Methodical developments on the six-string guitar. Methodological recommendations on the topic: “Use of creative methods in a guitar specialty lesson at a children's art school

Work on pieces from P.I. Tchaikovsky’s “Children’s Album”in the piano class of the choir department
from experience practical work on the development of musical thinking

Content:
I. Introduction.
1. Accessibility and organicity to children’s perception of the images of P. Tchaikovsky’s “Children’s Album”.
2. Teacher and student are partners in creative search.
3. The development of musical thinking is the main goal of training.

III. Conclusion.
"Children's album” P.I. Tchaikovsky: high artistic merit music, ample opportunities in understanding the art of playing an instrument, expanding the student’s musical understanding.

IV.References.

II. Methodological analysis of the work on the pieces of the "Children's Album" by P.I. Tchaikovsky. Generalization of the experience of working with students on the development of musical thinking.
“ANTIQUE FRENCH SONG” 2nd grade.
First stage. Demonstration of the play by the teacher.
The expressiveness of the teacher’s performance of the piece determines the extent to which the music will interest the child and give impetus to further active work. At this stage, the nature of the work, features of the language, and form are clarified. The analysis is best done in the form leading questions and answers found by the student together with the teacher. This form of analysis activates the child’s thinking, includes him in the “search,” and forces him to draw independent conclusions. The teacher’s questions lead the student from general conclusions to specific ones. In summary, such a conversation can be presented as follows:
1. Question: Think about the character of the music you heard. What is he like?
Conclusion: The music is sad (minor).
2. Question: Determine and play the key in which the piece is written.
Conclusion: G minor (useful to build T-S-D chords on the instrument).
3. Question: Does the character of the music change throughout the play?
Conclusion: The play has three parts. Parts I and III are a sad story, Part II –
dramatic event. The character of the second part is excited. Hero
reliving memories of the past. The climax of the entire play is
measures 21-23.
Further analysis of the form and features of the language piece of music It is advisable to continue after the student has independently analyzed the play (in parts). After getting acquainted with music, the conversation about means of expression will not become unfounded, but more accessible for further understanding. Once again I want to emphasize that in the future the analysis proceeds as a “search for answers.” The teacher should avoid direct explanations, continuing to guide the student’s thoughts.
Second phase. Analysis of the piece with each hand separately. Playing parts of the left and right hands in an “ensemble” with a teacher. Playing with two hands with memorization (work in parts).
Practice has shown that it is inappropriate to analyze the entire play at once. It is better to do this in parts, since it is easier for the child to cover a small amount of text, united by the unity of means of expression. At the same time, the work is more intense.
Part I and III. The teacher draws the student’s attention to the fact that Part III is a shortened, non-verbatim reprise of Part I, and further works on the parts simultaneously, identifying similarities and differences. The goal is immediately set - understanding intonation, phrasing, structure of parts, which helps to avoid rote learning.
The features of the intonation structure are analyzed in detail: the off-beat beginning of the motive (“quiet sigh”), the smooth movement of eighth notes to the long (quarter note with a dot) “moaning” intonation peak. The threefold ending of the motives at the V stage conveys the hopelessness that afflicts heartache. I think that after such an analysis, the child will not mindlessly “throw away” this sound, so important for creating an image, but will definitely listen to it and feel it. It is advisable to emphasize the intonation peak with a pedal, which will help to accurately maintain the duration (a quarter note with a dot), and listen to the end motive.
After playing and analyzing the part of the right hand (melody), the teacher invites the student to play with him in the “ensemble”, taking over the part of the left hand. This allows you to immediately hear the music “in its entirety”, speeding up further stages of work.
When a student plays the left hand part, attention is paid to the polyphonic presentation. A child singing in a choir is asked to think about who “sings” in this “trio”. Based on the timbre coloring, voices are personified. The bass, almost entirely tonic, is a reserved, wise old man. Tenor, with caressing intonation (III stage), – woman (mezzo-soprano). And the already analyzed soprano, with an off-beat “sigh” and a “pinching” second ending of the motive, is an orphan child. It is useful for the student to know that the theme of the song was used by Tchaikovsky in the opera " Maid of Orleans” (chorus of minstrels - street musicians from the second act).
This is how the image of the play is gradually built. The wandering musicians are resting. The orphan tells the sad story of his life. A woman and an old man listen to him, sympathize with the child and reflect on his fate.
When working on the left hand part, it is helpful to split the bass and tenor between the hands. This allows you to better listen to voices and avoid common error- underheard or “missed” bass. Then the teacher joins the performance with the soprano part. A student singing in a choir has a better idea of the timbre coloring of the voices and listens to the voice guidance.
Once the student has achieved meaningful and fluent performance of the right and left hand parts, he can move on to playing with both hands. Moreover, the auditory ideas that have developed when playing in an “ensemble” help speed up the process of learning by heart. Thus, mastering the material goes in parallel with learning by heart, which makes the work more intense.
Part II. It is advisable to start working on the second part in the next lesson, dividing the mastery and comprehension of the parts by time distance and checking that the student has mastered the previous material (Parts I and III) well. I am convinced that limiting the volume to a part of the form gives a gain in the intensity of learning. This is probably due to the features children's perception.
The analysis of the second part begins with the search for an answer to the question: By what means does the composer achieve a change in the character of the music? Why do we hear a memory of a “dramatic event” here?
Conclusions: The nature of the accompaniment has changed. Long leagues were replaced by a short staccato (“intermittent breathing”). The melody lost the smooth movement of eighth notes into a quarter note with a dot at the end of the motive, quarter notes and a dotted rhythm appeared. In the first part, the progressive movement of the melody upwards, the singing of the 5th step conveys the calm flow of the story. second part, the melody comes to a climax (bars 21-23) only after a “volitional” quart jump of the II-V degree and a “rise” to the VI degree (“from last bit of strength"). The volitional beginning of this “ascent”, difficult movement overcoming “stops and obstacles” (quarter notes, quarter notes with a dot), are replaced by a “tired” gradual descent (VII-II step). The second part ends on the dominant. Before the climax, a slight slowdown and caesura are appropriate , so that after it the reprise sounds even more heartfelt.
Third stage. Solving performance problems.
During the game, at any level of difficulty, the student is given the main performance task - to achieve a “singing” legato, because he is performing a piece called “song”. Practice has shown that choir students often cope better with this, which is facilitated by internal singing and a sense of the length of each sound. In the last three measures of the piece, it is necessary to take care of the quality of the legato when connecting the chords, not only with the help of the delay pedal, but also with the fingers.
In addition, the accompaniment of the second part is difficult. Staccato (“cello pizzicato”) is performed with a light, unifying movement of the hand, with tenacious fingertips (“pinch”).
The pedaling of the piece is varied: the first part is an intonation pedal; the second part is rhythmic on the first beat; the end of the third part is a delayed harmonic.
Fourth stage. Preparing for a concert performance.
When preparing for a concert performance, it is necessary to get rid of the unnecessary “logical load” of the initial stage of work, switching the student’s attention to the holistic coverage of the form, with its internal dynamics of development. The main task is the emotional perception of the image. One to two weeks before the performance, the teacher must limit himself in the desire to “hone the details”, sacrificing the particular for the sake of the general. The image must “stay” in the student’s mind, evoke an emotional response, his individual perception, without which the performance loses its organic nature. The teacher is obliged to treat with care any manifestations of personality in the game young musician.
"POLKA" 3rd grade.
The general principles and methods of work described earlier: intensive formation of auditory ideas (“ensemble playing”); deep analysis of intonation structure, phrasing and form at the earliest stages of work (analysis) - help me not only shorten the period of development musical material, but also to concentrate the student’s thinking, which is facilitated by going through the work in parts (from parsing to memorizing).
Omitting the details of the analysis of intonation and phrasing, I will dwell on the issue of solving technical problems through imaginative thinking.
Along with my demonstration, at the beginning of work on the “Polka”, I introduce the student to the orchestral recording of this piece (“Composition based on the Children’s Album by P. Tchaikovsky”, orchestrated by V. Suslin, orchestra conducted by S. Kallosh). The performance is preceded by a poetic epigraph that successfully reveals the figurative structure of the music, evoking analogies with the fairy tale ballets of P.I. Tchaikovsky:

