How the content of an artistic musical work is revealed. Some aspects of working on a piece of music that help reveal the artistic image
Organization: St. Petersburg State Budgetary Educational Institution of Children's Education "St. Petersburg Children's Art School No. 2"
Locality: St. Petersburg
1.1 Positioning of hands and body when playing the snare drum. Beginning Lessons games.
The semantic meaning of the term “production” is associated with the process of rational adaptation of the motor apparatus to the instrument, taking into account the anatomical and physiological characteristics of the player.
Currently, two main types of snare drum performance are used in world practice:
1) traditional, originating from military bands. Characteristic feature This production is a specific position of the left hand associated with the tilt of the snare drum;
2) parallel, which has become widespread in our time. A characteristic feature of this method of playing is the principle of holding the sticks the same (parallel) with both the right hand and the left hand.
Parallel staging has a number of advantages over traditional staging. Firstly, it unifies the method of sound production at pitch percussion instruments, (bells, xylophone, marimba, vibraphone, timpani). Secondly, with the intensive use of pop-jazz performance in practice last decades new percussion instruments (various drums, tom-toms, roto-tom bongos), parallel positioning of the hands is the most effective.
Playing a snare drum for a long time is tiring for the ear, so for daily exercise it is necessary to have a so-called “deaf drum” that produces weak, muffled sounds.
You should practice while sitting. The silent drum should be located in front of the player on a stand at knee level. You need to sit straight, shoulders free. In educational practice, it is recommended to practice the dead drum not only while sitting, but also while standing. To do this, you should raise the instrument to a level so that the hand movements are the same as when playing while sitting.
Let's imagine that the drumstick is an extension of your hand. It should create a straight line with the forearm (arm from hand to elbow). Both arms are bent at the elbows and the hands are separated from the body by the width of the palm. Mentally divide the stick into three parts. You need to hold it by the third part (8 - 9 cm from the end).
The stick should pass between the second and third phalanges index finger and between the two halves of the palm. The index finger clasps the stick with the second and third phalanges, and the middle, ring and little fingers hold it only with the pads of their fingers. The thumb and index fingers clearly fix the stick in the hand. In this case, the thumb remains motionless and only holds the stick. The stick moves due to the wrist movements of the hand and fingers (index, middle, ring and little fingers).
The hand should be in a position in which the greatest amplitude is achieved (in given value This refers to the length of the trajectory of movement) of movements towards the musical instrument.
At proper game fingers are in constant contact with the stick. They push it towards the palm and accompany the stick back (away from the palm). It is necessary to achieve clear, natural movements of the hand and fingers, as well as the drum sticks themselves - the performer must be comfortable holding the stick. After hitting the instrument, the stick bounces off by inertia. Using the force of inertia, the fingers should return the stick to its original position.
It is important to ensure that the body is relaxed and movements are free.
Setting up the shot
To develop a clear tempo, meter and rhythm in the student, it is recommended to conduct classes with a metronome.
Almost all techniques for playing percussion instruments are based on various combinations three basic exercises:
1. Single strikes
2. Double strikes
3. Grace notes
It is quite obvious that all subsequent playing of percussion instruments will depend on the mastery of these three basic elements. Therefore, despite the apparent simplicity of the exercises, the student will need painstaking and lengthy work to achieve high performance technique.
For classes you will need drumsticks and a snare drum (or a drum simulator - a simulator).
You need to grab the drumstick with your thumb and forefinger. Thanks to this grip (this grip is called a “lock”), the stick is held in the hand. The “lock” conditionally divides the stick into two parts. Due to the movements of the fingers, one part of it rushes down and the other – up.
Set the stick in motion - hit the instrument (simulator) with it. You need to perform single strikes slowly, try to ensure that all four fingers move at the same time and each of them works with equal force.
You can try playing with a larger amplitude. As speed increases, the amplitude usually decreases.
The tip of the stick (head) must be hit at the same imaginary point on the simulator, and not jump across the entire area. Each blow must be distinct.
