The whole solfeggio theory for music school. A textbook on the Solfeggio course for the first and second grades of children's music schools ⇒ Sergei Baryshnikov Library ۩

Those who decide to learn at least something serious about music cannot avoid getting acquainted with various musical notations. From this article you will learn how to learn to read notes without memorizing them, but only by understanding the logical principles on which musical notation is based.

What is included in the concept of musical notation? This is all that relates, one way or another, to writing and reading notes; This is a unique language that is understandable to all musicians in Europe and America. As you know, every musical sound is determined by 4 physical properties: pitch, duration, volume and timbre(coloring). And with the help of musical notation, the musician receives information about all these four properties of the sound that he is going to sing or play. musical instrument.

I propose to understand how each of the properties of musical sound is displayed in musical notation.

Pitch

Whole row musical sounds built in unified system – scale, that is, a series in which all sounds follow each other in order, from the lowest to the highest sounds, or vice versa. The scale is divided into octaves s – segments of a musical scale, each of which contains a set of notes with the same name – do, re, mi, fa, sol, la, si.

Used to write and read notes stave- this is a line for writing notes in the form of five parallel lines (it would be more correct to say - rulers). Any notes of the scale are written on the staff: on the rulers, under the rulers or above them (and, of course, between the rulers with equal success). Rulers are usually numbered from bottom to top:

The notes themselves are indicated by oval-shaped heads. If the main five lines are not enough to record a note, then special additional lines are introduced for them. The higher the note sounds, the higher it is located on the rulers:

An idea of ​​the exact pitch of a sound is given by musical keys, of which the two most familiar to everyone are - violin And bass. Music notation for beginners is based on studying the treble clef in the first octave. They are written like this:

Read about ways to quickly memorize all notes in the article, follow the suggestions there practical exercises and you won’t notice how the problem will disappear by itself.

Note durations

The duration of each note belongs to the area of ​​musical time, which is a continuous movement at the same speed of equal fractions, comparable to the measured beat of the pulse. Usually one such beat is associated with a quarter note. Look at the picture, you will see graphic image notes of different durations and their names:

Of course, music also uses smaller durations. And you already understood that each new, smaller duration is obtained by dividing the whole note by the number 2 to the nth power: 2, 4, 8, 16, 32, etc. Thus, we can divide a whole note not only into 4 quarter notes, but with equal success into 8 eighth notes or 16 sixteenth notes.

Music time very well organized, and in its organization, in addition to shares, larger units participate - so you, that is, segments that contain exactly a given number of parts. Measures are distinguished visually by separating one from another by a vertical bar line. The number of beats in measures, and the duration of each of them is reflected in notes using a numerical size.

Both sizes, durations, and beats are closely related to such an area in music as rhythm. Music notation for beginners usually operates the most simple sizes, for example, 2/4, 3/4, etc. See how they can be organized musical rhythm.

Volume

How to play this or that motive - loudly or quietly - is also indicated in the notes. Everything is simple here. Here are the icons you will see:

Timbre

The timbre of sounds is the area that musical notation for beginners it is almost completely unaffected. However, as a rule, the notes have different instructions on this matter. The simplest thing is the name of the instrument or voice for which it is intended. this essay. The most difficult part is related to playing technique (for example, turning the pedals on and off on a piano) or with techniques for producing sound (for example, harmonics on a violin).

We should stop here: on the one hand, you have already learned a lot about what can be read in sheet music, on the other hand, there is still a lot to learn. Follow the updates on the website. If you liked this material, recommend it to your friends using the buttons at the bottom of the page.

Tutorial

SOLFEGIO

ForI - IIChildren's Music School classes

Natalya Davidovna Baeva Tatyana Aleksandrovna Zebryak

Editor V.M. Grigorenko Artist A.P. Yanushkevich

License for publishing activities of the Ministry Russian Federation for Press, Television and Radio Broadcasting and Mass Communications, ID No. 04268 dated March 15, 2001

Signed for publication on 03/01/13. Format 60 x90/8. Offset paper. Offset printing. Pech.l. 10.0. Cond.bake.l. 10.0. Circulation 5000. Order 125 Kifara Publishing House LLC, 123100, Moscow, PO Box 4.