Mouse, mouse, let's dance the polka,
Shall we set an example for the guests?
I would dance, but only
A cat is not a gentleman for a mouse!
An orchestral recording, with a variety of timbres of various instruments, pizzicato strings, helps you find the right colors from the very first steps. The images of the poems are to achieve a light, elegant sound in the first and third parts (“mouse dance”), timbre coloring of the sound in the second part (“cat dance”). The student will be able to hear the presence of the “capricious mouse” in the accompaniment of the second movement. An accurately found image immediately provides the key to solving technical problems. The first victory is the absence of heaviness and clumsiness when playing staccato.
Part I and III - "Dance of the Mouse". Grace notes in the melody must be taught separately, achieving graceful performance. It is necessary to draw the student’s attention to the parallel chromatic move (the beginning of the beats) in the melody (D, E-flat, E-bekar, F) and in the bass (B-flat, C, C-sharp, D), ask him to play it. The bass - “cat” accompanies the melody - “mouse”, but she keeps him at a far distance (decima). Understanding this double move promotes figurative performance and rapid memorization.
Particular attention is paid to working on the accompaniment. It is necessary to invite the student to “collect” the decomposed chords, analyze them, hear and remember the harmonic sequence. Then, playing the chords in their original decomposed form, we pay attention to the fact that the bass and the rest of the chord should be played with a different touch: the bass – with “pricks and pushes” from the key; the rest of the chord sounds are light staccatissimo (“pizzicato”). Help in this, again, will be the musical ideas obtained by listening to the orchestral arrangement. It is useful at this stage of work to connect a “dot” rhythm pedal to the bass of the downbeat.
The difficulty in memorizing is represented by three different endings of identically beginning phrases in the first and third parts. It is necessary, by comparing and analyzing similarities and differences, to accurately determine their place in the musical form (ending-1 – the first phrase of parts I and III; ending-2 – second phrase of part I; ending-3 – second phrase of part III “cat’s replica” Very interesting for understanding the image is the “replica of the cat” (in the bass), on which the piece “reconcilingly” ends. In order for the student to have time to switch, and the “replica” to be pronounced clearly, a slight slowdown is necessary in the last two bars.
Part II - "Cat Dance". Coordination difficulties (melody in the left hand, accompaniment in the right) must be overcome through imagery. The thick, dense sound of the melody paints the image of a “impressive, sleek cat,” and the light pizzicato accompaniment depicts “claws of a mouse.” The difficulty is presented by octave rotations of the hand when changing reversed intervals in the accompaniment. The solution is to play in one position, without changing the finger on the general sound, which is not in the fingering of many editions.
Transition to the third part - “a cheerful chase of a cat after a mouse” based on the sounds of the dominant (at the beginning of the beats). It is necessary to draw the student’s attention to the inadmissibility of shifting the emphasis to the weak part of the beat, coinciding with the accompaniment, as this makes the game ponderous and interferes with the “running start of the chase” . The pedal also interferes with building a single transition line, splitting it into bars, so it’s better not to use it here.
"MORNING PRAYER" 4th-5th grade.
For choir students, studying this piece brings great benefit. Singing skills in a choir, primarily simultaneous harmonic and melodic hearing, help students avoid many difficulties in performing it. One of the subjects studied in the choral department is playing choral scores. The principles of working on this piece are similar to working on a score. In addition, her bright, calm character requires great job over sound production.
Let's consider the play "Morning Prayer" from the point of view of performance tasks. We begin work with the melody. We determine the intonation structure, phrasing, the climax of the entire play (measure 12), build dynamic plan. Then we learn the lower voice, and also play the lower and upper voice together. We play two voices in one hand, dividing them between ourselves, with two hands. Please note Special attention to long sounds in one of the voices. Often students, performing two voices with one hand, do not listen to these sustained sounds and lose their two-voices. It is necessary, in such cases, to teach the student to listen “vertically” - in intervals that are formed from the combination of two voices. All these techniques must be combined with constant control over the sound. Students often push out short durations after long ones, without feeling gravity weak shares in the next downbeat.
We build up the chord texture without losing the melodic upper voice. It is necessary that at the sonority level of the piano, each of the four voices is clearly audible. Leveling the sonority of a chord is achieved through auditory training. One of the exercises is to arpeggiate a chord, carefully listening to the sound of each sound. When playing a chord, the hand movement resembles a “cat’s grip” (fixation with the fingertips, with a free wrist), which protects the hand from clamps. It is recommended, along with the upper voice, to also highlight the tenor, which improves acoustic sound chord, gives it stereophonicity. It is important that the palm forms a “dome” – a resonator.
From the very beginning of work, it is necessary for the student to feel phrasing, learn to create a “big breath” sound line, combining motives into big offer of eight bars, culminating in the seventh bar. A common mistake is chordal “vertical” thinking, which can be avoided by previously achieved Fluency melody, the feeling of the gravity of weak beats into the next strong beat ("horizontal" thinking). The climax of the second sentence should sound brighter thanks to the use of the DD7 chord in parallel minor(e-moll) on a strong time (measure 12). Often students do not listen to long sounds at the end of a motive, do not feel the “breath” before a new phrase. It is useful to mentally fill long sounds with smaller durations (pulsation within a long sound), which gives a feeling of continuity of the melodic line and unites motives in a sentence.
Let's analyze the form of the play: the period of repeated construction with addition. The addition at the organ point (tonic - the sound "sol") sounds tense. This is facilitated by the lowered VI degree in the tenor, the tritone in the upper voices at the intonation peak. The difficulty for the student is caused by repeated repetition of the bass, which should be performed with the same color, the same touch (as close as possible towards the keyboard with the movement of the fifth finger, without swinging).To highlight the tenor voice, you can use a slight immersion from above into the key with the side surface of the first finger.
The pedal in the play “Morning Prayer” is delayed for each new harmony, with echoes being removed at pauses and second moves.

