A fragment of the lesson solfeggio selection of harmony. Musical harmony - colors of music

Solfeggio Lesson "Harmonic Major and Minor. Relationship of Elements"

I offer a summary of the solfeggio lesson in the 4th grade of the Children's Art School for pianists. The lesson is a study aimed at summarizing experience theoretical analysis musical works.
Lesson outline.
Subject: Harmonic major and minor. The relationship of elements in the keys of the same name
Type of lesson: Lesson - research
Lesson Objectives:
1. Summarize the previously obtained information about the structure of major and minor.
2. Draw conclusions about the change in the elements of modes during the interaction of major and minor.
Lesson objectives:
Training:
1. To introduce students to the harmonic major, D7, tritones in harmonic modes.
2. Compare the height position of the major and minor degrees in harmonic and natural forms, examine the elements of the modes and identify their change associated with a change in the height structure of the mode.
3. Repeat the previously studied information about major and minor, formulate conclusions on comparative characteristic elements.
4. Teach to identify signs in minor keys in different ways.
5. Develop the skill of identifying by ear the harmonic and melodic types of major and minor, tritones, chains of chords in natural and harmonic major.
Educational:
Ability to work in a group, help each other in finding a solution to the problem.
Motivate interest in research.
Lesson equipment:
Projector, computer, piano, music center.
Reader on auditory analysis at solfeggio lessons (compiled by Shekhtman L.S.)
Sheet music: J.S. Bach HTK Volume I, prelude in A minor.

Lesson stages

Organizational moment, goal setting, motivation learning activities
small introduction about the genre of the lesson - research as the most active type of activity in the study of new material.
The teacher introduces the topic of the lesson and discusses the wording with the students. Understanding the meaning of each musical term in the formulation of the topic of the lesson.
Students explain the meaning of familiar terms (harmonic minor, keys of the same name, passed elements of the mode - stable and unstable steps, main triads of the mode, tritones), highlight unfamiliar terms (harmonic major).
Together with the students, the teacher forms the objectives of the lesson
What are we going to do in class today? – Explore harmonic major, compare elements.
What do we need to know to make this happen? - Those elements of modes that were previously studied in solfeggio lessons.
The teacher divides the children into two groups, designating them as two research laboratories, appoints a senior "researcher" in each group.

Actualization of knowledge, skills necessary for creative application and assimilation of new material
The teacher offers to analyze several pairs of the same keys and find steps that differ in height in each pair.
Slides 2 - 7.
As a result of the analysis, students conclude that in each pair, steps III, VI and VII are different in height.
The teacher draws the attention of the children to the fact that keys with a different number of characters were analyzed. The following is a brief historical reference- about the existence in the past of a natural scale and a later, tempered scale. Slide 8 - a portrait of J.S. Bach, the composer who created 2 volumes of the HTC and supported the theory of equal temperament.
The teacher offers to listen to the prelude in A minor from the first volume of the CTC and gives the task to the groups: to determine the mode at the beginning of the work and at the end.
It sounds like a prelude in A minor.
Students identify A minor at the beginning of the prelude and A major at the end of the prelude, which gives the keys of the same name.
The teacher gives a task for research in groups: the first group analyzes the beginning of the prelude by notes and must find signs of A minor; the second group analyzes the end of the prelude and must find signs of A major. slide 9.
After 3 minutes, the groups give an answer: A minor has no signs at the key, the sign G #, which appears at the beginning, “belongs” to the major of the same name as the VII degree. In A minor, this sign can be explained as a step change in the harmonic form of the minor. The second group comes to the conclusion that the appearance of the sound C # (III degree) at the end of the prelude changes A minor to A major.
The teacher once again draws attention to the increase in the seventh step in the harmonic minor as an element of the natural major.

Learning new material
The teacher shows on the projector Slide 10 two options for recording a melody from M.I. Glinka's opera "Life for the Tsar" (a fragment of Antonida's Romance), listen to this melody and choose the correct recording option from the two proposed.
After listening, students choose option 2.
The teacher draws attention to the different modal coloring of the third bar in examples 1 and 2, explains the use of the minor key as emphasizing the emotional tension in the words " bitter grief". Slide 11.
The conclusion is formulated: in order to emphasize the emotional meaning of the word, the composer borrows a lowered VI degree from minor to major. The rule for the formation of the harmonic type of major is written in the notebook.
Singing a fragment from the opera by M.I. Glinka with accompaniment.
After singing the melody with accompaniment, a harmonic analysis is done this fragment. The teacher draws the students' attention to a chord with a modified sound (G-flat) and asks them to give it a name.
Students identify this chord as a minor subdominant and, together with the teacher, conclude that the minor subdominant is an element natural minor in the harmonic major of the same name.