Now you need to take the stick in the other hand and perform single strikes, following the same rules.
If the student is right-handed (left-handed), it is likely that the left (right) hand will have to be worked on longer than the right (left) hand. You can try to play with both hands at the same time, copying the movements of the hand that plays better.
Drawing a conclusion, we emphasize that in a uniform alternation of blows it is important to balance the strength of the blows of the right and left hands. At the initial stage of learning, whole and half notes should be played not with a tremolo technique, as such durations are usually played on a snare drum, but with single strokes, so that it is more convenient to monitor the correct movements of the hand and to learn the correct setting.
In order to ensure uniform development of both hands, it is recommended to alternate fingering options: (as suggested in the Reader for xylophone and snare drum by T. Egorova and V. Shteiman for grades 1-3 of children's music school; and in the school of playing percussion instruments by K. M. Kupinsky) first play with the upper fingering, and when repeating, use the lower fingering. It is also useful to play each exercise in different nuances, for example, for the first timeforte, secondpiano. For this reason, dynamic designations are not included in the exercises.
1.2 Positioning of hands and body when playing keyboard percussion instruments. Initial lessons of the game.
Play on xylophone mainly with two sticks, but when presenting a musical text in three or four voices, respectively, three or four sticks are used simultaneously, placing them between the fingers, two sticks in each hand.
The main position is in the center, opposite the plate before second octave. The performer's body is slightly tilted forward, his legs are slightly apart, while right leg a quarter step ahead of the left. The movement of the performer behind the instrument by half a step or a step to the left or right should anticipate
moving the hands, thereby preparing a comfortable position for the hands in any register of the instrument.
The xylophone performer holds the stick in the first third of its part from the end, squeezing the stick with the thumb, index and partly the middle finger of a free, slightly lowered hand. At the same time, the hand faces downwards, the fourth and fifth fingers lightly cover the stick, holding it. During the strike, the fingers, loosely encircling the stick, slightly “knock” it from below, helping the movement of the hand.
The heads of the sticks, regardless of the register and direction of hand movement, must fall into the center of the records. The auxiliary work of the fingers is especially important when small equipment playing the xylophone, when the amplitude of the brush stroke is almost absent.
The sound on a xylophone, produced by hitting the sticks on the record, is short, instantly fading. To obtain the length of the sound of a note or an entire phrase, the technique is used tremolo. Other touches often used when playing the xylophone include legato, staccato, tenuto, portato, soft accent, hard accent, etc.
Setting up the shot
To acquire the skill of hitting correctly, accompanied by a clear, full, distinct sound, careful, painstaking preparation is required both on the instrument itself and on the training, dull drum - the training cushion.
The student’s primary task is to achieve a full-bodied, biting and sharp blow with a clearly fixed, vertical fall of the stick to the middle of the plate. In cases of fingering difficulties, as an exception, the extreme parts of the records, the sound of which is less rich in overtones, are used for striking.
Impact points that are located above the hole in the tie-cord plate should be avoided, as they are devoid of sound vibration.
The swing of the hand and forearm during impact should be free, the amplitude corresponding to the force and nature of the blow. The feeling of tight contact of the head of the stick with the xylophone plate at the moment of impact should be clearly recorded in the movements of the hand and fingers.
In the initial exercises, it is necessary to monitor the correctness of the strike and the amplitude of the swing; it is necessary to play with a sweeping, full sound, freely raising the stick no earlier than an eighth before the strike.
For confident, free and complete performance a necessary condition This is precisely the comfortable, natural distribution of hands during the game. But it is not always possible to maintain this natural convenience. Thus, especially when performing scales, arpeggios and various passages, there are less convenient techniques, insufficient, however, mastery of which significantly reduces technical capabilities performer. This - cross blow, (through the hand), and double blow, (two blows in a row with one hand). When performing double notes, that is, intervals and consonances, numerous blows in a row with the same hand are absolutely inevitable. To master and refine these techniques, systematic, daily training over a long period of time is required.
