Review of the methodology for initial learning to play the instrument. Methodology for teaching children to play musical instruments

Plan - synopsis

special instrument lesson - button accordion

Theme: Formation of skills in mechanical engineering at the initial stage of training in the accordion class.

Lesson type: assimilation of new knowledge.

The purpose of the lesson: to form the skills of conducting fur at the initial stage of learning to play the button accordion with their practical application in artistic material.

Lesson Objectives:

To teach to understand the simple schemes of running fur;

To master the basic types of fur movement on musical material (even movement, acceleration and deceleration of fur movement);

To develop auditory control, the student's creative activity through various activities;

Foster a strong interest and need for musical performance.

Lesson type: lesson based on the method of the system-activity approach.

Educational technologies:

Personally oriented;

Developmental, problem-based learning technologies;

Game technology;

Information and communication technology;

Health-saving.

Methods: conversation, figurative comparison, dialogue method, ensemble method, practical demonstration on an instrument, problematic, demonstration and illustrative method (sound and visual clarity).

Means of education: interactive complex; video presentation for the lesson; textbooks: G.I. Krylov's "The ABC of the Little Bayanist" (part 1), "The ABC of the Little Bayanist" (part 2), A.F. Denisov, V.V. Ugrinovich "Bayan", reproduction of Shishkin's painting "Three Bears").

Lesson structure

I... Organizational stage.(2 minutes)

1. Musical greeting.

2. Hearing: "Tired toys are sleeping" by A. Ostrovsky (illustrated by a teacher).

II(3 min.)

Conversation, announcement of the topic of the lesson.

III... Knowledge update (5-7 min.)

1. Conversation on the covered material using slides.

2.Oral sight reading

IV... Primary assimilation of new knowledge (20 min.)

1. Study of the basic schemes and types of fur movement.

2. A game of exercises "Calm breeze", "Little storm", "Calm breathing" with an air valve.

3. Play exercise "Three Bears" on the left keyboard.

V... Initial comprehension check (5 min).

Songs game:

Children's song "Cornflower"

R.n.p. “Like under a hill, under a mountain”;

Hearing: L. Knipper "Polyushko-field", brief comparative analysis.

VI.Initial anchoring (7min.)

1. Game "Sound pictures".

2. Performing musical pieces in the ensemble: E. Tilicheeva "Blue Sky", children's song "Mashenka-Masha".

7. Information about homework, instruction. (2 min.)

1. Draw a graphic image of sounds on paper and sound from any key: "Strong rope", "Thick heavy ship's rope", "The plane flew by."

8. Reflection. (1 minute.)

Analysis of activities in the lesson.

The connection of the knowledge gained in the lesson with life

The conclusion of the student about the meaning of the lesson in his life.

Marking for work.

During the classes

I... Organizational stage. (2 minutes)

1. Musical greeting

“Now the music lesson will begin,

A funny call told us about it,

He said, bursting out on a high note,

Congratulations on the beginning of the lesson! "

And so our lesson on a special instrument - the button accordion, we will begin with the sound of music.

Please make yourself comfortable in your chair. I suggest you listen to a song. The song of A. Ostrovsky "Tired toys are sleeping" is played. ( Performed by the teacher). ………………………………. Slide (1)

II... Motivation, setting the goal of the lesson.(3 min.)

Beautiful music? And, probably, a friend? ( Yes).

Where could you hear her? ( Mom sang, on TV).

After listening to this song, what can you say about her character? ( Calm, melodious, soft)

Right. And the movement of the fur on the button accordion helps us to convey this character of this song. But as? So we must now figure it out with you. In ancient times, a man named Boyan lived in Russia. He sang songs, told epics about the victories and defeats of Russian soldiers, accompanied himself on the harp. The instrument, beloved by the people, was named in memory of the ancient singer - the narrator after his name - the button accordion. Bayan has a wonderful voice, capable of soulfully "singing" a soulful song. He has a deep "breathing" sound and he "breathes" like a person, and without this breathing playing the accordion is unthinkable. Therefore, the expressive pronunciation of music is largely determined by the developed technique of playing fur, which accordionists often call the instrument's lungs, thereby animating this detail.

And the topic of our lesson today will be devoted to mechanics. We must learn to understand simple patterns of fur handling and master the basic types of movement and fur change on musical material.

III... Knowledge update. (5 minutes.)

Try to guess the riddle:

You will take her in your hands,

You will stretch, then you will squeeze,

Will play, just touch

What is her name?

(Harmonic)

As you already know from the history of the appearance of the button accordion, the accordion was its predecessor.

Now take a resonator and try to extract the sound by blowing into the round holes, like on a harmonica. Great! Well done!

- Let's now remember what the constituent parts of the accordion are called? (Right half-body, left half-body, fur.). Right.

What do you think: what constituent part of the button accordion helps it "breathe"? (Fur). Right.

And what makes the sound on the accordion appear? ( The sound of a metal tongue - "voice").………………………………. Slide (2)

IV... Primary assimilation of new knowledge. (14 min.)

Before you start making sounds, I suggest that you take a pencil in your left hand and draw an imaginary horizontal line in space, similar to the trajectory of the fur. Do it slowly and smoothly, that is, without jerking, and the direction of movement of the hand should correspond to the trajectory of movement of the fur.

You did well, well done.

Now we will try to extract the sound on the button accordion, where you need to make the same movement, but in more difficult conditions for controlling the instrument's bellows. We will begin this work with you, too, with exercises. When performing these exercises on the instrument, you should feel the different modes (degrees) of fur tension and the sound results obtained depending on this.

And so the first exercise is "Breathing": the student presses the air valve, then leads the fur, opening (unclamping, indicated by the sign V) and closing (squeezing, indicated by the sign D) it. The main condition for its implementation is the slow and smooth movement of the fur after the previously pressed key. The dynamics of sound is smooth and the movement of the fur is also called smooth.

Now I offer you different ways of running the fur with the air valve pressed to convey the character of this or that exercise: "Calm Breeze", "Little Storm", "Calm Breathing", "Rest After Running."

Do you think changes in dynamic sound levels can be associated with spatial representations? For example: ("The plane has departed"), ("The plane has arrived") and what happens to the sound? (You can. The sound is amplified, then weakened). Let's try to portray these "planes". When performing these exercises, try to keep your hearing in control of the gradual change in the volume of the sound, measure it with the degree of fur tension, concentrate on the fur movement (the function of the fingers is limited to pressing the keys) and correlate the physical sensations with the sound result. The acceleration and deceleration of the movement of the fur is used as a means of expressing the phrase.

- Let's remember with you the heroes of the fairy tale "Three Bears" and we will try to depict each hero with sounds on the left keyboard. Mikhail Potapych: the teacher makes two long sounds - one for opening, the other for squeezing with the second finger on the G key; Nastasya Petrovna: with the third finger on the C key; Mishutka: with the fourth finger on the F key. And we will come up with our end to this fairy tale: Mashenka managed to escape from the hut in time, she hid behind the bushes and mimics the bears. She does it like this. The teacher plays with the fifth finger on the black key. Further, this exercise is learned by the student without counting out loud, during the game he controls the evenness of the fur, the quality of sound production.

(Schemes of graphic representation of sounds, ………………… .. Slide (3,4), reproduction of Shishkin's painting "Three Bears").

V... Initial comprehension check (7 min.)

And now let's try the acquired skills of movement and change of direction of fur on exercises, to apply when playing songs.

Children's song "Cornflower";

R.n.p. "Like under a hill, under a mountain." Wonderful! You controlled the movement and change of fur, did not allow jerks, jerks of fur.

Hearing L. Knipper "Polyushko-field". Performed by the teacher.

Now I will offer you several versions of this piece. Pay attention to me running the fur and the sound of the last phrase.

What unusual things did you see and hear in my performance? (Fur thrusts).

Is such a figurative comparison as "The plane flew away" ( No. "The plane has departed" - the sound fades away, and I heard the last phrase to amplify the sound).

- You correctly noticed the uneven movement of the fur and subtly noticed the sound of the last phrase. Well done! In the future, when we are going to disassemble "Polyushko-Pole", you will have to follow the playing of short-sounding chords. And why? And this leads to the trembling of the accordion body and disrupts the smooth flow of the melody. ………………………… (Slide 5)

Physical minute. (3)

Our muscles are tense and need to be allowed to relax. We will now do a series of muscle relaxation exercises:

Exercise for the release of the body and arms, muscle relaxation "Humpty-Dumpty". The exercise is performed while standing. Raise both arms up and drop them down through the sides, slightly tilting the body forward. Hands swing by inertia, at this time the words: "Humpty Dumpty" are pronounced. The exercise is repeated 3-4 times.

