the melody, write it down with notes, correctly arranging rhythmically.

Recording of ordinary rhythmic dictations.

Note heads are written on the board. Students must correctly arrange the melody rhythmically.

So, summing up all of the above, we can conclude that in the first grade the main, basic skills of recording musical dictation are laid. It is the ability to “listen” correctly; memorize, analyze and understand musical text; the ability to comprehend it graphically and write it down correctly; the ability to correctly identify and realize the meter-rhythmic component of the melody, clearly conduct it, feeling the pulsation of the beats and being aware of each beat. All further work is reduced only to the development of these basic skills and the complication of theoretical material.

Forms of musical dictations

Forms of dictation may be different. When recording a dictation, it is important to choose the form of work that is most suitable for mastering this melody.

The dictation is exemplary.

Demonstrative dictation is conducted by the teacher. Its purpose and task is to show the recording process on the board. The teacher aloud, in front of the whole class, tells the students how he listens, conducts, sings a melody and thereby realizes it and fixes it in musical notation. Such a dictation is very useful before moving on, after preparatory exercises, to self-recording, as well as when mastering new difficulties or varieties of dictations.

Dictation with preliminary analysis.

With the help of a teacher, students determine the mode and tone of a given melody, its size, tempo, structural moments, features of a rhythmic pattern, analyze the pattern of development of a melody, and then proceed to recording. The preliminary analysis should take no more than 5 - 10 minutes. It is more expedient to use this form of dictation in elementary grades, as well as when recording melodies in which new elements of the musical language appear.

Dictation without preliminary analysis.

Such a dictation is recorded by students within a set time, with a certain number of plays. Such dictations are more appropriate in the middle and senior grades, i.e. only when students learn to analyze the melody on their own.

Oral dictation.

Oral dictation is a small melody built on melodic turns familiar to students, which the teacher plays two or three times. Students repeat the melody first on any syllable and only then sing the dictation with the name of the sounds. This form of dictation should be used as widely as possible, since it is oral dictation that helps students to consciously perceive individual difficulties of the melody and develops musical memory.

“Self-dictation”, a recording of familiar music.

For the development of inner hearing, students should be offered a “self-dictation”, a recording of a familiar melody from memory. Of course, this form will not replace a full-fledged musical dictation, since there is no need to cover and remember new music, that is, the student's musical memory is not trained. But for working on a record based on internal hearing, this is a very good technique. The form of "self-dictation" also helps to develop the creative initiative of students. This is a very convenient form for independent, homework, for training in the recording.

Control dictation.

Of course, in the learning process there should also be control dictations that students write without the help of a teacher. They can be used at the end of work on a specific topic, when all the difficulties of the dictation are familiar to the children and well learned. Usually this form of dictation is used in control lessons or exams.

Other forms of dictation are also possible, for example, harmonic (recording of the listened sequence of intervals, chords), rhythmic. It is useful to write down melodies previously read from a sheet. It is useful to learn the written dictations by heart, transpose them into the passed keys, select accompaniment for the dictations. It is also necessary to teach students how to write dictation in different registers, both in treble and bass clefs.

Methodical installations when writing a dictation

Choice musical material.

In working on a musical dictation, one of the most important conditions is the correct choice of musical material. The musical material for the dictation can be melodies from musical literature, special collections of dictations, and also, in some cases, melodies composed by a teacher. The teacher, selecting material for dictation, must first take care that the music of the example is bright, expressive, artistically convincing, meaningful and clear in form. The selection of just such musical material not only helps students to remember the melody of the dictation more easily, but also has a great educational value, broadens the horizons of students, enriches their musical erudition. It is extremely important to determine the difficulty of an example. Dictations should not be too difficult. If students do not have time to comprehend, remember and write the dictation or write it with a large number of errors, then they begin to be afraid of this form of work and avoid it. Therefore, it is preferable that dictations be simpler, but there should be a lot of them. The complication of dictations should be gradual, imperceptible to students, strictly thought out and justified. It should also be noted that when selecting dictations, the teacher must apply a differentiated approach. Since the composition of groups is usually “variegated”, difficult dictations should be alternated with easier ones so that weak students can also complete the recording, while in complex dictations this is not always available to them. When choosing musical material for a dictation, it is also very important that the material be distributed in detail by topic. The teacher must strictly think over and justify the sequence of dictations.

Dictation performance.

In order for the student to be able to fully and competently record on paper what he heard, it is necessary that the performance of the dictation be as perfect as possible. First of all, you should execute the example competently and accurately. No underlining or highlighting of individual difficult intonations or harmonies should be allowed. It is especially harmful to emphasize, artificially loudly tapping, a strong beat of the measure. First, you should perform the passage at the present tempo indicated by the author. In the future, with repeated playback, this initial tempo usually slows down. But it is important that the first impression is convincing and correct.