On bells They play sitting and standing, the body is not tense, almost motionless. The lower registers of the instrument keyboard are located at left hand performer.
A good and clear sound is produced by striking the center of the record with a hammer. You should avoid hitting the edges of the records, as you may hit the adjacent record, and the sound quality will be lower.
The blows are made by moving the hand. The hammers are held equally by both the right and left hands, straight in front of you and parallel to one another. The hammers lie on the first joint of the index finger and on the second joint of the middle finger, which lightly covers the handle from below. Thumb lies on top, approximately 10cm from its end. Double notes, glissando, short grace note, tremolo technique, trill. – strokes often used when playing bells.
Thus, it must be remembered that only systematic, daily lessons can prepare a student to overcome the technical difficulties that he will have to encounter in the process of performing activities.
It should not be forgotten that in addition to developed sense rhythm, subtle musical ear and good memory - qualities necessary for every musician - an essential prerequisite for a student of percussion instruments is the presence of good physical characteristics.
BIBLIOGRAPHY
- Egorova T., Shteiman V. Rhythmic exercises for snare drum – M.: Muzyka 1994. – 39 p.
- Zakiyan H. School of playing the snare drum - Yerevan: 1986. -184 p.
- Kupinsky K. School of playing percussion instruments - M.: Muzgiz 1957. - 200 p.
- Kuzmin Yu. School of playing percussion instruments Part 1 - M.: Military Faculty 1965. - 113 p.
- Razumov A. Guidelines for teachers of children's music school - Khabarovsk: 2012. - 106 p.
- Ralo A. N. Theoretical basis playing high-pitched percussion instruments Monograph - Astrakhan: Publishing house Astrakhan. state Conservatory 2002. – 126 p.
- Ralo A. N. Some aspects of the theory of performance on high-pitched percussion instruments Dissertation - Rostov-on-Don.: Publishing house Rostov. state Conservatory 1996. – 150 p.
- Snegirev V. School of playing the double-row xylophone (marimba) - M.: Muzyka 1983. - 126 p.
Musical xylophone: what is it and how does it sound?
A xylophone is a musical instrument. Its feature is the high-pitched sound reproduction. The instrument itself consists of a long row of rectangular strips of wood (metal). The structure of the musical band starts from the largest and ends with the smallest with the highest sound. The instrument comes with a rounded stick with a metal head. By hitting the blocks with it, you can make different melodic sounds.
What does a xylophone sound like?
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Schemes of children's songs for xylophone
Also on our portal there is sheet music and diagrams for playing children's songs for piano. Some patterns for playing the piano are practically no different from patterns for playing the xylophone, so you can safely take the patterns from this section and play for fun. The only thing is that you need to choose songs that use the same number of “white piano keys and xylophone plates.” But, unfortunately, there are no analogues of black keys for the xylophone, so it is better to choose songs that use only white keys.
Song outline examples:
Here, the white keys correspond to the plates of the xylophone, and there are no black keys on the xylophone at all. The longer the xylophone, the more melodies you can play from this section.
Types of tools
The xylophone comes in two-row and four-row types. You can learn to play the xylophone with two metal sticks, keeping a distance of 5 cm from the plate. A two-row xylophone involves playing with several sticks that have different diameters. Such reproduction requires alternating them between the fingers.
Playing the xylophone requires quick action, as the sound of the instrument fades quickly. The tool is more suitable for creating such musical melodies, like a passage, arpeggio. Xylophone notes consist of a treble clef, where the part is recorded in a low octave, which is several times lower than the true sound. The score is notated under the bells part.
The advantage of the instrument is its mobility combined with an unusually beautiful sound. Thanks to this property, the instrument has gained popularity and demand in all corners of the world.
How to play the xylophone?
To create melodic sounds, take a hammer. The edge of the striker should touch the index finger so that the pad of the finger lies on top. This position of the hands will help fix the tip music stick without much pressure. The musician's wrist should be relaxed. If force is applied to the hammer, the sound will acquire the wrong tone. At the beginning of training, you need to play notes with one hand and one stick. As you memorize the melody or note order, you need to repeat the same action with your second hand, and then try to play them with both hands. To better remember the material, you need to memorize the following position: in major, the note “C” is taken with the left hand, “D” with the right, “E” with the left.