The teacher invites students to listen to a fragment of the Sonata by F. Schubert and determine by ear the minor subdominant chord that is used in the work.
After listening, students determine the S53harm. in the second sentence.
One of the students shows this chord among the chords of the harmonic sequence Slide 12., then all students name the chords in the chain in order up to S53 harmonics .. Slide 13.
Singing the lower voice of the harmonic sequence (the teacher plays the upper voices on the piano).
The teacher asks the students to highlight any unfamiliar chords or symbols in the chain.
Students pay attention to the seventh measure of the harmonic sequence. As a result of the analysis, it turns out that the chord of 4 sounds is dominant, in structure it is one third more than the dominant triad, the extreme sounds form a seventh. The teacher introduces the concept of "dominant seventh chord". The teacher also explains the meaning of the designation K64 in the final harmonic revolution.
The teacher gives a task for research: what elements can be found in D7?
After listening to all the answers, the teacher focuses the students' attention on mind 5, which is part of the chord. Since students already know the tritone resolution rule, they easily memorize the D7 resolution rule.

Group work
The teacher invites students in groups to explore the scale of harmonic major (group 1) and harmonic minor (group 2). Students must build a scale, find a segment of 3 tones in it and answer the question, which steps are involved in the formation of tritones in harmonic modes.
The first group concludes that the tritone in the harmonic major is on the segment II-VIg steps. This rule corresponds to the rule for constructing tritones in natural minor.
The second group concludes that the tritone in the harmonic minor is formed on the segment IV-VIIg of the step. This rule corresponds to the rule for constructing tritones in natural major.
The teacher helps to formulate a conclusion: a change in steps in harmonic modes entails a change and the formation of new elements borrowed in the keys of the same name. Frets - major and minor, are approaching, enriched with new expressive means.

Primary test of mastery of knowledge. Primary fastening knowledge. Control and self-test of knowledge
Slide 14. The teacher gives the task to compare the scales of D major and D minor in harmonic forms, to find similarities and differences.
Students find that all steps coincide in height, except for III - in major it is high, and in minor it is low.
The teacher draws the students' attention to the fact that the third step is an indicator of the coloring of the mode. slide 15.
Slide 16. The teacher gives the task to students to put signs in harmonic modes, based on the scales of the same keys in their natural form.
Students easily change the steps, borrowing signs according to the scheme of their scales of the same keys. (answer Slide 17).
Slide 18. - confirmation of what was covered in the lesson using other keys as an example.
The teacher explains to the students the way to determine the signs through the keys of the same name. Since the natural major and minor of the same name always differ by 3 signs, it is possible to derive a formula for determining the signs in the minor through the keys of the same name:
With dur - 3 characters = with moll
It is very convenient to represent this on a numerical ray. Flats go to minus, sharps go to plus. If there are 4 sharps in the major (4 - 3 \u003d 1), then in the minor of the same name there is 1 sharp. If there is 1 sharp in major (1 - 3 \u003d -2), then in the minor of the same name there are 2 flats.

Summing up the lesson, reflection
Students say what they learned in the lesson, repeat new terms.
Reflection - Who was it easy? Difficult? Is everything clear? Who wants to know more?

Homework (optional):
1. In the works of the specialty, find the elements that were discussed in the lesson.
2. Briefly formulate the main conclusions of the lesson in a few sentences.

In this article, you will learn why some students of music do not like harmony, why it is so important to love these teachings and practice them regularly, and what results are achieved by those who approach the study of these disciplines with prudence, patience and humility.

Many musicians admit that during the years of their studies they disliked theoretical disciplines, simply considering them superfluous, unnecessary subjects in the program. As a rule, in music school such a crown takes on solfeggio: due to the saturation of the school solfeggio course, music school students(especially truants) often do not have time in this subject.

At the school, the situation is changing: solfeggio here appears in a “transformed” form and is liked by most students, and all former indignations fall on harmony - a subject that is not clear to those who did not cope with elementary theory in the first year. Of course, one cannot say that such statistics are accurate and characterize the attitude of the majority of students towards learning, but one thing is for sure: the situation of underestimation of musical theoretical disciplines is extremely common.

