How to learn to write solfeggio dictations. L

M.: Muzyka, 1983. Textbook for students of children's, evening and secondary special schools from grades 1 to 11. Compiled by: I. A. Rusyaeva

Second issue study guide in monophonic musical dictation is based, like the first issue (M., 1983), on the methodology developed by teachers of the Central Secondary Special Music School at the Moscow State Conservatory. P. I. Tchaikovsky, and compiled in accordance with the requirements for solfeggio for schools of this profile.

The material of this collection covers all stages of work on monophony in the middle and senior grades, and in the fifth, sixth and seventh (where monophony is the main form of work on dictation) it is systematized in the same detail as in primary school(see the first issue), and in the eighth - eleventh it is located according to a different principle, is not distributed by class and is relatively small in volume (this is due to the fact that in the senior school the main attention is paid to the study of two- and three-voice dictation).

The structure of the collection is similar to that of the first issue; in addition to the main part, it contains Annexes, including auxiliary material that contributes to successful work over a monophonic dictation and designed for the fifth-eighth grades. In the middle classes, the widespread use of various forms of dictation continues: oral (of the usual type - in the main part and special, with the addition of an “answer” - in the Appendix), written rhythmic (with the introduction of a new rhythmic difficulty) and written melodic. This helps the most comprehensive development of each topic of the program. The generalizing sections, as in the primary grades, contain dictations on all topics covered in the year and are intended mainly for use in the last quarter, when repeating and consolidating the educational material mastered in this class.

Most of the dictations and training exercises in the Appendices were composed by the author, but for almost every tool studied, one or another number of examples from musical literature and folk music is given.

In addition to sections containing various kinds of intonational and rhythmic difficulties studied in the solfeggio course, the manual also includes sections of a more special plan (“Bass Clef”, “Register Roll Call”, “Compound Intervals”), the form of a period of one or another is worked out separately and sequentially. species, diatonic and chromatic sequences, deviations. Specific difficulties in the field of monophonic dictation include modulations (they are passed over the course of seven years of schooling, in the middle and senior levels). Therefore, special attention is paid to them in the manual. In the fifth, sixth and seventh grades, all modulations in the key of diatonic relationship are mastered sequentially, in the senior classes modulations in the key of non-diatonic relationship and distant ones are added to them. In the study of this topic, according to the author, it is absolutely necessary to observe strict gradualness, starting with the most common modulations that are “on hearing” by everyone, then moving on to less frequently encountered and only lastly to rarely used (without auditory mastering of which this the topic cannot be considered completely passed).

It must be borne in mind that the dictations placed in the last section and not divided into classes are arranged (in each topic) as their complexity increases, and therefore the simpler ones can be used in the eighth - ninth, and the more complex ones - in the tenth and eleventh grade.

Fifth grade

The fifth grade continues in the field of dictation the line outlined in the primary grades, and is successively connected with the fourth. In it, in the same way, in a very differentiated way, all previously unexplored leaps in melody for the sixth and seventh are worked out, moves are mastered by the sounds of the newly studied tritones and chords, new sizes, more complex rhythmic groups, tonalities with a large number of signs are explored.

Fundamentally new in the fifth grade is the beginning of the study of modulation. The importance of this topic has already been discussed. We will only add that here a side difficulty arises - the appearance of accidentals corresponding to the key into which the modulation occurs. It is absolutely necessary to ensure that students not only accurately hear the change of key and can clearly determine the moment of modulation, but also always carefully follow the affixing of new signs at the end of the period. This is very important, as it contributes to a more conscious mastery of this topic.

In this class, dictations in the bass clef are introduced into the manual. According to the author, they should be singled out in a separate section, due to the fact that recording in the bass clef presents a considerable difficulty for students of many specialties (for example, violinists).

Sixth grade

In the sixth grade, a systematic study of intratonal chromatism begins. From a methodological point of view, it is very important that chromatic sounds are not considered in isolation, but as component one or another melodic turn At first, examples with chromatisms must be carefully analyzed.

The enrichment of the intonation side of the melodics of dictations of this class is also associated with the introduction of the harmonic major and its characteristic intervals. This specific tool should be completely fluent for the students.