Printed from ready-made transparencies in the printing house of the Patriarchal Publishing and Printing Center in Sergiev Posad t./fax 721-26-45

Baeva N.D., 2013 Zebryak T.A., 2013 "Kifara Publishing House", 2014

ISMN 979-0-706363-00-4

FROM THE COMPILERS

The proposed manual on the solfeggio course for the first and second grades of children's music schools is compiled on the basis of the current program.

The material was selected taking into account the characteristics of the children's vocal apparatus and the sequence of development musical ear, rhythm, range of the child's voice, breathing and is located in the volume of the first - second grades according to the requirements of the teaching methodology.

At the beginning of the manual there is an introductory section designed for the preliminary development of vocal-intonation and metrical skills. This section is built on short chants in the octave range. The intonation structure of the songs is close to the folk style, which prepares students to perceive the modal features of folk music in the future.

The authors note Special attention on the development of metrhythm in Solfeggio. Straight lines in the timing circuit onend with dots indicating the fixation of each beat of the measure. Feeling the edges of the beats, the skill of gravity during a strong beat (especially in the 1st beat) and necessary for musical development For students, coordination of movements is developed by matching the beginning of each beat in singing with the fixation in timing.

Mandatory admission singing development meters—pulsation is given as eighths in the sectionsecond grade (the pulse of the quarter should be systematically developed in classes with No. 1).

All Solfeggio material is designed to be performed unaccompanied. According to the established tradition of Russian solfegists, significant attention in the manual is paid to the key of C major, in which, in order to develop a non-tempered tuning in students, it is necessary to begin developing the skills of a high singing position from the first numbers.

The feeling of progressive movement in the key of C major is reinforced when studying different rhythms in the sections “Pauses”, “Beat” and “Eighths”.

The study of leaps in melodic movement should begin with the development in students of a sense of stable sounds of the mode - first of all I and V steps, as the most easily intoned, and then more difficult III steps in combination with I and V steps. Simultaneously with working on the intonation of individual stable steps, it is necessary to sing the entire triad as a tuning in the key of C major.

After mastering stable sounds, sections related to the intonation of unstable sounds are given: singing the steps of a major triad, introductory sounds.

The semitone and whole tone are studied on the basis of the major diatonic scale. It is possible to begin conscious intonation of semitones (both 1/4 and 1/8 tones) in the section on the structure of the C major scale, given according to tetrachords with a scheme of internal alternation of tones and semitones.

The next section introduces students to a new key - D major, which is the most convenient for singing in tessitura terms.

The passed tonalities are fixed on other metric material (size).

The keys G major and F major are worked out in the same order as C major. Before studying new key its scale, tonic triad and introductory sounds are written out. In addition, there are a number of exercises in which all the difficulties encountered in the melodies of this section are mastered.

The A minor section includes a sequential passage of two types of minor - natural and harmonic. Taking into account the tessitura capabilities of the voices of children aged 8-9 years, the authors almost do not use the E sound of the second octave in A minor, since it is difficult to intonate.

The first sound of the A minor scale - A of the small octave - is also difficult for children of this age, so the authors recommend starting to sing the first tetrachord of the A minor scale with A of the first octave, and the second tetrachord of the scale with E of the first octave:

Using the same technique, it is suggested to sing the G major and F major scales.

Next, new rhythmic figures are worked out: a quarter with a dot and an eighth, four sixteenths. First, examples are given with sixteenth notes on the weak beat, then on the strong beat. As work experience shows, such a sequence contributes to the successful development of rhythm.

The next section is about intervals. They are arranged in this order: prima, second, third, fourth, fifth, octave. Their study is connected with previously covered topics: stepwise movement and jumps from the sounds of the tonic triad.