III. Conclusion.
The analysis of the plays given here once again proves that the high artistic merits of the music of P.I. Tchaikovsky’s “Children’s Album” provide ample opportunities in comprehending the art of playing the instrument. The child acquires many skills: this includes melodious legato and staccato, varied in sound production; this the skill of dance accompaniment and polyphony; this also includes pedaling with a variety of tasks. The features of Tchaikovsky’s symphonic thinking are manifested in the pieces of the “Children’s Album” in the variety of strokes, in the richness of the timbre palette, which expands the student’s musical ideas and makes his playing multidimensional.
Every teacher wants to make the student’s work creative, to avoid scholastic memorization, to educate him as a thinking and feeling musician, and P.I. Tchaikovsky’s “Children’s Album” provides inexhaustible opportunities for this.

“Only that music can touch, shock and hurt, which poured out from the depths of an artistic soul excited by inspiration.”

P.I. Tchaikovsky.

IV.References:

S. Aizenstadt “Children’s album of P.I. Tchaikovsky” M.: “Classics –XXI” 2006.
N.G. Gilchenko “Listening to music together” – St. Petersburg: “Composer”, 2006. (theme “Music and childhood”)
Z.E. Osovitskaya, A.S. Kazarinova " Musical literature“First year of study. Textbook for children's music schools. - M.: “Music”, 2004. (section Musical forms. "P.I. Tchaikovsky Children's Album")
N.M.Vladykina – Bachinskaya “P.I.Tchaikovsky” – M.: “Music”, 1975.
G.A.Pribegin “Pyotr Ilyich Tchaikovsky” - M.: “Music”, 1982.

Loseva L.N., 2009,
Saint Petersburg

All morning prayers Orthodox Church You can find it in this article. The editors of Orthodoxy and Peace have collected for you the texts of prayers and explanations for them.

All morning prayers

In the name of the Father, and the Son, and the Holy Spirit, Amen

Then wait a little until all your feelings come to silence and your thoughts leave everything earthly, and then say the following prayers, without haste and with heartfelt attention:

Publican's Prayer

(Gospel of Luke, chapter 18, verse 13)
God, be merciful to me, a sinner. (Bow)

Initial prayer

Lord Jesus Christ, Son of God, prayers for the sake of Your Most Pure Mother and all the saints, have mercy on us. Amen. Glory to Thee, our God, glory to Thee.

Prayer to the Holy Spirit

Heavenly King, Comforter, Soul of truth, Who is everywhere and fulfills everything, Treasure of good things and Giver of life, come and dwell in us, and cleanse us from all filth, and save, O Good One, our souls.(2)

Trisagion

Holy God, Holy Mighty, Holy Immortal, have mercy on us. (Read three times, with the sign of the cross and bow from the waist.) Glory to the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Amen.

Prayer to the Most Holy Trinity

Most Holy Trinity, have mercy on us; Lord, cleanse our sins; Master, forgive our iniquities; Holy One, visit and heal our infirmities, for Thy name's sake. Lord have mercy. (Thrice). Glory to the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Amen. (3)

Lord's Prayer

Our Father, who art in heaven! Hallowed be it your name, Thy kingdom come, Thy will be done, as it is in heaven and on earth. Give us this day our daily bread; and forgive us our debts, just as we forgive our debtors; and do not lead us into temptation, but deliver us from the evil one.

