Noise orchestra. Children's noise orchestra

Municipal State Treasury Enterprise

"School of Arts of the Shemonaikha District Akimat"

"Approved"

at a meeting of the pedagogical council

Director of the State Public Enterprise "School of Arts"

Akimat of Shemonaikha district"

Dobzhanskaya Yu.B.

Orchestra of noise instruments

A T O R S A P R O G R A M M A

for preparatory group

music department of the school of arts.

duration of study – 1 year

Developed by a teacher

people's branch

by domra class

Khudyakova Svetlana Yurievna

Shemonaikha 2014

Explanatory note.

Modern conditions of existence of educational institutions of additional education dictate the need to create new programs. Teaching methods are being developed. Educational programs created decades ago require updating or developing new programs.

The program "Noise Orchestra" is the author's own. When developing this program, the experience of teachers working with noise orchestras was studied, various modern technologies were studied (V. Bukatov, N. Kononova, N. Derekleeva, S. Shmakov, N. Vetlugina, O. Skripnik, E. Selevko, etc. )

In modern schools, the musical education of children plays a special role. One of the effective methods of work is a form of collective musical activity. It is most clearly manifested in the playing of a children's noise orchestra.

The program has a general aesthetic orientation. Classes are held in groups of 6 to 12 students from the preparatory group of the music department of the art school. The main form is a lesson once a week, lasting 45 minutes. For children 5–6 years old, lesson time is 30 minutes. Only 34 hours per year.

Target: Creating conditions for the development and improvement of the child’s personality through collective activities.

Tasks:

Learn to play noise instruments;

Introduce the basics of musical literacy;

Develop a sense of rhythm;

To cultivate a sense of participation, empathy, co-creativity;

Develop communication skills;

Instill in children a love and interest in music.

Implementation of goals and objectives

Achieved using activity-based, competency-based approaches.

It is based on the principles of accessibility, consistency, visibility, and humanization.

Based on technologies: gaming, developmental learning, collective.

Classes in the subject “Noise Orchestra” have a number of positive qualities. They develop skills in playing in an ensemble, a sense of teamwork, and responsibility; help children overcome uncertainty, broaden their horizons, identify natural abilities, develop artistic taste and creative initiative in children.

Distinctive feature program is that acquaintance with new material, consolidation of knowledge and questioning takes place in the form of a game. This is due to the young age of the students. A game, like no other type of activity, is suitable for the assimilation and acquisition of knowledge and skills by primary schoolchildren. While learning through play, the child has no idea that he is learning something. The program necessarily requires division into teams of 4–6 people. The benefits of working as a team are:

Each time the composition of the teams changes.

During the lesson, children are constantly moving.

Everyone tries to work well for the whole team, helping each other.

Requirements for ZUN.

As a result of mastering this program, students should know:

Basic concepts: orchestra, conductor, composer, noise and sound

basics of musical literacy (notes of the 1st octave, duration, dynamic shades, tempo, size 2\4, 3\4, 4\4\)

names and methods of sound production on noise instruments

names of musical instruments (Kazakh folk, Russian folk, wind)

identify strong and weak beats

determine the nature of the work and convey it using noise instruments

perform musical works on noise instruments individually and in a group.

The knowledge and skills acquired by students during the school year are assessed by the teacher at each lesson, at the end of each semester and academic year, and are recorded in the school journal. Since the lesson is attended by children from the preparatory group, grades are not recorded in the diaries. The main form of control is performing at concerts in front of parents.

Criteria for a concert performance

Children perform 2 - 4 songs learned in the orchestra lesson. Evaluated:

Competent and accurate execution of musical text and rhythmic pattern.

The degree of mastery of the instrument, the ability to hold a stick correctly (metallophone, xylophone), the ability to use noise instruments.

Musicality of performance.

The ability to play completely - without mistakes or corrections.

To better assimilate knowledge in the classroom, a workbook on noise orchestra has been developed. Mostly children's songs or classic works for children are chosen for performance.

The basis of the noise orchestra is made up of children's musical instruments-toys, all kinds of percussion instruments - rattles, spoons, rattles, drums, cymbals, maracas, triangles, boxes, and so on. Unusual instruments, created with your own hands from improvised materials, occupy an important place in the orchestra and are an interesting way to understand the formation of sound.

Conditions for the program:

Availability of room for classes.

Material base: set of noise instruments

Music library - a varied musical repertoire.

Syllabus

Educational and thematic plan

For successful learning outcomes for children in children's noise orchestra lessons, it is necessary to take into account the specifics of musical education in the preparatory groups of an art school. It is determined by age-related characteristics in the development and perception of children. They are characterized by concrete thinking, spontaneity and emotionality in the perception of various phenomena of the surrounding life; their attention is unstable, which requires a constant change of impressions.

Taking into account all of the above, the teacher needs to be able to quickly switch to different types of activities, constantly introducing something new into the lesson (in forms of work, methodological techniques, repertoire), alternating tasks of varying degrees of complexity with a game, which will be the most effective method at work.

Game methods should be an integral part of a whole system of methods: explanatory and illustrative, reproductive, gaming, creative.

Explanatory and illustrative methods are used by the teacher at the initial stage: showing on the instrument, talking about the work, explaining the rules of playing a particular children's instrument, explaining the movement of the melody, and so on. Here it is very important to choose the right words and combinations of words in order to vividly, figuratively, and emotionally convey the content of the work to the child and achieve quick memorization of the musical material.

Reproductive methods are included in the work at the next stage: practical. After memorizing and analyzing a piece of music by students, the teacher controls their practical activities in mastering musical skills, including playing by heart. At this stage, the teacher recommends rhythmic techniques that facilitate and accelerate learning, including not only motor (motor), but often musical memory (auditory). Children of primary school age are characterized by free creative activity, which manifests itself intuitively in games, in movement to music, in fantasy and improvisation when performing various tasks. The teacher needs to guide the creative searches of children, stimulate and direct their imagination. Practical skills acquired in the process of intuitive creative activity will gradually lead children to conscious creativity. It is necessary to encourage and approve the manifestation of children's creative initiative.

In modern musical methodology, it is the study of sound and children’s knowledge of the World through sound, the creation of a different image of a wide variety of everyday objects that are increasingly being developed. Unusual instruments, created with your own hands from yogurt jars, mayonnaise buckets, and used felt-tip pens, occupy an important place in the children's noise orchestra.

The ability to understand through one’s own touch what a sound might be is extremely important for the development of timbre hearing. It is necessary to explain to children that sound can be produced using techniques such as shaking, tapping with a finger, all or palm, and scratching. Learn to enjoy comparing sounds using different methods of sound production.

You can offer compositions to children when the leader controls the process (conducts, sets the order of the game - one at a time, in groups, together; dynamics).

When organizing a children's orchestra, it is important to follow certain rules. Little performers must see the leader well. They should sit or stand comfortably without interfering with each other. It is best to place musical instruments on stands or small tables (but not on your lap so that children do not bend over them). Triangles are hung on special stands with a stable base, and children can place some instruments on their laps before playing on them.

It is better to place tools belonging to the same group nearby. There should be more instruments with a quiet and gentle sound and they should be better placed in front (to the left of the conductor). This applies to string and keyboard-percussion groups. Low-sounding instruments are located to the right of the conductor. Percussion instruments are allocated to the second and third rows.

When selecting musical instruments, it is necessary to take into account a number of general provisions.