In particular:

A second is thought of as incremental movement;

Third- like movement along the sounds of a triad;

Quart- like a jump from the V stage to the Vlll (l) stage;

Quint- like a jump from stage I to stage V;

Octave- like a jump from stage I to stage Vlll (l) or from stage V to stage V.

At the end of the second grade there is a section “Canons” as preparation for the development of polyphony.

The peculiarity of this manual is that it provides complete freedom in choosing the order of using numbers. Solfeggio for primary classes children's music schools should be used both during classes at school and when working independently at home. It is recommended that the melodies learned by the children (at the teacher’s choice) be written down from memory. This form of musical dictation is advisable especially in the first stages of musical training.

Natalya Davidovna Baeva, Tatyana Aleksandrovna Zebryak

Solfege questions for first grade:

First test class

1. Solfeggio is an activity that promotes the development of an ear for music and the skills of singing from notes.

2.Stave - five horizontal lines on which notes are placed

3.Note - a sign for recording the pitch and duration of a sound

4. NOTE durations:- whole, - half, - quarter, - eighth

5. Key - a sign that determines the place of a sound on the staff

6. - a sign indicating that the note “sol” of 1 octave is on the second line of the staff

7.Bar line - a vertical line separating bars

8. - distance from one bar line to another

10.Phrase - dividing the melody into parts

11. Meter - alternating strong and weak beats

12. - number of beats in a measure.

13. Two-beat size (2/4) - a strong beat, alternating with one weak beat

14. Triple beat (3/4) - a strong beat alternates with two weak beats

15. Quadruple time signature (4/4) - the strong beat alternates with the stirrup and weak beats

16. Reprise - a sign of repetition

17. - sign of silence

18. - not a full beat

19. Gamma - sounds arranged in order up or down from tonic to tonic.

20.Step - ordinal designation of mode sounds in Roman numerals

21.Tonic - the first degree of the mode

22. Triad - a chord of three sounds

23. Tonic triad - a chord of 3 stable sounds

24.Chord - consonance of three or more sounds

25.Stable stages: I, III, V

26.Unstable stages: II, IV, VI, VII

27. Resolution - transition of unstable sound to stable: II → I, IV→ III, VI→ V, VII→VI

28.Grouping - distribution of durations per measure

30.Forte - loud,

31. Piano - quiet

32.Metso forte - not very loud

33.Metso piano - not very quiet

34.Pianissimo - very quiet

35.Fortissimo - very loud

:

Lines

Key "salt"

The center of the spiral defines the line or space on which the G note of the first octave (approximately 392 Hz) is placed. In the picture, the key places the G note of the first octave on the second line from the bottom. A clef placed in this way is called a treble clef and is the most commonly used clef in modern notation.

Music-Cclef.svg Key "before"

This key indicates the line (or less often the space) where the C note of the first octave (approximately 262 Hz) is located. In the picture, the key places the C note of the first octave on the midline. This clef is called an alto clef.

Music-Fclef.svg Key "fa"

This key determines the position of the F note of the minor octave (approximately 175 Hz). In the figure, the note “F” of the small octave is placed on the second line from the top. The F key placed in this way is called the bass key.

Music-neutralclef.svgNeutral key

Used to record instruments with an indefinite pitch, such as percussion. Each line or space of the staff in this key represents one instrument from a specific set (for example, a drum kit). The figure shows two possible designs of the neutral key. Also, the neutral key can be placed on a special one-line staff for each noise instrument.

The treble and bass clefs can be used one or two octaves up or down. The number 8 or 15 is written under the key to shift down one or two octaves, respectively. Likewise, the number 8 or 15 above the key moves the range of the key up one or two octaves. Sometimes a shift up one octave is indicated by drawing two note clefs instead of one.

