Melodic dictations on solfeggio online. How to learn to write dictations in solfeggio

Musical dictation is one of the most important, responsible and difficult forms of work in a solfeggio lesson. It develops students' musical memory, promotes conscious perception of melody and other elements of musical speech, teaches to write down what they hear.

In working on a musical dictation, all the knowledge and skills of students are synthesized, the level of their auditory development is determined. This is a kind of result of the entire learning process, because it is in the dictation that the student must show, on the one hand, the level of development of musical memory, thinking, all types of musical ear, and on the other, certain theoretical knowledge that helps him to correctly record what he heard.

The purpose of musical dictation is the upbringing of the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.

The main tasks work on the dictation can be called the following:

• create and consolidate the connection between the visible and the audible, that is, teach the audible to make it visible;
• develop the musical memory and inner ear of students;
• serve as a vehicle to consolidate the theoretical and practical skills of students.

The process of writing a dictation requires the development of special, special skills and therefore, before starting this form of work, the teacher must be sure that the students are very well prepared for it. It is advisable to start recording full-fledged dictations only after a certain preparation, the duration of which depends on the age, degree of development and receptivity of the group. The preparatory work, which lays in students a fundamental base of skills and abilities, providing in the future the opportunity to competently and painlessly record musical dictations, should consist of several sections.

Mastering musical notation.

One of the most important tasks of the initial training period in the solfeggio course is the formation and development of the skill of “quick recording” of sounds. From the first lessons, students should be taught to correctly record notes graphically: in small circles, not very close to each other; monitor the correct spelling of calm, alteration signs.

Mastering durations.

It is an absolutely indisputable fact that the correct metro-rhythmic design of a melody is even more difficult for students than its direct musical notation. Therefore, special attention should be paid to the “rhythmic component” of the dictation. At the initial stage of training, it is very important that students simply understand the graphic image and the name of each duration well. In parallel with the assimilation of the graphic representation of the durations and their names, it is necessary to work on the direct awareness of the long and short sound. After the names and designations of the durations are well understood, it is necessary to start mastering the concepts beat, beat, meter, rhythm, time signature. Once the children have realized and mastered these concepts, it is necessary to introduce the practice of conducting. And only after all this work should one begin to explain the fragmentation of shares. In the future, students will get acquainted with various rhythmic figures and for their better mastery, these rhythmic figures must be introduced into musical dictations.

Rewriting notes.

In the first class, simple rewriting of notes seems to be very useful. The rules of musical notation calligraphy are simple and do not require as much detailed elaboration as the spelling of letters. Therefore, all exercises related to the correct recording of musical texts can be transferred to homework.

Mastering the order of notes.

The auditory assimilation of the order of notes is also very important at the first stage of training. A clear understanding of the sequence of notes up and down, awareness of a single note in conjunction with others, the ability to clearly and quickly calculate notes in order, after one or two - this, in the future, is the key to a successful and competent recording of a full-fledged dictation. Practice shows that just memorizing notes is not enough. It is necessary to bring this skill to the level of automatism so that the child perceives and reproduces the notes, practically without thinking. And this requires constant and painstaking work. Various games of teasers, repeaters and all kinds of echoes help a lot here. But the most invaluable help in this work is provided by sequences.

Work on comprehension and auditory perception steps seems to be one of the most important in developing the skill of recording musical dictation. Work on the steps should be carried out constantly, at each lesson, and be conducted in different directions. The first is the ability to think in steps. At first, it is very important to develop the ability to quickly and accurately find any individual step in the tonality. Here again, sequences can help - chants that are memorized over several lessons to automatism. It is very helpful to sing the step sequences; also good help in such a quick step orientation is provided by the singing of steps on hand signs and the Bulgarian column.

Melodic elements.