The basis of a children's noise orchestra is made up of elementary children's musical instruments-toys, designed for beginning performers: all kinds of percussion instruments - rattles, spoons, triangles, rattles, castanets, pandeiras, bells, maracas, children's metallophones and xylophones, drums of various sizes, tambourines, cymbals ( single and double) and so on. The orchestra is complemented by a piano (accordion, accordion), which is played by the teacher himself.

The number of instruments needed for a lesson depends on their purpose and the size of the group. It is advisable to have a complete set of instruments for the teacher (with which he demonstrates playing techniques) and at least one more - two complete sets for children.

When organizing an orchestra, you should take care in advance about stands for them and for notes.

Formation of groups

The larger the group size, the more difficult it is for the teacher to work, and most importantly, to achieve good results. Therefore, the maximum number of children in a group should not exceed 15 people (or better, there should be 10 - 12).

During the lesson, it is more convenient to place the children in a semicircle so that they do not interfere with each other and everyone can see the teacher throughout the lesson.

Instruments and techniques for playing them

Among the so-called percussion instruments used in the children's orchestra, there are those whose sound source is a membrane (made of leather or plastic) - these are membranophones (drums of all types, tambourines) and those whose sound source is the very material from which they are made - these are idiophones or self-sounding instruments - maracas, triangles, bells, rattles, castanets, cymbals, metallophones, xylophones, etc.).

For our practical consideration, it is important that some of them have a certain pitch, while others do not. The first can be called “melodic” (metallophones, xylophones, bells), and the second can be called noise or “rhythmic” (all the rest of the above). We will adhere to this conditional classification.

Noise (“rhythmic”) percussion instruments

This is the most numerous subgroup of instruments and, for the most part, the most accessible for children to master. To practice them, no special training is required, and the playing techniques are simple and involve such natural movements as rocking, shaking, and hitting. All traditional percussion and noise instruments can be used in a children's noise orchestra.

Maracas - one of the oldest musical instruments. They are two small wooden or plastic balls with a handle, filled with pebbles or shot. Although maracas are small, they can be a bit heavy for babies, so it is possible to use baby rattles during classes.

Bells - small spherical metal bells attached to a leather strip or handle.

Pandeira (rumba) - consists of four pairs of small metal plates mounted in a wooden handle. Its sound resembles the effect achieved by shaking a tambourine.

Ratchets, castanets - there are many types of rattles and any of them can be used in a children's noise orchestra to give the sound a unique coloring. One type is a set of wooden plates attached to a cord. Holding the laces in your hands, you swing the instrument, or, holding the outer plates, imitate clapping your hands: the plates hit each other. A ratchet-castanet is also a convenient instrument for children. The instrument is a wooden handle in the shape of a trapezoid, to which two plates with hollowed-out resonators (like castanets) are attached using a cord. The pandeira and rattle should not be used often, as their sound becomes annoying and tires the ear.

All these tools are used one by one or in pairs. They are usually held by the handles. Shaking and swaying are performed with the hand, the hand at the wrist should be free. It is necessary to ensure that children do not strain their wrists or move their entire arm.

The next from this group to master instruments, the method of playing which is striking. Playing these instruments is also characterized by free wrist movement.

Box – a hollow rectangular wooden block with a resonator slot on the side. They play it with hammers from a metallophone, hitting them on the top plane of the box.

Spoons (usually wooden) is a unique Russian folk instrument. They hold them by the handles and hit one another with the back of the scoops. The dynamics are regulated by the force of impact.

Triangle made from a metal rod bent in the shape of an open isosceles triangle. The sound is caused by lightly hitting one of its sides with a metal rod. The triangle is usually secured on a fishing line or cord and held with the left hand, or suspended at chest level from a special stand that has a stable base.

Drum - a well-known instrument. It is a wooden (less often metal) body, covered on one or both sides with leather or plastic. The shapes and sizes of children's drums are different. They are light, beautifully designed and produce a not very strong sound that does not tire the ear. Among the many types of drums that can be used in a children's noise orchestra, it is necessary to highlight the small variety drum.

To play, any drum can be placed on a special stand. Small children's drums are usually suspended from a strap or cord and placed around the neck so that the top head is slightly below the performer's belt. The plane of a drum mounted on a stand should be inclined at a slight angle towards the performer, and one suspended on a belt - in the opposite direction. They play the drum with wooden sticks or special metal brushes, as well as directly with their hands. The main technique of playing the drum is individual short accent strokes and sequences of strokes that emphasize individual rhythmic patterns.

Tambourine has the appearance of a wooden hoop, covered with leather on one side and open on the other side; Along its circumference, paired metal plates are mounted in special cutouts. Some tambourines have springs with bells on the open side. The tambourine is usually played while standing. The main techniques of the game are shaking (the tambourine is held horizontally with both hands at waist level, directing the movement away from you or shaking it, as if you are sifting flour through a sieve); strikes with the right hand on the membrane.

Dishes They are metal disks convex in the middle, made of a special alloy. Both single and double plates are used. Single cymbals are installed on a special stand at the level of the performer’s chest. They play on a cymbal with a metal or wooden stick with a hard or soft head. The main technique of the game is a calm, light blow. Extinguish the sound with your hand.

"Melodic" percussion instruments

Glockenspiel is a set of metal plates loosely attached to a frame. There are children's diatonic single-row metallophones with a range of up to two octaves. The limited capabilities make their use in an orchestra impractical, but they can be useful in preparatory classes.

Xylophone – is a set of wooden plates arranged in one row and loosely attached to a frame.

All plates of these instruments are removable. The parts are written on a regular staff.

The instrument is placed on a special stand or table that matches the child’s height. Play standing or sitting with two mallets. The hands with the hammers, like the instrument itself, are located slightly below the level of the performer’s belt. The handles of the hammers are placed on the middle phalanges of the index fingers of both hands and held with the thumbs. The end of the handle should move freely in the palm of your hand. This position provides a free rebound of the hammer when hitting the record, which produces a bright, ringing sound. If you hold the hammer in your hands, the sound will be dull and inexpressive. You should play approximately in the center of the record.

Approximate repertoire:

P. Tchaikovsky “March of the Wooden Soldiers”

P. Tchaikovsky “Dance of the Sugar Plum Fairy”

E. Grieg “In the Cave of the Mountain King”

W. Mozart “Turkish March”

S. Rachmaninov “Italian Polka”

"Antoshka"

"Song of the crocodile Gena"

"Dog Waltz"

"Kamarinskaya"

"Happy Geese"

"Felt boots"

"Song of the Baby Mammoth"

"Song of the Bremen Town Musicians"

V. Shainsky “The Grasshopper’s Song”

Songs from the cartoon "Masha and the Bear"

M. Kachurbina “Bear with a doll”

“Whether in the garden or in the vegetable garden”

"Semyonovna"

"Saturday"

"Ditties"

"Peddlers"

"Oh, you canopy, my canopy"

Derekleeva N.I. "Motor games, training and health lessons"

Shmakov S.A. “Games that develop the mental qualities of a schoolchild’s personality”

Kononova N.G. "Teaching preschoolers to play children's musical instruments"

Taisiya Posashkova
Musical noise orchestra in kindergarten

Master Class

Noise orchestra in kindergarten.

Children love to play noise orchestra - everyone knows that who has ever given a child a simple instrument.

As one of the forms of work with children, it has existed for a long time, but few educators pay sufficient attention to it, because they do not know which way to approach it in the very difficult working conditions in kindergarten in general and in the group in particular.

Work on teaching the game noise orchestra must satisfy 4 primes conditions:

Be easy for children and teachers;

Be interesting to them;

Be systematic;

Be a group form of learning.