Notes	Musical signs	Pauses
	DurationMusic-quadwholenote.svgLong Or “quadruple”, four whole notes, was used in ancient music. Duration: R×16
	Brevis Or "double". Duration: R×8
	Whole Or semibrevis. Duration: R × 4
	Half or “second”. Duration: R × 2
	Quarter or "fourth". Duration: R
	Eighth Duration: R/2
	Sixteenth Duration: R/4
	Thirty-second Duration: R/8
	Sixty-four Duration: R/16
	128th Duration: R/32
	Two hundred and fifty-sixth Duration: R/64

	Grouped notes The tie (or edge) connects eighth notes and shorter adjacent notes. The number of strings is equal to the number of flags for ungrouped notes.
	Dot A dot placed next to a note or rest symbol increases the duration. One dot increases the duration by half its value, two - by 3/4 of the value, three - by 7/8, etc.
	Orchestral break, dance (multi-bar pause) Indicates a long multi-bar pause. The number at the top indicates the number of bars the performer must skip.
	Triplet Decreases the duration of three marked notes (or rests) so that their total duration matches the duration of two notes.
	Stops ↓
	Backlash pause(backlash-pause) A short pause to breathe in the wind instruments and take the hand off the piano. Usually does not affect the tempo of the piece.
	Caesura A short period of silence of indefinite duration. In an orchestra, the duration is set by the conductor.
	Alteration symbols change the pitch of some notes. Thus, random accident symbols affect all notes on the same line, starting from the accident symbol itself and until the beginning of the next bar or another random accident symbol on the same line.
	Natural(refusal sign) Cancels the effect of any other alteration symbol.
	Flat Lowers the pitch of a note by one semitone.
	Double-flat(double flat) Lowers the pitch of a note by two chromatic semitones.
	Sharp Raises the pitch of a note by one semitone.
	Double-sharp (double sharp) Raises the pitch of a note by two chromatic semitones.
	Signs are used in microtonal music :
	One and a half flat or one and a half flat Lowers the pitch of a note by three-quarters of a tone. The designation consists of a flat sign and a half-flat (the designation may be different, see below the quarter-tone flat).
	Quarter tone sharp or semi sharp Raises the pitch of a note by a quarter tone.
	One and a half sharp or one and a half sharp Raises the pitch of a note by three-quarters of a tone
	Key alteration signs (that is, standing immediately after the key) affect all the notes of the same name on the staff, for example, a key sharp standing on the line with the note “F” will mean that all “F” notes in all measures and octaves during performance must be raised by a semitone. Key accidentals are used to set the key recorded on the music staff. Therefore, key accidental signs can appear only in a certain order, in accordance with the circle of fifths of keys.
	Flat keys The key flats appear in this order when written in treble clef: B, E, A, D, G, C, F.
	Sharp keys This is the order in which key sharps appear when written in treble clef: F, C, G, D, A, E, B.
	Meter A piece is usually divided into fragments of equal duration, called measures. A measure is divided into beats, their number and duration determine the size of the measure, which, in turn, determines the meter of the entire work. The following size designations apply:
	Custom size The number on top (numerator) specifies the number of beats in a bar, and the number on the bottom (denominator) specifies the duration of one beat (for example, the number 4 on the bottom would mean the duration of a beat equal to a quarter note).
	Four quarters Abbreviated designation of size with four quarters. Equivalent to 4/4 notation.
	Alla breve(Alla breve) Designation of dicotyledon size with a share of 1/2. Equivalent to the notation 2/2
	Metronome tempo Placed at the beginning of a recording or when changing the tempo. This designation allows you to set the exact tempo of a piece, determining how many times per minute the specified duration should be met. In the example, the duration of a quarter note is set to 0.5 seconds (that is, 120 quarter notes will sound per minute).
	Combining notes
	League binder Combining note durations. Notes linked by a league are played as one note with a duration equal to the amount durations of the combined notes. The league symbol is also used in cases where it is necessary to write a note with a duration of more than one measure.
	League phrasing Means that two notes must be played in one movement, in one breath, or (for non-bowed and non-wind instruments) combined into one phrase. The difference from the linking league is that the phrasing league combines notes of different pitches.
	Legato Notes marked with this sign must be played together, without gaps between them. Sometimes indistinguishable from phrasing league.
	Glissando Smooth transition from one note to another.
	Ligature Used when recording music for bowed instruments. Shows bow movement.
	Chord,or consonance Multiple notes played simultaneously. A consonance of two notes is called a harmonic interval.
	Arpeggio (Arpeggiato) The notes are played sequentially, one after the other. The total duration of the consonance does not change.
	Dynamics➳ Sound intensity notations specify the relative loudness (intensity) of the sounds being performed.
	Piano pianissimo [Pianissimo] or Pianississimo [Pianississimo] The designation for the quietest possible sound (although in some classical works one can also find the designation “pianissimo pianissimo”).
	Pianissimo [Pianissimo] ➳ Very quiet.
	Piano [Piano]➳ Quiet.
	Mezzo-piano [Mezzo-piano] ➳ Moderately quiet.
	Mezzo-forte [Mezzo-forte] Moderately loud. If there are no dynamics symbols, mezzo forte is considered the default volume.
	Forte [Forte]➳ Loud.
	Fortissimo [Fortissimo] ➳ Very loud.
	Forte fortissimo [Forte fortissimo] or Fortississimo [Fortississimo] Indicates the maximum possible sound volume.
	Sforzando [Sforzando] Sudden sudden increase in volume (literally: “straining”)
	Crescendo or cresc. [Crescendo] Gradual increase in sound intensity.
	Diminuendo or dim. [Diminuendo] (or decrescendo [decrescendo]) Gradual decrease in sound intensity.
Rinf., rf., rfz.	Rinforzando or rf. [Rinforzando]Sudden increase in sound.
	Articulation Symbols of articulation determine the characteristics of the execution of sounds. The same symbol of articulation can mean several different techniques for various musical instruments. The symbol designation can be located either on top of the staff, above the note, or below, below the note.
	Staccato Briefly, abruptly. An indication that a note should be heard shorter than its duration (usually half).
	Staccatissimo Extremely short. A designation that the sound should sound as short as possible, abruptly, with a sharp attack. The duration of the note does not affect this designation; it only indicates the period of time after which the sound of the next sound occurs.
	Accent The note marked with the accent mark should sound slightly louder than the adjacent unaccented notes. In the case of complex meter, a relatively strong note has one sign, and a strong note has two, one under the other.

