Methodical works of the school of playing the guitar. Methodical manual “First steps on a six-string guitar
When we speak, we set ourselves certain tasks: to convince the interlocutor of something, to report something, to ask about something. In order to better convey your thoughts to the listener, you need to take care of the logical expressiveness of speech.
Intonation has always been recognized the most important element oral verbal communication, a means of forming any word and combination of words in a statement, a means of clarifying its communicative meaning and emotionally expressive shades. The components of intonation are melody, phrase stress, tempo, timbre and pause, which, interacting with each other, perform various functions in speech, the most important of which are communicative, semantically distinctive and emotionally expressive (Bondarko L.V., 1991; Zinder L.R. ., 1979; Svetozarova N.D., 1982).
Proper Use intonation in speech allows not only to accurately convey the meaning of the statement, but also to actively influence the listener emotionally and aesthetically. With the help of intonation, the speaker and listener distinguish the utterance and its semantic parts in the flow of speech. They contrast statements according to purpose (question, narrative, expression of will), express and perceive a subjective attitude towards what was said (Bryzgunova E.A., 1963).
The concept of intonation consists of successive changes in pitch (melody), voice strength (sound intensity), intra-phrase pauses (logical and semantic), tempo (accelerated or slow) in the pronunciation of words and phrases, rhythm (combinations of strong and weak, long and short syllables) , timbre (aesthetic coloring) of sound.
Logical expressiveness- the most important condition for any type of speech. This includes the following aspects. Melodics is the alternation of raising and lowering the voice depending on the meaning of the statement (question, statement, exclamation). Each phrase has its own melodic pattern.
Logical stress - highlighting the main meaning of a word in a phrase. Stands out - this means pronounced with greater strength and duration than other words in the sentence. The logical center can be any word in a sentence, depending on what the speaker wants to emphasize.
Logical pause - dividing a phrase into meaningful segments. Each speech beat (syntagma) is separated from the other by stops of varying duration and fullness, which in the texts of the exercises are indicated by symbols that, as a rule, coincide with punctuation marks, namely:
A short pause to take in air - a comma sign< , >;
pause between speech beats - slash sign< / >;
longer pause between sentences - double slash sign< // >;
pause to indicate semantic and plot pieces - the “three slashes” sign< /// >.
It is important not only to understand the meaning of pauses, but, most importantly, to accustom yourself to making actual stops. The rhythm of speech is determined to a large extent by the rhythm of breathing. Respiratory movements are rhythmic, uniform, with the correct alternation of phases of the respiratory cycle in duration and depth. In this case, the inhalation is shorter than the exhalation, which is important for speech and voice formation and speaking itself. Changing the rhythm of breathing entails changes in the rhythm colloquial speech. The rhythm of breathing dictates the limit of possible lengthening of exhalation; this limit is determined by the individual vital capacity of the lungs.
Intellectual correction, the predetermined structure of the utterance as a whole usually does not allow the speaker to break with a breath words and phrases connected by a strong semantic-syntactic connection.
Thus, the rhythm of breathing not on its own, but in interaction with the intellectual factor determines and regulates speech rhythm. Individual fluctuations in natural breathing rhythms in different people determine the variety of rhythms of spoken language.
“Letters, syllables and words,” writes K.S. Stanislavsky, are musical notes in speech, from which measures, arias, and entire symphonies are created. It’s not for nothing that good speech is called “musical.” Calling for compliance tempo and rhythm in speech, he recommends: “Form whole speech beats from phrases, regulate the rhythmic relationship of whole phrases with each other, love correct and clear accentuations (emphasis - I.P.), typical for the feelings experienced.”
Working on intonation is carried out on the material of sounds, words, sentences, small texts, poems.
Povarova I.A.
Correction of stuttering in games and trainings
Good diction is the basis for clear and intelligible speech. Clarity and purity of pronunciation depend on the active and correct functioning of the articulatory (speech) apparatus, especially on its moving parts - the tongue, lips, palate, lower jaw and pharynx. To achieve clarity of pronunciation, it is necessary to develop the articulatory apparatus with the help of special exercises (articulatory gymnastics). These exercises help create a neuromuscular background for the development of precise and coordinated movements necessary for the sound of a full voice, clear and precise diction, prevent the pathological development of articulation movements, as well as relieve excessive tension in the articulatory and facial muscles, develop the necessary muscle movements for free use and control of parts of the articulatory apparatus.
Based on the general principles of the systems approach in psychology (L.S. Vygotsky, S.Ya. Rubinstein, A.N. Leontiev, A.R. Luria, B.F. Lomov, A.V. Petrovsky, P.Ya. Galperin , V.D. Nebylitsyn, D.B. Elkonin, etc.) and our own observations, we make an attempt to consider the model of the emergence and development of the phenomenon of fixity from the position of integral interaction mental processes, states, properties and actions in people who stutter. The validity of this approach, in particular, is confirmed by the results of a comparative study of adolescents conducted under our leadership by G.I. Angushev. The study allowed him to conclude that the difference between those who stutter and those who speak fluently is expressed in the former not in the degree of productivity of a particular activity, but in the specifics of its course. This specificity is manifested not in any one separate function, but in the entire totality of mental processes.
Massage is performed to relieve tension and stiffness of speech and facial muscles and, conversely, to increase the tone of weak and flaccid muscles. To relieve tension from your face and relax it, you can use so-called self-massage. Here we will get acquainted with its two types: hygienic and vibration.
Hygienic massage is performed by stroking, which activates the nerve endings located close to the skin. This massage has a dual role: it relieves tension and stiffness in the facial and facial muscles and increases the tone of these muscles if they are weak.
Teaching relaxation skills begins with exercises that allow the child to feel the difference between tension and relaxation. It is easier to feel the tension of the muscles in the arms and legs, so before relaxing children are asked to strongly and briefly clench their hands into a fist, tense the muscles of the legs, etc. Such exercises are given in the following sequence: for the muscles of the arms, legs, the entire torso, then for the upper shoulder girdle and neck, articulatory apparatus.
Most people who stutter experience feelings of anxiety, uncertainty, and fear in the process of verbal communication. They are characterized by an imbalance and mobility between the processes of excitation and inhibition, and increased emotionality. Any, even minor, stressful situations become excessive for their nervous system, cause nervous tension and intensify the external manifestations of stuttering. Many people who stutter are known to speak freely when they are calm. A state of calm is mainly ensured by general muscle relaxation. And vice versa, the more relaxed the muscles, the deeper the state of general peace. Emotional arousal weakens with sufficiently complete muscle relaxation.
Development intonation skills in children is of great importance for speech development, since fromThe ability to adequately perceive, interpret and reproduce speech intonation and, depending on this, build one’s behavior largely depends on the success of the communication process. Excessive or insufficient emotional expressiveness, its inconsistency with the conditions of the speech situation, is one of the sources of conflicts in interpersonal communication.