Learning for a preschooler should not only be an easy and enjoyable pastime, but also interesting.

If you simply give a child some instrument, his interest will be enough for 2-3 minutes. And having held a tambourine in his hands, he will want to change it to a maracas, and then to a drum, etc. If there is no interest in working with the instrument itself, then even if there are various "noise maker", boredom will inevitably appear in the child's eyes. Music which children are able to perform in orchestra It should not only be bright, but also accessible, short, not very fast, understandable in structure and, best of all, genre or figurative. (song, dance, march or depicting any image, character). U noise orchestra in kindergarten have their own special ones tasks:

Actively involving children in music in one of the most attractive activities - playing children's orchestra.

Cultivating interest and love for playing music.

Practical mastery of children musical language and some concepts musical literacy.

Creating prerequisites for the development of creative thinking.

Acquaintance with individual works of classical and children's music in the practice of instrumental music making.

Noise tools are used in kindergarten for the development of the fundamentals of intonation hearing and figurative and associative thinking. With their help, children directly transfer natural and everyday sounds to the instrument. (sound and visual scoring of poems and fairy tales). At the same time, associative connections arise between the object and the phenomenon. (rain, clock, thunder, mosquitoes, snow storm, etc.) and its sound embodiment. Later, children are able to create sound images - a chorus of planets, music of the stars, firefly song, etc.) What is valuable is that in noise orchestra All children without exception can take part, not just the especially gifted. musically.

All parts are initially performed without an instrument - in the air, with the help of sounding gestures, which protects against gross mistakes, and therefore comments from an adult, and thus gives confidence in one’s abilities. When performing a play or song, all children know all the parts and can easily replace each other. To do this, the games must be light. While playing or changing the verse of a song, children change instruments, and, therefore, learn all the parts. The basis of work on noise orchestra the formation and development of the metrorhythmic feeling in all its diversity must be established. Active listening helps music, that is, the connection of perception music with any movement, performance of sounding gestures (claps, slaps, clicks, various types of timing, emphasizing endings, repetition of individual rhythmic figures: Children's noise orchestra accompanied by a soundtrack - this is a wonderful opportunity for children to feel like orchestra members and hear what a real one sounds like orchestra.

Young children have a very rich imagination and, thanks to it, feel extraordinary pride and inspiration when taking part in such activities. orchestra. The kids imagine that everything that sounds is played by them themselves! An adult can be a real conductor and guide children during performance. And all this can be done in a group. By turning on the recording music on cassette or disk, and giving children hand-made instruments.

Thus, you can decorate any event in group: child's birthday, entertainment or leisure. Of course, the participation of the teacher in this type of activity is very desirable so that this process does not turn into a spontaneous tram-tara-ram. And the phonogram greatly contributes to the organization of the game orchestra. Music– art is temporary, it faded away and fell silent. During the pause, you can exchange instruments, engage in research activities, that is, think and experiment what sounds you can still extract from the instrument in your hands. Hit it with your finger, palm, fist, stick, special hammer on the top cover or side, or maybe shake it several times or shake it for a long time, performing a tremolo, etc.

Research activity is a necessary stage in learning something new; it just needs to be dosed and directed. An important thing is the development of timbre hearing. You need to start developing it from a very early age; it’s not for nothing that a baby’s first toy is a rattle. But even a simple rattle has different voices, different timbres. Offer children three or four "magical" Kinder eggs with different fillings. One egg is silent, another whispers, the third cracks, and the fourth tinkles. Let the children sort them from quietest to loudest. And they will come up with definitions for the sound that an egg or a sounding box makes. Not just loud or quiet, but it rustles, rustles, whispers secretly in your ear, or cheerfully strums, rings, laughs, rattles, etc. So much for enriching the dictionary.

Speech games are interesting and accessible to kids. To perform a metric pulse with maracas eggs, you need to knock on your knees, because it is still difficult for kids to manipulate them in the air and recite rhythmically a poem about ball: Just hit this ball, it starts to jump. Jumps, jumps, jumps, jumps, And can't stop. Then the children themselves can jump like balls to the sound of a tambourine or drum. The game can be used in 3-4 lessons, which helps children develop a sense of metrorhythmic pulsation through their bodily senses, hearing, and vision. Here's a game with a tambourine. Show the children a beautiful tambourine. Offer to run around while the tambourine rings merrily. When it stops, everyone should squat down. The adult also sits down and evenly hits the tambourine, pronounces: Ding-boom, ding-boom, The tambourine made noise for us. Let's knock. Let's make some noise and we'll all run again. Children need to hear two different ways to play the tambourine: uniform beats and ringing tremolo.

Another exciting game available to children in a group "Guess what I'm playing". On the table there are several different instruments, depending on the age of the children from 3 to 8, of different timbres. One of the children plays on any of them, and the other turns away and listens. Turning, he points to the one who sounded, calling him. As for the correct name of the instrument, you need to start with yourself and understand that not all wind instruments are called pipes, and percussion instruments are called tambourines and drums. (example – tambourine with bells).

Every summer, starting from the middle group, I introduce children to the instruments of the symphony orchestra. We remember their name, listen to the sound and see their image. Very good to have musical corner of the picture with the image of various instruments, both folk and symphonic orchestra.

Folk wind instruments: Whistle, reed whistle, pipe, pipe, nozzle, horn, pity, accordion (push-button-wind)

Strings: Organ organ (plucked) Folk violin, balalaika, guitar, gusli, domra.

Drums: wooden spoons, drum, tambourine, tambourine, maracas, bells, bells, rattles, ruble, scythe. I recommend using maracas for playing in the younger group (kinder eggs, ice cream boxes, with various fillings). While recording any 2-part polka, children rhythmically tap the maracas on their palm for the 1st part. And for the second part they shake them in the air. Finger drums (boxes of cottage cheese and yoghurt with a lid or a film stretched over the top under an elastic band). Singing or saying the words to a song "Merry Drums" We all play the drums merrily, We all play the drum merrily! La-la-la... Children first learn to rhythmically clap their hands and slap their knees, and then hit the top of a small drum with their finger, which they can play along with as they go, which helps coordinate their steps with hitting the instrument. From the middle group to musical tambourines, bells on sticks, sounded boxes with sticks or hammers for tapping are added to the corner. To facilitate the development of the rhythmic pattern of the melody, subtexts are invented type: Hammer, knock-knock-knock, Hammer, you are my friend, Hammer, knock-knock-knock, You are my faithful friend! (then the bells come in) Dili-dili-dili-don. Bom - bom! (hitting the cymbal)(repetition of the rhythmic figure three times. And all the instruments finish together) Everyone hears our ringing!

In the senior group to the soundtrack of a play by Leo Ramo "Tambourine" We master the technique of playing the tambourine - tremolo, combining it with a blow on the downbeat. At first, this technique is performed without a tool - clap your hands and "flashlights". In the middle part of the piece, a metallophone plays on two sounds, do - si and triangle, alternating with each other.

In the preparatory group we open music workshop. We give children multi-colored yogurt boxes with pre-made notches and rubber bands, and invite them to think about how they can make something out of it. musical instrument so that the rubber band sounds like a string. Let the children experiment with stretching the rubber band, which changes the sound in pitch, and, alternating plucks on different boxes, listen to what melody comes out. Let the children make sure that what they have in their hands is really musical instrument. You can click the rubber band loudly by pulling it from the side. You can decorate the box with a bunch of strips of corrugated paper tucked underneath under an elastic band. You can rustle them by shaking the box. It turned out cute musical"squid". Using this plucked instrument, let's perform Leo Delibes' polka "Pizzicato" to the soundtrack.