Despite the huge variety of melodic material, there is also a fairly large number of standard phrases in music, which are often repeated, are perfectly isolated from the context and are recognized both by ear and by analyzing the musical text. Such revolutions include scales - trichord, tetrachord and pentachord, movement from introductory tones to tonic, humming, auxiliary notes, as well as various modifications of these revolutions. After acquaintance with the main melodic elements, it is necessary to develop in students a quick, literally automatic recognition of them both in the musical text in sight reading and in auditory analysis. Therefore, both melodic turns by ear, and sight-reading exercises, and dictations of this period should contain as many of these elements as possible or simply consist of them.

Very often, the melody follows the sound of the chords. The ability to isolate a familiar chord from the context of the melody is a very important skill that students need to develop. Initial exercises should focus on purely visual and auditory perception of the chord. An invaluable help in memorizing the melody of chords is provided by small chants in which the desired chord is sung and called at the same time.

As you know, the greatest difficulty in recording a dictation is caused by leaps. Therefore, they must be worked out as carefully as other melodic elements.

Determination of the shape.

The work on the definition, awareness of the musical form is of great importance for the successful recording of musical dictation. Students should be very familiar with the location of sentences, cadences, phrases, motives, as well as their relationship. This work must also begin with the first grade.

In addition to all this preparatory work, some forms of assignments are very useful, directly preparing the recording of a full-fledged dictation:

Recording from memory a previously learned song.

Dictation with a mistake. The melody “with a mistake” is written on the board. The teacher plays the correct version, and the students must find and correct mistakes.

Dictation with gaps. A fragment of the melody is written on the board. Students should hear and fill in the missing bars.

A melody in the form of a step track is written on the board. Students, listening to a melody, write it down with notes, correctly rhythmically arranging it.

Recording of ordinary rhythmic dictations.

The heads of the notes are written on the board. Students should correctly arrange the melody rhythmically.

So, summing up all of the above, we can conclude that in the first grade, the main, basic skills of recording musical dictation are laid. This is the ability to “listen” correctly; memorize, analyze and understand musical text; the ability to comprehend it graphically and write it down correctly; the ability to correctly identify and understand the metro-rhythmic component of a melody, to clearly conduct it, feeling the pulsation of the beats and being aware of each beat. All further work is reduced only to the development of these basic skills and the complication of theoretical material.

The forms of dictation can be different. When recording a dictation, it is important to choose the form of work that is most suitable for mastering this melody.

The dictation is indicative.

An indicative dictation is conducted by a teacher. Its purpose and task is to show the writing process on the board. The teacher out loud, in front of the whole class, tells the students how he listens, conducts, hums the melody and thereby realizes it and fixes it in the musical notation. Such a dictation is very useful before proceeding, after the preparatory exercises, to self-recording, as well as when mastering new difficulties or varieties of dictation.

Dictation with preliminary analysis.

With the help of a teacher, students determine the mode and tonality of a given melody, its size, tempo, structural moments, features of the rhythmic pattern, analyze the regularity of the melody's development, and then start recording. The preliminary analysis should take no more than 5 - 10 minutes. It is more expedient to use this form of dictation in the lower grades, as well as when recording melodies in which new elements of the musical language appear.

Dictation without preliminary analysis.

Such a dictation is recorded by students for a set time, with a certain number of plays. Such dictations are more appropriate in the middle and senior classes, i.e. only when students learn to analyze the melody on their own.

Oral dictation.

Oral dictation is a small melody built on familiar melodic phrases, which the teacher plays two or three times. Students repeat the melody at first for any syllable and only then sing a dictation with the name of the sounds. This form of dictation should be used as widely as possible, since it is oral dictation that helps students' conscious perception of the individual difficulties of the melody, develops musical memory.

“Self-dictating”, a recording of familiar music.

For the development of inner hearing, students should be offered “self-dictating,” the recording of a familiar melody from memory. Of course, this form will not replace a full-fledged musical dictation, since there is no need to embrace and memorize new music, that is, the student's musical memory is not trained. But for working on an ear-based recording, this is a very good trick. The form of "self-dictating" also helps to develop the creative initiative of students. This is a very convenient form for independent, homework, for training in writing.

Control dictation.