The xylophone stave can be purchased ready-made; a music book for beginners used in school is also suitable for learning. musical arts. The purpose of the training course is to learn to recognize notes for a xylophone, their location and duration of sound. A whole note is indicated by a white circle, half by a circle with a stick, a quarter by a dark circle and a stick, the 8th note is marked with a tick, the 16th with two checkmarks.
The fractional degree of each bar must be identical to the size of the staff. For practical lesson you should learn and perform a simple composition. For this purpose, you need to take sound rhymes with the hand that is comfortable. You can use special values in notes. The game should begin with a slow sound, during which it is important to accurately hit the center of the board with a hammer. As you memorize the notes, the tempo needs to increase.
In the future, you should learn to play any notes, making sure to hit the middle of the instrument without missing a beat. Actions should be sliding, without straining your hands and fingers. These skills will be useful in works with complex staging, in which there is a high note sound.
How to choose the right tool?
When selecting a tool, you should pay attention to its appearance. All boards, if they are plain, must be solid with smooth surface. If they have different colour, it is worth looking at how the paint has applied: if it is applied evenly, the xylophone is suitable for use.
To teach children, it is better to purchase a xylophone with notes written on it. If this is not available, the notes are determined by ear. A children's xylophone has a design tuned to sound in “C major”, but “A minor” cannot be played on such an instrument.
A professional xylophone is tuned chromatically, where each of the planks is played in a semitone. You can start playing the children's xylophone at the age of 5-6 years. In the future, this musical instrument is used for solo performances, playing in an orchestra or on the stage.
Natalia Zamkovaya
Learning to play the metallophone color scheme
Dalnegorsk 2012
Page no.:
1. Explanatory note 2 – 3
2. Long-term plan 4 - 5
3. Demo benefits: 6 - 11
Musical ladder 7
Staff 8
Flannelograph and notes 9
Album "We play by notes" 10
“Where does the note live?” 11
4. Musical and didactic games: 12 - 21
"Rhythmic chains" 1, 2, 3 13 - 15
« Cheerful notes» 16
"Find out the song and play" 17
"Rolling the Cylinder" 18
"Put on the dress note" 19
"Mute Keyboard" 20
"Musical Lotto" 21
5. Musical fairy tale "Birthday notes" 22 - 24
System musical education in kindergartens involves not only listening to musical works, teaching them to sing, movement in musical games and dances, but also learning to play on children's musical instruments. Learning to play on children's musical instruments, children discover the world of musical sounds and distinguish the beauty of the sounds of various instruments. The quality of their singing improves (they sing cleaner, have more musically rhythmic movements (reproduce the rhythm more clearly).
I introduce children to many musical instruments during music lessons, taking into account age characteristics preschoolers. These are mainly shock and noise musical tools: tambourines, rattles, sticks, bells, rattles, spoons, etc.
Beginning with junior group, I teach you to play metallophone individual sounds, small chants on one sound. This does not cause difficulty for children, since I carry out the work consistently, systematically. But when children grow up, it becomes more complicated. task: we need to teach them to play metallophone more developed melodies. To move on to learning melodies, children must be able to consciously navigate in the direction of the melody (hear where it goes moves: up, down, through sound, or the same sounds are repeated). They must distinguish between long and short sounds, distinguish by pitch, and feel the completeness of the melody - the tonic. This preparatory period, with certain system, children learn easily, but when it was necessary to directly play the melody on metallophone, children are experiencing difficulties.
Behind long years work musical director, I, teaching children to play the metallophone, used a lot mov: determined how many times which word should be played on a particular tube metallophone, learned with the children the arrangement of notes on metallophone and taught the song with notes, that is, they solfed the song. A variety of techniques did not give the desired result, and I had to work with each child individually. This work took a lot of time. All this led to thoughts: we need to introduce children to the elements musical notation so that they can independently read music notation and play the metallophone.