Fixation of musical text.

When recording music, the teacher should pay special attention to the accuracy and completeness of students' recording on paper of what they heard. In the process of recording the dictation, students should: write notes correctly and beautifully; arrange leagues; mark with caesuras phrases, breath; distinguish and designate legato and staccato, dynamics; determine the tempo and character of the musical example.

Basic principles of the dictation recording process.

Of great importance is the environment that the teacher creates before starting work on recording the dictation. Experience says that the best environment for working on a dictation recording is to create interest in what the students are about to hear. The teacher needs to arouse interest in what will be played, to concentrate the attention of students, and perhaps to defuse tension before such difficult work, which children always perceive as a kind of “control”, by analogy with dictation in a secondary school. Therefore, small “conversations” about the genre of the future dictation are appropriate (if this is not an obvious hint of the metro-rhythmic component), the composer who composed the melody, and the like. Depending on the class and level of the group, it is necessary to choose melodies for the dictation that are available according to the degree of difficulty; set recording time and number of playbacks. Usually a dictation is written with 8-10 plays. Fret tuning is required before starting recording.

The first play is introductory. It should be very expressive, “beautiful”, with an appropriate tempo and dynamic shades. After this playback, you can determine the genre, size, character of phrases.

The second playback must come immediately after the first. It can be done more slowly. After it, you can talk about specific harmonic, structural and metro-rhythmic features of music. Talk about cadences, phrases, etc. You can immediately invite students to complete the final cadenza, determine the location of the Tonic and how the melody approached the Tonic - scale-like, abruptly, with a familiar melodic turn, etc. Such a beginning of the dictation “in reverse” is justified by the fact that the final cadenza is precisely the most “remembered”, while the entire dictation has not yet been deposited in memory.

If the dictation is long and complex, if there are no repetitions in it, then the third playback is allowed to be divided in half. That is, to play the first half and analyze its features, determine the cadenza, etc.

Usually, after the fourth playback, the students are already quite oriented in the dictation, they remember it, if not in its entirety, then at least in some phrases. From this moment on, the children write the dictation practically from memory.

The break between plays can be made longer. After most of the children have written the first sentence, they can only play the second half of the dictation, which is left over from the unfinished third play.

It is very important not to allow the dictation to be “shorthand”, so each time you play it, you need to ask the students to put down their pencils and try to remember the melody. A prerequisite is conducting when playing and recording a dictation. If a student finds it difficult to determine the rhythmic turn, it is necessary to make him conduct and analyze each beat of the bar.

At the end of the allotted time, you need to check the dictation. The dictation also needs to be evaluated. You can even not put an assessment in a notebook, especially if the student did not cope with the work, but at least verbally voice it so that he can realistically assess his skills and abilities. When assessing, it is necessary to orient the student not to what he did not succeed, but to what he coped with, to encourage for each, albeit small, success, even if the student is completely weak and dictations are not given to him due to natural features.

Considering the psychological aspects of organizing the process of recording a dictation, one cannot ignore important point location of the dictation in the solfeggio lesson. Along with such forms of work as the development of vocal-intonation skills, solfegging, determining by ear, writing a dictation is given more time, and it is usually attributed to the end of the lesson. Dictation, saturated with complex elements, leads to a deformation of the lesson, as it takes a lot of time. Students' lack of confidence in their abilities leads to a loss of interest in dictation, a state of boredom may occur. In order to optimize the work on musical dictation, it is better to do it not at the end of the lesson, but in the middle or closer to the beginning, when the students' attention is still fresh.

The time for recording the dictation is set by the teacher, as already mentioned, depending on the class and level of the group, as well as depending on its volume and the difficulty of the dictation. In the lower grades (grades 1, 2), where small and simple melodies are recorded, this is usually 5-10 minutes; in seniors, where the difficulty and volume of dictations increase - 20-25 minutes.

In the process of working on the dictation, the role of the teacher is very responsible: he is obliged, working in a group, to take into account the individual characteristics of each student, guide his work, and teach him how to write a dictation. Just sitting at the instrument, playing the dictation and waiting for the students to write it on their own, the teacher should not. It is necessary to periodically approach each child; point out errors. Of course, you cannot directly suggest, but you can do it in a "streamlined" form, saying: "Think about this place" or "Check this phrase again."

Summing up all of the above, we can conclude that dictation is the form of work in which all the existing knowledge and skills of students are applied and used.