This manual is the result of many years pedagogical work author with children. It contains didactic material, helping children master mode, rhythm, intervals and other elements musical language V game form. Instead of boring rules - lively, easy-to-remember original songs, in addition to traditional exercises - funny Games. All this makes it possible to interest children in the learning process, to involve them in the world of fantasy and creativity. As a result, students easily master the most complex theoretical concepts, easily mastering the “alphabet of music.” Lessons turn into exciting game, and solfeggio is included in the most favorite subject of the school curriculum!
The manual will be a good help in the work of teachers of general education and music schools, choir studios, and aesthetic education centers.

MASTERING LADA.
Complex abstract names that are incomprehensible to children become closer if the teacher uses associations with phenomena of the surrounding world that are well known to children. When explaining the topic “Tonality,” teachers often draw a parallel with a close-knit family. You can remind children that every family has a head: some have a mother, some have a father or grandfather. In the community of musical sounds, the tonic “rules”. Just as any person, having become an adult, can create his own family and be the head of it, so any sound can build its own “ musical family" - tonality and be the tonic in it. Members of the same family often have a common surname - father or mother. A key is also named after its tonic and mode. In some methodological works in solfeggio, mode and tonality are compared with a special musical country, a modal kingdom where the tonic queen rules (manuals by T. Pervozvanskaya, Zh. Zhuravleva).