A game « Musical greeting» . Children holding in their hands "squid", move in all directions with a light jog, and at the accented ends of phrases, turning to an arbitrary partner, snap the rubber band and say "Hello!". In the middle part, children dance impromptu, wagging their tails "squid". Game for any age « Musical carousel» . Children take any instruments and stand in a circle. For part 1 music play their instrument, then change music, put it on the floor and move in a circle to another. To repeat music Part 1: Take a new instrument and play it. An adult can play the role of conductor.

Personally, I include a noise orchestra in the program of any children's party, since the fun is always bright, loud and emotional. Sometimes you can perform 3 pieces, because you always want to exchange instruments.

Any host of children's parties in his chest (by the way, here are all mine) must have a ringing and rattling set, which will help out even if the age difference between the children present at the party is 10 years :-).

I have roughly divided all the tools into “paid” and “free”. Now I will list all the ideas, and at the very end I will select musical fragments that are pleasant to make noise and thunder to.

Children's orchestra "I made him from what was"

Let's start with free tools.

• Rustling packages. Sometimes bags are made of a material that simply drives you crazy with every movement and fold (if someone in the classroom or bus has one, all the neighbors pay attention). This is what we need! You can just crumple to the beat, it’s already fun.
• Pot lids. Well, everything is obvious here: we take them by the hands, spread our arms and... It turns out loud. It’s just better to use non-enamelware, as it quickly loses its appearance, and pieces of flying enamel can harm the child.
• Cardboard cups and straws for cocktails. Pour some water into a large glass (400-500 ml) and insert a straw. The child just needs to gurgle, releasing a stream of air into the tube.
• Washboard. Honestly, I can’t imagine where a modern person can get it, but experienced animators, as a rule, have it :-). Sharp movements up and down will provide an unforgettable sound for a children's noise orchestra.
• Aluminum drinks can and coins. It’s better to take a jar with a non-alcoholic past, as you understand. We throw a handful of coins there, shake them in our hands to the music, holding the jar with the hole facing up.
• Large spoon and small saucepan or metal ladle. The musician takes the spoon by the very tip of its handle and swings it inside the saucepan so that the sound of a bell is produced.
• Inflated balloon and pin. This is a tool for the bravest. It is necessary to burst at what, in the opinion of the performer of this part, is the climactic moment, when a sharp bang will decorate the musical work.

Children's noise "professional" orchestra

The instruments you can buy are very beautiful. This is especially true for kindergartens and camps. And such a set will not hurt any organizer of children's parties.

All this can be bought at Ozone (click on the picture).




Music for children's orchestra

This is the name of the collections of compositions that are on many music sites with tracks for downloading. For each new event we select thematic melodies.

My favorite is the Radetzky March (Strauss the Father). The fact is that clapping your hands to this piece is allowed even at large receptions and the Viennese ball. Why don't the children rattle and rustle to great music? I also like that dynamic shades and sharp transitions from forte to piano are clearly audible there. Great! By the way, look how artistic the conductor is, you can imitate :-).

What else? Any polka sounds great - be it Finnish folk or classical Rachmaninoff.
Songs from cartoons are also suitable, but, in my opinion, the orchestra should sound solid, even if it is comic, childish and noisy.

Request to current animators! Please add ideas to my article in the comments! Let all the children of the country have fun!

Municipal Educational Institution of Children's Education "Children's Music School", Usolye-Sibirskoye

CHILDREN'S NOISE ORCHESTRA

Orchestral lessons for children aged 5 – 6 years (two years of study; one year of study) original educational program

Explanatory note

The task of primary education classes is to introduce the child to the world of music, its means of expression and instrumental implementation in an accessible and exciting form for this age. The active development of musical abilities, creative and performing skills in children of senior preschool age is one of the most important factors determining the future success of music education. The development of musical ear and emotional responsiveness in childhood creates the foundation of a person’s musical culture, as part of his spiritual culture in the future.

Classes in the subject “Children's Noise Orchestra” have a number of positive qualities. First of all, they form a sense of collectivism, initial skills and abilities to play in an ensemble, help children overcome uncertainty and timidity, expand their musical horizons, develop natural abilities (sense of rhythm, musical memory, thinking, imagination, etc.); the ability to hear and perform your part in a polyphonic texture; develop artistic taste and creative initiative of children.

Each of the subjects of the educational cycle of the preparatory groups of the Children's Music School has its own specifics, the internal logic of the sequential passage of the material, and involves the use of certain forms of work; at the same time, they have common goals, objectives, and common methodological guidelines. And most importantly, they are aimed at implementing main tasks preschool primary education of children:

Instilling in children a love and interest in music;

Accumulation of musical impressions and development of artistic taste;

Identification and comprehensive development of children’s musical abilities, formation of initial musical ideas and skills, acquisition of basic information on musical literacy;

Creating a foundation on which the student’s further development will be built.

The implementation of these tasks at the initial stage will initially be based on the intuitiveness of the child’s perception. It will become conscious only after practical mastery of a number of skills in playing musical instruments, in movement, in listening, and so on. The subject “Children's Noise Orchestra” is designed to develop all these skills.

This Program is an attempt to systematize existing knowledge and practical experience in this area.

The need to create the Program arose in 2008. By this time, the school already had experience working with young children in the “Harmony” early aesthetic development groups. By the decision of the management, the groups were transferred to the basic school, a curriculum was adopted in which the subject “Rhythmics” was replaced by the subjects “Chorus” and “Children’s Noise Orchestra”. Since there are no programs on the subject “Children's Noise Orchestra” in the education system of children's music schools, this was an important factor in writing this Program.

In the process of work, the methodological developments of K. Orff, the Manual for music directors of preschool institutions by S. Bubley, as well as “Age Psychology” by V. Aseev and “Psychology Vol. 2” by R. Nemov were used.

In modern conditions, the musical education of children has a special role. One of the effective methods of work is precisely the form of musical collective activity. It is most clearly manifested in the playing of a children's noise orchestra. The use of children's musical instruments can provide significant assistance. Their use arouses great interest among preschoolers, adds variety to the educational process, and helps develop students’ musical abilities.

Objectives of this subject:

1) identification and development of children’s musical abilities: vocal-intonation skills, metrorhythmic skills, development of musical memory and hearing.

2) acquaintance with the initial skills of playing in an ensemble, introducing children to forms of joint music-making, developing initial performing skills, nurturing creative skills (improvisation).

3) mastery of basic theoretical knowledge.

To implement and achieve the set goals, it is necessary to search for forms and methods of working with preschoolers (taking into account age characteristics). The widespread use of game forms is the key to success in teaching preschool children. Play is a means by which education turns into self-education.

For successful learning outcomes for children in children's noise orchestra lessons, it is necessary to take into account the specifics of musical education in senior and preparatory groups of preschool educational institutions. It is determined by age-related characteristics in the development and perception of preschool children. They are characterized by concrete thinking, spontaneity and emotionality in the perception of various phenomena of the surrounding life; their attention is unstable, which requires a constant change of impressions.

Taking into account all of the above, the teacher needs to be able to quickly switch to different types of activities, constantly introducing something new into the lesson (in forms of work, methodological techniques, repertoire), alternating tasks of varying degrees of complexity with a game, which will be the most effective method at work.

But using only gaming methods in work cannot lead to the expected results. Game methods should be an integral part of a whole system of methods: explanatory and illustrative, reproductive, gaming, creative.