- "The Soldier and the Bear". Performed while sitting on a chair. At the command "Soldier!" straighten your back and sit motionless like a tin soldier. At the command "Bear!" relax, round your back, like a plump bear. Each command has five seconds to complete. The exercise is repeated several times.

- "Swan". Performed while sitting on a chair. The student raises his hands horizontally on the floor and flaps them like wings, then lowers them sharply downward, shaking them. The exercise is repeated several times.

VI.Initial fastening (8 min.)

And so we rested, relaxed all the muscles, which means we can sit down at the instrument again.

Now I suggest you play the Sound Pictures game. I will show you pictures with images of objects, and you play on the right keyboard on any key with the help of sound, changing its volume - loudly, quietly, strengthening, weakening, I must depict the contours of the drawn objects: "Cobweb", "Rope", "Ship rope ”,“ Wide pipe ”,“ The plane has arrived ”,“ The plane has departed ”.

You have done everything correctly. - Well, now we play with you in an ensemble. Do you know what an ensemble is? (NS then joint performance). Now, with your game, you will show how you have mastered the basic directions of movement of the fur. We will perform with you the children's song "Blue Sky" by E. Tilicheeva and the children's song "Mashenka-Masha". Well done! Your fur swam like a "trickle" - without jolts, smoothly, you did not break the melodic line, the sound was soft, melodious.

7. Information about homework, instruction. (2 minutes.)

Our lesson is coming to an end and we must formulate a homework assignment:

1. Draw a graphic image of sounds both on paper and sound from any key: "Strong rope", "Thick heavy ship rope", "The plane flew by."

2. From the sounds "mi", "fa" to play the exercises "The plane has arrived", "The plane has departed."

3. Fix the change of fur in the song "Cornflower", "It's time to sleep."

4. With the right hand, play by ear the song "Go cat", using the options: playing and singing a melody with words, without words.

8. Reflection. (1 minute.)

Tell me, what did you learn in today's lesson? ( about the directions of the fur, that the sound when playing the button accordion depends on the ability to use the fur).

What did the lesson material seem to you? (understandable, useful).

Do you think this knowledge and skills can be useful to you further in mastering playing the button accordion, in transferring an artistic image in a piece of music, and then in life? ( Yes. I will learn to play the button accordion well, play in an ensemble, I will participate in concerts, in competitions).

- In what mood are you leaving the lesson? ( With a raised).

You are very clever! Wonderful, active and with interest he worked in the lesson. On this we say goodbye. I'm waiting for you for the next lesson.

Methods of teaching to play folk instruments
compiled by P. Govorushko
"Music", 1975

FROM THE CONTRACTOR
The high professional and artistic achievements of performing on Russian folk instruments are well known.
Recently, the performing skills of professional orchestral groups have grown exceptionally high, among which the orchestra of Russian folk instruments of the All-Union Radio and Television under the direction of the People's Artist of the RSFSR V. Fedoseyev has achieved especially great results. Awarding V. Fedoseyev the State Prize of the RSFSR named after M.I.

Recognition and fame in our country and far beyond its borders has received the performing skill of our button accordion players, who have won honorable places at international competitions for many years in a row and have successfully toured Europe and Asia, Australia, America and the African continent.
Soviet balalaika performers are very popular, convincingly demonstrating the enormous artistic and virtuoso capabilities of this instrument. Performing activities of the laureate of the State Prize, People's Artist of the RSFSR P. Necheporenko raised the value of the balalaika to a highly professional academic level.
Other Russian folk instruments continue to develop. The artistic possibilities of domra as a solo instrument are becoming more and more evident. A number of interesting young soloists-domrists have appeared. The beginning of the revival and professional development of the ringing gusli was laid. The fruitful work on the concert stage of the laureate of the All-Russian guslar competition V. Tikhov, who has successfully graduated from the Leningrad Conservatory, convinces of the great promise of this instrument.
All these successes are due to the development of music education, improvement of teaching, the influx of fresh forces, talented young personnel into performing and teaching practice.
However, despite this, today, unfortunately, we still cannot say that the training of young musicians in the broad mass, at all levels is already at a sufficient artistic, performing and organizational level.

Considering the prospects for the development of vocational education, one must first of all turn to its origins, to the state of education in amateur performances, in music schools and colleges. The noticeable decline in the interest of music lovers in classes in amateur musical groups is a serious concern. The experience of work in the field of amateur performances allows us to conclude that the methods and organizational forms of activity of orchestral collectives that developed many years ago now no longer correspond to the increased level of aesthetic development of the broad masses of music lovers, their artistic needs.

Back in the 50s, amateur music groups were almost the only channel for receiving primary musical education. In the following years, when the intensive development of the network of children's and evening music schools began, amateur groups began to cede their functions to professional musical institutions. Under these conditions, amateur art groups, apparently, had to reorient themselves to attracting into their environment, to some extent, qualified performers. And for this, of course, it is necessary to actively promote their artistic achievements, deepen the professional foundations of performing, develop and improve the performing skills of each orchestra member.
Especially important for us is the state of children's amateur performances in houses of culture, houses and palaces of pioneers, clubs and various circles. The level of this work determines the future of professional performance and directly affects its future.
The achievements of out-of-school childcare institutions in the aesthetic education of the younger generation are well known, but there are also serious unresolved problems in this work. Concern is caused, in particular, by the insufficiently satisfactory general level of teaching and the absence of any serious work to improve the qualifications of teachers and leaders of children's musical groups.

It is characteristic that from the funds received from students, club institutions, as a rule, do not provide for any expenses for providing methodological assistance to their teachers and practically do not show any concern about this. The situation is aggravated by the fact that the methodological events that are periodically carried out in the parent organizations - palaces of pioneers and amateur art houses - are based on purely voluntary principles and are not attended by unqualified teachers.
Children's amateur music activities in their mass character significantly surpass the contingent of students of music schools and attract a considerable number of brightly gifted children. The level of work with this best part of the amateur participants is of particular concern, since the organizational structure in this area, unfortunately, does not provide the necessary conditions for the normal development of young musicians. Even in cases where gifted children study under the guidance of talented and experienced teachers, the results are often significantly lower than possible. The reason for this is not only half the duration of a lesson in a specialty than in a music school, but also the absence of such disciplines as solfeggio and music literature. Naturally, in such a situation, even the most promising young musicians are not sufficiently prepared to enter a music school and lose the opportunity to receive professional education.

Serious organizational and methodological problems are facing children's music schools today. Their activities at the present time are determined by the tasks of general music education and solid initial vocational training of especially gifted children, promising for further education at a music school. The modern music school is still not coping with the solution of these problems in the field of performing on folk instruments. For amateur music-making, students do not acquire the necessary sight-reading skills, playing by ear, and the ability to accompany. In a professional sense, students, as a rule, lack technical freedom, meaningfulness and expressiveness of performance.
The preparation of students is negatively affected by the shortened (in comparison with pianists and violinists) period of study at a music school. It would be more expedient to admit children to the department of folk instruments at the age of eight, and begin classes in the specialty after preliminary general musical training, as the student is sufficiently physically developed. These measures would help to close the gap in musical-theoretical training, which, at the end of the children's music school, is formed between pianists and violinists on the one hand and students of folk and orchestral wind instruments on the other. The lag behind the latter turns out to be so significant that in secondary and higher musical educational institutions, the study of theoretical disciplines is already carried out according to a lightweight curriculum, which creates the false impression that there is some fatal inevitability of the limited development of performers on folk and wind instruments.

The problem of the selection of students, the methodology for conducting admission exams is also urgent. It is characteristic that now not so much those children who have the brightest giftedness enter music schools, but those who accidentally heard and became interested in any instrument, or, even worse, who were sent to study against their wishes by their parents. The absence of an elementary connection with general education schools and kindergartens, passive waiting instead of an active search for talents deprive the music school of many bright talents at the present time.
There are no small losses among those who nevertheless come to the exams at the music school: because of the primitive system of checking musical data and the haste of its implementation. But it is quite possible to exclude or at least reduce the number of errors during admission, for example, by organizing classes with applicants during the last, practically non-academic month, specially designed for the methodological work of teachers of children's music schools.
Teams of teachers and directors of music schools turn out to be passive observers in matters of special orientation of applicants, in the regulation of admission. The choice of this or that instrument is most often based on random, fashion-influenced ideas of applicants, without taking into account their capabilities and individual characteristics. As a result, there is a "flux-like" formation of the contingent - the overwhelming majority of children are taught the piano and accordion.
The influx into piano classes is most likely due to the ignorance of parents, who do not imagine that successful learning on this instrument is possible only with outstanding abilities, requires systematic long-term hard work. Few people know that the piano, in terms of home music making, is not as accessible as many other instruments.