Of course, in the learning process there should also be control dictations that students write without the help of a teacher. They can be used when completing work on a specific topic, when all the difficulties of dictation are familiar to children and well learned. Usually this form of dictation is used in test lessons or exams.

Other forms of dictation are also possible, for example, harmonic (recording of the listened-to sequence of intervals, chords), rhythmic. It is useful to record melodies previously read from sight. It is useful to memorize the written dictations, transpose into the keys passed, and match the accompaniment to the dictations. It is also necessary to teach students how to write dictation in different registers, both in the treble clef and in the bass clef.

The choice of musical material.

In working on a musical dictation, one of the most important conditions is the correct choice of musical material. Melodies from musical literature, special collections of dictation, as well as, in some cases, melodies composed by a teacher can serve as musical material for a dictation. When selecting material for a dictation, the teacher must first take care that the music of the example is bright, expressive, artistically convincing, meaningful and clear in form. The selection of just such a musical material not only helps students memorize the melody of the dictation easier, but also has great educational value, broadens the horizons of students, enriches their musical erudition. It is extremely important to determine the difficulty of the example. Dictating shouldn't be too difficult. If students do not have time to comprehend, remember and write the dictation, or write it with a lot of mistakes, then they begin to be afraid of this form of work and avoid it. Therefore, it is preferable that the dictations be simpler, but there should be a lot of them. The complication of dictations should be gradual, imperceptible for students, strictly thought out and justified. It should also be noted that in the selection of dictations, the teacher must apply a differentiated approach. Since the composition of the groups is usually "motley", difficult dictations must be alternated with easier ones so that weak students can also completely write, while in complex dictations this is not always available to them. When choosing musical material for a dictation, it is also very important that the material is distributed in detail by topic. The teacher must be strictly thought out and justified the sequence of dictations.

Dictation execution.

In order for the student to be able to fully and competently record on paper what he heard, it is necessary that the execution of the dictation be as perfect as possible. First of all, you should follow the example correctly and accurately. No underlining or highlighting of individual difficult intonations or harmonies should be allowed. It is especially harmful to emphasize, artificially loudly tapping, a strong beat. First, you should perform the passage at the present tempo indicated by the author. Later, when played repeatedly, this initial tempo usually slows down. But it is important that the first impression is convincing and correct.

Fixation of musical text.

When recording music, the teacher should pay special attention to the accuracy and completeness of the students' recording on paper of what they heard. In the process of writing a dictation, students must: write notes correctly and beautifully; arrange leagues; to mark with caesura phrases, breath; distinguish and denote legato and staccato, dynamics; determine the tempo and character of a musical example.

Basic principles of the dictation recording process.

The environment that the teacher creates before starting work on recording a dictation is of great importance. Experience has shown that the best environment for recording a dictation is to create interest in what students are about to hear. The teacher needs to arouse interest in what will be lost, to focus the attention of students, perhaps - to defuse the tension before such a difficult job, which children always perceive as a kind of "control", by analogy with dictation in a general education school. Therefore, small “conversations” about the genre of the future dictation are appropriate (if this is not an obvious hint of the metro-rhythmic component), the composer who composed the melody, and the like. Depending on the class and level of the group, it is necessary to choose melodies for dictation that are available according to the degree of difficulty; set the time for recording and the number of plays. Usually a dictation is written with 8-10 replays. Fret tuning is required before recording begins.

The first playback is for informational purposes. It should be very expressive, “beautiful”, at the appropriate pace and with dynamic shades. After this playback, you can determine the genre, size, nature of the phrases.

The second play should go right after the first. It can be performed more slowly. After that, you can talk about specific harmonic, structural and metro-rhythmic features of music. Talk about cadences, phrases, etc. You can immediately invite students to draw up the final cadence, determine the location of the Tonic and how the melody approached the Tonic - scale, leap, familiar melodic turn, etc. This beginning of the dictation “on the contrary” is justified by the fact that the final cadence is “remembered” most of all, while the entire dictation has not yet been memorized.