Why is this happening? The main reason is ordinary laziness, or, if you call it more decently, laboriousness. Courses in elementary music theory and harmony are based on a very rich program that needs to be mastered in an extremely small number of hours. From here comes the intensive nature of training and a large load on each lesson. None of the topics can be left without elaboration, otherwise you will not understand everything that follows, which certainly happens to those who allow themselves to skip classes or not do homework.

The accumulation of gaps in knowledge and the constant postponing of solving pressing problems until later leads to complete confusion, which only the most desperate student will move to clean up (and will gain a lot as a result). Thus, laziness leads to blocking the professional growth of a pupil or student due to the inclusion of inhibitory principles, for example, of the following type: “Why disassemble what is not clear - it is better to reject it” or “Harmony is complete nonsense and no one except extravagant theorists needs it ".

Meanwhile, the study of music theory in its different guises plays a huge role in the development of a musician. So, solfeggio classes are aimed at the formation and training of the most important professional instrument of a musician - his ear for music. The two main components of solfeggio - singing from notes and recognizing by ear - help to master two main skills:

- to see the notes and understand what kind of music is recorded in them;

- to hear the music and know how to record it with notes.

Elementary theory could be called the ABC of music, and harmony its physics. If knowledge of theory allows us to identify and analyze any particles that make up music, then harmony reveals the principles of the relationship of all these particles, tells how music is arranged from the inside, how it is organized in space and time.

Look through several biographies of any composers of the past, you will definitely find mentions of those people who taught them general bass (harmony) and counterpoint (polyphony). In the matter of training composers, it was these teachings that were considered the most important and necessary. Now this knowledge gives a musician a solid foundation in his daily work: he knows exactly how to pick up chords for songs, how to harmonize any melody, how to shape his musical thoughts, how not to play or sing a false note, how to memorize a musical text very well. quickly, etc.

Now you know why it is so important to practice harmony and solfeggio with full dedication if you decide to become a real musician. It remains to add that studying solfeggio and harmony is pleasant, exciting and interesting.

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Outline of an open lesson in solfeggio in grade 2 III quarter, 1 lesson Developed by a teacher of theoretical disciplines of the Toburdanovskaya Children's School of Art Filippova Natalia Vasilievna S. Toburdanovo-2009 1 Theme of the lesson: repetition of the material covered. Lesson plan:  Vocal-intonation skills. Singing on the material of the passed intervals (chants, intervals - seconds, thirds, quarts, fifths; sequences)  Repetition: parallel keys. Three types of minor. Working with the key in D minor.  Rhythmic warm-up  Theory in a crossword puzzle  Homework Content of the lesson: 1. The lesson begins with singing chants on the material of the intervals covered. 2 We recall the concept of "Sequence". The motif of the sequence is written on the board. We sing an ascending sequence with notes: Then a descending one: We sing solfeggio, then with the words the song “Sequence”: 3 Solfegging of musical examples for a sequence: d) 4 2. Recall what parallel keys are on the material of the song “PARALLEL TONALITIES” What types of minor do we know? Singing songs in minor key. 5 Work in the key of D minor. By the circle of fifths we find F major. Parallel to F major is D minor. a) We write in a notebook and sing three types of D minor and triads. b) Singing steps on the cards. Variations: natural minor o I-III-V-IV-III-II-I o I-II-III-I-V-VI-V-I o V-III-II-I-II-VII-↓I o V-VI- V-III-II-VII-↓I harmonic and melodic I-III-II-I-VII#↓-I I-V-III-I-II-I-VII#↓-I V-VI-V-VII#- I I-V-VI#-VII#-I I-III-V-VI#-VII#-I 6 c) Acquaintance with the new song "Lullaby" (Appendix 1) phonogram - Further in the form of a dictation. The teacher plays a melody, the students sing the rhythm with rhythmic syllables and build the rhythm with cards. -We write notes, sing solfeggio with a phonogram. -Choose harmony. -Singing to the backing track. 3. Rhythmic warm-up. -rhythmic card exercises. (At the discretion of the teacher) - Task: come up with your own rhythm 4. Theory in a crossword puzzle. We remember the past theoretical material on the example of this crossword puzzle. 7 5. Homework: -Sing three types of D minor and triads -Song "Lullaby" - sing with notes and with words, play an instrument, select harmony. 8 Illustration material for the lesson. Appendix 1 9 Explanation for the lesson. The main objective of this lesson is to repeat the material of the 1st half of the year, because the lesson is held after the winter holidays. You need to remember what you have learned. The lesson includes the following sections:  Vocal and intonation skills. Singing chants for the passed intervals: from m.2 to h.5  Repetition of the concepts of "Parallel keys" and minor of 3 types. Acquaintance with the key of D minor. Singing step chains.  The tonality of D minor is fixed on the example of the song "Lullaby". Here goes complete analysis expressive means: the nature of music, rhythm, melodic movement. Recording a song with notes is carried out in the form of a dictation. There is also a selection of harmony for further playing the instrument.  Rhythmic warm-up is carried out according to different options the teacher's choice. For example, working out various rhythm figurations on cards. Writing your own rhythm. You can use noise instruments.  Crossword theory. Students answer the theoretical questions covered in previous lessons. This type of work is attractive for children. Bottom line: all passing material is accompanied by musical chants, and not boring memorization of rules and concepts. 10