In this case, it is right to liken the 1st degree to a “throne”, which can be occupied by any sound, and not just the note “C”, as guys often begin to think. To overcome this problem, it is necessary from the very beginning to record, select and sing melodies that the teacher gives as musical dictations, from different sounds, drawing the children’s attention to the fact that the tonics are changing. When singing dictations in different keys with the steps shown on " Musical ladder"(a manual that will be discussed later), you can ask the students which note has now taken the “throne”, that is, stage I.

CONTENT
From the author
I. Mastering the fret
II. Rhythmic exercises
III. Working on intervals
IV. Games with other elements of musical language
Song about steps
Parallel minor
Stubborn donkey
Consonance and dissonance
Song about intervals
Song about the main steps
Song about the circle of fifths major keys
Sharp and flat
A song about the order of sharps and flats
List of used literature.

Free download e-book in a convenient format, watch and read:
- fileskachat.com, fast and free download.

• Music in kindergarten, Senior group, Dzerzhinskaya I.L., Vetlugina N.A., Komissarova L.N., 1986
• Music in kindergarten, School preparatory group, Dzerzhinskaya I.L., Vetlugina N.A., Komissarova L.N., 1988
• Music in kindergarten, First junior group, Dzerzhinskaya I.L., Vetlugina N.A., Komissarova L.N., 1990
• Preparing pianist students for musical and aesthetic education in art lessons at school, Karkina S.V., 2013

Guide to musical literacy and solfeggio. T. Vakhromeeva

M.: Music, 2004. - 88 p.

The reference book contains basic rules for musical literacy, as well as tables with examples in all keys and brief practical tips. Designed for students of music schools and studios. The directory can also be used by parents who want to help their children master musical literacy and solfeggio.

Format: djvu/zip

Size: 1 .1 4 MB

/Download file

CONTENT
From the author 2
Chapter first. NOTE WRITING. RHYTHM AND METER
§ 1. Names of sounds. Keys 3
§ 2. Signs of alteration. Letter designation sounds 4
§ 3. Rhythm. Duration 5
§ 4. Meter. Size. Measure 6
§5. Basic rules of conducting 7
§ 6. Singing with conducting of some complex rhythms
(practical advice) 8
Chapter two. MODE AND TONALITY
§ 7. Mode and key 10
§8. Gamma 10
§ 9. Tone and semitone 11
§ 10. Sustained sounds 11
§ 11. Unstable sounds 12
§ 12. Main steps 13
§ 13. Major mode 13
§ 14. Minor scale 14
§ 15. Parallel, like, enharmonic equal keys 15
§16. Circle of fifths keys 16
Chapter three. INTERVALS
§ 17. Interval. Step size of intervals 17
§ 18. Tone value of intervals. Full measurement of 18 intervals
§ 19. Construction of echo intervals 19
§ 20. Intervals in key 20
§21. Intervals on degrees of natural major 20
§ 22. Intervals on the degrees of harmonic major 21
§ 23. Intervals on natural minor degrees 22
§ 24. Intervals on the degrees of harmonic and melodic minor 23
§ 25. Inversions of intervals 23
§26. Tritones in keys 24
§27. Construction of tritones from “sound 25”
§28. Characteristic intervals in keys 27
§ 29. Construction characteristic intervals from sound 28
Chapter Four. CHORDS
§ 30. Chord. Triads. Seventh chords 30
§ 31. Inversions of triads 34
§ 32. Main triads. Inversions of main triads 35
§ 33. Chord sequences 37
§ 34. Diminished triad 38
§ 35. Enlarged triad 39
§ 36. Dominant seventh chord 40
§ 37. Inversions of dominant seventh chord 41
§ 38. Construction of the dominant seventh chord and its inversions from sound 42
§ 39. Opening seventh chord 44
§ 40. Construction of introductory seventh chords from sound 45
§ 41. Second degree seventh chord 46
§ 42. Relationship of tonalities 46
§ 43. Chromatic scales 47
§ 44. Dictation. Practical advice 48
Tables 49