Explanatory and illustrative methods are used by the teacher at the initial stage: showing on the instrument, talking about the work, explaining the rules of playing a particular children's instrument, explaining the movement of the melody, and so on. Here it is very important to choose the right words and combinations of words in order to vividly, figuratively, and emotionally convey the content of the work to the child and achieve quick memorization of the musical material.

Reproductive methods are included in the work at the next stage: practical. After memorizing and analyzing a piece of music by students, the teacher controls their practical activities in mastering musical skills, including playing by heart. At this stage, the teacher recommends rhythmic techniques that facilitate and accelerate learning, including not only motor (motor), but often musical memory (auditory). To complete homework, it is advisable to involve parents for help by recording the task in the child’s diary.

Preschool children are characterized by free creative activity, which manifests itself intuitively in games, in movement to music, in fantasy and improvisation when performing various tasks. The teacher needs to guide the creative searches of children, stimulate and direct their imagination. Practical skills acquired in the process of intuitive creative activity will gradually lead children to conscious creativity. It is necessary to encourage and approve the manifestation of children's creative initiative.

In modern musical methodology, it is the study of sound and children’s knowledge of the World through sound, the creation of a different image of a wide variety of everyday objects that are increasingly being developed. Unusual instruments, created with your own hands from yogurt jars, mayonnaise buckets, and used felt-tip pens, occupy an important place in the children's noise orchestra.

The ability to understand through one’s own touch what a sound might be is extremely important for the development of timbre hearing. It is necessary to explain to children that sound can be produced using techniques such as shaking, tapping with a finger, all or palm, and scratching. Learn to enjoy comparing sounds using different methods of sound production. Communication of children with primary instruments develops their musicality, subtlety of perception, associativity, and artistry.

You can offer compositions to children when the leader controls the process (conducts, sets the order of the game - one at a time, in groups, together; dynamics).

When organizing a children's orchestra, it is important to follow certain rules. Little performers must see the leader well. They should sit or stand comfortably without interfering with each other. It is best to place musical instruments on stands or small tables (but not on your lap so that children do not bend over them). Triangles are hung on special stands with a stable base, and children can place some instruments on their laps before playing on them.

It is better to place tools belonging to the same group nearby. There should be more instruments with a quiet and gentle sound and they should be better placed in front (to the left of the conductor). This applies to string and keyboard-percussion groups. Low-sounding instruments are located to the right of the conductor. Percussion instruments are allocated to the second and third rows.

When selecting musical instruments, it is necessary to take into account a number of general provisions.

There are a great variety of children's musical instruments and toy instruments, and their range is constantly updated with new models and modifications of old ones. It is necessary to choose instruments that meet the requirements of the musical and aesthetic education of children.

Not all sounding instruments can be used in an orchestra. Thus, there are various toy instruments that imitate the appearance of traditional instruments, but, as a rule, they are impossible to tune and tune and they sound false.

The basis of a children's noise orchestra is made up of elementary children's musical instruments-toys, designed for beginning performers: all kinds of percussion instruments - rattles, spoons, triangles, rattles, castanets, pandeiras, bells, maracas, children's metallophones and xylophones, drums of various sizes, tambourines, cymbals ( single and double) and so on. The orchestra is complemented by a piano (accordion, accordion), which is played by the teacher himself.

The number of instruments needed for a lesson depends on their purpose and the size of the group. It is advisable to have a complete set of instruments for the teacher (with which he demonstrates playing techniques) and at least one more - two complete sets for children.

When organizing an orchestra, you should take care in advance about stands for them and for notes.

Formation of groups

The larger the group size, the more difficult it is for the teacher to work, and most importantly, to achieve good results. Therefore, the maximum number of children in a group should not exceed 15 people (or better, there should be 10 - 12).

During the lesson, it is more convenient to place the children in a semicircle so that they do not interfere with each other and throughout the entire lesson everyone can see the teacher and the board, which will also be needed.

Classes in the preparatory group help to identify the child’s inclinations and capabilities. Usually, parents themselves decide on the child’s further musical education and the choice of instrument, without matching their desires with his inclinations and abilities, which often leads to disappointment for children and parents. The manager's recommendations can help in choosing the right parents.

Instruments and techniques for playing them

Among the so-called percussion instruments used in the children's orchestra, there are those whose sound source is a membrane (made of leather or plastic) - these are membranophones (drums of all types, tambourines) and those whose sound source is the very material from which they are made - these are idiophones or self-sounding instruments - maracas, triangles, bells, rattles, castanets, cymbals, metallophones, xylophones, etc.).

For our practical consideration, it is important that some of them have a certain pitch, while others do not. The first can be called “melodic” (metallophones, xylophones, bells), and the second can be called noise or “rhythmic” (all the rest of the above). We will adhere to this conditional classification.

Noise (“rhythmic”) percussion instruments

This is the most numerous subgroup of instruments and, for the most part, the most accessible for children to master. To practice them, no special training is required, and the playing techniques are simple and involve such natural movements as rocking, shaking, and hitting.

All traditional percussion and noise instruments can be used in a children's noise orchestra.

The notes for all these instruments are usually written on one line (“string”) without a key or accidentals; they indicate only the rhythmic pattern and method of performance (strike and shake).

The easiest instruments for children to use are those that make sounds by shaking.

Maracas - one of the oldest musical instruments. They are two small wooden or plastic balls with a handle, filled with pebbles or shot. Although maracas are small, they can be a bit heavy for babies, so it is possible to use baby rattles during classes.

Bells - small spherical metal bells attached to a leather strip or handle.

Pandeira (rumba) - consists of four pairs of small metal plates mounted in a wooden handle. Its sound resembles the effect achieved by shaking a tambourine.

Ratchets, castanets - there are many types of rattles and any of them can be used in a children's noise orchestra to give the sound a unique coloring. One type is a set of wooden plates attached to a cord. Holding the laces in your hands, you swing the instrument, or, holding the outer plates, imitate clapping your hands: the plates hit each other. A ratchet-castanet is also a convenient instrument for children. The instrument is a wooden handle in the shape of a trapezoid, to which two plates with hollowed-out resonators (like castanets) are attached using a cord. You can also use orchestral castanets with a handle.

The pandeira and rattle should not be used often, as their sound becomes annoying and tires the ear.

All these tools are used one by one or in pairs. They are usually held by the handles. Shaking and swaying are performed with the hand, the hand at the wrist should be free. It is necessary to ensure that children do not strain their wrists or move their entire arm.

The next from this group to master instruments, the method of playing which is striking. Playing these instruments is also characterized by free wrist movement.

Box – a hollow rectangular wooden block with a resonator slot on the side. They play it with hammers from a metallophone, hitting them on the top plane of the box.

Rhythmic sticks (claves) - two sticks, the length of a pencil, but slightly larger, carved from high-grade wood. By striking them against each other, it is easy to achieve clear rhythmic accompaniment.

Spoons (usually wooden) is a unique Russian folk instrument. They hold them by the handles and hit one another with the back of the scoops. The dynamics are regulated by the force of impact.

Triangle made from a metal rod bent in the shape of an open isosceles triangle. The sound is caused by lightly hitting one of its sides with a metal rod. The triangle is usually secured on a fishing line or cord and held with the left hand, or suspended at chest level from a special stand that has a stable base.

Drum - a well-known instrument. It is a wooden (less often metal) body, covered on one or both sides with leather or plastic. The shapes and sizes of children's drums are different. They are light, beautifully designed and produce a not very strong sound that does not tire the ear. Among the many types of drums that can be used in a children's noise orchestra, it is necessary to highlight the small variety drum.