Guseva A.V.

New about old:

harmony in solfeggio lessons at a music school

- Play the dominant seventh chord from the sound of salt.

The student played.

What tone does it belong to?

- So he same from sound!

From an overheard dialogue between a teacher and a student

For many decades now, a tradition has been preserved in our country - from the first to the seventh grade, the basics of solfeggio lessons are studied classical music. At the next stage of learning music - at the school - almost the same thing happens. But can it be argued that eleven (!) years of communication with the discipline of solfeggio lead to positive results, namely, students sing the learned numbers clearly, sing from sight, hear all the classical elements studied during this period, write one-voice and two-voice dictations (we leave without a critical assessment of the established forms of work on solfeggio and, moreover, the ultimate goals of this academic discipline)? Unfortunately, we have to state the opposite: the more the theoretical platform of the subject, designed to educate and develop musical ear, is aggravated, especially in primary school music school, the more modest the results of the final exam in this case. The issue related to the emotional attitude to solfeggio, with the formation of a sincere interest in music due to the hours spent in solfeggio lessons, is better to be omitted.

But in the yard already XX I century! And we are separated from the classical era, one might say, by a period of three centuries. Is it possible that during this time the methodology necessary for the speedy and successful development of the foundations of the classical system has not been developed? As soon as possible, because we still need to have time to get acquainted (at least a little) with some elements of musical speech, characteristic of the previous century - the twentieth century!

In response, you can hear the objections of teachers: “What are the innovations of the twentieth century? We would like to learn the basics of the classics.” But children in their specialty play something from the music of the 20th century, for example, plays by Bartok, Prokofiev, Slonimsky, Metallidi. This means that at least some of the innovations of the previous century should be reflected in solfeggio. Considering that pianists and string players do not have a subject called solfeggio at the university, and when they enter the conservatory, they show knowledge of only classical elements, then it is worth recognizing that auditory work on mastering the features of the musical language of the twentieth century curricula V currently not provided.

The modern student, by the way, not only plays something from Bartok, Sigmeister, Prokofiev, and someone else of our time in the lessons of his specialty, but also calls mobile phone, has been actively playing in computer games, on vacation travels to Egypt, Finland or Switzerland. And in the solfeggio music books of a music school graduate, you can find the following tasks: build a dominant seventh chord from the sound of B flat down, resolve the tritone with all available means, to determine by ear the tonic, dominant, and sometimes subdominant chords that are in proud isolation, on their own, that is, belonging to different keys and, of course, without reference to any musical text. On the part of the teacher, genuine indignation can be caused, for example, by students' ignorance of the key signs of F sharp minor. At the same time, the standard admission requirements for solfeggio for admission to School of Music, despite the numerous tests included in this exam, do not include a single task that reveals the musical responsiveness of the applicant, as well as his practical skills in the field of music.

Critical state of modern music education behind last years more and more becomes the subject of scientific discussions, scientific and methodological conferences. The painful problems of music education received a kind of concentration in a very symptomatic collection of articles “How to teach solfeggio in the 20th century”. I century”, released in 2006. The editor-compiler of this collection, M. Karaseva, notes that “the question of survival musical and theoretical disciplines (including solfeggio) at any level domestic education stands today as sharply as ever. E. Derunets points to the reason for the crisis state of affairs in the educational process: “The isolation of musical and theoretical disciplines from the immediate needs of performing practice leads to the fact that the knowledge gained by students turns out to be fragile, and a significant part of them soon disappears from memory.” E. Lerner comes to the conclusion that it is necessary to use radical measures: “the project new program in theoretical subjects can be developed only under one condition - a revision of the concept of the entire system of music education.