For this purpose I suggest using color scheme. Each tube (plate) must have a certain color. For example: DO – white, RE – blue, MI – green, FA – purple, SALT – red, LA – yellow, SI – orange. You can use another color scheme. The main condition is that each note must have only its own color. My goal is not to teach children to write notes, it is important that they know their name and location on the staff, and can find them on metallophone. In album "We play by notes" all the songs were written too colored notes.
In remembering colors A certain note and writing it on the staff does not cause any difficulties for children. Practice has shown that children who know color scheme of notes, independently play simple songs from notes. This eliminated the need to work with each child individually. In 2-3 lessons, children fully master playing a given melody individually. It takes more time to learn to play in an ensemble.
For learning to play the glockenspiel According to my system, I organized a circle "Happy notes". I conduct the class once a week, without contradicting the requirements of the san pin, without sacrificing the walk. The club is attended by 9 children who wanted to learn how to play metallophone. To make the lesson effective and for the children to perceive difficult material with interest, I made demonstration benefits:
Music staves for the teacher, and for every child.
Musical ladder with playing records.
Flannelograph with staff and notes in eighth and quarter notes.
Album "We play by notes"
Folding cards “Where does the note live?”.
Helped to assimilate a number of musical and didactic games:
"Merry notes"
"Find out the song"
"Cube"
"Put on the dress note"
"Rhythmic chains" 1, 2, 3.
"Mute Keyboard"
"Musical Lotto"
The process of unlearning for children has become conscious. Color scheme of notes in the album"We play by notes" and on played on the metallophone important role , connecting visual perception with pitch representation. In progress learning to play metallofo- auditory ideas, senses of rhythm, timbre, dynamics are not well formed, independence in the child’s actions, his attention and organization develop. Level musical development studying in a circle "Merry notes", has increased significantly. The children's attention and creative initiative became more active, their memory improved, their singing became clearer, and their rhythmic ear, everyone learned to play the notes.
mug "Merry notes" groups "Gnomes"
(preparatory group 2011 - 2012 academic year)
theory Development of intonation, rhythmic, pitch hearing. Game on metallofo-not
Music playing, children's creativity
1. Writing long and short sounds. D/game "Merry notes"
2. Note "salt" (writing, color) 1. Laying out the rhythm. rice. given by the teacher.
2. Song “We are coming with flags” E. Tilicheeva - lay out the rhythm. rice. notes "salt", singing with words and solfeggio 1. Playing notes "salt" a given rhythmic pattern.
2. Playing a note "salt" songs "We are coming with flags" E. Tilicheeva.
1. Sing and play your name. (top to bottom, bottom to top, one sound)
November 1. Sheet music "F", "mi" (writing, color)
2. Compare notes by pitch "salt", "F" And "mi" 1. Song "Brave Pilot" E. Tilicheeva – lay out the rhythm. rice. notes "F"("mi") singing with words and solfeggio.
2. "Rain" R. n. n. - singing with words and solfeggio notes "salt" And "F" 1. "Brave Pilot" E. Tili-cheeva – playing with singing and solfeggio notes "F" ("mi")
2. "Rain" R. n. p. - a game with singing words and sol-feggio notes "salt" And "F" by album "We play by notes" 1. Compose a march melody on words:
“I have a hat with a star, I am a brave, young soldier” and play a march rhythm.
December 1. Sheet music "re", "before" 1 (writing, color)
1. "Ladder" E. Tilicheeva - from 5 notes - lay out notes on the staff, sing with words, solfeggio.
2. "Little Christmas Tree" M. Kraseva - laying out the melodic line of 1 phrase. 1. Play in an ensemble "Ladder", naming notes and with words.
2. Play the first phrase of the song "Little Christmas Tree" by album "We play by notes". 1."Little Christmas tree"- game on metallophones, etc.. noise instruments.