To play, any drum can be placed on a special stand. small children's drums are usually hung on a strap or cord and placed around the neck so that the top membrane is slightly below the performer's belt. The plane of a drum mounted on a stand should be inclined at a slight angle towards the performer, and one suspended on a belt - in the opposite direction. They play the drum with wooden sticks or special metal brushes, as well as directly with their hands. The main technique of playing the drum is individual short accent strokes and sequences of strokes that emphasize individual rhythmic patterns.

Tambourine has the appearance of a wooden hoop, covered with leather on one side and open on the other side; Along its circumference, paired metal plates are mounted in special cutouts. Some tambourines have springs with bells on the open side. The tambourine is usually played while standing. The main techniques of the game are shaking (the tambourine is held horizontally with both hands at waist level, directing the movement away from you or shaking it, as if you are sifting flour through a sieve); strikes with the right hand on the membrane.

Dishes They are metal disks convex in the middle, made of a special alloy. Both single and double plates are used. Single cymbals are installed on a special stand at the level of the performer’s chest. They play on a cymbal with a metal or wooden stick with a hard or soft head. The main technique of the game is a calm, light blow. Extinguish the sound with your hand.

Of the paired cymbals, pedal cymbals (hi-hat) are the most suitable for children: they are mounted on a stand and, thanks to a special device, hit each other when the pedal is pressed. You can also use paired hand cymbals that have leather loops for the performer’s hands. The method of producing sound is sliding blows against each other.

"Melodic" percussion instruments

Glockenspiel is a set of metal plates loosely attached to a frame.

There are children's diatonic single-row metallophones with a range of up to two octaves. The limited capabilities make their use in an orchestra impractical, but they can be useful in preparatory classes.

In a chromatic metallophone, the records are arranged in two rows: the bottom row corresponds to white piano keys, and the top row corresponds to black ones.

Xylophone – is a set of wooden plates arranged in one row and loosely attached to a frame.

Bells – in appearance they resemble a metallophone, they are distinguished by their extended sound and special tenderness and transparency.

All plates of these instruments are removable. The parts are written on a regular staff.

The instrument is placed on a special stand or table that matches the child’s height. Play standing or sitting with two mallets. The hands with the hammers, like the instrument itself, are located slightly below the level of the performer’s belt. The handles of the hammers are placed on the middle phalanges of the index fingers of both hands and held with the thumbs. The end of the handle should move freely in the palm of your hand. This position provides a free rebound of the hammer when hitting the record, which produces a bright, ringing sound. If you hold the hammer in your hands, the sound will be dull and inexpressive. You should play approximately in the center of the record.

The main method of sound production is alternating hand strikes, but it is possible to reproduce a number of sounds with one hand. The blow should be short and energetic, after which the head of the hammer bounces off the plate. The swing for the strike should be wrist, the wrist and hand should not be tense.

Monitoring and recording progress

To monitor progress, a grade is given for completed homework.

For children of a two-year course of study: the first year of study - at the end of the first half of the year - a control lesson with a concert for parents; at the end of the second half of the year - mandatory open performance; the second year of study - at the end of the first half of the year - a control lesson with a concert for parents, at the end of the second half of the year - an exam, which is considered the entrance exam to the Children's Music School.

For children of a one-year course of study: at the end of the first half of the year - a control lesson with a concert for parents, at the end of the second half of the year - an exam, which is considered the entrance exam to the Children's Music School.

Educational process plan. (Two years of study)

First year

Second year

One year of study

Criteria for examination performance

The child must perform the song learned in the orchestra lesson. Evaluated:

1. Competent and accurate execution of musical text and rhythmic pattern.

2. The degree of mastery of the instrument, the ability to correctly hold a stick (metallophone, xylophone), the ability to use the instrument.

3. Musicality of performance.

4. The ability to play completely - without mistakes or corrections.

Conditions for the program

1. Availability of premises for classes.

2. Material base: a set of musical instruments - rattles, rattles, tambourines, tone blocks, castanets, various maracas, triangles, cymbals of different sizes, drums, children's metallophones, xylophones (stands for them). This is by no means a complete list. It is complemented by a button accordion (accordion, piano) played by the accompanist.

3. The repertoire is varied, accessible, covering music of various styles and directions.

Educational and thematic plan. The main content of the discipline. Two years of study (children 5 years old)

First year of study

1 quarter

During the first quarter, the child should gain an understanding of the following concepts: orchestra, conductor, accompanist, composer, musical and noise sounds, noise instruments; distinguish sounds: low and high, voiced and dull, long and short, quiet and loud.

Metrorhythmic skills:

Short and long sounds;

Strong and weak shares;

Smooth movement.

Practical skills:

2nd quarter

Theory: the direction of movement of the melody is down, up; progressive and spasmodic movement of the melody; pause.

Intonation:

Introducing and singing tetrachords, octave scale;

Performing the musical material being played while simultaneously playing instruments;

Learning and performing song material within fourths and fifths.

Metrorhythm:

Practical skills:

Playing with an accompanist.

3rd quarter

Theory: familiarity with musical genres (song, dance, march); song genres.

Metrorhythm:

Dance rhythms;

Marching rhythms;

Strong and weak lobes (consolidation);

Rhythmic patterns using pauses;

Alternation of different schemes, their complication.

Practical skills:

The ability to enter in a timely manner, play in an ensemble, and complete the game together;

Ability to pause;

Solo game;

Memorizing longer works;

Accumulation of repertoire.

4th quarter

Work in all directions: consolidation and complication of acquired skills. Use of more complex musical material. Accumulation of repertoire.

1 quarter

Children's nursery rhymes:

Cockerel”, “Rain”, “Tili-bom”, “Ladushki”, “Andrey the Sparrow”, “Magpie-Magpie”, “A Bunny Walks in the Garden”.

2nd quarter

Russian folk songs:

“Whether in the garden or in the vegetable garden”, “There was a birch tree in the field”, “Like under a hill”, “Like at our gates”, “Vanya is walking”, “I was walking up a hill”, Belarusian folk song “Savka and Grishka” .

3rd quarter

Belarusian folk dance “Yanka”, Kabalevsky D. “Like a March”, Kabalevsky D. “Little March”, Kabalevsky D. “Round Dance”, Krasev M. “Bear with a Doll”, Krylatov E. “Lullaby of the Bear”, Russian folk song “ Oh, my canopy, my canopy,” Chopin F. “Desire”

4th quarter

Kabalevsky D. “Games”, Levina Z. “Tumblers” (using metallophone), Mozart V. “ABC” (using metallophone), Russian folk song “Kalinka”, Russian folk song “Will I go, will I go out” , Ukrainian folk song “Oh, for the guy, for the guy”

Second year of study

1 quarter. Terminology: orchestral part, thread, measure, time signature, beat, number.

Metrorhythm:

Bipartite and tripartite pulsation;

Pause, play through a pause;

The ability to complete a phrase played by the teacher (“Echo”);

Note with a dot.

Intonation skills:

Singing with a pause;

Singing the end of a phrase (step-by-step movement);

Singing short pieces with instrument accompaniment.

Practical skills:

Initial skills in reading an orchestral part, performing your own part according to the proposed recording;

Be able to write simple rhythms in symbols from what is studied in class.

2nd quarter. Consolidation of metrhythmic, intonation, practical skills acquired in the first quarter. Learning and performing children's plays (with and without singing).

Playing with a soloist.

3rd quarter. Terminology: alteration, major, minor, syncopation, dotted rhythm, triad, main degrees of the mode, accompaniment.