At the present time, an increased interest of uninitiated parents in the essence of the matter is caused by the attractive external and sound qualities of the accordion. In the stream of accordionists entering children's music schools, a significant place is occupied by gifted, professionally promising children, for whom the limited performing abilities of the accordion then become an obstacle on the way to professional art.
One of the most important modern tasks is the development of the initiative and interest of music school teachers in attracting students to string folk instruments. The creation of these classes in all music schools is not only a professional, but also a civic, patriotic duty of teachers.
Among the many problems mentioned and not mentioned here, the most urgent is the problem of educating educators, improving the qualifications of teachers of music schools.
As you know, it is here that very young, inexperienced school graduates begin their pedagogical path. Some of them, probably a smaller one, enter the correspondence departments of universities and, thus, continue their education. The other, large part, is content with the knowledge acquired at the music school. For 5-6 years, while young specialists acquire elementary pedagogical experience, they find themselves practically without support and assistance.
The existing system of methodological work is still often casual, superficial and does not cover the teachers most in need of help. Inexperienced teachers are now and then exchanged "experience", immature, erroneous judgments are often brought to the rostrum, the most talented, authoritative specialists are poorly attracted.

For further improvement of teaching, it is also necessary to increase the responsibility of teachers of children's music schools. In this regard, it is advisable, for example, to conduct exams and study concerts not according to courses, but according to classes, when all students of one or another teacher are introduced to the audition. Here, the advantages or disadvantages of the method and the teacher's miscalculations are more prominent, the quality of teaching is more visible, and therefore the responsibility for the performance of both the student and the teacher is higher.
A stronger means of increasing the efficiency of work could be the social and professional certification of a teacher, in which, after a certain period, the teacher not only shows the level of preparation of his class, but also reports on his methodological and social activities.
The state of affairs could also be improved by the patronage of the school by one of the authoritative teachers of the school, who would periodically attend lessons, provide methodological assistance to young teachers, participate in the discussion of exams, study concerts, etc. music schools, directly interested in improving the quality of their own contingent, formed, as you know, almost entirely at the expense of graduates of children's music schools.
The impressions of applicants to the Leningrad Conservatory, long-term observations of the development of young musicians indicate the presence of significant shortcomings in training on a special instrument, in musical-theoretical training and in the general development of students of many music schools not only in the Russian Federation, but also in other republics.

In the field of sound production techniques, the overwhelming majority of applicants to the conservatory are characterized by randomness in performing actions, sometimes by the absence of elementary orderliness of playing movements. Too many pupils and students in this regard are left to themselves and do not pay any attention to the position of the fingers and hands, to their "performing position" in each new fingering situation, do not control the nature of movements and the state of the muscular apparatus. Hence the limited technical development, constraint, tension of the performing apparatus. Serious claims can be made regarding the development of articulation skills, meaningfulness and imagery of performance.
In the process of studying at a university, for example, the absence of a proper shaded culture is often revealed: the performer's hearing turns out to be unprepared to ensure more or less the same combination of sounds within one technique - legato, non legato, staccato. Many applicants are poorly guided in questions of the form of musical works, do not feel the natural dismemberment of the structure, do not have enough skills in its competent pronunciation and generalization. Often, the primitive development of the performer's figurative representations is also found, the limited possession of the skills to reliably convey the characteristic and stylistic features of the work, which leads to monotony of sound, formal reproduction of dynamics, and often to stylistic falsehood. One has only to be surprised when, in a piece learned and already performed at the final exam at the school, the performer cannot definitely indicate either the main or particular culminations, does not imagine the characteristic and stylistic features of the play.

Yet the greatest concern. causes a very limited outlook of many applicants, poor general development, sometimes the absence of a minimum of general cultural information necessary for a specialist with secondary education. At colloquia during entrance exams, it is revealed that a significant part of school students do not show due interest in concert life in their city, do not attend concerts and performances, listen to little music, and do not read fiction. Apparently, the time has come when a teacher in his specialty must understand the full extent of his responsibility not only for the quality of vocational training, but also for the education of the student, the formation of his outlook and ideological conviction.
This is the real state of affairs in the primary and secondary levels of music education, which not only significantly affects the formation of the contingent of university students, but also currently determines its quality level.
In this regard, universities are faced with especially difficult and responsible tasks of training specialists of really high qualifications that meet modern requirements.
The proposed collection of articles prepared at the Department of Folk Instruments of the Leningrad Conservatory is an attempt to draw the attention of pedagogical circles, school students and students of higher educational institutions to the problems of developing high professionalism in performing, to the upbringing of deeply educated musicians.

In the structure of the collection, three directions can be distinguished - articles related to the methodology of teaching on domra, balalaika and button accordion ("Specific features of sound production on domra" by associate professor Shitenkov I.I. ("Designation of balalaika strokes" by associate professor Shalov A.B. development of the performing skills of the accordionist "by the author of these lines); dedicated to specific problems of performance (" Some features of the interpretation of works by I.S.Bach on the button accordion "by the teacher of the music school at the Leningrad Conservatory V. Igonin and" On the peculiarities of the performance of works by A. Repnikov " teacher Matyushkov D.A.) and articles aimed at solving the problems of broad education of performers on folk instruments ("The subject of instrumentation in the process of professional training of performers" by the head of the department of folk instruments of the Petrozavodsk branch of the Leningrad Conservatory Borisov S.V. and "Orchestral class as a means of education musician-performer, peda gog, conductor "senior teacher Preobrazhensky GN).

S. Borisov. The subject of instrumentation in the process of professional training of performers

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Learning techniques

Different groups of instruments require mastering different levels of difficulty in playing techniques. Therefore, those participating in the orchestra should be given differentiated tasks, taking into account their individual capabilities.
In the method of teaching to play the instruments, it is important to establish the sequence of performing various musical tasks. There are still no long-term and strong pedagogical traditions in this matter. As with any performance, it is necessary to apply the correct playing techniques when learning the pieces. Continuity in collective and individual work is important: in general studies and in independent music-making, at festive performances and entertainment.
The expressive performance of the work (on various instruments) by the teacher, the demonstration of techniques, methods of sound production and explanations - well-tested, traditional methods - can still be replenished with others. Children are offered to independently "examine" the tools, they are given simple creative tasks and are encouraged to self-study in independent studies. When training takes place in a combination of these methods, you can count on pedagogical success.
In practice, they often start learning to play many instruments at the same time, although each instrument requires different performance techniques, or they learn the whole piece at once. However, some children have to wait while others learn. This tires the children and distracts their attention.
Obviously, something else can be considered expedient. After acquainting children in general lessons, for example, with the appearance of a zither, with the basic techniques of playing on it, having learned 2-3 tunes for several lessons, the instrument is subsequently transferred to the group There, during the games, the children continue on their own initiative.
get acquainted with the instrument, the teacher helps them. In the meantime, in the general classes, there is an acquaintance with another instrument. Moreover, sometimes the most capable children are invited to examine the instrument, find ways to play on it, and then the teacher makes his own amendments.
Gradually, children are introduced to instruments with diatonic or chromatic scales: metallophones, triplets, accordions, zithers. The percussion group requires less time to get acquainted with it: two or three instruments can be brought into the lesson at once, for example, a drum, a tambourine and castanets, since children reproduce only the rhythm on them.
Let's consider the peculiarities of the teaching methodology from the point of view of the following tasks: mastering the game techniques; sequences of tasks for mastering the game on individual instruments; learning some works.

Technique

Playing techniques depend on the construction of each instrument. First of all, it is necessary to establish the correct initial posture and position of the instrument in relation to the child.
Metallophones, zithers are best placed on small stands that are at the level of the players' knees. If no stands are available, the tools can be placed on your lap. Wind instruments (before the start of the game) are also placed on the knees. The drum and tambourine are held at belt level, and the triangle is hung on a stand, or the child holds it in his left hand.
It is very important to teach the correct techniques of sound production. When playing on metallophone the hammer should be held so that it rests on the index finger and the thumb holds it on top. The blow should be in the middle of the plate and, most importantly, be light. In this case, the brush should be free. If the child holds the hammer in his fist, strikes loudly, holds it on the record, then the sound will turn out to be "dirty" and unpleasant.
When playing on zither the pick should be held between thumb and forefinger. The sound is produced with a light, elastic movement along the string. In this case, one must strive not to touch unnecessary strings.
Castanets sound very loud, so they are taken in the right Hand and lightly hit with the "petals" on the palm of the left. At the same time, the sound is somewhat muffled, and the rhythmic pattern is clearly audible.
Plates children hold the straps and hit one another in a sliding motion. To stop the sound immediately, the cymbals are applied to the knees. Sometimes the plates (hanging them) can be hit with a stick, the end of which is covered with several layers of soft motherfucker or cotton wool.
When playing on triangle it is necessary to hit with a stick in the middle of its horizontal part. The sound should be light and resilient.

and if it continues for a long time, you should press the triangle with your hand - the sound will stop immediately.
Tambourine makes sounds of different nature, depending on whether they hit his membrane with the fingers, the soft part of the palm, or with one thumb. If, in addition, change the place of impact - closer to the wooden frame (where the resonance is stronger), towards the middle, hitting the frame itself, or, finally, alternating these impacts, then you can achieve an interesting timbre comparison of sounds.
Play on triolet and Melodies-26 follows the same tricks. The child blows into the opening of the tube, evenly spending his breath. At the same time, he presses the desired key. The keys of the triplet are colored, each has its own color and name. First keys - re, fa #, salt and further the scale G major. Therefore, on the triplet, you can play melodies in G major and partly in other keys, but in a limited range.
The instrument, called Melody-26, is built on a chromatic scale (two octaves), and almost any melody within two octaves can be played on it.
When a child feels the differences in the quality of sound, when he himself begins to navigate in various methods of playing, he will develop auditory control and the ability to correct inaccuracies in his performance.