If the dictation is long and complex, if there are no repetitions in it, then it is allowed to divide the third replay in half. That is, to play the first half and analyze its features, determine the cadence, etc.

Usually, after the fourth play, the students are already sufficiently oriented in the dictation, they remembered it, if not in its entirety, then at least in some phrases. From that moment on, children write the dictation practically from memory.

You can make more break between plays. After most of the children have written the first sentence, you can play only the second half of the dictation, which is left over from the unfinished third play.

It is very important not to allow the dictation to be “stenographed”, therefore, each time you play it, you should ask the students to put down their pencils and try to remember the melody. Conducting is a prerequisite for playing and recording a dictation. If a student finds it difficult to determine the rhythmic turnover, it is imperative to force him to conduct and analyze each beat of the measure.

At the end of the allotted time, you need to check the dictation. Dictation also needs to be appreciated. It is even possible not to put an assessment in the notebook, especially if the student did not cope with the work, but at least verbally voice it so that he could really assess his skills and capabilities. When assessing, it is necessary to orient the student not to what he did not succeed, but to what he coped with, to encourage for each, albeit small, success, even if the student is very weak and dictations are not given to him due to natural characteristics.

Considering the psychological aspects of organizing the process of recording a dictation, one cannot ignore the important point of the location of the dictation in the solfeggio lesson. Along with such forms of work as the development of vocal and intonation skills, solfegging, definition by ear, more time is given to writing a dictation, and it is usually carried to the end of the lesson. Dictation, saturated with complex elements, leads to a distortion of the lesson, as it takes a lot of time. Students' lack of confidence in their abilities leads to a loss of interest in the dictation, a state of boredom may occur. In order to optimize the work on the musical dictation, it is better to conduct it not at the end of the lesson, but in the middle or closer to the beginning, when the pupils' attention is still fresh.

The time for recording a dictation is set by the teacher, as already mentioned, depending on the class and level of the group, as well as depending on the volume and difficulty of the dictation. In the lower grades (grades 1, 2), where small and simple melodies are recorded, this is usually 5 - 10 minutes; in seniors, where the difficulty and volume of dictations increase - 20-25 minutes.

In the process of working on a dictation, the role of a teacher is very important: he must, while working in a group, take into account the individual characteristics of each student, guide his work, and teach him how to write a dictation. The teacher should not just sit at the instrument, play the dictation and wait for the students to write it on their own. It is necessary to periodically approach each child; point out errors. Of course, you cannot prompt directly, but you can do it in a "streamlined" form by saying: "Think about this place" or "Check this phrase again."

Summing up all of the above, we can conclude that dictation is the form of work in which all the available knowledge and skills of students are applied and used.

Dictation is the result of knowledge and skills that determines the level of musical and auditory development of students. Therefore, in solfeggio lessons at a children's music school, musical dictation should be an obligatory and constantly used form of work.

List of used literature

1. Davydova E. Methods of teaching solfeggio. - M .: Music, 1993.
2. Zhakovich V. Preparing for a musical dictation. - Rostov-on-Don: Phoenix, 2013.
3. Kondratieva I. One-Voice Dictation: Practical Recommendations. - SPb: Composer, 2006.
4. Ostrovsky A. Methods of music theory and solfeggio. - M .: Music, 1989.
5. Oskina S. Musical ear: theory and methods of development and improvement. - M .: AST, 2005.
6. Fokina L. Methods of teaching musical dictation. - M .: Music, 1993.
7. Fridkin G. Musical dictations. - M .: Music, 1996.

This manual is a collection of author's melodic dictations, aimed at junior students of the music department (8-year study period).

The main purpose of creating the manual is to search for new creative approaches to the implementation of fruitful work with primary school students in solfeggio lessons.

Working with students on dictation is one of the most difficult activities in teaching solfeggio. As a rule, both theoretical knowledge and practical skills are summarized in the dictation. All this is a whole complex aimed at performing several tasks at once, combined into one - writing a melody that is complete in meaning.