Dictation is the result of knowledge and skills, which determines the level of musical and auditory development of students. Therefore, in solfeggio lessons at a children's music school, musical dictation should be a mandatory and constantly used form of work.

List of used literature

1. Davydova E. Methods of teaching solfeggio. - M .: Music, 1993.
2. Zhakovich V. Getting ready for the musical dictation. - Rostov-on-Don: Phoenix, 2013.
3. Kondratyeva I. One-voice dictation: Practical recommendations. - St. Petersburg: Composer, 2006.
4. Ostrovsky A. Methodology of music theory and solfeggio. - M.: Music, 1989.
5. Oskina S. Musical Ear: Theory and Methods of Development and Improvement. – M.: AST, 2005.
6. Fokina L. Methods of teaching musical dictation. - M .: Music, 1993.
7. Fridkin G. Musical dictations. - M.: Music, 1996.

This manual is a collection of author's melodic dictations aimed at students lower grades music department(8-year term of study).

The main purpose of creating the manual is to find new creative approaches to the implementation of fruitful work with elementary school students in solfeggio lessons.

Working with students on dictation is one of the most difficult activities in teaching solfeggio. As a rule, both theoretical knowledge and practical skills are summarized in dictation. All this is a whole complex aimed at performing several tasks at once, combined into one - writing a melody that is complete in meaning.

Where to start, how to build work on a dictation? Developments in solving this issue are given in the proposed manual.

Undoubtedly, before a small first-grader musician can record a melody on his own, he must master musical notation, meter and rhythm, accumulate auditory experience in the ratio of steps in a fret, and much more. In the process of studying the basics of musical literacy, we begin to write the first dictations, analyze musical fragments by ear and fix them with the help of graphic images(Here the teacher can show imagination). In such dictations, the teacher performs easy-to-understand pieces on the piano. After listening to them, students should, for example, hear and fix the mood of the music, how the melody moves (after talking about it beforehand, of course), slap the pulse, you can count the beats, determine the strong one, etc.

Approximately from the second grade onwards, the level of difficulty increases in accordance with the curriculum. Here the child should already own musical notation, know certain keys, the principles of gravity in harmony, duration, be able to group them.

Working with rhythm deserves special attention. An excellent workout is rhythmic dictations aimed at recording a rhythmic pattern. In melodic dictations, I find it convenient to record the rhythm separately from the melody (to a greater extent this is true for elementary school students).

The process of writing a dictation is based on following a plan. After each playback, you need to determine and fix:

• key;
• musical size, dictation form, structure features;
• Start dictation (first measure) - tonic, middle cadence(4 cycle) - the presence of the V stage, final cadenza(bar 7–8) -

V step tonic;

• rhythm;
• melodic intonations using graphic symbols;
• musical notation;

During the performance of a melody, a certain task must be set before the students. At the same time, I consider it important not to focus on hearing something specific, on the contrary, to note the maximum possible (based on the plan). It is not so important in what order to start writing down what you hear - from the first note or from the end, it all depends on the specific melody. It is important to choose a “reference point”: it can be the tonic at the end, “what is before the tonic?” and the V step in bar 4, “how did we “come to it?” etc. It is also important to orient children not to the ratio of two adjacent notes, but to a motive of 5-6 sounds, perceiving it “as one word”, then the children will quickly learn the whole melody. It is this skill that will subsequently help to generalize the musical text when reading from a sheet in a specialty.

For the most part, the collection presents dictations in the form of a period, consisting of two sentences of repeated structure. We also write dictations of a similar structure in the classroom. Based on the classical tradition, we discuss with students that Start dictation - from the tonic or another steady level, in measure 4 - middle cadence- the presence of the V stage, 7–8 cycle - final cadenza- V degree of tonic;

After writing the rhythm (above the bars), we analyze the melody, the intonations of which it consists. To do this, we determined the main elements of the melody and assigned each its own symbol. (Here the imagination of the teacher is boundless).

The main elements of musical intonations:

An example of a dictation with graphic symbols:

The "key" to the successful writing of a dictation is in the ability to analyze, think logically. IN practical activities I had to meet students with a good musical memory, with a pure "by nature" intonation, who had difficulty in writing a dictation. On the contrary, a student who has a weak intonation and memorizes a melody for a long time, with the ability to think logically, copes well with the dictation. Hence the conclusion that in order to successfully write a dictation, children should be taught not so much to memorize as analyze heard .