Sequence of tasks

At the beginning of training, the methodological techniques of the leader are naturally directed to arouse the child's interest in a new type of activity for him.
In the nature of the sound of each musical instrument, one can find an analogy with some natural phenomenon - the voices of birds, animals, human speech. The teacher, for example, draws the attention of children to the fact that the birds are singing high, loudly, tenderly, and this can be depicted on a zither.

The metallophone conveys well the sounds of falling rain drops: at first they rarely fall, then they ring more often, more often - the rain intensifies.

The sound of the trio is lingering, as if someone is shouting in the forest, calling.

And the flute or Melody-26 says to all the guys - get ready for a hike.

On the drum, the sticks beat out a roll, like thunder is thundering (the teacher makes alternating quick strikes with two sticks).
The point of such techniques is to familiarize children with the expressive capabilities of each instrument.
At this initial stage, it is also useful to prepare children for coordinated joint actions, to develop the sense of the ensemble, which is so important for playing in an orchestra. For this purpose, a kind of rhythmic "orchestras" are used. Children clap their hands, stamp their feet, tap with wooden sticks, bars, plastic boxes - empty or filled with pebbles, peas, etc. And here the methods of sound production can be different. So, if you hit one of the other palms with bent fingers, then the sound is booming and dull; if you hit with "flat" palms, as in "cymbals", then the sound is distinct and sonorous.
You can hit the fingers of one hand against the palm of the other, and the sound differs significantly depending on whether the fingers are kept outstretched or free and bent. Pritopes with a foot are also different: with the whole foot, with one toe or heel, alternately - either with a toe or with a heel. The so-called "slaps" are applied with palms or fingertips on their thighs.
Wooden, plastic, metal objects also allow you to extract sounds of a different nature. Children with interest
listen to them, performing rhythmic tasks, master the skills of joint or alternate actions. Children are given, for example, the following exercises:

Musical echo

Children are divided into two subgroups.
1st line. The teacher knocks with chopsticks.
2nd line. The first subgroup of children bangs with their toes.
3rd line. The second subgroup of children taps the palm of the other hand with their fingers.


Such exercises can vary with respect to rhythm and different ways of clapping, tumbling, “slapping”, etc.
The movement of the train is well imitated, for example, by alternating foot strikes with a toe, then with a heel or hands, then with fingers, then with a dull clap. At the same time, the tempo can be arbitrarily accelerated or slowed down, and the sound can be increased or decreased.

1st line. Heel kick.

2nd line. Toe kick.

It is useful to familiarize children with the perception and expressive performance of rhythmic recitative intonations of the voice. At first, you can show their expressiveness in simple rhythmic sentences, speech intonations, recitative. As you know, recitative is close to melodious recitation. It has intonation rises and falls, natural for colloquial speech, accents and pauses are clearly audible.
It is advisable to draw the attention of children to the fact that rhythmic sentences and musical and speech intonations can be used in various game and life situations.
Here are examples of various techniques that consistently lead children to expressive performance.
The teacher invites the children to guess who she called - Tanya or Andryusha. Children should learn this with a rhythmic pattern performed by an adult in claps or on a metallophone:

Children will learn how the girl was named - Tanya or Tanya:

After that, the guys can call each other on their own. Coming up with a certain rhythm, they lay out the cards on the flannelegraph, using them from the appendix to the "Musical Primer". Wide cards represent quarters, narrow ones - eighths:

They can perform the same rhythmic pattern on a metallophone, triode or percussion instrument.
Children move from performing a rhythmic pattern to recitative. They are invited to call each other, but in different ways: affectionately, angrily, questioningly, invitingly. Children come up with expressive intonations that approach melodious speech. These are not yet vocal intonations with their precise pitch and melodious sound. They are pronounced in a dialect. Either raising or lowering intonation, the guys are simultaneously looking for similar ones that sound on musical instruments, thus composing short tunes.
Further training proceeds in the following sequence: first, playing one instrument is mastered, then another, etc. This increases the volume of performance skills: first, rhythmic patterns; then melodies built on narrow intervals; later melodies, which include significant sections of the scale and wider intervals.
Learning the melody of simple pieces, songs, singing, children must cope with two difficulties: to reproduce the rhythmic pattern and the melodic line. First, when the techniques of correct sound production are being mastered, the teacher offers the children an easier task - reproduction of the rhythm, learning the techniques of correct sound production, the initial pieces of the Musical Primer. Their artistic advantage is that rhythmic jokes are given with piano accompaniment, which makes them more expressive.
After the performance by the teacher, the children easily learn the melody and sing, slapping the rhythm. It is good to use cards from the application "Note Lotto" ("Music ABC").

The cards are laid out on the flannelgraph:

Children are offered to count the sixth plate on a metallophone (from the beginning) - “this is a note la ", and then play a rhythmic pattern - the song "The sky is blue." The teacher accompanies the piano. The secondary performance is accompanied by collective singing. The task is mastered, and the children will be able to play the song on their own.

The sky is blue
Music by E. Tilicheeva

[Calmly]

In the following music lessons, an individual survey is conducted: children perform this song on different sounds (records). They are called notes (their arrangement on the records is familiar to children): “Play the note mi, on a note before" and so on. In this case, it is necessary
but remember that children are able to sing and accompany themselves on the metallophone only a well-learned song, since the sound of the metallophone is higher and does not correspond to the vocal capabilities of the preschooler. It is easy for a child to get lost, since the same note on the metallophone sounds in a different octave (higher).

Having learned a few rhythmic tunes, you can proceed to the following tasks - first, learn the tunes consisting of close intervals, and then from wider ones. The learning technique remains the same. It should be remembered that a poetic text facilitates memorization and allows children to use the learned works in independent studies. It is also important to consistently complicate tasks. Easiest to play seconds, their sounds are located side by side. Therefore, after exercises on one sound, it is advisable to play the tunes built on this interval (for example, the Russian folk song "Magpie-magpie", "Accordion" by E. Tilicheyeva, etc.).

Forty-forty
Russian folk song

Harmonic
Music by E. Tilicheeva
[V medium tempo, rhythmically]

The assimilation of more complex performing techniques gradually makes it possible to complicate the repertoire. In the tunes, progressive moves appear within small scales, the interval expands. Piano accompaniment, vividly and expressively presented, is of increasing interest to children. It is important that children listen to the means of musical expression and feel the mood of the music. Each work of art is original and peculiar in its own way, and the methods of its development should be different.
Musical perception of children is activated if, after the first listening to a piece, they are asked, for example, the following questions: “What instruments are better for performing this piece?”; "Which part of the piece should other instruments be played, and which ones?" Children usually choose instruments more easily if the piece is clear enough in character, has a clear musical form, and is built on parts that are contrasting in character. Of course, children cannot orchestrate a play. But it is important to use an interesting technique in which they try to compose and make their "decision" - which instrument should sound in this or that part of the piece. A skillful, tactful approach can promptly influence their proposals and guide their responses.

