Scenario plan for the dance day. Dance holiday

There are two forms of education: classroom lessons under the guidance of a teacher and independent homework. Quite a lot has been written for the guitar. methodological works, for students of music schools and colleges. These are the works of N.P. Mikhailenko “Methods of teaching playing the six-string guitar.” Y.P. Kuzin “The ABC of a Guitarist.” Ch. Duncan “The Art of Playing the Guitar.” “Organizing homework at the piano” by M.E. Bessarabova. General principles training is also suitable for the system of additional education, so a lot can be taken into account and adapted in relation to additional education of the guitar class.
Learning to play the six-string guitar

The success of learning depends on how the lessons conducted by the teacher in the classroom and the student’s independent homework interact. Teach your child to understand music. Sounds should be not just physical, but also musical, convey beauty, and not just duration, pitch, timbre. Make sure that the piece of music performed does not reflect the language of musical notation, but represents some artistic phenomenon. The guitar class has existed in the DDT Petrograd district of St. Petersburg for more than ten years. Over the years, many children have mastered the basics of guitar art by getting acquainted with the works of composers different eras, countries, developing and enhancing their musical and creative abilities.

Instrument lessons allow students to accelerate the practical development of the basics of musical literacy, which makes it possible to later play in ensembles of various types. Develop internal ear for music, learn to select melodies by ear, to accompany the voice.

For all its accessibility and apparent simplicity, the guitar is a rather complex instrument. A child who sits down at an instrument must solve many problems at the same time. Competently perform a musical text, read the notes correctly, while observing accidental signs, fingerings, nuances, solving problems of metrhythm and tempo. Consider the correct ratio of melody and accompaniment. Listen, intone and sing musical phrases and sentences with the fingers of the right hand. Constantly monitor the coordination of both hands. Obviously, there are many tasks when playing the guitar, and each of them represents a certain theoretical, coordination or technical complexity and requires a certain amount of time to study and practical mastery on the guitar neck.

Organization of guitar lessons.

Classes at an additional education institution in a classroom with a teacher make up a relatively small part of the time (45 minutes) per week. This is not enough for confident, deep assimilation educational material. It is very important to organize correctly homework. Task great job is to prepare the student for independent creative work. It is important for the student to understand that systematic guitar lessons are the main condition for mastering performing skills. In this case, the child absolutely needs the help of parents, especially if the child is of primary school age. It is important to teach the student to work independently.
Initial training period
It should be remembered that abstract thinking in a 7-8 year old child is not yet fully formed. Therefore, when working at home with a tool, you should first of all focus on creative thinking, development is one of the leading principles of music education. All independent work must take place under continuous auditory control. Periodically, control lessons should be conducted that simulate home lessons. The teacher should not interfere in the process, observe, and occasionally make comments. It is important to establish contact with parents, become familiar with their living conditions, and help establish firm order for the student. Since any piece of music always contains emotional and figurative content, it is considered advisable to alternate school and musical home classes, for example, Russian language-music, mathematics-music, etc. This principle of preparing homework allows you to evenly combine workload and rest in turns. With this schedule, the duration of classes between lessons can last 15-20 minutes. The proposed operating mode will save time and allow you to organize your homework more efficiently.

Organization of the guitarist's movements

In the first weeks of training, the student learns to walk his fingers along the strings and frets. This difficult activity requires a lot of patience and attention, both on the part of the student and on the part of the parents, since children 7-8 years old are physically unable to concentrate their attention on such work for more than a few minutes. Here the student needs the help of his parents during his first classes. First, you need to master the arpeggio technique on the guitar. The fingers of the right hand should see and hear. The movements of the fingers of the right hand are easier to analyze when they are not connected to the left hand. The simplest arpeggio ascending p.i.m.a. The thumb of the right hand plays with the support (apoyando), at this moment all three fingers - index, middle, ring - are simultaneously placed on 1.2.3. string, the strings are located between the tips of the fingers and nails, lightly pressing the strings, the fingers alternately produce a sound. Fixing the string between the fingertip and the nail ensures the most effective transfer of forces and minimal play in the nail joint. The fingers of the left hand provide minimal lift over the bar, creating a minimum of effort for their movement. Minimal pressure on the strings protects them from overload and slows down the onset of fatigue. The vertical position of the finger is achieved by touching the string on the fingerboard closer to the nail. It is advisable to practice with a metronome, and in order to develop a sense of pulse, you need to tune the metronome to the second beat. Exercises and scales require constant attention to controlled and uncontrolled articulation, when the ear controls and does not control the speed of execution at the fastest tempos. It is very important to hear the beat rhythmically and melodically, mentally connect it with the next downbeat, and consider it as a springboard to the downbeat. It is important that the student watches the movements of both hands while playing; articulation between the right and left hands is very important. The fingers of the right hand are prepared, placed in advance on the desired strings, the fingers of the left hand find the note, the fingers of the right hand produce the sound. The right thumb rests on the 6th string when playing scales and exercises. The value of these exercises and activities is important as the pace increases or smaller durations appear, control of consciousness gives way to acquired reflexes. It is very important to develop the technique of the right hand; the more time you spend preparing the sound, the deeper the control. What ultimately comes across as legato occurs with even intensity and rhythmic precision.

Working on the rhythm

Since music is an art that cannot exist outside of time, any performer needs a heightened sense of meter rhythm as the basis of any musical work. For expressive performance, in addition to timbre, acceleration and deceleration of tempo, you need to learn how to extract sound and rhythm from the guitar. This can be done with the help of hand movements, mentally focus on such an exercise, the left hand, pressing the string on the neck, makes a hidden movement to the left, and the right hand at this moment - to the right, stretching the sound like a spring, creating tension, and then relaxation , it must correspond to the internal pulsation. This is very interesting point in the performing technique of outstanding guitarists, on this topic I want to write my next work, devoted to the analysis of the performing skills of leading guitarists. One of the methods of developing a sense of meter rhythm is to work with counting by ear, especially on initial stage learning, gradually the student develops an internal sense of meter rhythm. The account scheme I use looks like this. A whole note is considered Ta-a-a-a, a half Ta-a, a quarter note Ta,

Eighth Ta-ti, sixteenth Ta-ra-ti-ri. This scheme is simple, easy to remember, easy to pronounce.

Methodological advice for guitar class teachers.

For successful learning, try to find psychological contact with the student from the first lessons. Don't try to teach only bright children. Each child is an individuality, a personality, the art of a teacher is to ensure that any student becomes an excellent performer, acquires a sustainable interest in music lessons, which can last a lifetime. To do this, it is necessary to create a schedule for the student’s homework in which the alternation of school and musical items, teach your child to practice the instrument every day. During the first months of training, if possible, parents should be present in class so that they can then monitor the completion of homework. From the first steps of learning, accustom the student to independent work behind the instrument. Strictly observe hygienic and physiological conditions for the child’s activities. Use a comfortable, hard chair of the required height and a support for your left leg to avoid curvature of the spine. Maintain silence during classes. Pay attention to your physical and emotional state student. Attend annual concerts and competitions in a place with parents. Constantly develop in the child the need to listen to classical music and analyze what he hears. Teach children how to behave on stage, exit, bow, departure. Work confidently, with respect and love for the student, the guitar, and the music. Constantly analyze your lessons.