1. Note "la", "si" -(writing, color)
2. Compare the learned notes by pitch. 1. D/game "Magic hammer dot"
2. D/game "Rhythmic chain" 1. Repetition of all songs learned 1. Compose a lullaby and a dance song with words. Play on metallophone and sing.
1. Note "before" 2 – (writing)
2. Scale – gamma
3. Music. fairy tale "Birthday notes"
1. Lay out the scale with notes and sing solfeggio
2. “Where have you been, Ivanushka?” R. n. p. laying out the melodic line of the 1st phrase 1. Play gamut, naming the notes.
2. Play 1 phrase of the song “Where have you been, Ivanushka?” by album "We play by notes", sing solfeggio and with words. 1. Song « Scales for mom» - ensemble plays metallophones.
2. Song “Where have you been, Ivanushka?” metal backgrounds and spoons, staging.
March 1. D/game “Put on the dress of the note”.
2. D/game "Cube" 1. "Ladder" E. Tilicheeva from 8 notes - sing with words, solfeggio 1. Play your part to the soundtrack
1. Play the album yourself "We play by notes"
1. D/game "Musical Lotto" Repetition
TARGET:
To develop children's pitch hearing, the ability to correlate sounds visually and auditorily.
DESCRIPTION:
The ladder is made of hardboard (size 20 * 27.5 * 8.5 cm.) Steps on a song - records from metallophone. They hang freely on the fishing line and do not touch the walls of the ladder. The sound of the steps corresponds to the scale. Sound is produced by striking the hammer.
APPLICATION:
The child plays two sounds, different in pitch, and sings his name. Talks like him sang: top down, bottom up, in place.
When meeting popevka "Ladder" E. Tilicheeva, the teacher plays it on the musical ladder
Compare notes by pitch.
TARGET:
Familiarize children with the arrangement of notes on a staff.
Sing according to the notes of the song.
DESCRIPTION:
On a rectangular board (size 25 – 100 cm) The stave and treble clef are drawn with paint. A fishing line is stretched across the board along its entire length at an equal distance. two-color buttons - notes. (one side is dark - long sound, and the other side is light - short sound). The buttons move freely along the fishing line, and if necessary, you can turn them with the dark or light side. The same visual aid has been made for each child. (size 20 cm - width, 30 cm - length). Below the drawn staff there is a strip of red colors. It determines the bottom of the board, and the note lives on this strip "before" 1.
APPLICATION:
Post a rhythmic pattern clapping by the teacher
Strengthen children's knowledge of the location of notes on the staff
Lay out the melodic line of the song, sung by the teacher with the name of the notes, that is, solfeggio.
TARGET:
Familiarization with the arrangement of notes on the staff.
Be able to use notes to lay out the rhythmic pattern and melodic line of a song
DESCRIPTION:
Plywood (size 35 cm - width and 100 cm - length) covered with material - flannel. There are two staffs drawn on it. Separately cut from velvet paper long and short sounds (quarter notes and eighth notes).
APPLICATION:
The child places notes on a flannelgraph to obtain a rhythmic pattern for the song.
The teacher calls the note. The called child places the note on the staff in the right place.
TARGET:
Learn to sing simple solfeggio songs and find the blossom the necessary tube on metallophone.
DESCRIPTION:
In the album, the entire spread of the sheet contains colored notes melodic lines of simple songs, chants.
TARGET:
Introduce the name and location of notes on the staff in color scheme.
DESCRIPTION:
For each note there is a card in the form of a book. It is made of two cards (size 12 * 12 cm, which are connected with tape. On one card there is a picture drawn. The first syllable corresponds to the name of the note. On the other card in color scheme a note is depicted on the staff.
APPLICATION:
When you get acquainted with the name, color range and writing notes on a stave.
To secure the name, colors and the location of the note on the staff. The teacher wraps one half of a card with a picture and asks to name the note. To check the answer, the teacher unfolds the card.
Using cards for the teacher to tell fairy tales about notes "Birthday notes".