The method of learning individual pieces

The more complex the piece, the more developed the piano accompaniment of the song, the more leisurely the learning process should be. Let's consider two examples: "Rain" and "Our Orchestra".
The first song is "Rain". Russian folk song arranged by T. Popatenko is based on a motif of two sounds lying side by side (big second). This motive is repeated many times with a small rhythmic variation - at first the singing begins with a strong beat of the beat ("Rain, rain more!"), And then - from the beat ("Let's give you some thick"). The general character of the piano processing is agile, clear and light. The texture is transparent - there are many pauses, the main touch is staccato. There is an introduction and a conclusion. In the introduction, a simplified motive of the song sounds, and the conclusion, as it were, "draws" raindrops.
The transparent character of the song should not lose its charm when instructed. In the introduction, a kind of roll-over of two registers is heard. In conclusion, triangles sound. They very well reproduce the character of the "droplets", especially since the melody of the conclusion cannot be conveyed by the sounds of children's metallophones and zithers. In this piece, it is desirable to use a small number of instruments, distinguished by light, sonorous, abrupt sounding.
The sequence of lessons for learning this song can be outlined as follows.

Lesson 1. Children listen to this already familiar song performed by an adult. Attention is drawn to the light, transparent sound of the piano part. Children remember the song and sing it. The teacher suggests thinking about which instruments are best suited to her sound.
Lesson 2. After the song is played, a discussion begins on how to instruct it. Attention is drawn to the nature of the introduction, conclusion and some difference between the second phrase and the first. Children's proposals are discussed and practically tested. If one or the other version of the instrumentation turns out to be good, then it can be performed in this lesson in its entirety.
Lesson 3. If the option proposed by the teacher is being learned (suppose children's options are not accepted), then you can first perform only the melody of the song (on a metallophone, zither), and while the introduction and conclusion are still performed on the piano. Attention should be paid to the timely entry of zithers
Lesson 4. The whole song is unlearned - at first without singing, then some of the children play, others sing, and, finally, everyone plays and sings.

Another song - "Our Orchestra" by E. Tilicheyeva (lyrics by Y. Ostrovsky) is much more difficult for an ensemble performance. The melody is more varied, its range is already within septims, moreover, there are jumps, the received moves go up and down. Rhythm also has difficulties: there are notes with a dot. All this requires certain skills from children. In the piano accompaniment and in the melody, the musical characteristics of the sound of various groups of instruments are given. Suffice it to recall the bars where the words "Drums, drums, drum, drum" sound, in which a clear rhythm is given, as if imitating a drum. Further, a higher regi appears. Thus, the instrumentation is prompted by the composer and the poet. But in order for the children to participate in the choice of instruments themselves, it is obvious that they first need to perform the song without the text that prompts the solution.
Therefore, the following sequence of classes is advisable:

Lesson 1. The teacher performs the piano part without singing. Children are offered musical riddles - they play separate phrases that to some extent characterize the sound of various instruments. They guess and name which tools are suitable for a particular phrase. Then the teacher sings the song a second time, but sings and plays. This way the children will know if they have named the instruments correctly.
Lesson 2. Learning the vocal part of the song. Children learn a melody. Then they sing it in parts: future performers on triplets sing the first phrase, on the drums - the second, etc. While singing, the guys imitate the movements of playing one or another instrument.
Lesson 3. Learning more complex parts: triol (1st four-bar) and metallophones with zithers (3rd four-bar). First, all the children play, then they choose those who will perform these parts, show them these parts, explain which note to start with, and offer to play. Then all the children play imaginary drums, and some of the children play real instruments.
Lesson 4. Learning of the parts of triols and metallophones continues. First, the last phrase is learned with metallophones, on which the melody is performed, and then a percussion group - drums - joins them. The drum part is repeated. At the end of the lesson, the entire score as a whole is performed for the first time, but without singing.
Lesson 5. The performance of each part is repeated separately. All

Rain
Arranged by T. Popatenko
[Not very soon]

score, but some children sing, others play. Timely introductions of each instrument group are monitored and dynamic shades are refined.
In further lessons, the whole play is repeated and the acquired skills are consolidated.

Often in teaching practice there is such a technique: children perform a melody on their instruments, and an adult plays the melody and accompaniment on the piano. To diversify the sound, you can do it differently. For example, the whole piece is performed by a teacher on the piano, and children play a melody on a metallophone, and, as it were, an accompaniment, that is, sounds corresponding to the first (I) and fifth (V) or the first (I), fourth (IV) and fifth ( V) degrees of the fret.
Here are, for example, three versions of the Ukrainian folk melody "Oh bursting the hoop", arranged by T. Popatenko. Metallophones in the first case duplicate the melody, in the second - the bass voice, in the third they play without piano accompaniment.
Another work is "Squirrel", an excerpt from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov. This excerpt conveys the image of a fabulous squirrel. To characterize the image, the composer used the melody of the famous Russian folk song "Whether in the garden or in the garden." The melody of the song is cheerful, perky, dancing in nature, but performed at a moderate pace. When instructing a piece, it is necessary to choose musical instruments with a light, sonorous and abrupt sound. It can be a metallophone and a triangle.

When learning a piece, you can suggest the following sequence of classes.
Lesson 1. Children listen to the play performed by an adult. Attention is drawn to the light sounding of the melody, its perky, dancing character. You can read an excerpt from the work of Alexander Pushkin "The Tale of Tsar Saltan". After the teacher has re-performed the play, the children are asked to think about which instruments are best to use for playing in the orchestra due to the nature of the music. Children's proposals are being discussed. One of the options is selected. The teacher plays a melody on a metallophone.
Lesson 2. The teacher performs the melody of the piece without piano accompaniment. Children swipe the rhythmic pattern of the melody. Then the triangle part is learned. Some perform a rhythmic pattern on triangles, others clap. Then the actions of the children change. Before learning the metallophone part, the teacher first performs the melody himself, which is then learned in parts (1st four-beat, then the 2nd four-beat).
Lesson 3. Learning of the metallophone part continues. The children perform the first movement of the piece (measures 1 and 2) and the entire score is played. When it is repeated, triangles are attached to the metallophones.
Lesson 4. Each part is performed separately without accompaniment and with accompaniment. Then the entire score is played. The attention of children is drawn to the precise execution of the rhythmic pattern.
Lesson 5. Each part is performed separately with accompaniment, then the entire score is played. The attention of children is drawn to the expressiveness of the performance. When performed repeatedly, children can change instruments.

Our orchestra
Words by Y. Ostrovsky Music by E. Tilicheyeva

[Leisurely. Solemnly]

Squirrel (excerpt)
From the opera "The Tale of Tsar Saltan"
Music by N. Rimsky-Korsakov
[Moderately]

Learning to play musical instruments cannot be limited to learning the repertoire. It is important that these activities are creative.
Exercises in which it is proposed to reproduce (by ear) a familiar melody, to play a rhythmic song at sounds of different heights (transpose), to find a new method of playing an instrument, of course, develop independence and auditory ideas in children. But it is also important to create the preconditions for the children’s own creative manifestations. To give the opportunity to choose instruments for the performance of a particular piece, to encourage them to improvise.

Techniques for the development of musical creativity

Children's musical creativity begins with an "examination" of the sonic capabilities of instruments. This is very valuable, but children are often helpless in their quest. The teacher directs this search, inviting children to play how cuckoos and birds sing, how it rains, thunder, etc. But you can also apply an interesting method of collective creativity on metallophones, xylophones. If you glue the notes F and si(IV and VII steps) or remove records of these sounds so that children do not play on them, then they can improvise everything at the same time. Children play on five sounds (do, re, mi, salt, la). The result is very interesting harmonic combinations, constantly and unexpectedly changing, but always very melodic. At the same time, children can play in any rhythm, sometimes they are offered a given rhythm, for example, a quarter and two eighths. The significance of this technique is not only in the development of harmonic hearing. Children begin to improvise themselves, to make their first attempts at creating "their own compositions."
It should be emphasized that the methodology of teaching to play instruments in kindergartens should be more organized and consistent than it is in practice. The success of this training depends on the consistency of all forms of musical activities of the children. In the classroom, they receive a certain amount of knowledge and skills, accumulate a repertoire.
Children readily, with great pleasure use the learned songs and plays in their games, perform at holidays, entertainments Introducing children to new instruments, performing interesting tasks on the choice of instruments for performing certain plays and songs, the acquired ability to evaluate (by ear) the quality their performance, improvising, the opportunity to participate in various ensembles - all this makes playing the instruments interesting for children and valuable for their overall musical development.
Taking care of the development of the creative manifestations of children, the teacher offers them various tasks, for example, to evaluate the performance of a familiar melody, or improvisation by a friend, or his own performance on any musical instrument; choose from among the proposed musical instruments on which you can depict the singing of birds, rustling of leaves, howling of the wind, etc .; choose musical instruments that are suitable in terms of timbre on which you can perform this or that piece, song; convey the rhythm of a march composed by the child himself on a drum or tambourine; try to compose a dance tune, etc.
The role of the music director and educator is quite obvious. They should not only be proficient in the methodology of guidance of classes, but also be able to freely play on children's musical instruments, know the device and techniques of playing them.
Playing instruments is an interesting and useful musical activity for children. Musical toys and instruments allow you to decorate a child's life, entertain him and inspire a desire for his own creativity. In the process of learning to play the instruments, auditory ideas, a sense of rhythm, timbre, dynamics are well formed. In the actions of the child, independence, attention and organization develops.
The whole range of techniques for introducing children to entertaining and complex musical performance prepares them well for future classes at school.