TO intonation skills include: ability to perceive by ear changes in all acoustic parameters of intonation; distinguish by intonation the expression of basic emotional states (joy, sadness, anger, fear, surprise, contempt, disgust) and semantic shades of the sounding statement; correctly place logical stresses; raise and lower your voice, control the power of your voice; maintain pauses, correlate the pace of speech with the content of the text; convey the meaning of a phrase using intonation; select the necessary intonation to express any emotional state; give a verbal description of the intonation of emotional speech;and also convey emotional intonations in written speech.
A practical means of carrying out development work intonation skills younger schoolchildren are speech exercises.
In the psychological and pedagogical dictionary we find the definition “ exercise– repeated performance by students of certain actions in order to develop and improve skills in academic work.” From this definition It follows that the exercises are designed to organize the reproductive (reproducing) activity of students, which is necessary for the development of skills and abilities and does not require creative thinking from the student. However, in the process of speech activity, creativity is always present to one degree or another. To develop students' intonation in the process of working on it, it is proposed to use heuristic, problem-based, and creative tasks along with reproductive exercises.
The following main groups can be distinguished speech exercises to organize development work intonation skills children:
1) Exercises to master the components of intonation (logical stress, melody, tempo, volume, timbre, pauses), for example:
* Read the sentences. Think about how to place logical stresses. What words in the sentences helped you do this correctly?
Are you coming today or someone else?
Are you coming today or tomorrow?
Are you coming today or not?
Rain, rain, more,
I'll give you the grounds
I'll go out onto the porch,
I'll give you a cucumber.
I'll give you a loaf of bread too -
Water as much as you want!
* Remember and act out a fragment from a fairy tale « Three Bears » , in which the bears returned home. What is the timbre of each bear's voice?
2) Exercises to develop expressive speech:
* Prepare the text for speaking out loud: mark logical stresses, place pauses, mark the movement of the voice, tempo, voice strength and timbre. Read it clearly.
* Read a fragment from a fairy tale expressively « Golden key » , observing the author’s intonation guidelines and paying attention to notes about voice timbre.
3) Exercises to enrich vocabulary:
* What emotions do the characters from N. Nosov’s story experience? « Buddy » ? What intonation guidelines would you give to the participants in the dialogue? What words can replace verbs? « speaks » And « said » ?
The train stopped. We got out of the carriage and went home. It was quiet in the suitcase.
“Look,” said Mishka, “when it’s not necessary, he’s silent, and when he had to be silent, he whined all the way.”
- We need to look - maybe he suffocated there? - I say. Mishka put the suitcase on the ground, opened it... and we were dumbfounded: Buddy was not in the suitcase! Instead there were some books, notebooks, a towel...
- What is this? - says Mishka. -Where did Buddy go?
Then I realized what was going on.
— Stop! - I say. - Yes, this is not our suitcase!
Mishka looked and said:
- Right! There were holes drilled in our suitcase, and then ours was brown, and this one was some kind of red. Oh, I'm so ugly! Grabbed someone else's suitcase!
“Let’s run back quickly, maybe our suitcase is still under the bench,” I said.
4) Exercises to correlate sentence intonation and punctuation:
* Add the necessary punctuation marks (periods, question marks and exclamation marks). Read, observing intonation.
Here is a rice field, but is this field some kind of swamp, water, and grass sticking out of the water, this is not ordinary grass, this is rice growing
(According to L.Kon)
* Read the poem that one absent-minded typesetter typed in the printing house. What's wrong here? Correct the poem by placing pauses and commas correctly.
B.Zakhoder
Where to put a comma
Very, very strange look:
The river outside the window is burning,
Someone's house is wagging its tail,
The dog shoots from a gun,
The boy almost ate the mouse,
A cat with glasses reads a book
The old grandfather flew into the window,
Sparrow grabbed the grain
Yes, as he shouts, flying away:
- That's what a comma means!
5) Exercises to correlate intonation and meaning of a sentence:
* Any tongue twister can be read with different intonation shades. What determines their choice?
« From the clatter of hooves, dust flies across the field » .
a) joyfully, enthusiastically (How beautifully the horses race!)
b) irritated, dissatisfied (They just sprayed...)
c) contemptuously (Ugh! What dust!)
« The crow missed the baby crow » .
a) with regret (I feel sorry for the little crow)
b) with condemnation (What a bungler this crow is!)
c) with surprise (It can’t be!)
* Imagine that phrase from the announcer's message « Weather for tomorrow: significant cloudiness, occasional rain » different people repeat out loud and everyone thinks about their own. Try saying these words in:
- a passenger who has purchased a plane ticket ( « Eh, I should have taken a train ticket » );
- holidaymaker at sea ( « You won’t get a tan or swim, but you’ll be heading home soon! » );
- an agronomist in days of long drought ( « Finally » );
- signed up for interesting excursion for tomorrow( « Will it be canceled or not? » ).
6) Exercises for constructing a sentence with the desired intonation:
* Ask a question so that the sentence serves as an answer to it.
...? Apples are ripe in the garden...? Apples are ripe in the garden. ...? Apples are ripe in the garden.
* Come up with an interrogative sentence and ask this question to a friend with different logical stresses.
7) Exercises for the perception and correlation of basic human emotions by intonation and facial expressions:
*Look at the illustrations. How do the characters depicted in them feel? How did you guess? What can they say? With what intonation? Say it.
*Look at the illustrations. Think about the facial expressions of the person who pronounces the phrase. Draw his face. With what intonation is this phrase pronounced?
* Read excerpts from Hans Christian Andersen's fairy tales « ugly duck » And « Thumbelina » with appropriate intonation and facial expressions.
1) Everyone chased the poor duckling, even his brothers and sisters said to him: « If only the cat would drag you away, you obnoxious freak! » And the mother added: « Eyes wouldn't look at you! »
2) ...Others came for a visit May beetles who lived on that tree. They looked the girl from head to toe, and the lady beetles moved their antennae and said:
- She only has two legs! It's a shame to watch!
- She doesn't have a mustache!
- What a thin waist she has! Fi! How ugly! - all the female beetles said in one voice.
8) Exercises for expressing emotional states in oral and written speech:
* Express alternately different human emotions (joy, sadness, anger, fear, etc.) using facial expressions, gestures and intonation, pronouncing numbers from 1 to 10.
* Say phrases using your voice to express different emotions. Let your listeners try to identify them.
« Open the door! » – angry, tragic, sad, pleading, joyful, arrogant, irritated, cunning.
« She's here! » - frightened, maliciously, with a feeling of joyful relief, bewitching, offended.
« Well done! » - admiringly, surprised, mockingly, indifferently, affectionately.
* Give phrases a given emotional coloring using special words and expressions and punctuation marks.
You over-salted the soup (with disgust); What a big mushroom (surprised);
The holidays will begin soon (joyfully); How should I be (sad)
* Come up with and write down happy phrases with interjections « Oh! » and sad phrases with interjection « Oh! » . What punctuation marks will you put at the end of these phrases?