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL CHILDREN'S EDUCATION

CHILDREN'S MUSIC SCHOOL

SHCHELKOVSKY MUNICIPAL DISTRICT, MOSCOW REGION

METHODOLOGICAL REPORT

on the topic

“Features of working with beginners in guitar class”

teacher of folk instruments

Shchelkovo

Guitarists embarked on the path of professional pedagogical activity relatively recently, when pianists and violinists already had centuries-old performing and pedagogical traditions, an extensive concert and educational repertoire, methodological literature. Using the experience accumulated by other instrumentalists allowed guitarists to achieve great success in a short period of time and move from amateur home music playing to concert performance, from self-learning to play by ear to the professional education system. But for further development and improvement of performing skills, it was necessary to create highly artistic original literature and teaching methods that take into account all the features and specifics of the instrument. Currently, the repertoire of guitarists already includes a significant number of original works that are diverse and interesting in content and form. The process of creating schools, teaching aids and educational literature for the guitar is underway. It is enough to name the works of G. Fetisov. N. Kalinina, V. Agafoshina. Programs have been developed for all levels of guitar education. The quality of guitarist training in music schools, colleges, institutes and conservatories has improved. Methodical rooms and departments of universities conduct permanent job to improve the qualifications of guitar teachers.

At the same time, teaching practice does not have sufficient experience in working with children aged 5.6 years, and is not free from significant shortcomings, many of which are associated with violations of didactic principles. A typical phenomenon has become non-compliance with the didactic principle of accessibility - in particular, the so-called “inflation of the repertoire”. It should be emphasized that violation of the principle of accessibility in the initial period of training leads to the most serious consequences, which are difficult and sometimes impossible to correct at further stages of training.

Raising this question, we foresee the bewilderment of many specialists: “Should we talk about obvious things?” But the trouble is that the principle of accessibility is recognized more often only in words. In practice, the program is often overestimated, not only for the specialty, but also for the ensemble, accompanist class and orchestra. The reasons for this phenomenon are different, and eliminating them is not as easy as it seems at first glance. Let's analyze five main, in our opinion, reasons:

1. A formal attitude towards lesson plans, drawing up plans without taking into account individual characteristics student. Sometimes this is due to the fact that the teacher simply does not know the methodology for drawing up individual plans or has not studied the educational material. Insufficient control on the part of heads of guitar departments in educational institutions aggravates the current situation.

2. Incorrect determination of the complexity of the work. Often, the teacher pays attention only to the technical difficulties of the work, without thinking about the complexity of the main thing - the content.

3. Deliberate complication of the program due to a peculiar pedagogical ambition. When discussing exam results, such teachers, prone to external effects, often say: “My student played a difficult program, so he deserves the highest mark,” not realizing that such reasoning reveals ignorance of the elementary principles of selecting educational material and criteria for evaluating performance.

It is also believed that one work, exceeding possibilities student, must be included in the program for its “growth”. Thus, the repertoire includes not only difficult, but also inaccessible work for the student at this stage, which as a result turns out to be unlearned. But the problem is not only this: as a rule, by the time of the exam the entire program remains unlearned. It should be noted that the most capable students most often suffer from a program that is overpriced for this reason.

4. The desire of students to play certain works that are inaccessible to them, and the “compliance” of teachers, motivating it by the fact that the student will quickly learn the piece that he likes, that he will study more and achieve more. Such reasoning, of course, is not without foundation, but if the student’s capabilities are completely incommensurate with the difficulties of a given play, then he will not be able to overcome them.

5. Musical helplessness of the teacher, inability to work on the musical content of the work. Here is what V. Avratiner writes about this in his work “Methodological materials on pedagogy”: “Practice shows that work on the musical content of a work (maximum identification of the means necessary for a given work musical expressiveness) is harder for some teachers than working on technical difficulties. Such a “teacher” sometimes has nothing to say to his student, if technically the play is not difficult and the student has overcome the technical difficulties. In an effort to cover up his pedagogical helplessness, the teacher goes to inflate the program, making this a kind of means of self-defense.”

But whatever the reasons for the complication of the program, its consequences turn out to be disastrous. A guitarist who begins to learn a piece that is inaccessible to him, first of all, cannot cope with technical difficulties. Parsing and memorizing a text takes up too much of his time, depriving him of the opportunity to analyze the form and content of the work, practice sound production, nuances, strokes, etc. The student puts off all this work for later. late period, when he understands the text of the work sufficiently. Being in captivity of a work that is beyond his strength, the accordion player does not have time to catch all the errors on initial stage learning, and then it is difficult for him to free himself from them, since he gets used to the imperfect sound and no longer notices the errors in his performance.

Of course, a student’s musical abilities play an important role in mastering performing skills. But even talented person, if he devotes all his time only to learning complex works and working on technical difficulties, he will not achieve a high level of performance. Talent requires a very careful attitude towards oneself. Experienced teacher will cherish and grow talent from lesson to lesson, from year to year, and not destroy it with excessive difficulties.

The guitarist works on an impossible piece of work forcefully, with extreme tension. As a result of such work, a loss of quality is inevitable. The concept of “loss of quality” is very capacious: it implies inaccurate execution of strokes, nuances, rhythmic errors, style errors and, ultimately, incorrect, distorted creation of an artistic image. But, perhaps, first of all, the quality of sound production suffers, and this is of paramount importance for the performing musician.

By violating the principle of accessibility, the teacher unwittingly reduces the work to “coaching.” Getting too complex work, the student learns only the text for three to four weeks. A month and a half passes, the student still confuses notes, harmony, fingering, is unable to follow the sequence of presentation of the material, and the teacher is already starting to work on it artistic features plays. But the student cannot fulfill the teacher’s demands, moreover, he is already tired of the play. Interest in practicing in general decreases, and he is reluctant to play the instrument at home. And so the teacher, in order to help the student, begins to learn the piece with him in class, essentially doing his homework. A week or two before a public performance (test, exam), the student’s diary is still replete with notes from the teacher: “Play without mistakes”; “Play with nuances”; “Do not confuse your fingers,” etc. Such instructions and demands have the force of a doctor’s words addressed to a seriously ill patient: “Don’t get sick!”

After the inaccessible program is “prepared”, that is, learned somehow from memory, the student, and along with him the teacher, is seized with feverish excitement shortly before the performance. They are tormented by one question: will they be able to play without stopping?

Many famous musicians wrote about the anxiety during public performance. This phenomenon is extremely complex and still far from being studied. But it is safe to say that one of the reasons for the excitement lies in the exorbitant difficulty of the work.

Employees of the biocybernetics laboratory of the Institute of Cybernetics of the Academy of Sciences of the Ukrainian SSR D. Galenko and V. Starinets, in collaboration with screenwriter I. Sabelnikov, created the film “Formula of Emotions”. It talks about the “miracle” of emotions, which are a reserve mechanism that helps out in critical moments, mobilizes all the forces and hidden resources of a person. But there are also emotions that lead to disaster. Their category includes “excitement-panic” (P. Jacobson’s term), which covers a musician performing a program inaccessible to him. Doctor of Medical Sciences Professor P. Simonov claims that negative emotions can arise from lack of information. In this case, this means insufficient means to achieve artistic purpose. Naturally, such a performance is doomed to failure. Here is what G. Kogan says about this: “... the game loses control, the performer is “carried” like a chip on the waves, his movements are compressed, his memory changes, he crumples, smears, confuses in the most unexpected places.”

So, on the one hand, without creative excitement, without positive emotions, there can be no real performance on the stage. Emotions create the lift that a true artist needs to create, and not be limited to the indifferent, artisanal performance of work. On the other hand, negative emotions caused by a discrepancy between ends and means can lead to failure.

Sometimes an unsuccessful performance causes serious consequences: the student begins to feel insecure on the stage, even when playing quite accessible and well-learned pieces, he loses self-control at the thought that something will happen, that he will forget, make a mistake, etc. “They worry about what they are afraid to forget, they forget because they are worried.” This phenomenon progresses, concert activity becomes torture for the musician, and he is forced to stop it.