QUESTIONS AND ASSIGNMENTS

1. What is the significance of musical toys and instruments in the life of preschoolers?
2. Describe the types of children's tools.
3. Tell us about the peculiarities of children's musical toys and instruments.
4. At what age is it recommended to learn to play musical instruments? List the learning objectives.
5. What musical repertoire is advisable to use in teaching to play the instruments.
6. What is the methodology for teaching preschoolers to play children's musical instruments?
7. Using the example of a piece of music, make a summary of the lessons during which the teacher teaches children to play the metallophone.
8. List the forms of learning to play children's instruments.

9. Expand the methods of developing children's musical creativity in the process of mastering playing the instruments.

LITERATURE

A typical program of education and training in kindergarten / Ed. R.A. Kurbatova, N.N. Poddyakova. - M., 1984.
Education and training program c. kindergarten.— M., 1987. Education and training in kindergarten / Ed. A. V. Zaporozhets, T. A. Markova - M., 1976. — S. 308-341.
Vetlugina N.A. Musical education in kindergarten.— M., 1981.
Vetlugina N.A. Musical and play creativity in children 5-7 years old. Song creativity of children 5-7 years old // Art in kindergarten.— M., 1974. — P. 107—120.
Dzerzhinskaya I.L. Musical education of younger preschoolers. - M., 1985.
Kabalevsky D. B. How do you teach children about music? - M., 1982.
E. N. Kvitnitskaya The development of ear for music is a condition for the formation of songwriting // Artistic creativity in kindergarten. - M., 1974. - S. 20-28.
Lukyanova M.B. Creativity of children in dances // Art in kindergarten. - M., 1974. - P. 29-32.
Music and movement / Comp. S. I. Bekina, T. P. Lomova, E. N. Sokovnina. - M., 1981, 1983, 1984.
Teach children to sing / Comp. T. M. Orlova, S. I. Bekina. - M., 1986, 1987, 1988.
Aesthetic education in kindergarten / Ed. N.A. Vetlugina.-M., 1985.

Collections of musical and literary repertoire

Vetlugina N.A. Children's orca - M., 1976.
Vetlugina N. A. Musical primer. - M., 1972, 1985.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, L. N. Komissarova. - M., 1985, 1986, 1987.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, T. P. Lomova.— M., 1975—1980. — Vol. 1-5; .1980-1981. — Issue. 1-4.
Sun-bucket / Comp. M. A. Medvedeva. - M., 1984.

Methodology of musical education in kindergarten: “Doshk. education "/ N.А. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. ON. Vetlugina. - 3rd ed., Rev. and add. - M .: Education, 1989 .-- 270 p .: notes.

Lesson plan:

1) Organizational moment

2) Warm up. Exercises aimed at the freedom of the locomotor system.

3) Working with musical material (using health-saving technology).

4) Problem situation based on educational material.

5) Consolidation of the passed material - expressive means in music (use of game technology).

6) Lesson summary.

7) Homework.

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Management of the education system of the administration of the Lukhovitsky municipal district

MBOU DOD "Krasnopoimovskaya rural children's music school"

Open lesson in the specialty

(Department of Folk Instruments)

On the subject: "The main stages of initial learning to play the guitar"

Teacher: Romanova O.N.

P. Krasnaya floodplain 2012

Lesson type : combined (consolidation of knowledge, complex application of knowledge).

The lesson includes:

Organizational and substantive attitude

Testing the depth of understanding and strength of the student's knowledge

Interaction between teacher and child based on the message - assimilation of new knowledge, skills, and abilities

Consolidation of the learned material and exercises

Diagnostics of the strength of knowledge assimilation

Homework briefing

Lesson type: traditional

The purpose of the lesson : consolidation of the concept of means of musical expression on the material of exercises, didactic games and studied works.

Teaching methods :

1) Perspective: verbal transmission and auditory perception. The teacher communicates ready-made information using demos. The student comprehends and remembers.

2) Reproductive: memorization by the student of the information provided by the teacher. Promotes the formation of knowledge, skills and abilities through a system of exercises.

3) Practical: musical and didactic games, repeated actions in order to improve the skill and develop musical ear.

Methodical techniques:

Verbal, visual, practical

Hearing activation, appeal to the student's musical perception

Development of thinking, creative initiative

Methods of control and self-control: while performing, listen to the reproduced sound; correctly perform the melody and convey the rhythmic pattern.

Psychological conditions in the lesson:

Mobilization of attention, cognitive activity, the optimal pace of the lesson, flexibility, the ability to compositionally rebuild the lesson taking into account the developing situation, the psychological microclimate in the lesson.

Lesson Objectives:

In a form that is interesting for the child, consolidate the concept of expressive means in music and their influence on the emotional-figurative tone of the work, in order to expand the student's creative capabilities in the process of learning the instrument.

1) Educational: to consolidate the studied theoretical knowledge (strokes, harmony, tempo, timbre, rhythm, melody), to continue the formation of practical skills, work with dynamic shades, performance of a piece at a given tempo).

2) Developmental: development of hearing, coordination of movements, figurative musical thinking, creative activity through various activities.

3) Educational: cultivate a love of music, cultivate aesthetic taste, cultivate perseverance, diligence, concentration.

Means of education:

Instrument (guitar), chair, footrest, console, musical aids, drawing, musical puzzles.

Application of pedagogical technologies:

1.Health-saving:

The muscles of the fingers develop, which has a positive effect on memory. Music lessons teach you how to use your working day more rationally, it will be more organized.

Rational organization of the lesson: dynamic pause, inclusion of game moments, exercises.

The alternation of various types of educational activities (playing scales, exercises is replaced by analysis of musical material, repetition of learned pieces and listening to music).

In the lesson, psychological comfort, the style of communication between the teacher and the student, the charge of positive emotions, and the manifestation of goodwill are important.

2. Technology of student-centered learning:

Recognition of the student as the main actor in the entire educational process is personality-oriented pedagogy. This technology is based on the recognition of the individuality, originality of each person, his development, primarily as an individual endowed with his own unique subjective experience. In the lesson, conditions are created for the student's self-realization, the development of individual cognitive abilities, creative imagination.

Exercises "Walking fingers", "Hocus pocus".

This task stimulates the student to independently choose ways to solve this problem; reveals the student's subjective experience; evaluates not only the result, but mainly the learning process; stimulates self-development, self-expression in the course of mastering knowledge.

3. Technology of problem learning:

This technology implies a consistent and purposeful presentation of educational problems to the student. The student is involved in active mental activity, expresses his own opinion and actively assimilates knowledge.

4. Technology of formation of motivation or game technology:

Technology implies the organization of gaming activities aimed at finding, processing and assimilating educational information. It is good to use it during the initial training period. The inclusion of game moments in the educational process increases the student's interest in lessons on the instrument, activates his creative activity. The teacher creates a so-called "success situation" in the classroom. Feeling successful increases motivation to learn, maintains interest and enthusiasm for playing the instrument, and evokes positive emotions.

Lesson plan:

1) Organizational moment

2) Warm up. Exercises aimed at the freedom of the locomotor system.

3) Working with musical material (using health-saving technology).

4) Problem situation based on educational material.

5) Consolidation of the passed material - expressive means in music (use of game technology).

6) Lesson summary.

7) Homework.

During the classes:

1) Organizational moment... Greetings, landing at the instrument, mood for active creative work.

2) Warm up. Exercises "Walking fingers"aimed at the freedom of the fingers of the right hand. (We monitor the quality of sound production and the freedom of the fingers of the right hand).

Hocus pocus exercise(tap the rhythmic pattern of the poem):

Hocus - pocus, trawling - wali,

A mouse is riding on a dump truck.

What are you doing, this, mouse,

Looking down at us?

Shoot, shoot, shoot.

P P P P

1 1 2 2 1 1 3 3

P P P P

1 1 4 4 1 1 3 3

P P P |

1 1 2 2 1 1 3

P P P |

1 1 4 4 1 1 2

Consolidation of the non legato skill on the study of the scale F major ... Execution based on the first sound, work with dynamics.

Repetition of scales in C major and D major at a flexible pace, using dynamic shades and various rhythmic patterns (using durations - quarter and eighth).

L. Panayotov Etude (A minor).

3) Working with musical materialwith the use of health-saving technology. The student performs previously learned pieces.