Where to start, how to organize the work on the dictation? The developments in solving this issue are given in the proposed manual.

Undoubtedly, before a small first-grader musician can record a melody on his own, he must master the musical notation, meter and rhythm, gain auditory experience in the ratio of steps in a fret, and much more. In the process of studying the basics of musical literacy, we begin to write the first dictations, analyze musical fragments by ear and fix them with the help of graphic images (here the teacher can show imagination). In such dictations, the teacher performs easy-to-understand pieces on the piano. Having listened to them, students should, for example, hear and fix the mood of the music, how the melody moves (of course, after telling about it), beat the pulse, you can count the beats, determine the strong one, etc.

Roughly from the second grade onwards, the level of difficulty increases in accordance with the curriculum. Here, the child should already be proficient in musical notation, know certain keys, the principles of gravitation in harmony, duration, and be able to group them.

Working with rhythm deserves special attention. Rhythmic dictations aimed at recording a rhythmic pattern are an excellent workout. In melodic dictations, I find it convenient to record the rhythm separately from the melody (to a greater extent, this is true for primary school students).

The dictation writing process is based on following a plan. After each playback, you need to determine and fix:

• key;
• time signature, dictation form, structure features;
• Start dictation (first measure) - tonic, middle cadence(4th clock) - the presence of the V stage, closing cadence(7-8 measures) -

V step of the tonic;

• rhythm;
• melodic intonation using graphic symbols;
• musical notation;

During the performance of a melody, students must be given a specific task. At the same time, I consider it important not to focus on hearing something definite, on the contrary, to mark the maximum possible (based on the plan). It is not so important in what order to start recording what you heard - from the first note or from the end, it all depends on the specific melody. It is important to choose a "starting point": it can be the tonic at the end, "and what is before the tonic?" and V step in measure 4, "and how did we" come to it? " etc. It is also important to orient children not to the ratio of two adjacent notes, but to a motive of 5–6 sounds, perceiving it “as one word”, then the children will learn the whole melody faster. It is this skill that will subsequently help to generalize the musical text when reading from sight to specialty.

Most of the collection contains dictations in the form of a period, consisting of two sentences of repeated structure. We also write dictations of a similar structure in the classroom. Based on the classical tradition, we discuss with the students that Start dictation - from the tonic or other stable degree, in measure 4 - middle cadence- the presence of the V step, 7-8 clock - closing cadence- V step of the tonic;

After writing the rhythm (above the bars), we analyze the melody, the intonations of which it consists. For this, the main elements of the melody were identified and each assigned its own symbol. (Here the teacher's fantasy is limitless).

The main elements of musical intonation:

An example of a dictation with graphic symbols:

The "key" to the successful writing of a dictation is the ability to analyze and think logically. In practice, I had to meet students with a good musical memory, with pure "by nature" intonation, who experienced difficulties in writing a dictation. On the contrary, a student who has poor intonation and memorizes a melody for a long time, with the ability to think logically, copes well with dictation. Hence the conclusion that in order to successfully write a dictation, children should be taught not so much to memorize as analyze heard .

Musical dictation is an interesting and fruitful form of work in the solfeggio course. It contains modal, intonational, metro-rhythmic difficulties. Working on a dictation organizes students' attention, develops auditory memory and the ability to analyze what they hear. The development of all the listed foundations equally occurs on all disciplines studied in music schools, art schools, especially in the specialty and solfeggio. These items are definitely complementary. However, the approach to studying a new work in a specialty and dictation in solfeggio is noticeably different: by reproducing a musical text from notes in a specialty, a finished work is gradually formed from the details in the student's mind. This is reflected in the diagram:

When creating a musical notation of a listened work in solfeggio, the process of working with new material takes place in the opposite direction: first, the students are offered the sound of the finished work, then the teacher helps to analyze, then the learned text turns into a musical text:

At the stage of analyzing a dictation, it is important to follow from the general (features of structure and phrasing) to the particular (the direction of movement of the melody, for example), without disrupting the natural course of the process.