Metrorhythm:

Syncope;

Dotted rhythm;

Dance rhythms: polka, waltz, mazurka, rock and roll.

Intonation skills:

Major, minor;

Alteration;

Triads of the main steps;

Singing within an octave, the melody moves stepwise, jumps to third, fourth, fifth, sixth, seventh.

Practical skills:

Reading orchestral parts, performing from recordings;

Improvisation, performance and recording of simple rhythmic compositions using texts and noise instruments;

Playing according to the conductor's gesture.

4th quarter.

Approximate repertoire for performance

1 quarter. Children's song “Goat”, Maikapar A. “Droplets”, Russian folk song “Sun-Bell”, Russian folk song “In the Pockets”, Russian folk joke “Nonsense”, Shostakovich D. “Waltz joke”

2nd quarter. Brahms J. “Lullaby”, Krasev M. “Drummer”, Russian folk song “Like Ours at the Gate”, Russian folk dance “Apple”, Stribogg I. “Waltz of the Cockerels”, Finnish children's song “Mori - Mokki”

3rd quarter. Bizet J. Boys' Choir from the opera “Carmen”, Joplin S. “Ragtime” (fragment), Kabalevsky D. “Clowns”, Kozlov V. “Grandfather’s rock and roll”, Russian folk song “Oh you, winter-winter” ", Russian folk song "Peddlers", Czech folk song "The Shepherd"

4th quarter. Italian folk song “Santa Lucia”, Krasev M. “Pipe”, Krasev M. “Titmouse”, Latvian folk song “Cockerel”, Metlov N. “Train”, Russian folk song “In the garden, in the vegetable garden”, Russian folk song “The Moon is Shining”, Russian folk tale-game “Teremok”

One year of study (children 6 years old)

1 quarter. During the first quarter, students should become familiar with the concepts: orchestra, conductor, accompanist, composer, musical and noise sounds, noise instruments; distinguish sounds: low and high, long and short, voiced and dull, quiet and loud.

Sounds: low and high, long and short, voiced and dull, quiet and loud.

Pace: fast - slow, slowing - accelerating.

Metrorhythmic skills:

Short and long sounds;

Strong and weak shares;

Smooth movement;

Be able to perform songs and chants with intonation accuracy, first on one note, then on adjacent sounds; learn and perform Russian folk songs and chants while simultaneously singing and playing noise instruments.

Practical skills:

Be able to perform the simplest rhythmic formulas;

Be able to identify and perform the strong and weak beats;

Practically get acquainted with noise instruments;

Be able to perform rhythmic patterns of Russian folk songs and chants on noise instruments;

Be able to clap the simplest rhythmic patterns of the songs and chants being studied.

2nd quarter. Theory: direction of movement of the melody down, up: stepwise and spasmodic movement of the melody.

Intonation: – introduction and singing of tetrachords, octave scale; - performance of the musical material being played while simultaneously playing instruments; - learning and performing song material within fourths and fifths.

Metrorhythm:

Strong beat (hear, play any musical instrument);

Consolidation of rhythmic patterns;

Complicating the rhythmic pattern.

Practical skills:

Fixing the simplest rhythmic chants on noise instruments;

Performing by heart the song material being studied (stepwise movement, jumps by third, fourth, fifth);

Acquaintance with the conductor's gesture, playing by hand (synchronized introduction, execution, conclusion);

Playing with an accompanist.

3rd quarter. Theoretical information:

Major and minor;

Note with a dot;

Acquaintance with various repertoires and song genres (lullaby, round dance, etc.).

Metrorhythmic skills:

Note with a dot;

Strong and weak lobes – consolidation;

Rhythmic patterns using pauses, the ability to pause;

Alternation of different rhythmic patterns and their complication.

Practical skills: - performance of more complex musical material.

4th quarter. Work in all areas: improving acquired skills on more complex musical material.

Concert activities

At the end of each quarter, an open lesson is held for parents, during which 2-4 learned pieces are performed and the skills acquired by the children are demonstrated.

Exemplary

repertoire for performance

1 quarter. Children's nursery rhymes: “Cockerel”, “Rain”, “Tili-bom”, “Ladushki”, “Andrey the Sparrow”, “Magpie-Magpie”, “A Bunny Walks in the Garden”

2nd quarter. Brahms J. “Lullaby”, Krasev M. “Little Christmas Tree”

Speech games: “Croco-Roco”, “Laughter warm-up”

Russian folk songs: “Whether in the garden or in the vegetable garden”, “Drozdok”, “How our girlfriends went”, “Polyanka”, “Leap, hop”, “Vanya walks”

3rd quarter. Belarusian folk dance "Yanka"

Beethoven L. “The Marmot”, Bizet J. Boys’ Choir from the opera “Carmen”, Joplin S. “Ragtime” (fragment), Krasev M. “Drummer”, Krylatov E. “Lullaby of the Bear”, Polish folk song “Birdsong” , Russian folk song “Oh, you, my canopy, canopy”, Russian folk song “Like ours at the gate”, Russian folk song “Sun-bell”, Ukrainian folk song “Bird over my window”

4th quarter. Aleksandrov A. “Who is good?”, Bubley S. “Stubborn cat”, Gavrilin V. “Antoshka”, Italian folk song “Santa Lucia”, Krasev M. “Merry pipe”, Leshchinskaya F. “Two horses”, Metlov N. “Train”, Russian folk song “Kalinka”, Russian folk song “Will I go, will I go out”, Czech folk song “The Shepherd”, Shainsky V. “Antoshka”

Educational and thematic lesson plan for preparatory group 1A (children of five years old, first year of study)

	Topics and Concepts	Instrument to be mastered
		Human body.
	Sounds: high - low, long - short. Smooth movement of sounds. Making homemade instruments.		Finger game “Morning has come”; “Cockerel”, “Bells”, “Tili-bom”, “Rain”.
			Game “Thunderstorm”, “Rain”; nursery rhymes “Ladushki”, “Soroka-Soroka”. Finger game “Morning has come”
	Strong and weak beats. Playing simple rhythms in unison, synchronized performance.	All mastered tools.	Games: “Guess”, “Thunderstorm”, “Rain”, “Morning has come”. Nursery rhymes and songs: “A bunny walks in the garden”, “Ladder”, breathing exercises.
	Repetition of what was learned in the first quarter.	All mastered tools.
	Direction of melody movement: up, down, stepwise, jumpy, pause. game "Three Bears".	Noise instruments: tone blocks, tambourine, rumba, spoons.	Game “Take turns”, songs: “Little Christmas tree”, “Like thin ice”.
	Acquaintance with the xylophone and metallophone, mastering the stroke of the brush. Strong and weak beats.	Metallophone, xylophone.	“Whether in the garden or in the vegetable garden”, “Like on thin ice”, “Like under a hill”. Game "The cat is sleeping."
	Chaotic and measured movement, strong and weak beats, playing through a pause.	Mastered noise, metallophone, xylophone.	Game “Bunny”, counting rhyme “About a Bunny”, repetition of learned songs. Dance, march, song - determine the character, movement to the music.
	Consolidation of what has been learned in the second quarter.	All mastered tools.	Repetition of what was previously learned.
	Repetition. Introduction to musical genres: song, dance, march. Triple rhythm.		Games: “Bunny”, “Echo”. “Mexican Waltz” - we dance and say hello.
	Dance rhythms: waltz, polka. Game through pause.	Tambourine, pandeira, bells, sounding gestures: clap, slap, click, stamp.	Games: “Bunny”, “Echo”. “Mexican Waltz” - we dance and say hello. "John is a bunny."
	Consolidating the three-beat and two-beat scheme, playing through a pause, playing in turns (as indicated by the conductor).	All mastered tools.	Games: “Bunny”, “Echo”. “Mexican Waltz” - we dance and say hello. “John the Bunny”, “Annushka”.
	Consolidation, playing through a pause, playing in turns (as indicated by the conductor).	All mastered tools.	Games: “John the Bunny”, “Annushka”.
	Dance, march, song - definition by ear, movement to music.	All mastered tools.	For example: children's songs, march, polka. "Annushka."
		All mastered tools.
	Strong and weak beats, consolidation in dance, song, march rhythms. Game through pause.	All mastered tools.	Speech game “Magic Drums”, “A Fox Walked”; "Tumblers."
	Concepts: playing with the whole orchestra, playing solo.		“Whether in the garden or in the vegetable garden.”
		All mastered tools.	“Whether in the garden or in the vegetable garden”, “Merry pipe”, “Quail”, “Like ours at the gate”.
	Preparing for the concert.	All mastered tools.	All learned games and songs.
	Concert performance for parents	All mastered tools.	All learned games and songs.