N. Ponyaev "Autumn"(listening, working on the image, working on the dynamics), using a visual aid (picture).

Ukrainian folk song "Cossack rode across the Danube" (work on difficult places).

Phys. warm-up:

Exercise for the eyes - move the eyes to the right, left, up, down, close them, open them.

Exercise "Centipede" - close your hands in a ring (the right hand is at the top), alternately step over the surface of the hands with the fingers of both hands, pronouncing the text: "Two centipedes were running along the path. They ran, ran and caught up with each other. "

4) Problem situation based on educational material

Arranged by V. Kalinin Russian folk song "Like a meadow"

(parsing the musical text, viewing individual parts - themes and accompaniment, playing a theme with the words of a song, combining 2 parts).

5) Securing the passed material(notes of the first and second octaves, expressive means in music) using game technology (drawings, puzzles).

6) Lesson summary:

Means of musical expression most directly affect the nature of a piece of music, its image. The simultaneous development of hearing, a sense of rhythm, the ability to read a musical notation, to play expressively increases the effectiveness of mastering each skill separately and provides a holistic, systematic approach to learning. The active experience of a piece of music helps the perception of music and has a positive effect on the creative process. Igniting a spark of interest in learning the fascinating world of music, we instill in the student a love for art, form his artistic and aesthetic taste.

7) Homework, assessment.

Math lesson summary:

Teacher of the class of wind instruments.

MBOU DOD DSHI village Berkakit

Gryzhuk Yulia Valerievna

2018

Outline plan

Item: wind instrument class

Class: 2

Occupation type: individual

Lesson topic : "Comprehensive methodology for teaching wind instruments in primary school"

Educational system used (technique, technology)

- The teacher creates conditions for the spiritual growth of the individual, her needs for self-improvement;

- A prerequisite for learning is to create the prerequisites for the transition from education to self-education;

- Method of joint activity in the system: teacher - student; student - student; student - parent; teacher - parent (closed circuit).

– The teacher develops creative activity in the child. It is important to determine the abilities, focus, potential of each student, his life and professional orientations and direct his development. The teacher also uses active forms and methods of teaching and upbringing, an activity-based approach to learning, movement and development based on personal experience to comprehend and accumulate new experience and knowledge.

Health-saving technology;

Game technology;

Person-centered technology with a differentiated approach;- developmental education;

Artistic.

Methodical materials:

Gotsdiner G. Musical Psychology - M., 1987.

Skok G. How to analyze your own pedagogical activity - M., 2000.

Kirnarskaya D. Musical abilities. - "Talents-XXI century".

Berger N. Modern concept and methodology of teaching music - S.-P., 2004. Ginzburg L. About work on a piece of music-M.1977.

Kryukova V. Musical pedagogy. Rostov on Don 2002.

Mühlberg K. Theoretical Foundations of Learning to Play Woodwind Instruments. Kiev, 1985.

Platonov P. Questions of teaching methods for playing wind instruments. - M., 1978.

Rozanov V. Fundamentals of teaching methods and playing wind instruments. - M., 1988.

Kryuchkov A. Fundamentals of performing performing breathing while playing wind musical instruments for students of primary and secondary specialized education. M., 1985

Technical training aids (if used in the lesson)

A list of audio and video recordings, visual aids, etc. used in the lesson.

Lesson equipment :

lesson plan;

two saxophones (one for the teacher);

piano;

music stand;

musical material;

didactic material (cards with assignments, children's drawings).

Lesson objectives :

Educational :

Formation of basic skills when mastering the game of the saxophone:

1.Confident closure of valves with fingers of both hands, flexibility of fingers

for some fingerings;

2. learning the correct "free" placement of the labial apparatus

(embroidery);

3. correct use of performing breath when playing;

Developing:

Development of skills of independent and creative work from the first lessons

music;

Development of hearing, memory, rhythm, musical thinking;

Development of basic skills while mastering the saxophone.

The development of a general outlook, the development of will and control of one's behavior.

Educational:

Education of aesthetic taste.

- education of perseverance and hard work.

Lesson Objectives:

training a sensitive, educated musician - an orchestral and chamber performer, as well as a soloist who is well versed in the means of expression inherent in his instrument, and is able to reveal the content of musical works to the audience;

teach to listen and hear yourself during the performance.

Methods and techniques for the implementation of the tasks:

Observation;

Hearing;

Practical;

Visual;

Expected Result :

- consolidation of the initial skills of playing the saxophone in combination with

improving the physical and psychological state of the body.

- learn to play the instrument freely

Master the main tasks in the technology of the game.

To gain experience in analytical work when performing etudes, scales,

exercises and plays

The main part of the lesson:

"Comprehensive methodology for teaching wind instruments in primary school."

1.Introduction: getting to know the instrument

The saxophone is a relatively young instrument, the inventor of which was the talented music master, the Belgian Adolph Sachs (1814-1894). After a long search and experimentation, he managed to make the first copy of an unusual musical instrument, which received the name of its inventor. This happened around 1840. Sachs was the first to perform in front of an audience, demonstrating all the virtues of the saxophone with his playing.

Later, Sachs developed his constructive idea, which led him to create a whole family of saxophones. He made the first family for use in an opera and symphony orchestra, and the second in a brass band. Moreover, each type of saxophone received its name in accordance with the accepted names of singing voices: sopranino, soprano, alto, tenor, baritone and bass. Saxophones of the first group did not stand the test of time and gave way to instruments of the second family. It is on them that saxophonists play today on a concert stage, in an orchestra, an ensemble.

The first to feel the beauty of the saxophone timbre, primarily as a member of the opera and symphony orchestra, were the outstanding French composers of the 19th century G. Berlioz, A. Thomas, J. Bizet, J. Massenet, JI. Delibes, C. Saint-Saens, V. d'Andy and others. It was they who anticipated the future of the saxophone and the prospect of its participation in various academic forms and genres of musical art. Especially many excellent compositions for saxophone were created in the 20th century. Music was written for him by A. Glazunov, K. Debussy, F. Schmitt, J. Ibert, P. Hindemith, P. Creston, E. Vila-Lobos, A. Jolivet, G. Dubois, E. Bozza, E. Denisov, A. Eshpai and others. In addition to solo and orchestral performance, the ensemble form of playing the saxophone has become widespread. In addition to works specially written for the saxophone, the repertoire of performers includes many arrangements and transcriptions of classical music, which also reveal the natural capabilities of the instrument.

Saxophonists achieved great achievements in the field of jazz music, where the instrument took a leading position for a long time.

The saxophone belongs to the group of woodwind instruments and has a complex design. It consists of three main parts: a mouthpiece witha cane, a mouthpiece and a body with a developed system of valve-lever mechanism. The end of the tool tube has the shape of an upwardly turned bell.

An important part of the saxophone ismouthpiece, which in appearance is a hollow beak-shaped cylinder. It is made from rubber, ebonite, plexiglass or a special alloy of metals. The mouthpiece has a large impact on the sound of the instrument, or rather on the color of the sound. The mouthpiece can be easily attached to and removed from the mouthpiece

2. Rational setting.

In order to successfully master the technique of playing the saxophone, especially at the initial stage of training, a future musician first of all needs to understand well the basic rules of staging, followed by their implementation in the process of individual work.

The concept of "staging" means a set of rules for the rational position and interaction of all components of the musician's performing apparatus (breath, lips, fingers, hands, etc.). Rational staging helps the saxophonist, with the least effort and time, to achieve high-quality results of the game, to avoid unnecessary, additional muscle tension. The task of correct performance is to promote an effective, disciplined organization of lessons on the instrument, in which the choice of techniques, methods and pace of work should be made taking into account the level and duration of the musician's training, as well as his individual abilities.

Rational setting includes the following elements:

1. General setting - a comfortable way to hold the saxophone in your hands, the correct position of the body, head, hands, fingers and toes.

2. Setting performing breathing - methods of voluntary control of breathing and the rules for changing the breath during the game.

3. Placement of the ear cushion - the most appropriate position of the mouthpiece on the lips, the shape and nature of the action of the ear cushion and the lower jaw.

4. Articulation setting - the position of the tongue, the shape of the oral cavity.

5. Fingering setting - the arrangement of the fingers on the instrument, the organization of precise, coordinated, stable reflex, free and economical actions of the finger apparatus.

The most important prerequisite for the formation of the skills of the performing technique of the saxophonist is the observance of the requirements that ensure the general playing setting. They boil down to the following points.

The body and head of the saxophonist should be kept straight and straight, without any deviations to the sides and tilts back and forth. The playing posture should be natural, relaxed, regardless of whether the saxophonist is practicing on the instrument while standing or sitting. In this case, the chest must be slightly raised, and the shoulders must be expanded. This will give the respiratory muscles more freedom to work.