Fixing your attention on building the foundations musical thinking in line with the subject of solfeggio, V. Sereda practically indicates the direction in which one should look for ways to "revise the concept" of this academic discipline. The author of the article builds his method of teaching solfeggio based on the integrity and consistency of the musical language. The chosen methodological position determines V. Sereda's sharply negative attitude to the common form of conducting solfeggio lessons, where the elements of the musical language flourish in maximum isolation from each other: “Students study solfeggio not melody, harmony, mode and texture, but sounds, intervals, chords and scales cut off from the living and ever-changing context in which they exist in music. works<…>Musical ear is manifested not in the ability to distinguish the pitch of sounds and recognize isolated consonances of different colors, but in the ability of a person to perceive and evaluate the semantic relationships of the elements of muses. language. Its basis is intonation - the conjugation of sounds, consonances, voices of the musical fabric, as well as any of its temporary units - beats, motives and phrases.

Looking for new methodological guidelines, consonant with our time, it is worth considering first: why, in fact, the subject of solfeggio fell into the heading of theoretical disciplines. Once, in a private conversation, choir conductor V. Chernushenkov was indignant about this: “how can you call solfeggio theoretical subject, this is the most practical discipline!”. It is worth adding to this that such subjects as harmony, polyphony, analysis should be considered disciplines that have the most applied character. But the history of music is a theory, the content of which is to comprehend the logic of the move historical events. In this light, it would be nice for every teacher who teaches one or another “theoretical” discipline to answer the question - what set of practical skills necessary for performing or listening to music does his student have when completing training in this discipline. At the same time, it must be remembered that only one that is spiritualized by the lively interest of the one who demonstrates it should be considered a practical skill related to the field of music. Is it possible to consider the so-called "singing from a sight" or even just singing a previously learned melody as an acquired practical skill, if it is always (!) reproduced in all solfeggio groups in the same monotonous voice, equally at some average tempo that is not related to this melody, with errors in intonational reading, since its genre characteristic remains undisclosed due to a misunderstanding of the metric system and, finally, never acts as an analogue of singing a melody on a particular instrument and, moreover, does not personify singing as such, as a type of musical activity?

So what about the music that has just been composed (some 50 - 100 years ago!)? Will it ever get into the solfeggio program of a music school, or will the student be doomed to study only the techniques of classical tonality for a long time to come? By the way, there are still many remarkable artistic phenomena in the preclassical period, in different national cultures. Or is our main task to look for new methodological ways of resuscitation of solfeggio, remaining within the framework of the system in which it is required to play "sol - si - re - fa - mi - do - do - do" in one breath?

The paradox of today's state of affairs lies in the fact that if we approach the solfeggio program at a music school from a chronological position - first the classics, and then ... - we will never catch up with our own shadow, since the study of any style, any era has no boundaries. Moreover, the fear and misunderstanding of the evolution of the musical language today are becoming an indicator of misunderstanding of the classical system itself. The main changes in the music of the 20th century, for example, a different interaction of melody with harmony, the organization of tonality require a different attitude to the classical system: what are the theoretical guidelines for determining tonality by the last sound, or determining tonality by key signs, finally, the definition of the tonic in the form of only the first degree of the scale. All this is an anachronism akin to the definition of the old man Hottabych about the location of the Earth, which rests on three whales.

New methodology teaching solfeggio at a music school, even at the very initial stage of training, must be built taking into account a deep understanding of the most important backbone for each historical period, which are rooted in various principles of interaction between harmony and melody, more broadly, in various relationships verticals and horizontals. The classical system is a major-minor tonality, the essence of which lies in its harmonic being. Harmony generates everything: melody, rhythm, metrics, texture, syntax, fingering, dynamics, instrumentation. And vice versa: pre-classical, as well as post-classical systems establish other relations of subordination: harmony obeys the horizontal, harmony becomes unpredictable. Almost all components of the musical language are endowed with freedom of implementation. At the same time, the integrity of the musical organization is achieved by other conditions: in each separate case one must look for something that unites the components of the musical language into an artistic whole. And here a lot of different situations arise - from rhythmic and harmonic ostinato to intonation similarity based on imitations, variance, repetition, etc.