Recording a dictation is not creating a whole from separate elements (melody + rhythm + size + shape = result), and the ability to analyze the whole as a complex of its constituent elements.

In order for students to get used to actively perceive the musical text, different forms of work on the dictation are very useful. For example:

• Step dictation - the teacher plays a melody, which the students write down as a step sequence. This type of dictation promotes the expansion of orientation in harmony and develops a useful ability to think in steps.
• Dictation with mistakes - a dictation is written out on the board, but with errors. The task of the children is to correct them, write down the correct version.
• Dictation with options - useful for broadening the musical horizons and understanding the possibilities of developing musical material. In such dictations, both rhythmic variation and melodic variation can be applied.
• Dictation from memory - dictation is analyzed, learned until every student remembers it. The task is to correctly form the musical text from memory.
• Graphic dictation - the teacher indicates on the board only some steps, graphic symbols denoting the elements of melodic intonations.
• Dictation with the completion of a melody develops the creative abilities of students, based on three stages of melodic development: beginning, middle (development) and conclusion.
• Selection and recording of familiar tunes ... First, the melody is selected on the instrument, and then it is formalized in writing.
• Self-dictator - Recording from memory the learned numbers from the textbook. In this form of dictation, the development of inner hearing and the development of the ability to graphically form what is heard takes place.
• Dictation without preparation (control) - reflects the degree of assimilation of the material. As a material, you can choose a dictation one or two classes easier.

Any form of dictation is a kind of monitoring of the development of a child's musical thinking, the level of mastering new material, as well as a way to give children the opportunity to realize their skills on their own or to make "discoveries" under the guidance of a teacher.

Examples of dictations for grade 2:

Examples of dictations for grade 3:

Examples of dictations for grade 4:

The dictations presented in the manual are created on the basis of the elements of musical intonations described above and are instructive. In my opinion, in this form it is convenient to “hear” and analyze them, which means that it is easy to cope with the task. This is what I wish our students - young musicians!

I hope for the creative approach of the teachers to the material presented in this methodological guide.

________________________________________

For the purchase of the manual by Lyudmila Sinitsyna "Solfeggio dictations for elementary grades", please contact the author at

The first part of the textbook "Solfeggio with pleasure" is intended for high school students of children's music schools and children's art schools and consists of an explanatory note, including some methodological recommendations, a collection of dictations and an audio CD. The collection of dictations includes 151 samples of classical and modern music by domestic and foreign authors, as well as samples of modern pop music and meets the requirements of the Children's Music School and Children's Art School for each level of education.

Task of this manual - the intensification of the educational process, the expansion of the auditory base of students, the formation of their artistic taste, and the main aim is the education of a wide range of literate music lovers who, depending on their abilities, can become just listeners or amateurs playing music, and with certain abilities and diligence - professionals.

The manual was created on the basis of 35 years of experience of the author. All the materials presented have been tested for 15 years of work in the * SBEE DSHI "Akkord". The author presents musical dictation as a series of exciting tasks. In addition, many examples can be used for auditory analysis and solfeging, for example, Nos. 29, 33, 35, 36, 64, 73.

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Musical dictations are one of the most interesting and useful exercises for developing hearing, it is a pity that many do not like this form of work in the lesson. To the question "why?", They usually answer: "we do not know how." Well, then it's time to learn. Let us comprehend this wisdom. Here are two rules for you.

Rule one. It's trite, of course, but in order to learn how to write solfeggio dictations, you just have to write them! Often and a lot. From this follows the first and most important rule: do not miss lessons, since a musical dictation is written on each of them.

The second rule. Act independently and boldly! After each playback, you need to strive to write as much as possible in your notebook - not one note in the first measure, but a lot of things in different places (at the end, in the middle, in the penultimate bar, in the fifth measure, in the third, etc.). Don't be afraid to write something wrong! A mistake can always be corrected, but getting stuck somewhere in the beginning and leaving a sheet of music blank for a long time is very unpleasant.