DESCRIPTION:
Cards with pictures of animals. (size 8 * 24 cm.) Under each animal there are circles of different diameters. a large circle is a long sound, and a small circle is a short sound. Source "This amazing rhythm" I. Kaplunova, I. Novoskoltseva
APPLICATION:
Each child receives a card. Says the name of the animals and claps.
When pronouncing the names of animals, a rhythmic pattern is played on one sound metallophone.
TARGET:
DESCRIPTION:
Cards with different rhythmic patterns were made in two copies. A long stick makes a long sound, and a short stick makes a short sound.
APPLICATION:
Each child receives one card. On command, everyone is looking for their soul mate. Having found the half, the two of them pronounce the rhythmic pattern on the syllables TA and TI.
TARGET:
Fix the name of the notes and where she lives. Sing a chain of notes, play metallophone, observing the rhythmic pattern.
DESCRIPTION:
Each child is given a card (size 6*24cm.). It depicts several notes of different durations. To remember the names of notes, pictures are drawn whose first syllable corresponds to the note. Source « Musical ABC book» E. Tilichkva
APPLICATION:
Each child receives a card. Sings his chain with notes in a given rhythm.
Plays his chain on metallophone.
TARGET:
Strengthen children's knowledge of writing long and short sounds (quarter note and eighth note). To develop the ability to compose rhythmic patterns of songs.
DESCRIPTION:
Rectangular cardboard cards (size 9 * 5 cm.) Quantity is unlimited. They depict a quarter (long sound) or eighth (short sound) notes. Two demo cards (size 11 * 13 cm.).
APPLICATION:
Cards lie on the floor throughout the room. Children move to the music. At the end of the music, the presenter raises the card (says a long sound or a short sound). Children must quickly pick up the corresponding card.
Children are divided into groups. The teacher sings a song, and the children, using cards, lay out a rhythmic pattern. If the group completed the task quickly and correctly, then they won.
TARGET:
Teach children, listening to a song with notes, to find the right card. Play it on metallophone, singing notes and with words.
DESCRIPTION:
The phrase is written in notes on the card. The background of the card suggests the name of the song. Source "Musical ABC Book" E. Tilichkva
APPLICATION:
The teacher shows all the cards, sings with notes (or words) phrase of the song. Children must recognize the song and find the card. Then we all play this song together metallophone.
The teacher claps the rhythmic pattern of the song, and the children recognize and find the card. Everyone claps the rhythmic pattern.
TARGET:
Fix the name and spelling of notes on the stave
DESCRIPTION:
An octagonal cylinder is made from cardboard (size of one side 17 * 4.5 cm.). On each face there is one note in color scheme. A staff and a red line are also drawn. The red line marks the bottom of the cylinder and the note DO1 is written on it.
APPLICATION:
Children sit in a circle and roll the cylinder over each other. A cylinder stops near the child and he names the note located on the top face.
TARGET:
Consolidate children's knowledge color scheme and note writing.
DESCRIPTION:
Two sets of cards according to the number of notes (size 10 * 9 cm.). They are made so that you can insert color insert - dress note (size 12 * 5 cm.).
APPLICATION:
Everyone gets a card with a touch of black colors. We must remember which this note loves the color, take color insert and insert into the card. Thus, the child puts on a note "dress". You can enter an element competitions: Divide into two teams. Whichever team quickly and correctly puts on the note in the dress wins the competition.
TARGET:
Develop intonation and pitch hearing, modal sense.
DESCRIPTION:
A mute keyboard is drawn on a landscape sheet (size 10 * 29 cm) and laminated for rigidity. The names of the notes and the ordinal count of the scale are written on the keys of the keyboard. Each child works individually with their own card.
APPLICATION:
Learn to sing a chain of notes given by the teacher, while touching the silent keyboard with your finger.
TARGET:
Strengthen children's knowledge of writing colorless and colored notes on the staff, as well as the appearance of long and short sounds.