Good support on your feet helps to maintain the correct body posture when playing while standing. To do this, it is better to spread them apart to the width of the feet, unfold the socks, and push the left leg forward a little. When playing while sitting, it is recommended to sit upright, on half of the chair, without support on its back. It is strictly forbidden to cross your legs while doing this. The alto saxophone is placed in the hands obliquely along the body, resting with its lower bend of the tube on the player's right thigh. To adapt to the stable position of the saxophone, a special strap with a carabiner allows you to set the required height of the instrument's suspension.

The comfortable grip of the lips of the mouthpiece with a reed is adjusted by turning the mouthpiece on the mouthpiece without changing the position of the head.

For the general staging of the saxophonist, the right elbow is retracted somewhat backward, away from the body. The fingers are placed on the main (mother-of-pearl) keys, at a distance of about one centimeter from their surface. They should be (with the exception of the thumbs) in a rounded, relaxed state, and in the bend area of ​​the first and second phalanges, they should approach the vertical position. The keys and levers are touched with the pads of the fingers without increased pressure, with some advance of the sound attack. When you press your index fingers on the side valves, you should connect small movements of the hands. The natural condition of the wrists, which together with the hands of the hands, form a straight line, contributes to the correct positioning of the fingers. When the fingers of the left hand touch the side valves, there is some sagging of the wrist.

Breathing technique .

In the process of the consistent development of the individual technique of playing the saxophone, the formulation of professional, that is, performing, breathing is of particular importance.

The professional breathing of a saxophonist is a specific breathing: in addition to the physiological function (continuous gas exchange), it performs the function of timely air supply to the instrument. This breathing is based on the skill of the saxophonist's voluntary control of the phases of inhalation and exhalation. Both phases of breathing are interrelated and proceed in their own special conditions: a quick, short inhalation and a long, uniform exhalation. The main difficulty of the performing breathing technique is the coordination of the two breathing phases. The saxophonist's skillful use of the natural flexibility of the respiratory muscles and the use of a rational type of breathing help to overcome this difficulty.

When playing the saxophone, inhalation is made quickly and silently through the corners of the mouth and partly through the nose. While inhaling, the saxophonist should not draw too much air in order to avoid excessive tension of the respiratory muscles. It is also necessary to ensure that the shoulders do not rise when inhaling. The inspiratory rate should correspond to the time allotted for the change of breath: the shorter the pause, the faster the inhalation is made, and vice versa.

There are two types of breathing - diaphragmatic and abdominal.

Diaphragmatic breathing is characterized by active movement of the diaphragm and lower ribs. It is usually used when playing short musical constructions or when the saxophonist has a small amount of time to inhale. And vice versa - when there is enough time allotted for the reproduction of the inhalation, then they resort to a deep type of breathing - abdominal breathing, which allows performing long musical phrases without forced overstrain.

The development of breathing technique can be carried out in two ways: without an instrument and in the process of playing it.

The first method is of an auxiliary nature. It is based on the performance by the saxophonist of various complexes of general physical and special breathing exercises, which favorably contribute to the general vitality of the body and the strengthening of the respiratory system. Particularly useful are breathing exercises for a beginner saxophonist, which give him the opportunity to quickly acquire the skill of conscious control over the frequency and depth of inhalation, the ratio of the duration of inhalation and exhalation, and the degree of tension in the zone of the respiratory support.

The second method by which the breathing technique develops is the main one. It is characterized by the systematic play of continuous sounds in various dynamic shades, as well as the performance of slow music and, naturally, various types of exercises.

Ditto blowing up the note withf on pand back. Playing long notes in octaves.

3. Sound extraction. Formation of the ear cushion.

When playing the saxophone, the most subtle and complex actions are performed by shaped and trained lips in a certain way. The set of labial and facial muscles involved in sound production, and their characteristic position around the mouthpiece with a cane form a special physiological complex - an ear cushion (fromFrench the words bouche - mouth and emboucher - to put to the mouth. For the correct setting of the ear cushion, the following conditions must be met:

1. Breathe deeply without lifting your shoulders.

2. Slightly tuck the lower lip over the lower teeth.

3.Upper teeth put tightly on the mouthpiece in the center, close the jaws.

4. Keep your lips in a half smile.

5. put your tongue under the cane and silently blow air, while simultaneously pulling your tongue inward and downward, while not puffing out your cheeks.

6. pull the sound, monitor the evenness of intonation.

The first sound is made on the mouthpiece, and only when the intonation becomes stable, lessons on the instrument begin. For training the labial apparatus, as a rule, exercises for the development of breathing techniques are suitable. Also at the initial stage of training, the elasticity of the labial muscles is trained on simple etudes:

As the motor skills of the ear cushion are consolidated, strength and endurance appear in the lips, you can complicate training exercises, move on to mastering the extreme registers of the instrument.

The setting of the ear cushion is inseparable from the auditory pre-hearing of the quality of the sound being extracted. Muscle memory and hearing interact at the same time, thus providing the sound of the saxophone in different registers necessary in timbre, dynamics and intonation. Ambushur coordinates its work with other departments of the saxophonist's performing apparatus, uniting with them in a complex sound-making chain.

The saxophonist needs to constantly monitor the condition of his lips, protect them from various injuries, chapping. If the lower lip is cut with teeth, then you can use dental pads made of paper, cotton wool, elastic bands, or order a special pad from dentists.

Sound attack.

When playing the saxophone, the beginning of sound extraction is carried out in various ways associated with the simultaneous movement of the tongue and the exhaled air stream. This initial moment of sound production is called sound attack. The saxophonist should attach particular importance to the attack, since it characterizes the individual performing manner of pronouncing the sound.

The attack of sound is provided by the active work of a whole group of muscles of the tongue, which, when contracted, change the configuration of the tongue: make it flat or thickened, relaxed or dense.

Before the start of sound extraction, the tongue is in the forward position, touching the inner side of the muscle "cushion" of the lower lip, and the upper part of the cane.

intonation stability and tone quality.

Reinforcement of this initial performing skill can be carried out through work on a special exercise, for example:

4. Technique of the game.

Of great importance for the individual adaptation of the saxophonist to his instrument is the development of a variety of constantly interacting movements of the fingers of both hands, which provide the necessary contact with the valve-lever mechanism of the saxophone.

The saxophonist's finger technique assumes the ability to play quickly, clearly, coordinated and stress-free. This quality is acquired in a certain sequence (from simple to complex) and under the condition of long and thoughtful studies. The work of the fingers is consistent with the playful functioning of breathing, ear cushions, articulation apparatus and hearing.

The formation of gaming skills of the finger apparatus has the following general laws:

1. At the initial stage of work on digital motor skills, the motor skill is formed progressively, on the basis of a repetitive cycle of exercises, that is, consolidation of the reflex stereotype of movements.

2. At the next stage of technical work, the stabilization of the motor skill occurs, the movement of the fingers acquires a variable character: when the intonation, dynamic and timbre conditions of the game change, they can perform actions with various fingering combinations, and in the event of extraneous external stimuli, the fingers act stably without fingering disturbances and breakdowns.

3. Depending on the game situations, certain memorized fingering movements, no matter how well they are automated, can be performed either unconsciously or consciously.

4. Reflex strengthening of skills is best acquired when working on technical material at a slow pace, through multiple repetitions, the number of which should be optimal and individual for each saxophonist.

5. During the transition from the initial stage of automation of movements to further improvement of finger fluency, the consolidation of the motor skill slows down somewhat, while the growth of the performing technique occurs in leaps and bounds - with rises and delays.

In the process of working on the finger technique, the saxophonist develops a specific musculo-motor sensitivity, which makes it possible to precisely coordinate the motor actions of the fingers in spatial, temporal and fingering relations. It is necessary to develop finger technique on the following exercises:
When playing various exercises, scales and etudes, the main task for a beginner saxophonist is to freely position the playing apparatus (hands, fingers, ear cushions, breathing).

5.Analysis of the result of the lesson:

The main goals and objectives of the lesson were to teach the child how to play the instrument correctly. The child has mastered the initial principles of setting up the entire apparatus as a whole: this is how to hold the instrument correctly, how it is necessary to hold the head and body at the same time, how the labial apparatus and fingers should work. Also, the child knows in what sequence he will be engaged, what exercises for the development of certain types of techniques he will use in the process of training. The skills acquired in the initial lesson must be developed and maintained throughout the entire learning process at the music school.

Forms of checking the student's homework:

The house is asked:

1.Playing long sounds in direct sequence - 10 minutes. Playing the scale disassembled in the lesson.

2. Independent analysis of the etude.

3.Working on the work, completing the tasks set in the lesson.