Big and difficult topic in the sixth grade - "Deviations in the key of diatonic kinship." First of all, students should make a clear distinction between the concepts of "modulation" and "deviation". It is necessary to develop in them the ability to accurately determine the moment of deviation and the tonality of deviation, and to constantly cultivate the habit of necessarily putting all random signs when recording. This is very important to keep in mind when studying chromatic sequences and when working on similar topics in the seventh grade.

In the sixth grade, new types of the period are passed - with an extension and with an addition. However, for the successful development of such dictations, they must be preceded by preparatory work on the analysis of periods of this type.

Seventh grade

The seventh grade is the final one in work on a monophonic dictation.

Along with the study of new means, here much attention is paid to what has been covered earlier, but on a more high level and in a more complicated way. Further work continues on intratonal chromatism, on deviations in the key of diatonic kinship, on various kinds of rhythmic difficulties; new dimensions, a new type of period are passed.

In the seventh grade, the study of modulations in the key of diatonic kinship is completed (more rarely encountered transitions in the key of IV, II and VII steps are mastered here). For a better mastery of this topic, we recommend using the appropriate exercises from the Appendix.

The author considers the recording of dictations containing some specific difficulty (jumps to compound intervals or register rollover, especially if it is associated with a change of key) to be very useful at this stage of learning, as this contributes to acquiring greater flexibility and confidence in writing a dictation in general.

senior classes

In the eighth - eleventh grades, monophonic dictation is no longer the main object of study; according to the program in the senior classes there are two-voice and three-voice dictations. However, work on a monophonic dictation should under no circumstances stop until the very end of school. According to our method, monophony should be practiced approximately twice a month. The main role of these studies lies mainly in the elaboration of a whole series of specific difficulties, which are easier to assimilate precisely in monophony. Such difficulties may include modulations in the tonality of non-diatonic kinship, and rare sizes, and some special (most complex) types of rhythmic division, and various kinds of intonation complication of the melody. All this is the content of dictations last section of this allowance.

The study of each difficulty should be preceded by an explanation (for example, the systematics of tonalities by degrees of relationship or features of enharmonic modulation); a number of initial dictations on a particular topic can be analyzed collectively. The main condition in the work on monophony at this stage is the conscious and professional attitude of the students, reliance on a solid theoretical base.

It is very important to remember that the dictates intended for the senior classes are difficult in all respects and therefore work on them must be carried out systematically, without long breaks, otherwise whole line previously acquired skills may be lost.

Applications

The material given in the Appendices, as in the first edition, should be worked out in parallel with the work on the dictation, contributing to the better formation and development of the necessary skills in this area. The exercises included in the Appendices are grouped into three. large section and are intended for use in the fifth through eighth grades.

In this edition of the manual, when working on both exercises for auditory analysis and exercises for voice intonation, priority should be given to mastering deviations and modulations in the key of diatonic kinship. Some chains can also be used as harmonic dictations.

Singing sequences to a given motive is designed for the fifth-seventh grades. From the sixth grade singing of chromatic sequences is introduced. They can be different kind; at a given interval or by related keys. Diatonic sequences can have not only a second step, but also a third and fourth. After familiarizing the students with the motive of the sequence, the teacher invites them to sing the sequence in a certain way. In some cases, students may choose one option or the other.

The author hopes that this collection dictations will find application in solfeggio lessons both in the middle and senior grades of the secondary music school, and in the senior grades of the music school and in music school and will help teachers and students in their many years of work on a monophonic dictation.

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 auditory analysis skills, 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

The first part of the textbook "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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On the topic: methodological developments, presentations and notes

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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 development 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.

________________________________________

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

Musical dictations are one of the most interesting and useful exercises for ear development, it is a pity that many do not like this form of work in the classroom. When asked “why?”, the answer is usually “we can’t”. Well then, it's time to learn. Let's learn this wisdom. Here are two rules for you.

Rule one. Trite, of course, but in order to learn how to write solfeggio dictations, you just need to write them! Often and a lot. From this follows the first and most important rule: do not skip lessons, since each of them is written musical dictation.