We have already said that one of the reasons for violating the principle of accessibility is the teacher’s insufficient attention to planning the work of each student. Pedagogical practice has developed various forms of planning depending on the subject of study. A plan of any form is built primarily on the basis of the curriculum. The gravest mistake is made by those accordion teachers who, relying on their teaching experience, do not look at the program for years. In addition to the program, individual planning is based on taking into account the individual characteristics of the student. Various educational institutions accept different shapes planning. Sometimes plans come down to only a listing of plays and etudes, and what the teacher is guided by when selecting works for a given student is not indicated. In our opinion, the following form of individual plan should be taken as a basis:

1. a brief description of student at the beginning of the semester.

It should include an assessment of musical data, the level of musical and general development, mental and physiological characteristics of the student.

2. Individual task for six months.

It should be based on the characteristics of the student and the general learning objective set out in the program, be feasible and specific - that is, determine the amount of knowledge, skills and abilities that the student should receive.

3. Instructional material and musical works that will contribute to the accomplishment of this task.

The purpose of working on instructional material - scales, arpeds -

live, exercises, sketches - the following will appear: “1) the development of a certain type of technique; 2) preparing the student to overcome the technical difficulties of the work. In the first case, the goal is the diversified technical development of the student... In the second case, you need to take sketches containing the type of technique and those elements of movement that are found in the work.”

The artistic part of the repertoire should include works of different nature folk art, Russian and Western classics, Soviet and foreign composers. All works must have undoubted artistic value.

4. Final part.

It is formed at the end of the six months and represents an assessment of the results of the work. Based on these conclusions, the teacher sets a new pedagogical task for the next six months.

Such preparation of an individual plan will make it possible to implement the principle sequences training.

The success of a student is directly dependent on the skill and art of the teacher. As pedagogical practice has shown, there are four categories of music teachers: 1) performers-teachers, or, which is almost the same thing, teacher-performers; 2) performers-non-teachers; 3) non-performing teachers; 4) non-teachers, non-performers. One of the biggest shortcomings of young teachers is the inability to transfer their knowledge and performance skills to students. Among them there are many good musicians, whose only problem is the lack of experience in teaching. The role of a deep, systematic study of teaching methods cannot be underestimated.

What is the key to successful work as a teacher? First of all, the availability and consistency of requirements and instructions addressed to the student. The relationship between these two principles of didactics is especially obvious at the initial stage of training.

At the very first lessons, students are faced with many questions: the structure of the instrument and keyboards, recording sounds, seating of the accordion player and positioning of the instrument, position of the hands, the concept of sound duration, beat and its size, functions, etc. An inexperienced teacher requires the student to follow several instructions at once. Although each of them separately does not cause difficulties, a violation of the principle of sequence makes them impossible, because the student cannot focus his attention on a large number of objects and perceive everything at the same time. The art of the teacher in in this case will consist in the ability to instantly analyze the lesson and find what interferes with the student’s perception.

Sometimes quite available material becomes unavailable due to the fact that the teacher, having not achieved the completion of the previous task, begins to make new demands on the student. As a result, significant gaps form in the student’s knowledge, and he ceases to understand the teacher’s instructions. Lesson in similar cases It usually goes like this: the teacher often interrupts the student’s play, talks a lot, and the student, having a vague idea of ​​what needs to be done and having gotten used to the comments, no longer listens to his words.

One of necessary qualities The student's ability to work independently at home is essential. We can rightfully say that this determines the growth of a young musician and serves as a guarantee of his successful work in the future. The teacher’s task is to teach students how to work independently on a piece of work. In this regard, the accessibility and feasibility of homework is of paramount importance. The following must be taken into account: the volume of material, the deadline, the complexity of the task and the student’s performance. If one of these data does not match the others, the task will be unavailable.

Failure to complete homework is a signal of distress, and the teacher is obliged to find out the reasons for this. But first of all he must ask himself the question: “ Was it feasible? homework?». Teachers too often accuse students of laziness and disorganization. Imagine the state of a student who worked a lot at home, but came to class unprepared. And it is far from rare that a teacher, instead of mentally giving himself a “f”, writes it down in the student’s diary with an unwavering hand!

Giving affordable work home is a great pedagogical art. The specificity of homework is essential. An experienced teacher formulates the task in such a way that during the lesson it is easy to determine how much and how the student studied. For example, can a teacher evaluate a student’s work if the diary says: “Play more confidently, without mistakes”; “Play rhythmically, don't speed it up” or even “Play with nuance”? Repeated reminders about correct execution will not bring any benefit - the student must hear and realize his mistakes. To do this, you need to simplify the task: offer to play a short passage or even a few bars at a slow tempo. And only after the errors disappear can the student be allowed to continue working at home.

An important section of the lesson is checking the completion of homework. The teacher must give the student the opportunity to “speak out” completely, without interrupting the game with comments. Having found out to the end how much homework has been mastered, he will be able to plan further work on the work. Unfortunately, it happens differently: the teacher stops the student at the very first bars and works on them for the whole lesson. As a result, it remains unclear how the task was completed and what attention should be paid to first.

Along with the ability to listen to the student, the teacher must also have the ability to hear him. Often, in the process of working on a piece, the teacher experiences an imperceptible shift in ideas, and he begins to take the desired sound for reality, not noticing the difficulties that the student experiences. During the lesson, such a teacher makes up for the shortcomings of the student’s playing by conducting, singing or words, and only at the exam, without being able to “help” the student, he discovers that his performance is far from perfect. It may happen that, having become accustomed to the imperfect sound, the teacher will not hear it during the exam. This is one of the reasons that, although they understand the performance of “foreign” students quite well, teachers do not always critically perceive the performance of their own.

A few words about fingering availability.

If a teacher often has to write the same entry in a student’s diary6 “Don’t confuse your fingers,” this should cause him anxiety and make him think about the reasons for not following the instructions. First of all, you need to review the requirements in previous lessons. Perhaps the student was asked to play at a fast pace that was not accessible to him at this stage. During performance, the student confused his fingers; the resulting fingering instability then turned into persistent confusion and became the cause of unrhythmic playing, errors and stops. The situation can be corrected only by returning the student to an accessible tempo and checking the fingering at a slow pace. In addition, the performing apparatus of each accordion player has its own physiological characteristics, and the teacher must know this in order to choose the most emotional fingering for a given student.

So, we found out that not only the complication of the program, but also a deviation from the basic didactic guidelines when learning a piece can lead to a violation of the principle of accessibility. At the same time, another and different conclusion is undoubted, at first glance somewhat paradoxical: there are almost no unperformable works - the only question is the preparation time and methods of working on them.

The ability to make material accessible is one of the main conditions for successful work as a teacher. This is pedagogical skill and art.

Bibliography:

1. G. Fetisov. Questions of guitar pedagogy.

2. V. Avratiner. Methodological materials on pedagogy, vol. 1M,

Ministry of Culture of the RSFSR, 1970. Page 18.

3. L. Barenboim. Issues of piano pedagogy and performance. L.,

Music, 1969

4. G. Kogan. At the gate of mastery. M., " Soviet composer", 1961

5. V. Domogatsky. Seven stages of mastery. Questions of guitar technique.

6. M. Feigin. The individuality of the student and the art of the teacher. M., “Music”,

Municipal budgetary educational organization

Additional education

"Children's Educational and Health Center "Crystal"

Master Class

"Methods and techniques for teaching classical guitar"

Compiled by: Neudakhin D.S., preschool teacher

Uvarovo, 2017

Lesson topic: "Methods and techniques for teaching classical guitar"

Lesson form: master class.

Goals: Give a general idea of ​​the methodology for teaching basic skills of playing an instrument.