Troparia Trinity

Having risen from sleep, we fall down to Thee, the Good One, and cry out to Thee, the Mightier, the angelic song: Holy, Holy, Holy art thou, O God, have mercy on us through the Mother of God. Glory: From bed and sleep You have raised me up, O Lord, enlighten my mind and heart, and open my lips to sing to You, Holy Trinity: Holy, Holy, Holy are You, O God, have mercy on us through the Mother of God.
And now: Suddenly the Judge will come, and every deed will be exposed, but we call with fear (4) at midnight: Holy, Holy, Holy art thou, O God, have mercy on us through the Mother of God. Lord have mercy. (12 times)

Prayer to the Most Holy Trinity

Having risen from sleep, I thank Thee, Holy Trinity, for for the sake of Thy goodness and long-suffering, Thou hast not been angry with me, lazy and sinful, nor hast Thou destroyed me with my iniquities; but you usually loved mankind and in the despair of the one who lay down, you raised me up to practice and glorify Your power. And now enlighten my mental eyes, open my lips to learn Thy words, and to understand Thy commandments, and to do Thy will, and to sing to Thee in heartfelt confession, and to sing Thy all-holy name, of the Father and the Son and the Holy Spirit, now and ever and unto the ages. centuries. Amen.
Come, let us worship our King God. (Bow)
Come, let us worship and fall down before Christ, our King God. (Bow)
Come, let us bow and fall down to Christ Himself, the King and our God. (Bow)

Psalm 50

Have mercy on me, O God, according to Your great mercy, and according to the multitude of Your mercies, cleanse my iniquity. Above all, wash me from my iniquity, and cleanse me from my sin; for I know my iniquity, and I will take away my sin before me. I have sinned against You alone and have done evil before You, so that You may be justified in Your words and triumph over the judgment of You. Behold, I was conceived in iniquities, and my mother gave birth to me in sins. Behold, you have loved the truth; You have revealed to me the unknown and secret wisdom of Yours. Sprinkle me with hyssop, and I will be cleansed; Wash me, and I will be whiter than snow. My hearing brings joy and joy; humble bones will rejoice. Turn Your face away from my sins and cleanse all my iniquities. Create in me a pure heart, O God, and renew a right spirit in my womb. Do not cast me away from Your presence and do not take Your Holy Spirit away from me. Reward me with the joy of Your salvation and strengthen me with the Lord’s Spirit. I will teach the wicked Your way, and the wicked will turn to You. Deliver me from bloodshed, O God, God of my salvation; My tongue will rejoice in Your righteousness. Lord, open my mouth, and my mouth will declare Your praise. As if you had desired sacrifices, you would have given them: you do not favor burnt offerings. The sacrifice to God is a broken spirit; God will not despise a broken and humble heart. Bless Zion, O Lord, with Your favor, and may the walls of Jerusalem be built. Then favor the sacrifice of righteousness, the offering and the burnt offering; Then they will place the bullock on Your altar.

Symbol of faith

I believe in one God the Father, Almighty, Creator of heaven and earth, visible to all and invisible. And in one Lord Jesus Christ, the Son of God, the only begotten, who was born of the Father before all ages; Light from Light, true God from true God, born, uncreated, consubstantial with the Father, to Whom all things were. For our sake, man and our salvation came down from heaven and became incarnate from the Holy Spirit and the Virgin Mary and became human. She was crucified for us under Pontius Pilate, and suffered and was buried. And he rose again on the third day according to the Scriptures. And ascended into heaven, and sits at the right hand of the Father. And again the coming one will be judged with glory by the living and the dead, His Kingdom will have no end. And in the Holy Spirit, the Lord, the Life-Giving One, who proceeds from the Father, who with the Father and the Son is worshiped and glorified, who spoke the prophets. Into one Holy, Catholic and Apostolic Church. I confess one baptism for the remission of sins. I hope for the resurrection of the dead and the life of the next century. Amen.

First prayer of Saint Macarius the Great

God, cleanse me, a sinner, for I have done nothing good before You; but deliver me from the evil one, and may Thy will be done in me, may I open my unworthy lips without condemnation and praise Thy holy name, the Father and the Son and the Holy Spirit, now and ever and unto ages of ages Amen.

Second prayer, of the same saint

Rising from sleep, I bring the midnight hymn to Ti, Savior, and falling down crying to Ti: do not let me fall asleep in a sinful death, but be gracious to me, crucified by will, and hasten me lying in laziness, and save me in standing and in prayer, and in sleep Rise up nightly for me a sinless day, O Christ God, and save me.

Prayer three, of the same saint

To You, Lord, Lover of Mankind, having risen from sleep, I come running, and I strive for Your works with Your mercy, and I pray to You: help me at all times, in every thing, and deliver me from all worldly evil things and the devil’s haste, and save me, and bring us into Your eternal Kingdom. For You are my Creator and the Provider and Giver of every good thing, and all my hope is in You, and I send up glory to You, now and ever and unto ages of ages. Amen.

Prayer four, of the same saint

Lord, Who through Your many goodness and Your great bounty has given me, Your servant, the passing time of this night without misfortune to pass away from all evil that is contrary to me; You Yourself, Master, the Creator of all things, grant me with Your true light and an enlightened heart to do Your will, now and ever and unto the ages of ages. Amen.

Fifth prayer, Saint Basil the Great

Lord Almighty, God of hosts and all flesh, who lives on high and looks upon the humble, but searches hearts and wombs and the innermost of people He is foreknowledgeable, beginningless and ever-present in the Light, but with Him there is no change or overshadowing; Himself, Immortal King, accept our prayers, even now, boldly for the multitude of Your bounties, from the bad lips we create towards You, and forgive us our sins, whether in deed, word, and thought, knowledge, or ignorance, we have sinned; and cleanse us from all filthiness of the flesh and spirit. And grant us with a cheerful heart and a sober thought to pass through the whole night of this present life, awaiting the coming of the bright and revealed day of Your Only Begotten Son, the Lord and God and our Savior Jesus Christ, in which the Judge of all will come with glory, to whom he will give to each according to his deeds; May we not fall and become lazy, but be watchful and raised up for the work that is to come, and prepare for the joy and Divine palace of His glory, where those who celebrate the unceasing voice and the ineffable sweetness of those who behold Your face, the ineffable kindness. For You are the true Light, you enlighten and sanctify all things, and all creation sings to You forever and ever. Amen.