Play occupies a special place in teaching younger schoolchildren.
Game exercises are given following functions: a) facilitate and enliven the educational process; b) stimulate students’ activity and desire for leadership (competitive function); c) “theatricalize” the educational process. At the core play activity lies the creative imagination, which helps children try on speech roles, transform into literary heroes, and evaluate their speech behavior. Game forms allow the child to realize his fantasies, dreams, intentions, including communicative ones. By doing speech exercises Children playing, on the one hand, master intonation and facial expressions of emotions and recognition of other people's feelings, on the other hand, their own emotions and feelings are enriched.
Here are examples of game intonation tasks:
* A game « Listen to me: how do I feel? »
The presenter says this phrase with the intonation of one of the main emotions. The rest must guess by intonation what emotional state the presenter conveyed. The one who guesses first becomes the leader.
* « Alphabet » . Try saying the alphabet in one breath, gradually raising your voice. Which letter have you reached? Compete with a friend. Whoever stops closest to the end of the alphabet wins.
* « Who is more correct? » Several people play. Read the sentences one by one, pausing correctly. Whoever reads it incorrectly is out of the game. The one who lasts the longest wins.
Where to stay here? Where to stay here? What hurts? What hurts? Well, what shall we sing? Well, shall we sing? How did you finish? How are you done? Give me another one new book. Give me another new book. Execute cannot be pardoned. You cannot execute, you can have mercy. I did not see my brother, comrade and his sister. I did not see my friend's brother and his sister. Their, children were sent to camp. Their children were sent to a camp.
* Each student receives one or two phrases from the newspaper, which must be read with the indicated intonation shades. One student reads out his assignment, the rest, using a dictionary of intonations, try to guess with what intonation the phrase was pronounced.
Natalia Vasilevskaya
1. WARM UP
As a group, loudly and clearly, separating each sound, say the following sounds several times:
I, A, O, U, Y.
2. Tongue twisters
Try saying these words just like that, and then with nuts in your mouth behind both cheeks. The best nut to use is hazelnuts.
1. Tell us about your purchases.
What about purchases?
About shopping, about shopping, about my shopping.
2. Mom washed Mila with soap.
3. Blunt-lipped bull, blunt-lipped bull.
The bull had a lip, was stupid
4. Buy a pile of spades (3 times)
5. One day a jackdaw pops, scaring
I saw a parrot in the garden
And that parrot says:
Scare the jackdaw, pop, scare.
But, jackdaw pop, frightening in the garden,
Don't scare the parrot.
6. Peter – cook, Pavel – cook (3 times)
7. There is grass in the yard, there is firewood on the grass
One firewood, two firewood, three firewood.
8. Prokop has arrived - the dill is boiling
The digging has gone - the dill is boiling.
How dill boiled under Prokop,
This is how dill boils without Prokop.
9. The cap is not sewn in the Kolpakov style.
The bell was not poured in the Kolokov style.
We need to re-cap the cap,
It is necessary to re-ring the bell - re-ring it.
10. Sasha walked along the highway and sucked on a dryer.
11. The cuckoo bought a hood.
He put on the cuckoo's hood,
How funny he is in the hood!
3. GEORGIAN CHORUS
This is an exercise to develop breathing. The whole group sings one sound at the same time, for example “a”. It is important to use your breath sparingly. The sound should be smooth, equal in volume, and not attenuated. Whoever is last is well done. You can also use another sound: “i”, “e”, “o”. But when they pull “a”, it is very reminiscent of a Georgian male choir.
4. GAME OF THE MAIN D'HOTEL
A head waiter is a manager in a restaurant, but this is also the name of the person who announces the arrival of guests.
Imagine a ball in some count's house, guests come in one after another. The head waiter announces their names. He makes it important, loud and clear. So that no one asks again later: who came there?
Now about the game itself. Choose a few long, complicated names. For example:
JEROBHAM, PARLIPOMENON (although that's not a name, so what?), etc.
Stand in a circle and say one name at a time.
Here are some rules on how to do this:
· There is no need to separate the word. It should sound cohesive (for example, Jeroboam can be pronounced as Jerobo Am - funny, because “am”!)
· do not emphasize some vowels more than others, do not place a strong emphasis
· do not swallow or stretch endings and accented letters.
5. TEXTS
Read any texts out loud. Discuss where to pause and where the emphasis is on a word.
As a rule, a word is remembered best if there is an emphasis on it and a short pause after it. The words that come after a pause are the worst to remember.
The best way to learn about this is in the next section - literary reading.
6. LITERARY READING
Advice from Andrey Goncharov (Moscow)
At our rehearsals we conduct what is called artistic reading. That is, we take a passage from Scripture, I choose it in advance and according to the meaning of the exercise, and read it. But how...
1. Let's say the reading passage is taken from the Sermon on the Mount. I ask people to read 5-10 verses at a time, as if you were playing Jesus. That is, in this place it is important to convey through your diction the feelings that Jesus experienced while preaching that day: love, meekness, humility, care, peace, grace. And I demand all these signs from the reader. If he doesn’t succeed, then do it again, first showing what is required of him. In general, I begin to demonstrate all the exercises myself, thereby setting the necessary, correct course for my people. That is, what is required of them is not simple monotonous reading, but exactly how Jesus spoke these words! Further.
2. We read a passage from Scripture in the voice, manner and diction of an elderly person and a child who is not only just learning to read, but who still doesn’t read well, but already knows how. And here I ask my people to show me the difference between reading an elderly person and a child. Of course, the difference is in the voice. But not only in him. After all, in addition to simple reading, I ask people to convey their behavior in accordance with the given character. That is, they are already sitting down, as befits an old man or a child. And here the huge differences are already visible. And in the manner of reading, and reading syllables, some kind of muttering under one’s breath, but so that everything could be clearly heard!
3. "Fast reading." This is when a person, reading a book, shows that he has already read these lines. That is, simply put, reading at high, enormous speed. He is not required to pronounce words clearly. No. It’s like skimming through a text, but it’s desirable that explicit, clear words be spoken at least sometimes. And then you can again rush in search of the lost place. You are allowed to improvise in this type of reading, inserting your own words like: “well, well, I’ve already read that!” or “so, it already happened!” or "uh-huh!" You can move your finger across the book while reading.
4. "The voice of compassion, grief, sadness." Matthew 24 is perfect. Where Jesus lists future events. I just believe that Jesus was very emotional as he spoke these words. Maybe in some places he could barely hold back a tear, because He loves us very much. According to this place, I demand the same reading from my people. A very difficult task, perhaps the most difficult. You need to put sadness and sorrow into your voice. That is, demand from your people at this time to try to experience, to convey to everyone listening at the rehearsal what the reader is asking for! To send chills down the spine of everyone listening. This is a sure sign that a person succeeded. Out of 8 people, only 3 of us succeeded! Probably because I demand a lot from my people.