If students in a music school are offered to write down as a dictation a melody born of major-minor harmonic functionality, then why not introduce students to this melody along with this harmonic functionality inherent in it? You can do the opposite: first, introduce students to the harmonic grid of a given melody, and then to the melody itself, while experiencing the joy of meeting with another variation on the theme “tonic - dominant”. In accordance with the harmonic basis of the melody, it is possible (and necessary!) to offer to compose a two-voice harmonic pedal for the corresponding vocal composition, or to write out a harmonic three-voice (traditional three voices, but without bass, which teachers know from the classical harmony course) also for subsequent vocal dubbing. Not chords by themselves, in an abstract sequence, but chords that embody the essence of the classical tonal system.

Working on a melody in close contact with harmony can eventually lead to art form, including solo singing with the words of the original melody (or playing it on the instrument, if it is instrumental in nature), harmonic accompaniment, which looks like four-sound chords in a simple rhythmic texture version ( left hand the bass plays, and the right one plays the other three sounds), a vocal two- or three-part pedal that counterpoints a melody composed on the basis of the same harmony. (remember the expressions “the melody moves along the sounds of the dominant seventh chord” or “the melody includes a tonic quarter-sext chord”, etc.), but there is a melody that has grown on the basis of one or another chord and, therefore, on a reduced fifth by VII steps and to a small seventh on V steps accompanied by a dominant seventh chord can be played. Then, perhaps, it will develop in the mind of the student that the tonic in the classical system is not one single first step, but a chord that includes I, III, V steps in any combination, in any register, with any number of duplication of these steps. And intervals do not exist on their own, but are carriers of the modal function of one or another classical chord. Then, finally, it will be possible to develop an ear for music on the basis of harmonic intonation prediction, i.e., to find the boundaries of the length of one harmony in a particular melody and respond to the deployment of a melody (or any linear element of texture) as a transition from one harmonic intonation to the next. Then, perhaps, there will finally be an interdisciplinary connection between solfeggio and a specialty, in which the skills acquired in solfeggio harmonic intonation will contribute to the education of a competent musician.

If we learn how to form a methodology for teaching solfeggio based on consistency, then we can competently oppose the classical system of major-minor to the systems of pre-classical and modern music, where the opposite situation reigns - freedom of harmonic choice for any melody. This is where you can get creative! There are already aids for music lessons V kindergarten, in which it is proposed to play on various drawings(these drawings are a direct reflection of the model of modern scores, such as Cage). One of the most powerful sources of convenient forms of mastering the patterns of modern music is the scale identity of melody and harmony, where the chord is born as a resultant element of the melody, not connected either by the number of tones or the obligatory tertian structure. Imagine for a moment what a grandiose symphony can be composed to the text "Ding-dong, ding-dong, the cat's house is on fire ...", the melody of which includes any sequence of two adjacent black keys, and on the piano simultaneously with the melody in all seven registers is played this second harmonically, i.e., a chord! The accompaniment can be realized as a bell ringing - with alternating high and low registers.

Further "invasion" into the field of contemporary music is methodically convenient to carry out in the following directions. One of them is based on the comparison of the familiar and the modification of this familiar. It is possible to offer in comparison third chords and chords with a substitute tone, diatonic and the same, but altered chords, variance of scales in melodies with similar movement, etc. Another direction is the simultaneous correlation of the familiar and the unfamiliar (a familiar melodic turn, but an unfamiliar harmonic "clothes" or vice versa), which allows in the very active form draw attention to the pole familiar, and to the pole unfamiliar.

It is believed that the economic crisis that is now being experienced in many countries of the world is necessary to intensify the search for new form prosperity of society. Apparently, similar processes are taking place in the field of music education, and a competent assessment of the old methods of work will help determine the desire to search for new methods that are vital for our children for their successful spiritual existence.

In December 2008, the Seventh, which has already become traditional, International Scientific and Practical Conference "Modern Music Education" was held, which is organized by two leading universities of St. Petersburg - the Russian State Pedagogical University them. A. I. Herzen and the St. Petersburg State Conservatory. N. A. Rimsky-Korsakov. M. Karaseva gives an apt description of the current state of affairs, defining solfeggio at school as a “pre-harmonic” stage, and at a college-university school as “pre-harmonic” ( M. Karaseva. Russian solfeggio of the postmodern era, or postmodern in the mirror of methodology / SATOR TENET OPERA ROTAS. Yuri Nikolaevich Kholopov and his scientific school. M., 2003. S. 334.

But in solfeggio textbooks, you can first find an independent paragraph devoted to movement along the sounds of the dominant seventh chord, and later, somewhere in two or three paragraphs, the situation associated with the reproduction of a small seventh on the fifth step is considered.