Listen to morning prayers online

Prayer six, of the same saint

Let us bless you, O highest God and Lord of mercy, who always does great and unexplored, glorious and terrible things to us, countless in number, giving us sleep for the repose of our weakness, and the weakening of the labors of the arduous flesh. We thank Thee, for Thou didst not destroy us with our iniquities, but Thou didst usually love mankind, and in desperation, Thou didst raise us up to glorify Thy power. In the same way, we pray for Your immeasurable goodness, enlighten our thoughts, our eyes, and raise our minds from the heavy sleep of laziness: open our lips, and fulfill Your praise, so that we can unwaveringly sing and confess to You, in all, and from all, to the glorified God, To the Beginningless Father, with Your Only Begotten Son, and Your All-Holy and Good and Life-Giving Spirit, now and ever and unto ages of ages. Amen.

Seventh prayer to the Most Holy Theotokos

I sing Thy grace, O Lady, I pray to Thee, my mind is filled with grace. Go right and teach me the path of Christ’s commandments. Strengthen your children to songs, driving away despondency and sleep. Bound by the captivity of the Falls, allow me through Your prayers, Bride of God. Preserve me in the night and in the day, delivering me to those who fight against the enemy. She who gave birth to God, the life-giver, was killed by my passions and revived. Who gave birth to the non-evening Light, enlighten my blind soul. O wondrous Lady of the Palace, create for me the house of the Divine Spirit. You who gave birth to a doctor, heal my soul of many years of passion. Worried by the storm of life, guide me towards the path of repentance. Deliver me from eternal fire, and from evil worms, and from tartar. Do not show me joy as a demon, who is guilty of many sins. Create me again, having promised to be insensible, Immaculate, without sin. Show me the strangeness of all kinds of torment, and implore the Lord to all. Heavenly grant me joy with all the saints. Most Holy Virgin, hear the voice of Your indecent servant. Give me a stream of tears, Most Pure One, cleansing the filth of my soul. I bring lamentations from my heart to You continually, be zealous, Lady. Accept my prayer service and bring it to the blessed God. Transcending Angel, create me above the fusion of the world. Light-bearing heavenly Seine, direct spiritual grace in me. I lift up my hand and my lips to praise, defiled by filth, O All-Immaculate One. Deliver me from the dirty tricks that are strangling me, diligently begging Christ; To Him is due honor and worship, now and ever and unto ages of ages. Amen.

(1) Rising from sleep, before any other work, become reverent, presenting yourself before the All-Seeing God, and, making the sign of the cross,
say:

Prayer of the Optina Elders
Explanation of morning prayers
Prayer rule of St. Seraphim of Sarov

Prayer eight, to our Lord Jesus Christ

My most merciful and all-merciful God, Lord Jesus Christ, for the sake of love you came down and became incarnate for many reasons, so that you would save everyone. And again, Savior, save me by grace, I pray to You; Even if you save me from works, there is no grace and no gift, but more than debt. Hey, abundant in generosity and ineffable in mercy! Believe in Me, you say, O my Christ, you will live and will not see death forever. Even if faith in You saves the desperate, behold, I believe, save me, for You are my God and Creator. Let faith instead of works be imputed to me, O my God, for you will not find works to justify me. But may my faith prevail instead of all, may it answer, may it justify me, may it show me to be a partaker of Your eternal glory. Let Satan not kidnap me, and boast to the Word that he has torn me from Your hand and fence; But either I want, save me, or I don’t want, Christ my Savior, I will soon foresee, I will soon perish: For you are my God from my mother’s womb. Grant me, O Lord, now to love Thee, as sometimes I have loved that same sin; and again work for You without laziness, just as you worked before the flattering Satan. Most of all, I will serve You, my Lord and God Jesus Christ, all the days of my life, now and ever and unto ages of ages. Amen.

Ninth prayer to the Guardian Angel

Holy Angel, standing before my accursed soul and my passionate life, do not leave me, a sinner, nor depart from me for my intemperance. Do not give room to the evil demon to possess me through the violence of this mortal body; strengthen my poor and thin hand and guide me on the path of salvation. To her, holy Angel of God, guardian and patron of my accursed soul and body, forgive me everything, I have offended you so greatly all the days of my life, and if I sinned this past night, cover me on this day, and save me from every opposite temptation May I not anger God in any sin, and pray for me to the Lord, that He may strengthen me in His passion, and show me worthy as a servant of His goodness. Amen.

Prayer tenth, to the Most Holy Theotokos

My Most Holy Lady Theotokos, with Your saints and all-powerful prayers, take away from me, Your humble and accursed servant, despondency, oblivion, foolishness, negligence, and all the nasty, evil and blasphemous thoughts from my accursed heart and from my darkened mind; and extinguish the flame of my passions, for I am poor and damned. And deliver me from many and cruel memories and enterprises, and free me from all evil actions. For Thou art blessed from all generations, and glorified is Thy most honorable name forever and ever. Amen.

Prayerful invocation of the saint whose name you bear

Pray to God for me, holy servant of God (Name), as if I diligently resort to you, a quick helper and a prayer book for my soul.

Hymn to the Most Holy Theotokos

Virgin Mary, Rejoice, O Blessed Mary, the Lord is with You; Blessed are You among women and blessed is the fruit of Your womb, for You have given birth to the Savior of our souls.

Troparion to the Cross and prayer for the fatherland

Save, O Lord, Thy people, and bless Thy inheritance, granting victories to Orthodox Christians against resistance, and preserving Thy life through Thy Cross.

Prayer for the living

(Name), my parents (names), relatives (names), bosses, mentors, benefactors (their names) and all Orthodox Christians.