Educational and thematic lesson plan for preparatory group 1A (children of five years old, second year of study)

	Topics and Concepts	Instrument to be mastered	Musical and gaming material
September
	Repetition. Strong and weak lobes, two-lobe and three-lobe pulsation.	Everyone I know tools.	Repetition of learned games and songs from the material of the first year of study.
	Recording parts for a noise orchestra: thread, beat, time signature.	Xylophone, pandeira, tone block, drum, triangle.	R. Schumann “Soldier's March”, A. Maykapar “Droplets”.
	Zatakt, number.	Bells, xylophone.	J. Brahms “Lullaby”.
	Reading orchestral parts, playing from the recording, pause.	Triangle, tambourine, drum, tone block, xylophone.	"Goat", b. n.p. “In the Pockets”, M. Krasev “Drummer”.
	Concert for parents.	Everyone I know tools.	Repetition of what was learned in the first quarter.
	Consolidating the material of the first quarter. Playing by recording, playing with a soloist.	Triangle, xylophone, bells, bells, maracas.	D. Shostakovich “Waltz Joke”, b. n.t. “Apple”, I. Stribogg “Waltz of the Cockerels”.
	Singing the end of a phrase suggested by the teacher, independently recording simple rhythms.	Xylophone, tambourine, acquaintances tools.	“Morrie - Mocky”, “Sun-bell”, “Oh, you canopy”.
	Concert for parents.	Everyone I know tools.	Repetition of what was learned in the second quarter.
	Concepts: major, minor, syncopation, mode, tonic, main degrees of mode.	Everyone I know tools.	R. n.p. “Oh you, winter-winter”, D. Kabalevsky “Clowns”.
	Dance rhythms, recording simple rhythms (with and without pause).	Everyone I know tools.	V. Kozlov “Grandfather’s rock and roll.”
	Syncopated rhythm, dotted rhythm. Playing orchestral parts from recordings.	Pandeira, tone block, spoons.
	Playing according to the conductor's gesture.	Everyone I know tools.	h.n.p. “The Shepherd Boy”, S. Joplin “Rag Time”.
	Initial improvisation skills, recording simple rhythmic compositions.	Everyone I know tools.	J. Bizet Boys' Choir from the opera "Carmen", b. n.p. "Peddlers."
	Improving acquired skills.	Everyone I know tools.	R. n.p. “The Moon is Shining”, fairy tale-game “Teremok”, etc. n. n. "Santa Lucia".
	Preparation for the entrance exam to the Children's Music School.	Everyone I know tools.	latv. n.p. “Cockerel”, repetition of learned plays.
	Entrance exam to Children's Music School	Everyone I know tools.	Concert performance of learned plays.

Educational and thematic lesson plan for preparatory group 1B (children six years old, one year of study)

	Topics and Concepts	Instrument to be mastered	Musical and gaming material
September
	Musical and noise sounds. Loud quiet.	Human body.	"Sounding Gestures"; children's nursery rhymes: “Cockerel”, “Rain”, “Andrew the Sparrow”
	Sounds: high - low, long - short. Smooth movement of sounds. Making homemade instruments from scrap materials.	Impact and noise: rattles, maracas, tambourine, rattle, pandeira, castanets,	Finger game “Morning has come”; “Cockerel”, “Bells”, “Tili-bom”, “Rain”, “Autumn Gamma”.
	Concept: strong and weak beats, stressed and unstressed syllable. Smooth alternation of durations.	bells, spoons, triangle, homemade musical instruments.	Game “Thunderstorm”, “Rain”; finger game “Morning has come”, “Autumn colors”
	Concepts: Conductor, accompanist, orchestra, “attention”, “remove”, “enter” at the same time”, synchronized play. Repetition.	Metallophone, triangle, tone block, spoons.	“Rain”, “Morning has come”. Nursery rhymes and songs: “In the garden, in the vegetable garden”, “Train”, breathing exercises, movement to music.
	Repetition and consolidation of what was learned in the first quarter. Sounds are voiced and unvoiced.		Games and songs from the repertoire of the first quarter.
	Repetition: what sounds are there? Strong and weak beats. Movement to music: the nature of music.	Noise instruments: tone blocks, tambourine, rumba, spoons, maracas, triangle.	The game "Actually" ready", songs: "Teremok", "Traffic Light".
	Joint game: join, play synchronously, finish the game together, silence, determine the direction of the melody.	Noise instruments: tone blocks, tambourine, rumba, spoons, maracas, triangle, pandeira, xylophone, bells.	"Teremok", "Kalinka".
	Continued work.	Tone block, triangle, tambourine, bells.	Game “Charging”, “Teremok”, melodic recitation “Silence”.
	Concert for parents.	All mastered tools.	Repetition of what was learned earlier.
	Repetition. Concepts: dance - waltz - polka. Three-beat and two-beat rhythm. The strong and weak beats in these rhythms. Learning the parts of the song “The Spider and the Hammock.”	Tambourine, pandeira, bells, sounding gestures: clap, slap, click, stamp.	Games: “Come on, repeat,” “Echo.” “Mexican Waltz” - we dance and say hello. “The Spider and the Hammock”, “Kalinka”, “Polka”.
	March, marching music. Difference from dance music. Loud quiet.	All mastered instruments, sounding gestures.	"March", "Spider and Hammock".
	Dance, march, song - comparison.	All mastered instruments, sounding gestures.	Game “Come on, repeat”, Polka, “Spider and Hammock”, “Kalinka”.
	Consolidation of the studied theoretical material. Pause.	All mastered tools.	All learned plays. "March".
	Repetition, consolidation, concert preparation.	All mastered tools.	All learned plays. "Tararam-shurum-burum."
	Consolidation of material, concert for parents.	All mastered tools.	All learned games and songs.
	Major and minor, syncopation.	All mastered tools.	“Sunny Rain”, “Brother Major and Brother Minor”,
	Notation of orchestral parts, note with a dot,	Xylophones, triangle, tambourine, tone block.	“The Sun”, “I Play the Piano”, “Chorus of Fishes”.
	Reinforcing what has been previously learned. Accumulation of repertoire.	All mastered tools.	“Sun”, “I play the piano”, W. Mozart “Bells”, “Like ours at the gate”.
	Preparation for the entrance exam to the Children's Music School.	All mastered tools.	All learned games and songs.
	Entrance exam to Children's Music School.	All mastered tools.	All learned games and songs.