5. "Voice of the Devil." Despite all the seemingly simplicity, it is also a difficult task. Since it is required not only to yell and hiss like Satan, but also to convey through your voice all the hatred that the devil feels for us, people. That is, everyone must believe the reader!
In general, and so on in this style: the voice of Dejection, Disappointment, Fear. I gave an example, and now you can come up with situations yourself.
I spend the first half hour of rehearsal on such exercises. I believe that such exercises are very important, as they develop the diction level of the entire group. It’s just that some people in the group, who don’t learn everything so quickly, who were initially not as developed as others, are sometimes offended that basically the same roles are played, and they often sit on the “bench.” Explain to the entire group at once that you are seeking equal development for all members.
And also, if you see that a person is doing well in rehearsal, don’t spend a lot of time on him. He's doing great anyway. Better take care of those lagging behind. Only then will they be able to catch up with the successful, highly developed actors in your group. I just think it’s better when people are already prepared for the role, then you don’t have to waste time on setting the right voice for the actor!
7. READ LIKE CHILDREN
Let's try to speak in children's voices. To make this better, read aloud some text one at a time. Read slowly, stuttering, repeating words, pronouncing poorly, sniffling, as first-graders do. It will be easier for you to do this if you all play school. Let someone be the teacher (or teacher). He tells who to read to; the other “children” must read to themselves and run their fingers over the text. Another tip: to make the text really difficult for you, turn the page and read upside down.
With this game-exercise, you train not only your vocal abilities, but also learn to enter the image (in this case, the image of a child).
8. READING RULES
When reading this verse, you need to do everything that is written as you read.
Remember firmly that before you begin the word in the exercise,
The chest cage should be expanded slightly.
And at the same time, pick up the lower abdomen, the support of breathing and sound.
The shoulders should be motionless and at rest while breathing.
Speak each line of poetry in one breath.
And make sure your chest doesn't tighten while you speak.
Because when you exhale, only one diaphragm moves.
Having finished reading the lines, do not rush to move on to the next one:
Pause briefly at the pace of the verse, at the same time
Hold your breath for a moment, then continue reading.
Make sure every word is heard.
Remember to use clear and pure diction on consonant sounds.
Don’t be lazy to open your mouth so that the path is clear for your voice.
Don’t muffle the sound of your voice with an aspirated dull tone.
The voice, even in a quiet sound, should retain metallicity.
Before doing an exercise on tempo, height and volume,
You need to pay attention to the evenness and stability of the sound:
Listen closely so that your voice does not tremble or sway anywhere.
Exhale sparingly, counting on a whole line.
Composure, sonority, flight, stability, smoothness -
This is what you first look for in the exercise with attentive hearing.
Intonation
- Offer. Intonation. Punctuation marks at the end of sentences. Russian language lesson in 1st grade
- Word and phrase stress. Intonation. (English language)
- Features of intonation through sensations of localization of sounds of different heights in speech and singing (integrated method of teaching solo singing)
Municipal budgetary educational institution
additional education for children
"Children's Art School named after M.P. Mussorgsky
Fokino"
ENSEMBLE IN GUITAR CLASS
guitar teacher
Children's Art School in Fokino
REVIEW
for the ensemble work program (guitar class)
teacher at the children's art school named after. M.P.Mussorgsky, Fokino
Sysoeva L.E.
The program is designed with a deep understanding of working with children in an ensemble. I think it is correct to select the repertoire and distribute the load on children throughout the entire period of study at the children's music school.
The selection of works during the training period corresponds to the program of children's music schools and studios musical education. This work will help beginners master this instrument within the scope of this program, without deviating from established standards. Recommended for working with children in clubs, music education studios, and children's music schools.
INTRODUCTION
The education system in the Russian Federation is a set of interacting successive educational standards of various levels and orientations.
The education system includes a group of various additional education institutions. Among them is a network of schools in “various types of art,” including children’s music schools (CHS) and children’s art schools (DSHI).
Musical upbringing and education is an integral part of the overall process aimed at the formation and development of the human personality.
The concept of music education in the country involves the creation of a system of mass (general) musical education and training, which is divided into general artistic and professional. IN modern conditions The music school is one of the main bases for the widespread dissemination of musical culture. The goal of the school of general music education is to make music accessible not only to gifted children who choose it as their profession, but also to everyone who studies at the school; after all, middle children should also receive serious musical education. Occupying a specific place in the education system, children's music schools and children's art schools have both specific features educational process.
The educational tasks that children's music school teachers solve are basically the same for all subjects. Unity and interconnection are determined by the peculiarity of musical classes, in which music acts both as an object of knowledge and as a means of education, as well as by the norms of communication with it and the fairly wide possibilities for using the knowledge and skills of some subjects when mastering others.
Increasing the efficiency and quality of general music education poses complex and responsible tasks for teachers of children's music schools. The principles of developmental training and education, which are increasingly penetrating into classes in the specialty and all forms of education at children's music schools, are designed to educate competent musicians - amateurs and professionals, to give them the skills of a creative approach to music and instruments, to eliminate or reduce to a minimum psychological barrier“fear” of concert performances, develop the possibility of practical creative abilities and the need for self-expression.
Thus, being the initial level of primary education, children's music school does not set as its task the preparation of every student for professional activity. Its purpose is the musical and aesthetic education of a wide range of children and adolescents, but, in addition, the music school must identify the most capable students and prepare them for admission to special educational institutions. Musical education is one of the central components of aesthetic education; it plays special role in the comprehensive development of the child’s personality. Educational process Children's music school should be organized in such a way that it contributes to the development of students' love for music and the expansion of their musical horizons.
The principle of unity of the emotional and conscious
is determined by the specifics of musical art and the peculiarities of its perception, the development of which requires awareness of the emotional impressions caused by music, as well as its available means of expression.
The principle of unity of artistic and technical is based on the fact that artistic, expressive performance of a work requires appropriate skills and abilities, mastering which is a means to achieve the goal - artistic performance of a musical work, but subject to the development of the student’s creative initiative.
The principle of unity of development of modal rhythmic sense and sense of form should form the basis of various types of musical activity. Thanks to comprehensive and consistent development musical abilities children develop ideas about the principles of music development, the expressiveness of the elements of musical speech, expressive possibilities musical forms.
The objectives of the methodology include improving various forms of the educational process, the music school: lessons in the specialty, theoretical classes, collective music playing, an elective subject, extracurricular and extracurricular work.
Children's Musical Schools and Children's Art Schools remain the centers of musical upbringing and education of children. To provide a general musical education, to form aesthetic tastes, to educate a trained listener, an active participant in amateur performances, to teach playing musical instruments, to develop creative inclinations - these tasks still determine the directions of work of children's music schools.
Constructing the educational process according to the principles of uniformity and averageness hinders the development of students. The ever-increasing role of developmental learning models is obvious, providing active work children in the field of art and promoting students’ sustainable interest in learning. Children's music schools and children's art schools are called upon to carry out the tasks of early vocational guidance for students and must create real conditions for the effective development and training of children who have the ability to further receive professional education in the field of art. The basis of work at children's music schools and children's art schools is individual classroom instruction in the specialty.