DESCRIPTION:
Ten cards (size 30 * 10 cm.). Each card is divided into five squares. The cell depicts a specific note on the staff, a quarter note or an eighth note, in color scheme. And if you turn the card over, the notes are all shown as one color. For each cell there is a separate lid, which is attached to the card with tape. For 16 small cards (size 10 * 6 cm.) given on the stave color image of a note of a certain duration.
APPLICATION:
Each child takes one card. The presenter shows small cards one by one. Children cover the note shown on their cards. The first one to cover all the notes on his card wins.
The presenter does not show the card, but only voices it. Children must find the note on their cards and cover it with a lid. The first one to cover all the notes on his card wins.
... One day a girl was walking and came across a beautiful house. She knocked and the door was opened for her by the note DO. She lived in this beautiful house. The DO note was saddened. The girl asked her:
Why are you so sad? Maybe I can help you with something?
I have no one to go with to visit my little sister. And I'm afraid to go alone. She lives high in the mountains and the road to her is long and difficult. “It’s my sister’s birthday today and I wanted to bring all the notes to visit so that she could sing all her favorite songs,” answered the sad note.
The girl decided that she needed to help the note DO, so said:
I will go with you to visit and help you invite all the notes to your sister’s birthday.
The DO note was delighted and put on her festive clothes. White dress, and they set off on their way - the path...
As soon as they walked away from the house, they saw a blue river. The river ran and gurgled. The girls listened with a hint of murmur and heard the river sing T:
I re-re-re-re-re-river, I swim wherever I want.
This is where, it turns out, the RE note lived. They invited her to her birthday, and she happily agreed. Note RE washed her face in the river, put on her favorite blue dress and went with the girl and Note Do to visit.
Soon they found themselves in a forest and saw a bear there under a tree. He's all brown, but he's wearing a green vest. He sits under a tree and sings his favorite song%
I'm a mi-mi-mi little darling, I love to sing and play.
The girl was very happy that the MI note was found. And Mishutka happily allowed his favorite note to visit, dressing her in a green dress.
From the forest, a girl with notes came to a clearing. Got thoughtful girl: Where can she find the FA note? But then she noticed that a purple apron-check was hanging on a bush. She put it on and immediately wanted it sing:
I fa-fa-fa-fa apron, beautiful and simple.
The girl realized that a note of FA lived in this apron. Note FA happily agreed to go with everyone to the birthday party and wore her favorite purple dress.
It was quiet in the clearing, grasshoppers were chirping in the grass, tenderly warmed up the sun and from somewhere came a quiet song:
I am salt-salt-salt-salt, I live in the sun.
Then the girl took the red glass and looked through it at the sun. The girl explained why she needed the note SALT. The sun, having dressed her favorite note in a red dress, let her go for a visit.
The girl went further to look for the missing notes, and to make it easier to walk, she sang the notes that came next to her. It turned out to be a ladder that led up: DO, RE, MI, FA, SOL... So they got to the swamp and saw a big yellow flower.
Flower was unusual - he sang. It turns out there was a green frog sitting in it and singing... Senku:
I'm la-la-la frog, I love yellow color.
From this song the girl guessed that she had found the note A. She asked the frog to release her favorite note for her birthday. The frog dressed up the note in yellow dress and gladly let go.
A girl with notes of a mountain rose even higher. I was tired and sat down to rest under a bush. The leaves are rustling, the flowers are fragrant, rocking... Good, warm and light. And the dotted foxes don’t just rustle, they sing a song humming:
I am si-si-si-si lilac, beautiful flowers.
The girl raised her head and saw that she was sitting under the lilac, the very one where the SI note lives. Of course, lilac brought out the SI note for her birthday by dressing her up in an orange dress.
The satisfied girl walked on with notes, and on the top of the mountain everyone saw a beautiful house. A girl knocked on the door. Note DO came out of the house in a festive white dress. She hugged her sister, who wholeheartedly congratulated her on her birthday and introduced her to the guests - multi-colored notes.
The notes lined up in a row and it turned out to be a sound. Everyone became happy and the notes sang their cheerful song DO, RE, MI, FA, SOL, LA, SI, DO...