Tasks:

1. Transfer the accumulated experience to teachers.

2. Familiarity with methods and techniques.

Lesson equipment:

Notes

Guitar

Chair

Stand (for left foot)

Master class plan

1.Organizing moment

2.Introductory conversation

3.Practical work

4. Conclusion

Progress of the master class:

In the world of music diversity (as it is now), there is a lot of music, but not enough good musicians. A good musician is now “worth his weight in gold.” This is noticeable on the big stage, and especially here in a small town. Have a good one, professional musician you can hear it from the first notes, and even just if you look at how he holds the guitar in his hands. I think you will agree with me.

In my work with students, I, like other teachers, aim at some result. This result means meaningful and clear playing of the guitar in a classical and vocal-instrumental ensemble.

The first technique I developed is a special set of exercises aimed at mastering initial skills in sitting, musical counting, memorizing a rhythmic pattern, positioning the right and left hands, and honing the amplitude of finger movement.

For example: (visual display of three developed exercises).

Exercise 1

This exercise is aimed at developing the thumb of the right hand.

Exercise 2

This exercise is aimed at developing the index, middle, and ring fingers of the right hand.

Exercise 3

This exercise is aimed at developing the range of motion of the fingers of the right and left hands. Helps to combine them. Teaches you how to position correctly.

The second section in mastering initial skills is scales. In this case, I do not fill the students’ heads with the two major and two minor scales prescribed in other curricula, but give them only one major scale, but in two positions. This is the C major scale, which is easy to remember by ear, because it is C, D, E, F... so familiar to every child. I give this scale, as I already said, in two positions:

• The first one is what we call open because it contains a lot of open strings.
• The second position is closed.

As a result of studying these two scales, the student can navigate within seven guitar modes inclusive. Yes, we teach the scale itself in an unusual way. In order to encourage the child to work independently, to study the notes on the fingerboard, and not to repeat words and to visually show the notes, the teacher has developed a method for learning notes by playing in position. I explain to the students how to find notes in position, and then we play with them an unusual game “Guess the note”. The game goes like this:(explanation of the rules of the game).

The student shows the guessed note using three statements from the teacher (position number, string number, finger number).

After this game, the student himself finds the notes on the fingerboard using the material written in his notebook. This is very interesting, I recommend it to all my colleagues.

In parallel with practical education, theoretical education also occurs. In theory, in the first lesson, like everyone else, there is history, the structure of the instrument, getting to know each other better. I will tell you the main topics (of course not all, since they are adjusted as the training progresses, depending on the development of the student) of the theoretical part taught by me:

• History, design of the instrument.
• Writing a musical staff is for studying and memorizing (if the student is younger, for me it is up to 10 years old, then I give one octave, then the second, etc.). We learn the small octave only up to the note E, not lower. In this way, the lower aisle of the instrument's tessitura is remembered.
• Open strings on a guitar with their placement on the staff.
• Duration of notes counted in two quarter time signatures.
• Pauses with counting.
• Alteration signs with definition.
• Signs of increasing durations.
• Division of notes, grouping in music.
• Signs of repetition in music.
• Meter in music.
• Fingers of the right and left hands.
• After studying the entire theoretical part, a control test. In my opinion, this is absolutely enough to move on to reading sheet music without overloading the child.

Let's return to scales. After learning and practicing the scale, the scale is passed in this way: the student plays it 5 times in a row, forward and backward, at an average memorized tempo. Only three mistakes are allowed and no more. In this way, the skills of performing skills and behavior on stage begin to be consolidated.

For the New Year holiday, our association is holding its first event, at which all students, of course there are exceptions, play on the stage of our institution independently. But the most interesting and significant event of our association takes place at the end of February. This is the zonal festival “Guitar Bending”. Everyone takes part in it with great pleasure. Every year we wait and receive guests. I am pleased to invite you to participate in this festival. “Guitar Bending” is about communication, experience and a lot of different genres of music.

Conclusion: By using these techniques in learning to play the guitar, it is possible to move on to learning pieces and sight-reading in just one month.

Municipal state educational institution of additional education for children “Children’s Music School No. 1 named after. Yu.H. Temirkanova" Nalchik urban district All-Russian Festival of Pedagogical Creativity (2015-2016 academic year) Nomination: Additional education children and schoolchildren

Methodological development on the topic:

“On the issue of developing a guitarist’s technique”

Methodological and performance analysis of E. Baev’s etudes Developed by a teacher people's branch Lopatina I.G. Nalchik 2015 Content

Introduction

On the issue of developing a guitarist’s technique (studies)……

1. About modern trends in the development of guitar technology

2. Methodological and performance analysis of E. Baev’s textbook “School of Guitar Technique”...

Creative path (biography, main areas of activity)…

Technical repertoire (sketches) for children’s music schools students with methodological recommendations...

Conclusion…

Bibliography…

Application…………

Introduction

“The greater your technical arsenal, the more you can do with music. This is beyond doubt"
M. Barrueco

Six string guitar

- one of the oldest musical instruments. The origins of the guitar go deep into the past, and its rich history dates back tens of centuries and passes through many historical and cultural eras. The past 20th century has witnessed the revival and true flowering of the art of playing the guitar. Concerts of guitarists attract full houses on all continents. It has found its place in chamber and symphonic works by the world's greatest composers. Guitar sheet music is published in huge quantities. Highly professional performing arts schools have emerged in many countries. Interest in the guitar continues to grow everywhere. Even in African and South Asian countries, which have their own distinctive musical culture.

It is noteworthy that for many musical cultures the guitar is a traditional instrument, because many musical genres(especially flamenco, Latin American music, country, jazz, rock, fusion), in their inception, relied on the guitar. Also important is the fact that in each genre the guitar acquired characteristic features (instrument shape, tuning, sound production features, seating, hand placement). In addition, in the 20th century, a huge variety of shapes and designs of guitars appeared; accordingly, the technique of playing the instrument over the past decades has reached a new, more high level development. 3 Therefore, the question arises about the formation of technical skills among guitar performers. Serious attention is paid to technical problems and methods for solving them at all stages of training. The proposed development is based on the school of E. Baev, an analysis of the views of leading teachers and performers in Russia on the methodology of technical training, as well as their own work experience. The purpose of the development is to review and analyze the educational and methodological manual by E. Baev “School of Guitar Technique” and prove that his methodology is an important and relevant contribution to modern guitar pedagogy.
Therefore, the question arises about developing technical skills among guitar players. Serious attention is paid to technical problems and methods for solving them at all stages of training. The proposed development is based on the school of E. Baev, an analysis of the views of leading teachers and performers in Russia on the methodology of technical training, as well as their own work experience.

The purpose of the development is to review and analyze the educational and methodological manual by E. Baev “School of Guitar Technique” and prove that his methodology is an important and relevant contribution to modern guitar pedagogy.

The target setting determined a number of tasks posed during the development process:

1) Consider the views of modern guitar pedagogy on the issue of developing the technical skills of guitar performers.

3) Give methodological recommendations for the performance of the instructional repertoire (etudes) of E. Baev. These tasks determined the structure of the methodological development, which includes the following sections: Introduction; main section, consisting of two subparagraphs; Conclusion; Bibliography; Application. The central place in the work is occupied by the section “On the question of the formation of a guitarist’s technique,” ​​which is devoted to the study of one of the most pressing problems modern techniques learning to play the six-string guitar: conditions for the formation of technical skills of a guitarist-performer. The main section is divided into subsections.

In the first subparagraph - “On modern trends in the development of guitar technology” - the schools of guitar playing of past years and those published in recent decades are considered from the point of view of studying the specifics of the issue. An attempt has been made to understand the advantages and disadvantages of Guitar Schools published in our country. The views of modern progressive music pedagogy, which considers work on instructional material (etudes) as an important and effective means for developing the technical skills of a performer, are also considered.