The originality of the educational process in music schools is largely determined by the combination of various forms of educational work. Any lessons from children's music schools and children's art schools (individual, group, collective) prepare students for independent musical activity.
Reproductive activity plays a significant role in the process of mastering material: this can be the reproduction of what was heard as a whole or in parts, imitation or copying, but always in one’s own active action. Only practicing an instrument can prepare a student for a full perception and assimilation of theoretical knowledge. The task of a children's music school teacher is to be able to interest the child in the process of mastering the instrument, and then the work necessary for this will gradually become a necessity. Instrument mastery is not based on any technical technique, and the musical consciousness (hearing) of the student.
Individual training and education of students in children's music schools is carried out on the basis of the student's individual plan, which traces and plans his development over all years of study in music school.
When drawing up an individual program, the principle of pedagogical expediency is taken into account. Each student's program should be varied in styles and genres.
The changed conditions for the activities of educational institutions in the field of art dictate new, special requirements for curricula and educational programs.
1. Training in practical skills of playing a musical instrument;
2. Training in the theoretical and practical fundamentals of musical literacy, singing skills;
3. Artistic and aesthetic training and education within the framework of the course “Musical Literature at Children’s Music School”;
4. Formation of forms and skills of collective learning (collective music playing);
5. Practical implementation creativity and the needs of students’ self-expression (elective subject).
Ensemble- a group of performers performing together, this is a collective form of play, during which several musicians jointly reveal the artistic content of the work using performing means. The unity of artistic intentions, the unity of emotional response to what is being performed, the inspired play of everyone - this is what characterizes ensemble art.
Ensemble- school for improving musicians.
Will and self-control are qualities necessary for a musician. You can’t live without them either in daily independent work or on the stage. But to a greater extent, these qualities are needed by those playing in an ensemble. The definition of “will” means “a person’s conscious self-regulation of his behavior and activities, regulating the functions of the brain, which consists in the ability to actively achieve a goal, overcoming external and internal obstacles.”
For a performer, “will” is the most important, often decisive factor in artistic success: the outcome of a concert performance often depends on its presence or absence. It is known that the work of an ensemble artist requires, in addition to general rehearsals, intense independent study.
Will is an order to the processes occurring in our subconscious. It is no coincidence that I paid so much attention to the characteristics of volitional qualities. An ensemble is a collective form of creativity, so it cannot exist unless each of its participants learns to control themselves, their mood and emotions. After all, in the process of work you have to decide creatively - difficult questions. The education of volitional qualities is necessary; they are inseparable from the education of the individual in general.
The ensemble must live in an intense creative atmosphere, in constant striving for even more than what has already been achieved. The main thing is the goal. It is necessary to realize that even a small step forward brings you closer to your goal. Having understood the goal, you should determine the means by which it will be achieved.
Cognition is an eternal and endless process. Time also affects the work of the ensemble. Taking into account the time factor, it is necessary to develop a methodology for mastering the art of ensemble playing: it should be aimed at achieving significant results in the shortest possible time. Therefore, it is advisable for an ensemble working on a new piece to plan time.
The role of the psychological climate in the ensemble.
The concept of “psychological climate” includes the level of cohesion among ensemble members, mutual understanding, organization, discipline, demands on oneself and others, mutual support and assistance, i.e. a number of factors that create what is commonly called creative atmosphere ensemble.
All tasks that the leader sets for the ensemble must be deeply understood by the partners and become an integral part of their own beliefs.
Artistic education is inseparable from moral education. Overestimation of oneself, one's capabilities, selfishness have a negative impact on the growth of professional skills. The manifestation of this disease in one of the ensemble members can ruin the whole thing.
One of the necessary conditions for the existence of an ensemble is a clear delineation of the “rights and responsibilities” of its participants and leader. This question, however, is complex, and today there is no consensus: some believe that the ensemble needs a leader, since the work of the group requires a unifying principle, others are convinced that, unlike an orchestra, this is a union of equal musicians, and therefore Subordination to one of the participants is incompatible with the very concept of an ensemble.
Obeying the conductor, following his instructions and will is in the order of things, but in an ensemble this is excluded. The leader has to bear additional personal responsibility and additional responsibilities for the affairs of the ensemble. He is the initiator, organizer in creative process, in particular, more than others, he must take the initiative in selecting the repertoire.
The ensemble is such a form collective creativity, where each participant must combine two qualities: depending on the circumstances, be both a leader and a subordinate.
The director’s task is to unite the ensemble members into a cohesive artistic team, determine its immediate tasks, and outline work prospects. The leader must remember that in each ensemble it is necessary to develop creative individuality and identify its “role”. Much depends on the personal qualities of the leader. To be able to lead a team is a great art. A leader must be highly demanding of himself; The manager's responsibilities include:
1. Find a new repertoire;
2. Plan and conduct rehearsal work;
3. Draw up programs for solo and group concerts, etc.
the main problem- this is the repertoire, a matter of the life of the ensemble. In conclusion, we can say the following:
The ensemble must:
Assist the ensemble in achieving its goal;
Systematically work to improve your performing skills;
Soberly evaluate the results of the team’s work, remembering that one cannot stop there;
Be self-critical;
Carry out instructions from the manager;
Prepare thoroughly for rehearsals, etc.
Creative work of the ensemble
Conditions for rehearsals.
The rehearsal should take place in a spacious room and, even better, directly on the stage. Great importance has room acoustics. The rehearsal must start on time and end exactly on time. By the beginning of it, the performers must have played out so that they can begin the rehearsal with a play of any complexity. The rehearsal plan is determined in advance; it must be intense, but realistic for implementation.
Parties must be scheduled very carefully.
An ensemble is a single organism; it is born only in coherence with each other, first of all, in terms of meaning, and therefore in line, dynamic, tempo, rhythm, etc.
At the first rehearsals, you should cover the work as a whole and then painstakingly work on the details, polishing them. As you master individual parts- connect, “mount” them in order to ultimately try to play the piece from beginning to end. Playing the entire piece many times in a row initial stage not advisable. This does more harm than good. At the next rehearsals, we must continue to work on improving phrasing, dynamics, sound qualities, not for a moment, without forgetting the main artistic goal.
The leader must adjust the overall sound, making the necessary comments during the game. By distracting the attention of the performers with his remarks, he puts them in a difficult position. And, nevertheless, this is a useful form of work, among other things, to test the strength of the knowledge of the parts. During the game there may be stoppages. In this case, the manager must explain the reason, make a specific comment, and give reasons for it.