Musical dictation is an interesting and fruitful form of work in the solfeggio course. It contains modal, intonational, metrorhythmic difficulties. Work on the dictation organizes the attention of students, develops auditory memory and the ability to analyze what they hear. The development of all these foundations equally occurs in all disciplines studied in music schools, art schools, especially in the specialty and solfeggio. These items are definitely complementary. However, the approach to studying a new work in the specialty and dictation in solfeggio is noticeably different: reproducing the musical text according to the notes in the specialty, in the mind of the student, the finished work is gradually formed from the details. This is reflected in the diagram:

When creating a musical notation of a listened work on solfeggio, the process of working with new material takes place in the opposite direction: first, students are offered the sound finished product, then the teacher helps to analyze, then the learned turns into a musical text:

At the stage of analysis of the dictation, it is important to follow from the general (features of structure and phrasing) to the particular (the direction of movement of the melody, for example), without disturbing the natural course of the process.

Recording a dictation is not creating a whole from separate elements (melody + rhythm + time signature + shape = result), but the ability to analyze the whole as a complex of its constituent elements.

In order for students to get used to actively perceiving musical text, various forms of work on dictation are very useful. For example:

• Stepped dictation - the teacher plays a melody, which the students write down as a step sequence. This type of dictation contributes to the expansion of orientation in harmony and develops a useful ability to think in steps.
• Dictation with errors - a dictation is written on the board, but with errors. The task of the children is to correct them, write down the correct version.
• Dictation with options - useful for expanding musical horizons and understanding the possibilities of developing musical material. In such dictations, both rhythmic variation and melodic variation can be used.
• Dictation from memory - it is analyzed, the dictation is learned, until each student remembers it. The task is to correctly arrange the musical text from memory.
• Graphic dictation - the teacher indicates on the board only some steps, graphic symbols denoting elements of melodic intonations.
• Dictation with the completion of a melody develops Creative skills students, based on three stages of melodic development: beginning, middle (development) and conclusion.
• Selection and recording of familiar melodies . First, the melody is selected on the instrument, and then it is drawn up in writing.
• self dictation - recording from memory learned numbers from the textbook. In this form of dictation, the development of inner hearing and the development of the ability to graphically draw out what is heard takes place.
• Dictation without preparation (control) - reflects the degree of assimilation of the material. As a material, you can choose a dictation one or two classes lighter.

Any form of dictation is a kind of monitoring of development musical thinking child, the level of assimilation of new material by him, as well as a way to give children the opportunity to realize their skills on their own or make “discoveries” under the guidance of a teacher.

Examples of dictations for grade 2:

Examples of dictations for grade 3:

Examples of dictations for grade 4:

The dictations presented in the manual are created on the basis of the elements of musical intonations described above and are instructive. In my opinion, in this form it is convenient to “hear” and analyze them, which means that it is easy to cope with the task. This is what I wish our students - young musicians!

I hope for the creative approach of teachers to the presented in this methodological guide material.

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For the purchase of Lyudmila Sinitsyna's manual "Solfeggio dictations for elementary grades", please contact the author at

Hello, dear readers. On this page you can check your ear for music using the block "Solfeggio online". Let's see how it works. In order to test your musical ear - click "Start". You can pre-select one of the five presented keys, as well as a mode. By default, the "note" mode and the key will be in C major.

You can guess one note - the "note" mode, guess five notes - the "test" mode, guess the interval - the "intervals" mode.

rice. 1

By clicking on the "Start" button, either a note or an interval will be played, in accordance with the mode that you have selected. Next, you need to select from the list which note/interval sounded (n) and click on the "Check" button.

If you guessed correctly, the sun sign will be displayed. If you select the test mode, you will be shown how many notes you guessed out of the proposed ones. By pressing the "Again" button, you can take the test again, select a different tone or mode.

You can also enable or disable the display of the correct note or interval in case you guessed wrong (by default - disabled) by clicking on the green square with the note in the lower left corner:

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And here is the test itself - good luck.

Note Test Intervals Chords

About intervals

You will hear that the sound of all intervals is different, but you can divide them into several groups - some sound harsh and dissonant - this group is called sharp or dissonances, these include seconds (m2, b2), sevenths (m7, b7) , as well as a tritone (which is called a reduced fifth - mind5 or an increased fourth - uv4). All other intervals are harmonious.

But the latter can also be divided into large-small and clean. Large and small harmonious intervals are thirds and sixths, pure quarts, fifths, octaves (pure ones are also called "empty", since they have a sound neither major nor minor). Large and small, as you remember, differ in their sound - a major third (b3), for example - sounds major (fun) and is the main indicator of the major chord, small (m3) - minor (sad), with sixths also - major (b6 ) - has a major sound small (m6) - minor.

Now that you know how the intervals are distributed by sound, it will be easier for you to navigate in the process of recognizing them by ear.