Prayer for the departed

Rest, O Lord, the souls of Your departed servants: my parents, relatives, benefactors (their names), and all Orthodox Christians, and forgive them all sins, voluntary and involuntary, and grant them the Kingdom of Heaven. If you can, read this memorial instead of short prayers for the living and the dead:

About the living

Remember, Lord Jesus Christ, our God, Thy mercy and generosity from all eternity, for whose sake Thou didst become man, and Thou didst deign to endure crucifixion and death, for the sake of the salvation of those who believe in Thee; and rose from the dead, you ascended into heaven and sit at the right hand of God the Father, and look upon the humble prayers of those who call upon You with all their hearts: incline Your ear, and hear the humble prayer of me, Your indecent servant, in the stench of the spiritual fragrance, brought to You for all Your people . And in the first place, remember Your Holy, Catholic and Apostolic Church, which You have provided with Your venerable Blood, and establish, and strengthen, and expand, multiply, pacify, and preserve the insurmountable gates of hell forever; Calm the tearing of the Churches, quench the pagan vacillations, and quickly destroy and eradicate the heresies of rebellion, and convert them into nothingness by the power of Your Holy Spirit. (Bow)

Save, Lord, and have mercy on our God-protected country, its authorities and army, protect their power with peace, and subdue every enemy and adversary under the nose of the Orthodox, and speak peaceful and good words in their hearts about Your Holy Church, and about all Your people: let us live a quiet and silent life in orthodoxy, and in all piety and purity. (Bow)

Save, Lord, and have mercy on our Great Lord and Father His Holiness Patriarch Kirill, your Eminence metropolitans, archbishops and Orthodox bishops, priests and deacons, and the entire church clergy, who You have appointed to shepherd Your verbal flock, and through their prayers have mercy and save me, a sinner. (Bow)

Save, Lord, and have mercy on my spiritual father (his name), and with his holy prayers forgive my sins. (Bow)

Save, Lord, and have mercy on my parents (their names), brothers and sisters, and my relatives according to the flesh, and all the neighbors of my family, and friends, and grant them Your peaceful and most peaceful goodness. (Bow) Save, O Lord, and have mercy according to the multitude of Your bounties, all the sacred monks, monks and nuns, and all those living in virginity and reverence and fasting in monasteries, in deserts, in caves, mountains, pillars, gates, rock crevices, and sea islands, and in every place of Thy dominion those who live faithfully, and piously serve Thee, and pray to Thee: ease their burden, and comfort their sorrow, and grant them strength and strength to strive for Thee, and through their prayers grant me remission of sins. (Bow)

Save, O Lord, and have mercy on the old and the young, the poor and the orphans and the widows, and those who are in sickness and sorrow, troubles and sorrows, conditions and captivity, prisons and imprisonments, and even more so in persecution, for You for the sake of the Orthodox faith, from the tongue of the godless, from the apostate and from the heretics, Thy present servants, and remember, visit, strengthen, comfort, and soon by Thy power I will weaken, grant them freedom and deliver. (Bow)

Save, O Lord, and have mercy on those who do good to us, who are merciful and nourishing to us, who gave us alms, and who commanded us to the unworthy to pray for them, and who give us rest, and do Thy mercy to them, granting them all, even petitions for salvation, and the perception of eternal blessings . (Bow)

Save, Lord, and have mercy on those sent to the service, those traveling, our fathers and brethren, and all Orthodox Christians. (Bow)

Save, Lord, and have mercy on them who I tempted with my madness, and turned away from the path of salvation, and led me to evil and inappropriate deeds; By Your Divine Providence, return again to the path of salvation. (Bow)

Save, Lord, and have mercy on those who hate and offend me, and those who create misfortunes against me, and do not leave them to perish for my sake, a sinner. (Bow)

Those who have departed from the Orthodox faith and are blinded by destructive heresies, enlighten with the light of Your knowledge and bring Your Holy Apostles to the Catholic Church. (Bow)

Svetlana Radionova
Summary of a conversation about P. I. Tchaikovsky’s plays “Morning Prayer” and “In Church” from the “Children’s Album” with children 6–7 years old

Summary of the conversation about P's plays. AND. Tchaikovsky« Morning prayer» And "IN churches» from « Children's album» With children 6-7 years old

Target:

enriching children with musical impressions through acquaintance with the work of P.I. Tchaikovsky, namely « Morning prayer» And "IN churches»

Tasks:

Improve the ability to understand the mood of a musical work, its visual character

Learn to distinguish means of expression according to character plays

Continue to develop leadership skills conversation about music

Equipment:

Portrait of P.I. Tchaikovsky; record player; illustrations on the topic; audio recording « Morning prayer» , "IN churches»

Preliminary work:

Meet some biographical information from the life of P.I. Tchaikovsky;

Hearing individual works in music classes;

View animated film « Children's album» ;

Exercise "Music and Emotions", "My mood"

Progress of the conversation:

The teacher invites the children to the playroom and draws attention to the portrait of P.I. Tchaikovsky and illustrations for music « Children's album» .

Guys, you know a lot of people plays from« Children's album» P.I. Tchaikovsky. Let's remember who I wrote this for album the composer and what he talked about in it.

Children's answers.

Pyotr Ilyich understood children well, knew how to rejoice in their joys, and was saddened by their misfortunes. Through music he spoke about childhood joys and sorrows, fun and games, about native nature, fairy tales, travel. All this fills a child's day. Begins and ends album of prayers - morning and evening. Maybe someone knows what it is prayer?

Children's answers.

Previously, every person’s day began and ended with an appeal to God. IN morning prayer the man thanked God that a new day had come and asked that this day go well. In the evening, he thanked God for the day and asked for a good sleep, asking for forgiveness for his misdeeds (for example, the child did not obey his parents or was capricious, greedy, or got into a fight).

Play which opens « Children's album» P.I. Tchaikovsky, called « Morning prayer» . Ends album by play"IN churches» . It can be assumed that the composer in his album I wanted to talk about one day of a child, filled with different events, games and experiences. Sit back and listen plays that open and close album(two prayers) and tell me if they are similar to each other. (Audio recording plays).

Children's answers.

Yes, both focused plays, in-depth. The chords remind church choir singing. Prayers in church sung in several voices. Each voice sets its own melody. Merging together, they create a beautiful, harmonious sound. (Fragments of audio recording sound).

Are these different in character? plays?

Children's answers.

Yes, « Morning prayer» bright, clean, cloudless. The day is just beginning with peace and joy in your soul. And the evening prayer is more gloomy. It’s dark outside, the child is tired. The day was filled with different experiences. The music is sad, mournful, focused, thoughtful, pleading.