The forms of playing a new work can be different depending on the degree of its readiness, as well as its volume. It is advisable to vary the tempo and dynamics. At the same time, it is important to play meaningfully, observing the nuances and maintaining the correct balance of parties from the point of view of dynamics. When playing a piece, you should set a certain task each time - consolidating what you have learned, improving the connection between parts, practicing difficult places, caesuras, fermatas, increasing the tempo, etc. You need to strive to ensure that each subsequent repetition is better than the previous one.
In the future, you should strive to perform the part by heart. It is desirable: that at each rehearsal there be works that pose different tasks, for example: works for general acquaintance! based on sight reading!; works at the first stage of artistic work /analysis/; works for artistic development; works at the final stage of work / final polishing of parts!; works for repetition.
The main stages of working on music
work.
The first stage is to become familiar with the work, its author, the era in which the composer lived, and the history of the creation of the work.
Secondly, the performer must carefully work through the text, analyze its texture, strokes, dynamics, rhythm, determine the amplitude, method of playing, etc. Search and approval of performing means to realize the author's plan.
The third is to embody the author’s plan on the basis of established skills and techniques of the game; Along with this, it is necessary to further improve and deepen the means of expression that help identify the artistic image. As you can see, the tasks of the second and third stages have much in common.
The fourth is playing out the work, getting used to its artistic image.
Stages of technical mastery of a work:
formation of motor skills.
First of all, the focus of the ensemble’s work at this stage should be the study and practice of all elements of the musical text, the development of texture, and the formation of game movements. This stage is usually defined as a detailed analysis of the work.
Therefore, first of all, you need to read the text:
firstly, by understanding the rhythm, paying special attention to the relationship and interaction of the various rhythmic patterns found in the parts;
secondly, to comprehend the strokes in everything, their diversity, outlining executive techniques for their implementation;
thirdly, to feel the dynamics in general terms, so that later, when it is worked out in more detail, to feel it.
Particular attention should be paid to determining a rational fingering, having repeatedly checked it technically. difficult places. On the basis of fingering and mastered playing movements, gradually develop strong skills of orientation on the fingerboard in order, figuratively speaking, to “see the frets through the eyes of the fingers.”
It should be remembered that the process of playing the guitar takes place outside of the performer’s visual contact with the strings. Therefore, it is important to work through the text and especially the passages associated with changing positions in order to gain absolute confidence. At the same time, the automaticity of movements is extremely necessary condition.
At this stage of work, it is necessary to read the musical text even more carefully and eliminate all ambiguities that may occur in the parts. It is advisable to play a proven and worked-out part together with another, outlining the general contours of their sound, while those parts that complement each other or perform the same function should be connected, and the worked-out parts should be connected to each other.
It is also necessary to remember and pay great attention to the introduction of new voices, to coordinate each such introduction with thematic material /melody/, which is a guideline.
If a piece assumes a fast tempo, this does not mean that you should immediately play at the specified tempo. You should wait until the batches are ripe. Turning to a fast pace prematurely can only do harm.
When analyzing a piece, it is not always advisable to play it from beginning to end, bar by bar. Sometimes, depending on the complexity of the material, it is useful to play in fragments, selectively. Working in this way, we will receive a number of learned or almost learned fragments, and the matter will remain to assemble them into one whole.
This is quite natural: it is one thing to focus on a small piece of music, and another to focus on a number of passages. If in the first case everything depends on the ability to tune in to a memorized passage, then in this case it depends on the ability to tune in from one passage to another, since technical problems have to be solved in a stream of different types of texture, in a stream of music with different sounds. In further work, it is important to monitor the relationship of voices from the point of view of dynamics: which voice should sound in the foreground in a given fragment, and which ones in the background (and why).
Particular attention should be paid to places that require synchronized performance, rhythmic precision, line definition, etc.
In other words, it is necessary to lay the foundation step by step for a technically flawless performance, behind which the contours of artistic performance can already be seen. The work must be structured in such a way that with each rehearsal you get closer and closer to the final goal.
Already during this period it is necessary to gradually master the skills of playing by heart. Playing by heart takes time, so this one needs to be developed as early as possible.
Stage of performing realization of a musical image.
What does a performer need to embody a musical image? The short answer is to be able to enter the emotional world of the author of each piece performed, to become imbued with his thoughts, his experiences. After all, the program of one concert can include works by a variety of composers, different in style and character, reveal them, “equip” each of them only for him inherent features- this is the difficulty of the task.
Each part is part of a single image, created by the entire ensemble, a kind of “character” from the play, endowed with a certain character, which needs to be accustomed to, to deepen its characteristic features. It is in this direction that work on the party should proceed: one should deal not only with external finishing, improving the technical side of execution, but most importantly, polish the party from the inside, penetrating deeper and deeper into its content.
When working on a work, you should read more not only into the text, but also into the subtext.
In close connection with the main task - the formation of a musical image - during this period, issues such as carefully developing the necessary sound production techniques, searching for sound colors, clarifying dynamic shades, etc. are also being resolved. In the search for colors, one should proceed from the timbre concepts of vocal or orchestral sound. Without working on sound, it is unlikely that you will be able to “draw” a musical image. In this case, it is necessary to use the timbre capabilities of the instruments, achieving relief reproduction of each melodic line.
Continuing to work on the work, you need to follow the relationship of individual musical structures: phrases, parts, pay attention to the culmination, “local” and central, evenness of tempo, rhythmic stability, agogic deviations, etc. Along with this, analyze the structure of the work, its dramaturgy.
It is necessary to strive for a deeper and more meaningful performance of the parts, so that as a result you can play each of them perfectly and with full emotional return. The completion of work on the study of a new work comes not when nothing can be added, but when nothing can be taken away from what has already been achieved.
Mastering a work, as we see, is a complex, multi-act process. Here, undoubtedly, a difficult problem must be divided into a number of relatively simple ones, solving them sequentially according to the principle from simple to complex.
Timbre and the art of sound production.
Sound, as you know, has the following properties: height, volume, timbre and duration.
A classic example of an ensemble, where related instruments have individual timbres, is the string-bow ensemble.
However, the task is not only to ensure that the ensemble has rich timbre capabilities, but also to skillfully use them. To a large extent, this depends on the skill of using the instrument. It should be taken into account that the instrumentator has at his disposal not only the timbres that a particular instrument has, but also those that can be obtained as a result of their combination.
For a performer playing in an ensemble, it is very important to have a subtle sense of sound color, which should vary depending on the style and nature of the composition. Work on the culture of sound means work on gradation of dynamics, precision of nuances, mastering various strokes, work on the balance of the sound of individual voices of the ensemble, etc.
In this case, special attention should be paid to developing intonation skills, “meaningful pronunciation of sounds.”
The task of a musician-performer is to be able to express himself through sound. Without perfect mastery of the art of sound expressiveness, it is impossible to create a full-fledged artistic image and convey the necessary character of music.
Briefly about sound production techniques.
Before we talk about the method of producing sound, it is necessary to say a few words about the characteristics of each finger. The strongest is the big one; most dexterous - (index); being the strongest, the longest, depends on the third; the fourth finger (ring) is weak and less mobile. Fifth (little finger) - he does not participate in the game.