How to write musical dictations?

First of all, before the start of playing, we determine the tonality, immediately put the key signs and imagine this tonality (well, there is a scale, tonic triad, introductory steps, etc.). Before starting a dictation, the teacher usually tunes the class to the tone of the dictation. Be sure, if you sang the steps in A major for half the lesson, then with a 90% probability the dictation will be in the same key. Hence the new rule: if you have been told that the key is with five flats, then do not pull the cat by the tail, and immediately put these flats where they should be - better directly on two lines.

The first playing of a musical dictation.

Usually, after the first playing, the dictation is discussed approximately in the following vein: how many bars? what size? are there any repetitions? What note does it start with and what does it end with? are there any unusual rhythmic patterns (dotted rhythm, syncope, sixteenths, triplets, pauses, etc.)? All these questions you should ask yourself, they should serve as a setup for you before listening, and after playing you, of course, you should answer them.

Perfectly, after the first play in the notebook you should have:

• key signs,
• the size,
• all bars are marked,
• the first and last note is written.

About the number of measures. There are usually eight bars. How should they be marked? Either all eight measures on one line, or four measures on one line and four on the other- only this way, and nothing else! If you do it differently (5 + 3 or 6 + 2, in especially difficult cases 7 + 1), then, sorry, you are a loshara! Sometimes there are 16 measures, in this case we mark either 4 on a line, or 8. Very rarely, there are 9 (3 + 3 + 3) or 12 (6 + 6) measures, even less often, but sometimes there are dictations of 10 measures ( 4 + 6).

Solfeggio dictation - playing the second

We listen to the second playback with the following settings: what motives the melody begins with and how it develops further: is there any repetitions in it, what and in what places. For example, repeat in sentences- often in music the beginning of sentences is repeated - 1-2 bar and 5-6; the melody can also contain sequences- this is when the same motive is repeated from different stages, usually all repetitions are clearly audible.

After the second playback, you also need to remember and write down what is in the first measure and in the penultimate one, and in the fourth, if you remember. If the second sentence begins with a repetition of the first, then this repetition is also better to write out immediately.

Very important! If after the second playback you have not yet written the time signature in your notebook, the first and last notes, and the bars are not marked, then you need to "activate". You can't get stuck on this, you need to insolently ask: "Hey, teacher, how many bars and what size?" If the teacher does not answer, then someone from the class will surely react, and if not, then we loudly ask a neighbor. In general, we act as we want, we arrange arbitrariness, but we will find out everything that is needed.

We write a dictation on solfeggio - the third and subsequent plays

Third and subsequent plays. First, it is imperative conduct , memorize and record the rhythm. Secondly, if you cannot immediately hear the notes, then you need to actively analyze the melody , for example, according to the following parameters: direction of movement (up or down), smoothness (successively in steps or leaps - at what intervals), movement according to the sounds of chords, etc. Third, you need listen to prompts , which the teacher says to other children during the "round" during the dictation on solfeggio, and to correct what is written in his notebook.

The last two plays are intended to test a ready-made musical dictation. It is necessary to check not only the pitch of the notes, but the correctness of the spelling of calm, leagues, the arrangement of alteration signs (for example, after the bekar, the restoration of a sharp or flat).

Today we talked about how to learn how to write dictations in solfeggio. As you can see, writing musical dictations is not at all difficult if you approach it wisely. In conclusion, you will receive a couple more recommendations for developing skills that help in musical dictation.

1. Listen at home works that are traversed in musical literature, following the notes (you take music in contact, notes - you can also find it on the Internet).
2. Sing with notes those plays that you play in your specialty. For example, when you study at home.
3. Sometimes rewrite notes by hand ... You can play the same pieces that you go through in your specialty, it will be especially useful to rewrite a polyphonic piece. This method also helps to quickly learn by heart.

These are proven ways to develop the skill of writing dictations in solfeggio, so do it at your leisure - you yourself will be surprised at the result: you will write musical dictations with a bang!