It is interesting that P.I. Chaikovsky used for this plays the melody of a real prayer, which is sung in churches. Therefore, the music sounds serious and strict, not at all childishly. He did not simplify the music he composed for children, but wrote it with the same depth of feeling as "adult".

Listen carefully again to how the ends of both sound plays. (Audio recording plays). Have you noticed any repeating sounds in the bass? But how do they sound in « Morning prayer» and what about in the evening?

Children's answers.

On the background bright melody « Morning prayer» these sounds sound stern and calm, and in the evening prayer - more gloomy, concentrated, tired. The day has faded, the darkness of night is falling, everything is quiet, calms down, freezes...

So you met new ones plays. What was it called play which opens « Children's album» ? Which one the play ends it?

Children's answers.

I'm sure now you will remember that these gave us plays...P. AND. Chaikovsky.

Bibliography

1. Gogoberidze A. G. "Theory and methodology musical education children preschool age» . Tutorial for higher education students educational institutions- M.; Publishing center "Academy", 2005

2. Radynova O. P. "Moods, feelings in music". Publishing house: Creative Center Sfera. Series: Musical masterpieces, 2010.

MUSIC EXPRESSES THE MOODS, FEELINGS, CHARACTER OF PEOPLE

Prayer

In the spring of 1878 P.I. Tchaikovsky returned to his homeland from abroad and came to stay in Ukraine, with the family of his sister Alexandra Ilyinichna Davydova. IN free time P.I. loved to play with his little nephews. Alexandra Ilyinichna had seven children, and Tchaikovsky tirelessly came up with holidays for them with bonfires, fireworks and, of course, dancing, where he himself accompanied on the piano.

His little nephew, Volodya Davydov, had difficulty mastering the intricacies of playing the piano during the hours allotted for practice. Sitting on the veranda over tea, Pyotr Ilyich heard the unlucky “pianist” tormenting scales and etudes in the next room. He felt sorry for the baby, and he decided to write a cycle of easy piano pieces, varied in character, with an eye to the difficulties of a beginner, easy, memorable, interesting names. Here you can find pictures of nature and names of children's games. Fairy tale characters and dance tunes.

1st lesson

Program content. Introduce children to the contents of P. Tchaikovsky’s “Children’s Album” and talk about the meaning of the plays surrounding it.

Progress of the lesson:

P a g o g You are familiar with many plays from P. Tchaikovsky’s “Children’s Album”. In them, the composer tells us about children's joys and sorrows, fun and games, about his native nature, fairy tales, and travels. All this fills a child's day. The album begins and ends with prayers - morning and evening.

Previously, every person’s day began and ended with an appeal to God. In the morning prayer, the man thanked God that a new day had come and asked that this day go well. In the evening, he thanked God for the day and asked for a good sleep, asking for forgiveness for his misdeeds (for example, the child did not obey his parents or was capricious, greedy, or got into a fight).

The piece that opens P. Tchaikovsky’s “Children’s Album” is called “Morning Prayer.” The album ends with the play “In the Church.” It can be assumed that P. Tchaikovsky in his album wanted to talk about one day of a child, filled with various events, games and experiences. Listen to the pieces that open and close the album (two prayers) and say if they are similar to each other. (Performs two pieces.)

Children. Similar. The music is calm and strict.

P a g o g Yes, both plays are concentrated and in-depth. The chords are reminiscent of church choral singing. Prayers in church are sung in several voices. Each voice has its own melody. Merging together, they create a beautiful, harmonious sound. (Plays fragments.) Are these plays different in character? (Performs fragments.)

Children. The second play is sadder.

Pedagogue: Yes, “Morning Prayer” is bright, clean, cloudless. The day is just beginning, my soul is calm and joyful. And evening prayer (the play “In Church”) is more gloomy. It was dark outside, the child was tired, the day was filled with different experiences. The music is sad, focused, sorrowful, thoughtful, pleading.

It is interesting that P. Tchaikovsky used for this piece the melody of a real prayer, which is sung in church. Therefore, the music sounds serious and strict, not at all childish. P. Tchaikovsky did not simplify the music he composed for children, but wrote it with the same depth of feeling as “adults”.

If you listen carefully, you will notice that at the end of both pieces there are repeated sounds in the bass. But in “Morning Prayer” they sound strictly and calmly, against the background of a light melody (a fragment sounds), and in the evening prayer they sound more gloomy, concentrated, and tired. The day has faded, the darkness of the night is falling, everything is quiet, calms down, freezes... (A fragment is heard.)

2nd lesson

Program content. Teach children to compare low-contrast works with the same title, to distinguish shades of mood.

Progress of the lesson:

Educator: In the last lesson, you compared two plays from P. Tchaikovsky’s “Children’s Album” - “Morning Prayer” and “In Church.” Let's remember them (fragments sound). Today you will hear two works with the same name “Ave, Maria”.

"Ave, Maria, gratia plena" translated from Latin language means: “Greetings to you, Mary merciful.” These are the words of a Latin prayer addressed to the Mother of God - the Virgin Mary. Many artists, sculptors, and musicians at different times sang of her beauty, nobility, purity, kindness and dedicated their works to her. (Shows reproductions of paintings by Raphael, Leonardo da Vinci, S. Botticelli or others.)

The first piece “Ave, Maria” that you will hear was written by Austrian composer Franz Schubert. (Performs a play.)

Secondly, it was created by two composers. J. S. Bach wrote a prelude in which there are only shimmering chords, and the melody sounds only a hint. (The prelude in C major from the 1st volume of “The Well-Tempered Clavier” is heard in the recording.)

Many years later, the French composer Charles Gounod wrote a melody to the text of the prayer “Ave, Maria” and combined it with Bach’s prelude, using it as an accompaniment.

How are these two works similar: “Ave, Maria” by F. Schubert and “Ave, Maria” by Bach-Gounod? (Recorded plays are played.)

Children. Both works are a little sad.

Pedagogist Yes, but this is not sadness-sorrow, but light sadness. Both works sound sincere, warm, sincere, and tender. (Fragments are heard.) Listen, what instruments do you hear?

Children. In the first piece the violins play, and in the second the choir sounds.