There are two ways to extract sounds:
1. Apoyando - a method of producing sound with the fingers of the right hand, followed by stopping the fingertip on the next (adjacent) string.
2. Tirando - a method of producing sound with the fingers of the right hand without subsequently stopping the fingertip on adjacent strings.
Strokes are a means of expressiveness.
In ensemble performance, as in solo playing, strokes are an important means of expression. Therefore, all members of the ensemble must perfectly master the technique of performing various strokes. Without going into detail about the strokes, let us just remind you of them.
Legato (1еgato) is a connected performance, when one sound smoothly transitions into another, do not lift your fingers high from the strings and place them gently. In the guitar technique, legato should be considered not only a connected performance, but also as a method of sound production, which is of paramount importance.
The legato technique is performed in three ways:
1. method: with an ascending order of sounds, the first sound is struck
finger of the right hand, and the second or subsequent ones - fingers (right)
left hands, which descend with force onto the same string, press it and
made to sound without the participation of the right hand:
2. method: used with the outgoing order of sounds. The first sound is produced with the finger of the right hand, and the second and subsequent ones are made by lifting the fingers of the left hand to the side.
3. method: also used in the outgoing order of sounds, when two notes are joined, which are played on different strings, the first note is obtained from a strike with the finger of the right hand, and the second - from a strike with the finger of the left hand, which is dropped with force onto another string in the right place and makes it sound without the participation of the right hand.
Staccato – indicated by dots above or below the notes; sounds are performed abruptly, as if creating a pause after each note. Above which there is a sign.
To perform staccato on the guitar, you need to extract the sound with the finger of your right hand and immediately apply this finger to the string from which the sound was extracted, without allowing the string to ring out.
Non legato is a stroke in which the sounds have approximately the same duration as when performed legato. However, they are not related to each other.
Rhythm as a factor of ensemble unity.
Among the components that unite musicians into a single harmonious ensemble, meter rhythm has perhaps the main place. Feeling of rhythm. Essentially, he performs the function of a conductor in the ensemble:
Each participant’s feeling of a strong beat is that “hidden” conductor, whose “gesture” contributes to the unification of the ensemble players.
Ensemble is the art of playing together. Unity and synchronicity of its sound is the first among other important conditions. Metrorhythm is the foundation, the frame on which the entire building of the ensemble rests. Rhythmic certainty makes the playing more confident and technically reliable. On this basis, the automaticity of movements is ultimately strengthened, without which performing technique is unthinkable. In addition, a performer who plays irregularly is more susceptible to all sorts of accidents.
Let us point out one more feature of the metrhythm; the feeling of smooth movement, movement at one specific pace has not been developed, it is sometimes difficult to determine artistic measure various agogic deviations. It is necessary that the ensemble includes rhythmic, stable performers, so that there are more of them.
How is rhythmic unity practically achieved in an ensemble? In every special case it is necessary to select the part that, in terms of its rhythmic structure, would best perform the leading function.
Thus, the concept of “leader” and “slave” in the ensemble and in the sphere of rhythm.
“Polka” by I. Küffner.
Dynamics as a means of expression
Different elements of musical texture should sound at different dynamic levels. It must be remembered that the dynamics of a work are not perceived in itself, but in the comparison (contrast) of various dynamic levels.
F. Durante "Galliard".
Having an auditory understanding of the even intensity of sonority, you can then practice skills associated with a gradual increase or gradual decrease in the strength of the sound. It should be taken into account that creschendo is impressive when the increase in strength is especially noticeable at the very end of the climb, at the final stage at the finish line. Therefore, while observing the gradualness of the increase, it is necessary to have a reserve of strength to use at the moment of completing the line to creschendo. The same applies to diminuendo, with the difference that imperceptibly reducing the strength of the sound is a more difficult task than increasing it. Meanwhile, not only this condition is often violated, but also the very process of gradually increasing or decreasing the sound intensity.
Arr. Y. Solovyova “Under the green apple tree”
Tempo as a means of expression
Determining the tempo of a piece is an important point in the performing arts. A correctly chosen tempo contributes to the correct transmission of the character of the music; an incorrect tempo, to one degree or another, distorts the character of the work. Although there are author's instructions for tempo, up to determining the speed of the music itself, in the content of its artistic images.
For many works there is a so-called tempo zone, within which the tempo can vary without changing the meaning of the music itself.
As for the fast tempo, it should not be an end in itself: the tempo is always determined by the nature of the music of the piece being performed. Fast tempo is a test of the ensemble's strength and meter-rhythmic stability. The ensemble should be frightened not by the speed of movement itself, but by the lack of harmony, order, technical freedom and coherence in it.
When determining the boundaries of tempo, it is necessary to take into account the texture of the work, and, of course, the technical capabilities of the ensemble members. The limits of a fast pace also depend on the quality of the team. And finally, the tempo depends on the individuality of the performer.
A memorized piece cannot be played at a fast tempo all the time; during rehearsals it is necessary, as a preventive measure, to periodically turn to a more restrained tempo. Having “cleaned up” the text, you can return to a faster pace, with new, higher demands in terms of quality of execution.
Techniques for achieving synchronicity
ensemble sound
The synchronicity of ensemble sound should be understood as the exact coincidence in time of strong and weak shares each measure, extreme precision in the execution of the smallest durations by all members of the ensemble.
It should give the impression that one person is playing with a single “center” of control; playing synchronously means playing absolutely together, accurately, even the slightest discrepancies in the execution of a part do not go unnoticed by an attentive listener.
How can we achieve such unity so that everyone can join in at the same time as one person, everyone can play together (regardless of the length of the piece), at the same time change the tempo, if necessary, “take” or “take off” a chord, etc. This task is further complicated by the fact that the ensemble must have a certain metro-rhythmic, and therefore tempo, freedom.
In order to play together, first of all you need to learn to understand your partner, to cultivate in yourself a quality called a sense of ensemble. This is the main thing.
Achieving synchronicity at the moment of START
The ensemble must have a performer who performs some of the functions of a conductor - he must sometimes show introductions, releases, slowdowns, etc.
The signal to enter is a small nod of the head, consisting of two moments: a barely noticeable upward movement and then a clear, rather sharp downward movement. The latter serves as a signal to join.
The nod is not always done in the same way: it all depends on the nature and tempo of the composition being performed. When a piece begins after a beat, the signal is essentially the same, with the difference that if in the first version, when raising the head, there was a pause, in this case it is filled with the sound of the beat.
"I met you".
Achieving synchrony during execution.
Maintaining synchronicity of sound during the performance itself is a task even more difficult than the simultaneous introduction at the beginning of the piece. It all depends on how much meter-rhythmic stability each of the ensemble players has, how rhythmically he plays.