The second sub-item – “Methodological and performance analysis of E. Baev’s textbook “School of Guitar Technique” - is dedicated to methodological development modern guitarist– performer and teacher Evgeniy Baev. A brief biographical information is given, which is necessary to understand how the concept of E. Baev was formed. The main elements of the author's methodology, which are set out in his manual and on the pages of the author's website, are considered. The work on etudes and their significance in the formation of a guitarist’s technique is considered. It also analyzes what is innovative in E. Baev’s methodological system, how relevant is what he brings to modern guitar pedagogy

On the issue of developing a guitarist's technique (studies)

1. About modern trends in the development of guitar technology.

Despite the fact that the guitar is becoming increasingly popular among music lovers, being a relatively recently established “independent concert unit” on the stage, it has become the object of close attention and study by professionals.

Guitar pedagogy in our country has gone through an active development path over the past 20-30 years, but remains too young compared to the leading instruments of our time, the violin and piano. (This explains the lack of fundamental methodological research).

Schools and tutorials for playing the six-string guitar

A large number have been published and reprinted Schools and self-teachers. The most popular schools for playing the six-string guitar are P. Agafoshin, E. Pujolya, M. Karkassi. A. Ivanov-Kramsky, A. Kravtsov and the School of Charles Duncan, as well as Self-Teachers by E. Larichev, P. Veschitsky.
Most of these Schools contain numerous and useful methodological instructions that have retained their significance to this day. But they do not contain a complete and comprehensive presentation of teaching methods, the system of training and education of the performer - guitarist. After all, as you know, school is a demonstration of a specific teaching method, an experience. And most of the authors of Schools of past years limited themselves to outlining the basics of landing and positioning of hands and fingers, some purely artistic instructions and descriptions of individual playing techniques. At the same time, methods for developing guitar playing technique have been developed haphazardly and are clearly not sufficiently covered. Therefore, from most Schools of past years, teachers draw mainly musical material, rather than methodological thought. And for a long time now, the problem of the most perfect and quality training playing the guitar. Search for the best school of play, comprehensively covering all types of 6 techniques and technologies of the most effective methodology learning to play is one of the most important for guitar teachers.

It is no secret that when teaching students, a teacher often uses exclusively his personal experience, recalling his own impressions from the first lessons with his teacher - the same sequence of actions, the same exercises, the same repertoire. At the same time, it is completely ignored that such an imitative technique may be absolutely unsuitable for a given student, not to mention the fact that time does not stand still, and guitar pedagogy, while in active development, could go far ahead.

Thus, at present, serious attention is being paid all over the world to technical problems and methods for solving them at all stages of education. Indeed, in order to fully convey the emotional content of music, any musician-performer must master the technique, have a certain set of already formed technical skills in playing his instrument.

The elements of playing technique include: orientation on the guitar fretboard and strings; diverse different types contact with strings; sound production; accentuation; strokes; coordination of various types of movements; auditory-motor advance; concentration; persistence and versatility of attention; psychotechnics. Constant improvement of individual elements of performing technique helps to bring it to a high level of skill. In the past, many teachers believed that the instrumentalist's technique was formed only through the study of exercises, scales and etudes, which should always be the focus of his attention. Mastery of one or another gaming technique was most often carried out through mechanical training, by repeatedly repeating problematic passages. Guitar pedagogy often followed the path of technical “training”, mechanical exercises, and increasing the number of hours spent on the instrument. Difficulties in mastering certain gaming skills led to an exaggeration of the role of the technical side of performance. As a result, pedagogical systems arose that were flawed at their very core: from the very first steps of education, they violated the principle of the unity of the artistic and technical development of a musician.

In modern music pedagogy, the psychotechnical school is becoming increasingly widespread, which is based on the auditory method, where mechanical exercises give way to conscious work on motor technique. The main focus here is on revealing creativity students, the formation of technology based on bright and meaningful artistic and figurative representations. The auditory method has great advantages over the motor method: it requires a clear understanding of the purpose of the movement, a clear anticipation of each sound. Nevertheless, auditory and motor methods act as two sides of one process aimed at the coordinated development of the guitarist’s performing technique. Both methods have the right to exist, but only when taking into account the individual and motor data of students. Depending on these data, the general teaching tactics should be built: in some cases, with the emphasis on musical and artistic tasks and a relatively “calm” attitude towards the technical side; in others - with very intense attention to technology, but in its full connection with the formulation of artistic and semantic tasks. Modern progressive pedagogy considers work on all types of instructional material: scales, exercises, etudes to be an important and effective means for the technical development of a performer. With regular technical work, which takes up about a third of the working time, all components of the motor system (speed / speed of movement /, agility, strength and endurance) are maintained at a constantly high level, the learning process becomes more rational, 8 the process of learning musical pieces through daily learning, persistent repetition of the same musical formulas. The young performer develops a so-called mobile skill. Those. When a student has learned one piece well, he has developed a simple skill. Long-term work on other works leads to the formation of new simple skills. When playing a large number of scales, exercises, when studying conscientiously large number Etudes gradually develop a flexible skill that allows you to solve complex technical problems without much preliminary preparation, when the previous method and the “method of analogies” work. This path leads to the technique required by the modern high level of development of guitar art. However, if a student concentrates all his efforts on studying only works of art, and his technical studies take place “from test to test,” this path seems futile. After all, what is brought to the concert stage is only top part“iceberg” of performing work, the main (“underwater”) part of it is daily work on instructional, technical material. And here the student can safely take risks without fear of “chattering” the sketch being studied, since, unlike a work of art, it is not brought to the stage.

It is well known that a sketch is not just an exercise in one or another type of technique. Initially, etudes were intended to improve the technical skills of playing the instrument, but with development this genre acquired artistic significance, began to be interpreted as a bright virtuoso piece or a miniature like a prelude. Thus, etudes can be divided into two types: instructional, that is, exercises designed into plays, and concert. 9 The performance of the latter is, rather, an indicator of the technical level already achieved, rather than a means of achieving it. While instructive sketches are of great value for the development of technology. The techniques contained in the etudes are an invaluable treasure for guitarists. When selecting sketches for his students, the teacher needs to take into account a wide range of different factors. The sketches should, in their entirety, cover as much as possible more types techniques found in guitar literature, which contributes to the formation of the foundations of a performing “school”.

There are several groups of studies for different types of equipment:

1. Arpeggio;

2. Chords and intervals.

3. Gamma-shaped passages;

4. Tremolo;

5. Technical legato and melismas.

This division, of course, is not the only one, it is not detailed enough, but this systematization already gives positive results.

It is important that the sketch offered to the student is feasible. As a general rule, a principle of increasing difficulty should be followed to ensure a gradual accumulation of technical and artistic skills. It is very useful to return to the material you have covered. But work on performance technique should always be cyclical, like a spiral, when the return to previously learned techniques occurs with constant complication.

Modern pedagogy draws attention to the fact that classes aimed at developing performing technique are developmental in nature, and are not exclusively for the sake of technique alone. And in order for them to bring children joy and a desire to learn, creative 10 and individual approach, which allows one to develop in the student the ability to “fill any technical action with music.” This is where the question of technical repertoire arises. The fact is that initial learning to play the guitar is based on mastering classical guitar literature. It contains the richest layer of the etude genre written by composers of the last two centuries. Classical etudes (M. Carcassi, M. Giuliani, F. Sora, D. Aguado) are indispensable for strengthening the principles of sound production.

However, the music of classical guitarists does not quite take modern realities into account. Being perfect in artistically, it is traditional, and this does not arouse much interest among modern students. It is also limited in quantity and does not take into account the factor of sharp rejuvenation in age (7-8 years) of beginning guitarists.