The author of this article has previously considered possible ways inclusion of the innovations of the music of the twentieth century in training course solfeggio at the initial stage of training: Guseva A. V. Search for new ways: the beginning of creativity / Methodological problems of modern music education. Materials of the interuniversity scientific-practical seminar on March 21, 2008. RGPU them. A. I. Herzen. SPb., 2008. S. 67 - 79.

Summary of the lesson "Parallel keys in D major - B minor" for students of the 2nd grade of the instrumental department of the Children's Music School (DShI) on the subject "Solfeggio"

Butorina E.I., teacher of theoretical disciplines
Place of work: MBU DO "Children's School of Arts", Gornozavodsk, Perm Territory
The target audience: Grade 2 of the instrumental department of children's music school, children's art school.
Age of students: 8 - 9 years old.
Academic subject: solfeggio, 2nd grade, II quarter.
Time training session: 1 hour 05 minutes.
Equipment: class, multimedia projector, computer (laptop), screen, speakers.
Lesson type: lesson of generalization and systematization of knowledge.
The purpose of the lesson- identification and systematization of students' knowledge on the topic "Parallel keys in D major - B minor".
Tasks:
- to test theoretical knowledge on the topic covered;
- apply the acquired theoretical knowledge in practical tasks;
- continue to develop skills independent work, group work;
- to teach the creative application of knowledge in familiar and changed situations;
- continue training in methods of comparison and generalization of knowledge (creation of tables);
- develop Creative skills every student.
The summary of the lesson may be of interest to teachers of the subject "Solfeggio" of the Children's Music School (DShI). The choice of the topic of the lesson is justified thematic plan By subject"Solfeggio" (Additional pre-professional educational program in area musical art"Piano", subject area Theory and history of music in the subject "Solfeggio", editor-in-chief I.E. Domogatskaya, Moscow, 2012), 2nd grade, II quarter, lesson "Parallel keys".
For the successful conduct of the training session, a plan-outline was drawn up; a presentation has been prepared (in the text of the competition work, all slides of the presentation are designed in the form of figures); selected musical examples in D major and B minor (see "Assignments for practical work»).
To achieve the goal and objectives of the lesson, teachers are recommended the following: effective methods: reproductive method (to reveal theoretical knowledge on the topic covered) and search method (to systematize knowledge and apply this knowledge in practical tasks). For example, when performing practical tasks, you can use the “Find the mistake” method in the previously learned musical number(“Our neighbor took the bagpipes”) and the “Musical detective” method (a fragment of E. Grieg’s play “In the Cave mountain king» - search for a deviation in the key of D major). Students will be interested in the process of identifying the "emotional coloring" of keys on examples from classical music. For example, the key is D major - J. Haydn, sonata D major, first part, main party; P. I. Tchaikovsky, "Kamarinskaya" and "Italian Song" from children's album; key in B minor - E. Grieg, "In the cave of the mountain king"; P.I. Tchaikovsky, "Winter Morning" from the Children's Album. It is equally important to draw students' attention to the use of "warm" and "cold" colors to create your own drawings that reflect the "character" of these keys.
To learn how to compare and generalize the acquired knowledge, students are invited to perform a variety of practical tasks in familiar and changed situations, make two tables (“Comparative table for practical work”, “Auxiliary table for practical work”). The created tables can also be used when studying other parallel keys in solfeggio lessons.
During the lesson, it is recommended to use different forms of questioning students (individual, group, frontal) depending on the types of tasks, trying to pay attention to the group as a whole and to each student. I wish all teachers of theoretical disciplines creative success! Sincerely, Elena Butorina.

During the classes

1. Organizational stage (greeting, checking preparedness for the lesson, organizing attention):
Teacher: Hello dear guys! The topic of our lesson is “Parallel Keys in D Major – B Minor”. The lesson will be full of various tasks that are aimed at achieving the main goal - to consolidate and apply knowledge on this topic. I propose to conduct the lesson as productively as possible so that it does not become a “tale of lost time”, and let the motto of our lesson be a quote from Henry Ford: “Time does not like to be wasted.” Is everyone ready? Let's start!
Slide 1 is projected onto the screen:

2. Checking homework (frontal survey):
Teacher: I propose to start the lesson by checking homework in the following way: let's compare the construction of scales in a notebook and on a presentation slide. Have you built everything correctly?
- checking the construction of the D major scale;
- checking the construction of the scale in B minor (three types);
Slide 2 is projected onto the screen:

- singing a monophonic number by heart “Our neighbor took the bagpipe” (collective work):

Teacher: Well done! Now you need to answer the following questions:
1. How many key signs are in the keys of D major and B minor?
2. What are these signs?
3. What is the distance between parallel keys?
4. Are there identical (“common”) sounds in parallel keys?
Students: answer and discuss.