Playing as eighths together is a difficult task; the opportunity to “disperse” awaits the ensemble players at every step. You can strengthen the metro-rhythmic basis here by placing a small emphasis at the beginning on the strong beat. Accents are an organizing and unifying principle, due to which synchronicity of sound is achieved.
Synchronicity at the end of the work.
There is hardly any need to emphasize how important it is to finish the work all together at the same time. In this regard, we note two possible options:
1. the last chord (or note) has a certain duration;
2. There is a fermata above the chord. In the first case, synchronicity is achieved based on precisely maintained duration.
Each of the ensemble players counts out the metro-rhythmic beats “to themselves” and strikes the chord exactly on time.
Synchronicity in the performance of agogics.
Maintaining the unity of the ensemble when performing agogics, i.e. small deviations from tempo and meter (slowing down, accelerating) is a task that requires close attention from the performers. When the tempo is determined and the movement follows evenly, it is easier to maintain the unity of the ensemble. If you deviate from the tempo and then recover, you may experience known difficulties, since each of the ensemble members can feel this or that deviation from the tempo in their own way.
Individual work on an ensemble part
Ensemble part - you need to work on the ensemble part to ensure its performance at a high level in the same way as on the solo part. The ensemble player's part should sound as expressive artistically and impeccably technically as the soloist's part. Particular attention should be paid to the fingering, and when analyzing it, you need to pay attention not only to complex technical places, but also to those that seem simple at first glance. It should be assumed that the ensemble player’s significant part of his attention is directed to listening to other parts, so control over the technical side of the performance of his part is partially taken over by the fingering. On its basis, automaticity of movements is developed, which ensures the accuracy (in technical terms) of the execution of the part.
When working on a game, you need to know it so thoroughly that you can play it from any place, and not just from the beginning. For an ensemble player this is very important, because V critical situation helps you quickly navigate.
When learning a part by heart, you need to imagine its function in the overall complex of ensemble sound.
The most important condition for memorizing an ensemble part is developed memory, and all its types: auditory, visual, tactile or tactile, motor or muscular.
Let's consider each type separately.
Auditory memory for a musician is one of the main types of memory. Whatever the performer plays, he must, first of all, hear and try to remember what he plays. At the same time, you need to not just listen, but listen closely to what is sounding.
Visual memory - fixation of visual images. By working with a musical text for a certain time, we have time to photograph it in our minds, as it were. As a result, it is often not only the text itself that is remembered, but also its location on the sheet of music. Therefore, you should not part with the notes; you need to give your visual memory time to work.
Tactile or tactile - memory based on the sensation of touch (tactile sense). When playing the guitar, pay attention to your left hand, to the neck of the guitar.
Motor (muscular) memory - in the automaticity of movements: fingers “remember”. Therefore, when learning a game, you should not look at your left hand all the time; this can only hinder the development of muscle memory, which will not only lengthen the learning time, but also affect the strength of knowing the game by heart. With this method of memorization, the fingers move as if on their own, only the reference sounds of a given texture are recorded in consciousness, while the rest become an achievement of muscle memory, the subconscious.
5. Improving musical literacy.
6. Helping students to participate in the social life of the school.
At the same time, it must be emphasized that all educational work must be carried out by a teacher at a high professional level. An individual work plan must be drawn up with students included in the ensemble.
In the proposed educational program The following are taken into account: cumulative experience, wishes and comments of practicing teachers, as well as existing methodological programs.
1st year of study
I half a year (2nd grade)
The student must study 3-4 different works. Each student, having analyzed the musical text of his part, becomes familiar with the features of ensemble music-making. The initial skills of playing in an ensemble are practiced: simultaneously picking up and removing sounds, the ability to observe not only one’s own part, but also the partner’s part in the musical text.
To avoid frequent stuttering and interruptions when playing together, you first need to select slow pace. Both players analyze every consonance, every structural particle.
The teacher introduces the student to the features of the ensemble, carefully monitors psychological state partners. It is important to convince the student of their collective responsibility for the sound of the piece and to develop a friendly attitude among the ensemble members.
At the end of the first quarter, a control audition of the ensemble is held, and at the end of the first half of the year there is a test, where the ensemble performs two different works.
II half year
The student must study 4-5 different works. Works are selected for various performance strokes (staccato, legato, non-legato). The unity of execution of these strokes in the ensemble is worked out.
At the same time, work is underway on the phrasing of the work and the development of a unified phrasing among the ensemble members.
It should be remembered that younger children school age It is difficult to practice one technique of playing, so during the lesson you need to work on several pieces of music. And of course, here you can figuratively compare the execution of strokes:
“staccato” - a needle prick;
“legato” - smooth singing (depending on the desired sound).
The learned piece should be performed in class and school concerts. To do this, the student becomes familiar with stage behavior. Stage performance skills are developed.
In the fourth quarter there is a test, where the ensemble performs two different works.
2nd year of study
I by land (grade 3)
4-5 works with vivid musical images are selected, where initial knowledge about the form of the work is used. Based on the program, there is a conversation about the expressive means of a particular work (strokes, dynamics, rhythm, tempo, etc.). And in order to improve performers properly, it is appropriate artistic thinking.
The teacher should remember that the student’s psyche is characterized by fragmented perception, i.e. adherence to a single feature (tempo, dynamics, timbre, phrasing). Therefore, you should not “overload” the student with too large a task. But the choice of available repertoire is extremely important.
II half year
Work continues to improve the acquired skills, the form of works and means of expression are analyzed.
A conversation about historical, biographical, and theoretical facts significantly activates the student’s thinking and perception. Helps to understand, and therefore perform, the piece.
3rd year of study
1st half year (4th grade)
Attention is paid to the figurative sound of the work. Sight reading. In the first quarter there is a test audition.
II half of the year
The student must learn 4-5 pieces.
4th year of study
I half a year (5th grade)
The student must learn 4-5 plays. Introduction to larger forms of rondo and sonata. With stronger students, it is possible to become familiar with the concert form. Work continues on developing a single tempo, rhythmic consistency, and dynamic balance of the parts.
Attention is paid to the figurative sound of the work. Sight reading. In the 1st quarter there is a control audition.
In the second quarter there is a test, where two different works or one piece of a large form are performed.
II half year
The student must learn 4-5 pieces.
Complication technical problems in works they require work on developing a line of phrasing, as well as practicing uniform strokes of performance and consistency in the student’s playing movements. To develop independence and self-control, the student is asked to learn one piece on his own.
In the third quarter there is a test audition.
In the fourth quarter there is a test where two different works are performed. Sight reading.
Bibliography
1. “Young guitarist”, V Kalinin;
2. “School of playing on six string guitar", P. Agafoshin;
Z. “School of playing the six-string guitar”, A. Ivanov-Kramekoy;
4. “0 music pedagogy”, B.Ya. Zemlyansky;
5. “06 the art of piano playing. Notes of a teacher”, G. Neuhaus;
6. “The pianist’s work on technique,” S. Savtinsky; “Creative work of a pianist with an original text”, E. Lieberman.