Therefore, the efforts of many teachers to expand their educational repertoire and thereby introduce a fresh spirit into the pedagogical process are understandable.

2. Methodological and performance analysis of E. Baev’s textbook “School of Guitar Technique”

Didn't stand aside Russian guitarist, composer and teacher Evgeny Anatolyevich Baev. Born on July 15, 1952 in Pervouralsk, Sverdlovsk Region. In 1977 he graduated from the Ural Conservatory. M.P. Mussorgsky in guitar class with A.V. Mineev. In 1980, together with N.A. Komolyatov and A.K. Frauchi, he became one of the organizers of the opening of a guitar class at the Moscow State Pedagogical Institute. Gnesins. In 1988 he created the instrumental duet “Musical Miniatures” (violin and guitar) in Tver. He toured with him in Italy, Finland, France, Germany, Latvia, and the USA. The duo has existed for almost twenty years. E.Baev is not only one of the best guitarists in the country, but also famous composer, recognized abroad and published in Europe. E. Baev's sheet music is sold all over the world. His repertoires for music schools and conservatories, as well as adaptations of Russian folk songs. His guitar school is the only one recognized in Italy, the birthplace of music. Now it is distributed not only in Europe, but also in the USA, Japan, Australia and Latin America. The composer writes music for guitar, violin, viola, cello, balalaika, domra and other instruments. Was awarded high award on International competition composers in Moscow (1999), is a diploma winner at the International Festival in the USA (Buffalo). In recent years he has been teaching a guitar class in Tverskaya music school No. 1, teaches at Tverskoy state university and a music school. He trained 20 laureates of International and All-Russian competitions.

As already mentioned, E. Baev is the creator of his own school of guitar playing, which arose as a result of many years (more than thirty years) of creative activity. Initially these were notebooks: “For a beginning guitarist. Etudes and exercises”, “35 etudes for beginner guitarists”, “10 etudes for different types of technique” plus 13 treatments for different types of technique. From the combination of these notebooks, the proposed textbook “School of Guitar Technique” arose. It features 1,000 etudes - pieces written to develop the basic technical skills of beginning guitarists and grouped according to the main types of guitar technique.

The manual has 19 sections, each section contains detailed methodological comments. The introduction examines the concept of a musician's technical skills and examines the conditions for their formation. Thus, the author sees the unity of the auditory and motor methods as the main condition for the development of musical technology as a whole. (He is a supporter of the modern psychotechnical school). “Since a technical skill is an action that has been brought to the point of automatism and no longer requires conscious control on the part of the performer, this conscious auditory control must initially be maximized….

Simply repeating material over and over again is not enough to develop good technique. Actions automated “spontaneously”, without awareness of their components, are not flexible and may simply turn out to be “wrong”. Skills that are formed with a preliminary awareness of all components are flexible; they can be easily improved and rearranged if the performer wishes.

Unfortunately, hearing control is not always carried out automatically by the player. The ability to listen and hear your playing also needs to be developed. The first sign of improper technical work by a musician is insufficient sound quality. And of course, exercising control is impossible when playing at a fast pace.

Only a slow pace allows you to qualitatively master this or that action. Therefore, the student also needs to be specially prepared to work at a slow pace. And, of course, we should never forget that technique for a musician is not an end in itself, but only a means for conveying the emotional content of music. And the material for a student’s technical work should not be “neutral,” reducing all efforts to mechanical finger exercises.” Therefore, all the studies included in this manual are programmatic and have interesting figurative names, their own musical character, which allows you to see them as small plays and relate to their performance emotionally and personally.

The sketches in the manual are arranged according to the principle of increasing complexity. In any section aimed at developing a specific technical skill, you can select a study for both beginners and more advanced high school students. This allows the young guitarist to improve his technique throughout his studies at the Children's Music School, when work on technique becomes cyclical (like a spiral).

Having tried E. Baev’s methodology in my work, I realized that it is accessible to students of any level of technical training and is very easy to use, because It is possible to select comprehensive studies for all types of equipment for each class. The technical repertoire offered by the author evokes a huge emotional response among students, increasing their interest in classes in general and the desire to continue their learning to play this type of music. complex instrument like a guitar. Therefore, I decided to continue my work with students using E. Baev’s method.

Today we bring to your attention sketches on different kinds techniques from E. Baev’s textbook performed by students of my class. Also, methodological recommendations will be given for each etude performed.

Basic methods of sound production

Now we will present a study on a universal type of technique - the tirando technique, which can be used when playing any piece for guitar. Sketch by E. Baev “Ant”. Performed by 1st grade student. Khandogiy Anastasia. The goal of this study is to qualitatively master the main method of sound production - tirando. The difficulty is constant control over the position of the right hand, which should not jump, twitch or make unnecessary movements. Since it is economical actions that make it possible musical technology develop. Another main way of playing a guitar is apoyando. The following etude will be played using this technique and the three-finger fingering of the right hand.

So, E. Baev’s sketch “The Day is Passing” in the same performance. The purpose of studying this etude, in addition to qualitatively mastering the technique of apoyando, is to develop the ability to constantly alternate the three fingers - i m a. Since often when performing apoyando, as well as tirando, guitarists use exclusively a pair of fingers - either im, or (less often) am. This significantly limits the capabilities of their technology, being a kind of brake on its development. And, of course, it is very important to think through the fingering in such a way as to ensure the most natural transitions of the fingers of the right hand from string to string and to avoid the so-called “crossing”. Along with high-quality mastery of tirando and apoyando techniques, it is also important to master scale passages. You can start working on them in the form of small sequences of notes in the scale.

The sketch “Flicker” is dedicated to this type of technique. It will be performed by a 2nd grade student. Khutovoy Liana.

As already mentioned, the performed etude contains elements of scale-like passages, the mastery of which requires clear coordination of both hands. Only with such operation of the gaming machine will it be possible to further perform fast passages and other complex fragments of works. In addition, working on this etude, thanks to its fingering, allows us to solve the problem of developing the strength and independence of all fingers of the left hand, especially the 4th.
The next study we bring to your attention is to master the arpeggio technique. It should be noted that the composer, as in many other etudes, here denotes the tempo of the work with the word “Comodo” - comfortable, relaxed, at medium speed. This allows the player to exercise constant auditory control.

Etude “Elegy” by E. Baev Performed by a 2nd grade student. Nordonaeva Amina.

When playing arpeggio sounds, most often the left hand works more statically, and the right hand more dynamically. Therefore, one of the main objectives of this etude is the economical work of the right hand, the absence of “extra” movements. In particular, the guitarist needs to ensure that the hand does not twitch or bounce. Another goal of this etude is the evenness of the sound of successively played chord sounds. We must strive to ensure that they are the same in both strength and timbre. Without constant auditory monitoring and playing at a slow pace this goal is impossible to achieve.

Qualitative study of this etude contributes to the development of evenness of sound of all notes of the arpeggio.

There can be many patterns of how the right hand works when performing arpeggios, even unconventional ones using the e-finger, if the structure of the hand allows (the e-finger is weaker and shorter than all the others).

The etudes in the collection provide very varied material for carefully practicing the movements of the right hand in arpeggios.
The next etude that will be performed, also to practice the technique of performing arpeggios, is called “White Cloud”. A 4th grade student is playing. Remizov Alexey. This etude is distinguished by a large number of voices, thanks to the use of the so-called mixed arpeggio, and complicated modern harmony. In addition to all the above tasks for mastering the arpeggio technique, here we add the development of strength and endurance of the right hand, which works more dynamically than the left. If, when mastering the arpeggio technique, the guitarist needs to exercise constant auditory control over the sequential extraction of chord sounds, then when mastering the chord technique, it is important to ensure that all its sounds merge with each other, that is, the sounds of the chord must be extracted simultaneously and with equal strength. Many of the proposed etudes in the manual will help you practice the simultaneity of chord sounds.