P a g o g Yes, “Ave, Maria” by F. Schubert is performed by an orchestra, and “Ave, Maria” by Bach-Gounod is sung by a choir and a soloist. But if you listen carefully, you will hear that both works also feature an organ. Its low, solemn sounds, like an accompaniment, accompany both melodies. (Fragments are heard.)

3rd lesson

Program content. Teach children to distinguish timbres musical instruments, recognize the sound of an orchestra, organ. Distinguish shades of moods.

Progress of the lesson:

Pedagogue We listened to two works with the same name “Ave, Maria” by F. Schubert and Bach-Gounod, and said how similar they are; that are a little sad and at the same time bright. Could you tell how they differ in mood? (Fragments are heard.)

Children. The first piece is excited, the second is calmer.

Pedagogical Yes, “Ave, Maria” by F. Schubert sounds excited, reverent, impetuous, with openness, with great tension, while Bach-Gounod’s sounds more strictly. Although there is also excitement in this play, it is more restrained. I told you that this work was written by two composers. But Bach and Gounod lived in different time, V different countries. Bach is in Germany, and Gounod is in France. Bach wrote the prelude without thinking that another composer, Gounod, would compose his own melody for it. Listen to J. S. Bach's prelude again. (Recording sounds.)

How beautiful this music is! It sounds stern, concentrated, restrained, sublime, thoughtful, with great feeling. There seems to be no melody in this music, only individual sounds sparkle above. Music is like prayer - filled with light, purity, goodness. You listened to “Ave, Maria” by Bach-Gounod performed by organ, soloist and choir. The prelude by J. S. Bach is played by the organ, and the melody by C. Gounod is sung by the soloist and choir. There is a powerful climax to this piece. What is she like? (A fragment plays.)

Children. Excited.

P a g o g Yes, light, gentle, sincere and calm at the beginning, the music at the climax sounds with prayer, excitement, and fervor. But then comes calm, enlightenment. (Recording sounds.)

“Ave, Maria” by F. Schubert immediately sounds reverent, excited, with an open feeling, impetuous. At the beginning, in the introduction, you hear calm, concentrated, strict sounds of the organ, but then the violins come in, and their voices sound warm, reverent, impetuous, and a little sad. (Recording sounds.)

Chaikovsky. Children's album. "Morning Prayer"
Recommendations for implementation. The play is calm, bright, and focused. It is important to choose a performance pace that does not make it static. It is necessary to achieve harmony in the sound of the chords, combining them general movement, hear the melody in the upper voices of the chords, the bass line, combine them into long phrases.

Chaikovsky. Children's album. "In the church"
Recommendations for implementation. Playing this piece presents similar challenges: hearing the sound “arch” between the upper and lower voices of the chords, the soft harmonic fill of the middle voices, and combining chords into long phrases. Both plays use similar writing techniques: chordal sound imitating church choral singing, long organ passages (at the end), enhancing the character of concentration and some detachment. In the play “In the Church,” P. Tchaikovsky used the original melody that sounds at an Orthodox service (Sixth Tone of the Octopus), to which various prayers are sung (“Lord, I have called to You, hear me...”, “Now you let go,” “Resurrection.” Having seen Christ...", etc.).

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Bach - Gounod. Ave, Maria (3 versions of performance - without vocals, with vocals and adapted for kids), mp3;
Chaikovsky. Children's album. In the church (3 performance options - piano, symphony orchestra and piano with vocals), mp3;
Chaikovsky. Children's album. Morning prayer (3 performance options - piano, symphony orchestra and piano with vocals), mp3;
Schubert. Ave, Maria (2 versions of performance - with vocals and without vocals), mp3;
3. Accompanying article - lesson notes, docx;
4. Sheet music for independent performance by a teacher (piano), jpg.

Morning and evening prayers (prayer rule) are a set of prayers that each Orthodox Christian should read every day in the morning, immediately after sleep, and, accordingly, before going to bed. Read about the history of their writing on the website of the Foma magazine.

Why is this necessary?

1. To constantly remember God, His love, and the need to keep His commandments. Turning to him in prayer, we remember all this.

2. The prayers included in the morning and evening prayers were written by saints who had colossal spiritual experience. Therefore, the prayers they composed are examples of how to communicate with God. By praying independently, in our own words and about our needs, we focus on the prayers of the saints.

3. Daily morning and evening prayers train our will. By forcing ourselves to pray (and sometimes we have to force ourselves), we become spiritually stronger.

When did the rule come into being?

Our modern prayer rule (morning and evening prayers) became widespread in the 18th-19th centuries and gradually established itself as the norm for the laity.

What is important to know?

3. The prayers included in the prayer rule can be read not only in the morning and evening. These are “universal purpose” prayers.

4. A prayer rule is a model designed not to abolish or replace one’s own prayer, but to teach and guide it.

Time of appearance and authors of the texts of the morning and evening rules

Psalm 50
10th century BC. Israeli King David
as a sign of repentance for fornication and murder.

Our Father
1st century Given to us by Jesus Christ Himself. (see Gospel of Matthew, chapter 6)

Symbol of faith
End of the 4th century. It was adopted at the first two Ecumenical Councils of the Orthodox Church in 381 AD.

The first four prayers after the Creed
End of the 4th century. Venerable Macarius the Great, the closest disciple of the founder of monasticism, Anthony the Great.

Fifth prayer of the morning rule
End of the 4th century. Saint Basil the Great, the greatest saint and teacher. He wrote many dogmatic works and compiled the liturgy.

Second prayer of the evening rule
Beginning of the 7th century. Antiochus, abbot of the Lavra of Sava the Sanctified, author of the biographies of many martyrs of the Byzantine-Persian war.

Closing prayers of the evening rule
The end of the 4th - beginning of the 5th century.
St. John Chrysostom, author of many theological and doctrinal works, compiler of the liturgy, for his beautiful sermons and nicknamed Chrysostom; 9th century Monk Peter of Studium, a student of the creator of the monastic charter, Ven. Theodora Studite.

You can download and print this text as an infographic at

Text and prayers