Rule two. Act independently and boldly! After each playing, you need to strive to write as much as possible in your notebook - not just one note in the first measure, but a lot of everything in different places (at the end, in the middle, in the penultimate measure, in the fifth measure, in the third, etc.). Don't be afraid to write something wrong! A mistake can always be corrected, but getting stuck somewhere at the beginning and leaving a sheet of music blank for a long time is very unpleasant.

How to write musical dictations?

First of all, before the start of playback, we determine the key, immediately set key signs and imagine this tonality (well, scale there, tonic triad, introductory steps, etc.). Before starting the dictation, the teacher usually tunes the class to the key of the dictation. Be sure, if you sang steps in A major for half of the lesson, then with a probability of 90% the dictation will be in the same key. Hence the new rule: if you were told that the tonality is with five flats, then do not pull the cat by the tail, and immediately put these flats in the right place - it’s better right on two lines.

The first playing of a musical dictation.

Usually, after the first playing, the dictation is discussed in the following way: how many bars? what size? are there any repeats? Which note does it start with and which one does it end with? Are there unusual rhythmic patterns (dotted rhythm, syncopation, sixteenth notes, triplets, rests, etc.)? All these questions you should ask yourself, they should serve as a setting for you before listening, and after playing, you should naturally answer them.

Ideally, after playing it for the first time in your notebook, you should have:

• key signs,
• size,
• all beats are marked,
• written first and last note.

About the number of cycles. There are usually eight strokes. How should they be marked? Either all eight measures on one line, or four measures on one line and four on the other- just like that, and nothing more! If you do it differently (5 + 3 or 6 + 2, in especially difficult cases 7 + 1), then, sorry, you suck! Sometimes there are 16 bars, in this case we mark either 4 bars per line, or 8 bars each. Very rarely there are 9 (3 + 3 + 3) or 12 (6 + 6) bars, even less often, but sometimes there are dictations of 10 bars ( 4+6).

Solfeggio dictation - playing the second

We listen to the second playback with the following settings: with what motives the melody begins and how it develops further: does it have repetitions which ones and in what places. For example, repetition in sentences- the beginning of sentences is often repeated in music - 1-2 measures and 5-6; in the melody can also be sequences- this is when the same motive is repeated from different steps, usually all repetitions are clearly audible.

After the second playback, you also need to remember and write down what is in the first measure and in the penultimate, well, in the fourth, if you remember. If the second sentence begins with a repetition of the first, then it is also better to write out this repetition immediately.

Very important! If, after the second playing, the time signature, the first and last notes, the measures are not yet written in your notebook, then you need to “activate”. You can’t get stuck on this, you need to ask insolently: “Listen, teacher, how many bars and what size?”. If the teacher does not answer, then someone from the class will surely react, and if not, then we ask the neighbor loudly. In general, we act as we want, arrange arbitrariness, but we find out everything that is needed.

Writing a solfeggio dictation - the third and subsequent playbacks

Third and subsequent plays. First, it is imperative conduct , memorize and record the rhythm. Secondly, if you can’t immediately hear the notes, then you need to actively analyze the melody , for example, according to such parameters: direction of movement (up or down), smoothness (in succession in steps or jumps - at what intervals), movement according to the sounds of chords, etc. Thirdly, you need listen to clues , which the teacher says to other children during the “bypass” during the solfeggio dictation, and correct what is written in his notebook.

The last two plays are designed to check the already finished musical dictation. It is necessary to check not only the height of the notes, but the correctness of the spelling of stems, leagues, the placement of accidentals (for example, after a backer, the restoration of a sharp or flat).

Today we talked about how to learn how to write solfeggio dictations. As you can see, write musical dictations It's not difficult at all if you approach it wisely. In conclusion, get a couple more recommendations for developing skills that help in musical dictation.

1. Listen home works that are traversed by musical literature, following the notes (you take music in contact, you also find notes on the Internet).
2. sing the notes those pieces that you play in your specialty. For example, when you work out at home.
3. Sometimes transcribe notes by hand . You can use the same pieces that you study in your specialty, it will be especially useful to rewrite a polyphonic work. This method also helps to quickly learn by heart.

These are proven ways to develop the skill of recording solfeggio dictations, so do it at your leisure - you yourself will be surprised at what the result will be: you will write musical dictations with a bang!