One of them - “Autumn” - will sound now. E.Baev. Sketch "Autumn". Performed by a 3rd grade student. Bzheumikova Lillianna. In order to achieve the goal of studying this etude - the simultaneous sound of all sounds of the chord - the fingers a m i must be nearby, they need to feel each other, work as one finger. Then one impulse will be transmitted to the strings. However, in this regard it is important to use moderation. Pressing your fingers tightly together will put unnecessary strain on your hand. In addition, when such a game is fixed, further isolation of any of the voices within the chord will be impossible, and many polyphonic works will become inaccessible for this performer.

The same task of simultaneous extraction of sounds faces when mastering the technique of playing double notes.
The next sketch by E. Baev, “Two Friends,” is dedicated to developing this skill. It will be performed by a 2nd grade student. Gyzyeva Kamilla.

In order to achieve unity of sound when playing chains of intervals, it is necessary to think through the fingering of the left hand so that one of the fingers remains on the string, “tied” to it. In this case, the hand, resting on this finger, will be able to “move up” on it, and it will be easier for other fingers to get to the right places. Visual control of the finger leading the movement along the fingerboard also helps a lot. In this sketch, the position of the left hand often changes, so it is necessary to ensure that during such transitions the hand does not change its orientation in relation to the fingerboard.

Broken double notes are often found in the guitar repertoire. As a rule, there are no additional difficulties for the left hand in this case - both fingers of each combination of notes are placed on the strings at the same time. The actions of the right hand change. The guitarist selects the appropriate algorithm. Often, the lower notes of the interval are played by the p-finger, and the upper notes are played alternately by the i and m fingers. Such algorithms should be mastered separately, practicing their precise execution on open strings.

Melismas.

Regarding the performance of the following technical techniques, namely melismas, which include grace notes played on the guitar, mordents, gruppettos and trills, in musical literature there is no single standard. If in ancient music decorations served the task of overcoming the problem of the quickly fading sound of then imperfect instruments, then in more late times they have become part of the means of expression.
We present to your attention E. Baev’s sketch “Stubborn Donkey” in the same performance.

A study was performed on mastering the execution of a short crossed out grace note. It is better to start working on such technical material without using grace notes. After mastering the rhythmic side of the work, you can begin to play the etude with grace notes. The technique of performing both grace notes and all other melismas practically coincides with the legato technique. Everyone knows that legato is a coherent execution of sounds. But guitar legato has its own specifics - it is called “technical” so that it is not confused with “semantic” legato, which involves the smooth conduct of a musical phrase.

There are three types of legato on the guitar according to the method of execution:

1. Rising legato

2. Descending legato

3. Legato on different strings.

Now there will be an etude that uses both ascending and descending legato.

Etude “The Moth” by E Baev is performed by a 4th grade student. Uzhakhova Tamara.

The goal of this study is to achieve the most even sound possible for all ligated notes. To do this, it is advisable to start working on the etude by playing the musical material in the usual way, that is, without legato, because at the beginning of learning, playing with legato often turns out to be unrhythmic and lame. Only after the rhythmic problems have been solved can you begin to perform properly.

The guitarist also needs to ensure that the striking fingers are free and the strikes are sharp and accurate when performing an ascending legato. When performing a downward technique, it is important that all fingers, the work of which is necessary to play this legato, are placed on the string at the same time. I would like to add that nothing develops the strength and independence of the fingers of the left hand better than working on legato. In addition, this is a good reason to additionally check the correct positioning of the performing apparatus, because if the guitarist’s hand is not parallel to the fingerboard, but stands “like a violin,” at an angle to it, excessive arm tension will become inevitable. Legato quality will also suffer.

Barre

One of the main and most difficult guitar techniques is barre.

It is most rational to start mastering barre with the so-called small barre, or half-barre, in which the index finger presses two, three or four strings.

Mastering this technique will be facilitated by studying E. Baev’s sketch “Waves”. It will be performed by a 2nd grade student. Kuliev Astemir.

The purpose of this study is to strengthen the fingers of the left hand and prepare them for the big barre. The work of a young guitarist will be more effective if you do not put all the other fingers on the index finger. Thumb being with reverse side the fingerboard, together with the index finger, forms a kind of “clothespin”. However, it does not have to be located opposite the index finger - it can be placed diagonally, located under the middle finger, or even further towards the ring finger. In this case, the “clothespin” will be “beveled”, due to which less effort will be required by the hand to press the barre. Additionally, this thumb position can be helpful for barre movements.

After practicing the small barre in this way, it will be much easier to master the big barre.

Speaking about the technical repertoire presented in E. Baev’s manual, it is impossible to ignore the studies on mastering sound effects.

To create them, metal, glass objects, paper, foil, matches and much more can be used. One of the favorite techniques of guitarists has become the imitation of the sound of a snare drum, which is achieved by playing on two crossed strings. Mastering the “drum” technique is facilitated by studying the “Battle” etude, which you will hear in the same performance.
The “drum” technique was performed by crossing the fifth and sixth strings, when the index finger of the right hand brings the fifth string under the sixth, and the thumb slightly lifts the sixth string up and leads it towards the fifth. Then he brings the sixth string over the fifth and “covers” this string with it. It is possible to cross the strings only with the fingers of the left hand, but with any method of crossing the strings, you must ensure that the crossing point is strictly above the desired fret of the guitar neck, and the index finger must press both strings tightly. Another sound effect played on the guitar is the tambourine.

Tambourine is an ancient oriental percussion instrument.

To create the effect of its sound, you need to hit the strings near the stand with the thumb of your right hand.

The sketch “Echo” is dedicated to mastering this technique. It will be performed by a 3rd grade student. Bzheumikova Lillianna. To achieve an imitation of the sound of a tambourine, it is important that the blow be sharp, the movement reminiscent of shaking water from a hand or shaking a thermometer. The right hand should be as free as possible.

The strike can be carried out “from the spot”; it does not require a special swing. During sound production, the brush may slightly slide towards the stand, similar to “smearing” the blow. The thumb should be parallel to the bone nut. The place where the strings are struck is 3-5 cm from it.

One of the most expressive techniques in guitar technology is the tremolo, which creates the illusion of the sound of two instruments. “Tremolo” literally means a “trembling” sound in music. The development of this technique will be facilitated by working on the sketch “Barcarolle”. It will be performed by a 4th grade student. Uzhakhova Milena.

The purpose of studying this etude is to achieve an even sound of all repeated notes. You need to start mastering this technique at a slow pace, gradually accelerating. The movements of the fingers of the right hand should be active and clear. And it is advisable to hold the hand itself so that the fingers are close, then less tension will be required to play. There are many varieties of tremolo fingerings. The proposed etude was performed in the “classical” version - pami.
The following sketch, brought to your attention, can be recommended for study in middle and high school, because... To perform it, you need a fairly well-developed polyphonic ear.

E. Baev's etude "Romance" will be performed in the same way.

The performed etude is three-voice, where one of the voices plays a subordinate role, being an accompaniment against which the main voices move. The easiest to master the technique of playing polyphony are two-voice works in which the voices are heard “in turns.”

To play polyphonic works, a musician needs the ability to hear all voices together and each voice separately, and an understanding of the interaction of voices. The development of such hearing is facilitated by singing voices: you can sing each voice separately (without an instrument or with an instrument), you can sing one voice and play the rest, you can sing one of the voices while playing the entire piece. The time spent on this work will certainly have a positive impact on the quality of performance.

In addition, when performing polyphony, special control over the work of the fingers of the right hand is important: it is necessary to develop the ability to take a brighter or quieter sound with any of the fingers. (In the manual, the author offers exercises to develop such a skill.)

IN textbook E.baev has a section called “Combined Types of Technique.” The studies included in it contain a wide variety of types of technique in their combination. The degree of complexity of these sketches also varies; many require a very serious level from the performers - both technical and artistic.

The “Gypsy” etude is based on the use of such types of guitar techniques as direct, reverse and mixed arpeggios; technical legato; chord technique; polyphony. E. Baev’s etude “Gypsy Girl” will be performed by a 4th grade student. Uzhakhova Tamara.
Conclusion

In conclusion, I would like to add that the sketches presented to your attention are only a small part of the repertoire from E. Baev’s “School”, because within the time allotted for the seminar it is impossible to cover all one hundred works of the textbook. But, studying each of the speeches made today, the students worked with great enthusiasm and on a high emotional level. With this approach to seemingly “dry” instructional material, the process of mastering technical skills becomes more creative, fruitful and effective. We can safely say that the use of etudes - plays by composer E. Baev in working with students contributes to the formation of the foundations of a performing school for student guitarists. After all, his methodological system is distinguished by its convenience, accessibility and consistency in the presentation of material. In addition, it specifically highlights some issues that were not given due attention in other manuals for guitarists, in particular, the system of acquiring guitar playing skills and some principles of right-hand fingering. And since in the light modern trends guitar technique great attention is given to the factor of more intense movement of the left hand along the bar, then, accordingly, the load on right hand- she is required to have great precision and detail in her work. It also offers technical material for mastering non-traditional types of technique, in which the e-finger is activated when performing arpeggios and chords; The unconventional p-finger technique (“shuttle method”) is also covered.

In conclusion, it should be noted that in Russia the popularity of the six-string guitar is constantly growing. Guitar pedagogy is changing and actively developing, new methods of teaching the instrument are emerging. “School” of E. Baev occupies an important place in today’s guitar pedagogical system both in our country and abroad.

The composer's technical repertoire for children and youth helps teachers of children's music schools and children's art schools in their noble pedagogical work and is able to make it easier for students to master the guitar, while consistently introducing children to good modern guitar music. The work can be recommended as methodological manual for teachers of children's music schools and children's art schools.

Bibliography

1. Aleksandrova M. The ABC of a guitarist. – M., 2010

2. Baev E. School of guitar technology. – M., 2011

3. Borisevich. D. Optimization of the musical and technical development of guitar students at the initial stage of training. – M., 2010

4. Gitman.A. Initial training on a six-string guitar. – M., 1995

5. Domogatsky V. Seven steps of mastery. – M., 2004

6. Kuznetsov V. How to teach to play the guitar. – M., 2010

7. Mikhailenko N. Methods of teaching playing the six-string guitar. – Kyiv, 2003

8. Puhol E. School of playing the six-string guitar. – M., 1992

9. Shumev L. Guitarist technique. – M., 2012

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MBOU DO "YAMAL CHILDREN'S MUSIC SCHOOL"

MYSKAMENSKY BRANCH

Ermolovich L.G.

Methodical message

“On the problem of learning to play the guitar at an early age”

We often come across the opinion that it is permissible to start playing guitar no earlier than 6-7 years old. However, teachers - violinists and pianists - begin to work with children aged 4-5 years. Although classes with children have the same aspects for teachers of various instruments: selection of musical material, methods of conducting lessons, an instrument that allows you to complete the tasks assigned to the child without excessive effort. If all these aspects are solvable, we can say with confidence that learning to play the guitar should begin as early as possible.

Of course, you need to take into account age-related characteristics: frequently switching attention, easy fatigue, lack of musical skills, etc.

To achieve the best results in teaching a beginner, it is necessary to interest him in the work, maintain consistency in learning each new skill, and achieve meaningful assimilation.

In every special case The character of the child must be taken into account. The characteristics of the psychology of children are individual, but they all have one thing in common: at the age of 4-5 years, the duration of attention, concentration on one object is 5-6 minutes. After which susceptibility sharply decreases. Therefore, during classes, it is advisable to change the types of work with the student every 5-6 minutes.

It is advisable to limit the duration of the lesson to 20-25 minutes, and increase the number of lessons per week to 3-4 times.

The learning process as a whole should proceed from general ideas to narrowing and deepening work on particulars. The broader the general educational foundation laid in childhood, the more fruitful the work in a special, narrowly professional field subsequently goes. The wider the base of the pyramid, the higher its top can be. The foundation is, first of all, developed intelligence, the ability to build multi-component logical circuits.

At the stage of primary general musical education, a child should learn to select by ear, sing in a choir, listen to music with subsequent commentary, watch films, plays, etc.

But how, in what form, to conduct classes with children 5-7 years old? Outstanding teacher Anton Semenovich Makarenko in one of his works suggests: “ There is an important method - play. I think it is somewhat erroneous to consider play as one of the child's activities. In childhood, play is the norm, and a child should always play, even when doing serious business... A child has a passion for play, and it must be satisfied. Necessary Not just give him time to play, but you need to saturate his whole life with this game" Not the opposition of play to work, but their synthesis! This is the essence game method. Speaking about the unifying principles of work and play, A.S. Makarenko noted: “In every good game there is, first of all, a working effort and an effort of thought... A game without effort, without active work“It’s always a bad game.”

Play brings joy to the child. It will be the joy of creativity, or the joy of victory, or aesthetic joy - the joy of quality. Good work brings the same joy, and there is complete similarity here.

Some people think that work is different from play in that work has responsibility, but play does not. This is not correct: in the game there is the same responsibility as in work - of course, in playing well and correctly.

The term “correct, good game” must be understood as a game that educates and develops.

Mark Twain, for his part, noted no less accurately: “Work is something that a person is obliged to do, but play is something that he is not obliged to do.”

Imperative pedagogy involves direct, immediate means of influencing the student: exactingness and strict control. Currently, in the practice of education there is such an overabundance of straightforward influences that we already read about the consequences of this from a psychotherapist. Thus, V. Levi writes: “ Over the years of medical practice, I have come to know more than one hundred people, small and large, who

• They don't say hello
• Don't wash your face
• Don't brush your teeth
• They don't read books
• Do not engage in (sports, music, manual labor, language..., self-improvement inclusive)
• Does not work
• Don't get married
• No treatment
• Etc. and so on.

Only because they were encouraged to do so!

Isn't this always the case? Always, but often, and too often to be called an accident.”

Direct means of influence include:

• Order
• Requirement
• Note
• Persuasion
• Reminder
• Advice
• Clue
• Conclusion of agreements
• Treaties
• Etc..

Play refers to an indirect method of influence, when the child does not feel like an object of influence from an adult, when he is a full-fledged subject of activity. Therefore, during the game, children themselves strive to overcome difficulties, set problems and solve them. A game is a means by which education turns into self-education, of course, if it is a “correct” and “good” game. ».

It is in play that the relationship between an adult and a child is built. These relationships underlie the personal approach, when the teacher is focused on the child’s personality as a whole, and not just on his functions as a student.

The game is not entertainment, but special method involving children in creative activities, a method of stimulating their activity. Role-playing, like any indirect method, is more difficult to use than direct influence. It’s much easier to simply tell children: “Let’s do it this way!”, “Repeat after me!” Role-playing requires certain pedagogical efforts and pedagogical skill.

Today, when role-playing games are widely used by economists, sociologists, and social psychologists in purely “adult” spheres, the call is increasingly heard at pedagogical conferences: « Bring the game back to school!».

People who went through childhood role-playing games, are more prepared for creative activities .

Pedagogy - This “art is the most extensive, complex, most necessary of all arts"- said K. Ushinsky, - this « data-driven art sciences" Musical pedagogy is doubly art, doubly creativity,