3. Preparing students for work at the main stage (teamwork).
Teacher: Before starting practical work (the main stage of the lesson), let's do the following: search for "common" sounds in parallel keys: D major - B minor (natural); D major - B minor (harmonic form); D major - B minor (melodic form).
Students: On each of the subsequent slides, students find the same (“common”) sounds between the two keys, answer the question: “How many common sounds are there between D major and the natural form of B minor?”
Slide 3 is projected onto the screen:

The correct answer is 7 "common sounds.
Slide 4 is projected onto the screen:

The correct answer is 6 common sounds.
Slide number 5 is projected onto the screen:

The correct answer is 5 common sounds.
Teacher: The next task you have to do is the following: you see familiar chords on the screen. Are they built correctly? Are there any "common" sounds in the main triads of D major and B minor?
Have students answer the following questions:
1. What are the main triads of the mode?
2. From what steps are they built?
3. For what form of work in the lesson will they be useful?
Slide number 6 is projected onto the screen:

4. The main stage of work (application of knowledge and skills in practical work):
- determine the types of minor in monophonic numbers No. 1, No. 2, No. 3 ( individual work); "Tasks for practical work", No. 1;
- correct the melodic "errors" in the monophonic number "Our neighbor took the bagpipes" (individual work):

- play a musical fragment of E. Grieg's play "In the Cave of the Mountain King" and determine in which measure there is a deviation to a different key (collective work "musical detective"); determine the change of key with an indication of the measure;
Slide number 7 is projected onto the screen:

The correct answer is a deviation in D major in bar 4.
- determine the tonal plan of the melody of Masha's song from the cartoon Geese-Swans (words by A. Kovalenkov, music by Yu. Nikolsky, 1947);
Slide number 8 is projected onto the screen (the correct answer is the effect of the animation "departure"):

- harmonize the first verse of the song "Steam Engine" (joint work of the teacher and students).
Slides No. 9, No. 10 are projected onto the screen:
The song "Rides, rides a steam locomotive" (words by S. Ernesaks, Russian text by V. Tatarinov, music by G. Ernesaks)

5. Systematization and generalization of knowledge and skills (consolidation of theoretical knowledge, compilation of tables):
- revealing the emotional coloring of tonalities on musical examples: determination of the nature of musical works in D major (P.I. Tchaikovsky, “Italian song”, “Kamarinskaya”; J. Haydn, sonata in D major, first part, main part) and B minor (P.I. Tchaikovsky, “Winter morning"); teamwork:
Slide number 11 is projected onto the screen:

Slide number 12 is projected onto the screen:

Note: music fragments must be prepared in advance and inserted into the presentation.
- which of the proposed words can convey the emotional coloring of D major, and which - B minor?
Slide number 13 is projected onto the screen:

- determination of the color scale of D major and B minor;
Slide number 14 is projected onto the screen:

- comparison of keys;
- compiling a comparative table for performing practical tasks (teamwork);
Slide number 15 is projected onto the screen:

- compiling an auxiliary table for practical work (teamwork):
Slide number 16 is projected onto the screen:

6. Control and self-control of knowledge and methods of action:
- checking the completed tasks by the children (a neighbor on the desk), then by the teacher.
7. Correction of knowledge and methods of action:
- search for errors in the implementation of practical work;
- definition of the algorithm of actions for independent achievement correct result.
8. Information about homework, instructions for its implementation:
- determine the "mood" of the text of the second verse of the song "Steam Engine" (the author of the text for the second verse is Butorina E.I.);
- write the melody of the second verse in B minor (re-structured melody) with subsequent harmonization and performance;
- draw a picture for the song "Steam Engine" in major and minor versions, taking into account warm and cold colors.
Slides No. 17, No. 18 are projected onto the screen:

9. Summing up the results of the training session:
Evaluation of activities by the students themselves and the teacher (how actively they worked in the lesson; whether all the tasks were completed, how independently; what turned out well and what needs additional refinement; what theoretical knowledge needs to be corrected):
Slide number 19 is projected onto the screen: