There are no untalented children, they are all gifted with something. You just need to discover this talent. If a child shows interest in music, you should definitely give him the basics of solfeggio.

And who knows, maybe in these, frivolous at first glance, lessons and exercises, the talent of the new Tchaikovsky or Rostropovich will manifest itself?

Does your child need solfeggio?

Some parents, far from the musical theme, are wondering: what is solfeggio? If we talk about this term in a broad sense, then solfeggio is vocal singing with naming notes. In the name itself, one can easily catch two well-known notes: “sol” and “fa”. In general, solfeggio is a discipline that is taught in musical educational institutions. She develops a musical ear in her students. With the help of special exercises and intensive training, children go from a simple passive perception of sounds and notes to the possession of professional musical instruments. In the same place, at music schools, there is solfeggio: a preparatory class for preschool children. They are usually not enthusiastic about such lessons, because they are often associated with mathematics and are very intensive. Only from birth, a musically gifted child can appreciate all the delights of immersion in the world of notes and sounds. For the rest of the children, such lessons become "torture" and parents should monitor how the child attends such lessons.

Solfeggio: preparatory class program

The course of study of this musical discipline is divided into practical and theoretical parts. In the middle group, theory is separated from practice, and at school these parts run in parallel. Solfeggio training begins with the knowledge of musical writing and reading. Without this step it is impossible to know the musical discipline. This period takes only 1-2 months, after which the attention of children is switched to musical literacy. Its basic provisions are mastered in the first and second grades of the music school. Children begin to understand the types of major and minor, to catch the key, to know what stable and unstable sounds, chords and rhythm are. In preparatory classes, lessons are built on approximately the same principle as in music schools, with the only difference being that children, due to their rapid fatigue, are given a smaller amount of information. But they also study both theory and practice of solfeggio. Why does a child need solfeggio: a preparatory class? Through this discipline, he will learn to hear the music. To do this, it is not enough to master only musical notation; it is precisely musical exercises that develop the skills of sound reproduction that are needed. In classes with children, the following attributes must be present: a notebook with notes, a simple pencil, a pen, an eraser, a notebook for rules and a diary. The course includes one lesson per week. At home, students are given small exercises, both written and oral.

Solfeggio is definitely worth teaching a child who is interested in everything musical. And even if this discipline does not reveal a new brilliant talent in him, it will definitely instill a love for the world's musical heritage, teach him to listen and hear music, which, you see, is also not enough. Therefore, do not hesitate to bring your child to the preparatory classes of music schools.

Unlike the already existing programs of the subject "Solfeggio", this program for the preparatory department of the Children's Music School is designed for a 3-year course of education for children, starting from the age of 4 and before entering the primary classes of the Children's Music School. Work in the preparatory group with preschoolers leads to the introduction into practice of new methods in the field of preschool music pedagogy, developmental psychology. Taking into account the theory of developmental learning (B. Elkonin, V. Zankov), work with preschoolers is based on the problem-search method and the creation of game motivation, which can significantly enhance the educational and creative activities of students, increase the depth of assimilation of educational material, contribute to the identification and development of creative students' potential. The novelty of the program lies in the design of a new model of music education, the combination of modern methods with the personal developments of the compiler of the program and the synthesis of methodological approaches to teaching preschool children.

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Educational program of the preparatory department "SOLFEGIO FOR KIDS"

The compiler of the program is a teacher of theoretical disciplines

MBUDO children's music school of Tabunsky district, Tabuny village

Peshkova Lyudmila Alekseevna

2016

Explanatory note

The subject of solfeggio, as one of the subjects of the cycle of musical and aesthetic education and training in a children's music school, is aimed at achieving a common global goal: the development of the student's personality in the process of educating his artistic thinking in musical activity.

The specific tasks of the solfeggio course include the following:

Purposeful systematic development of musical and auditory abilities of the student (sensory base of all types of musical creativity).

Education of the basics of musical thinking: analytical perception, awareness of some regularities in the organization of the musical language, elementary conceptual apparatus.

Formation of practical skills and the ability to use them in a complex when performing musical material, in creative forms of music making.

At the present stage of the reorganization of innovative trends in the educational process, it has become characteristic to combine science and basic didactic concepts in practice. This was reflected in practical activities: based on the main provisions of the standard solfeggio program of 1986, the compiler effectively introduces new methodological developments in the field of musical education and training, which allows you to more accurately fix educational tasks and consistently implement them in the learning process. At the initial stage of training, carefully preserving the traditions that have developed in musical pedagogy, the compiler actively introduces into practice the experimental complex developed by N. Dyachenko, N.A. Kotlyarevsky, Y. Polyansky (“Theoretical foundations of training and education in a music school”, Kyiv, 1989). This method is distinguished by a more detailed development of the entire complex of knowledge and skills, fixing the sequence of their development. As a result of working on this method, each stage of mastering the educational material becomes the basis for the next one; due to this, the active perception of the studied material by students is ensured. Also actively used in practice are the basic principles of the methodology for the development of musical ear by G. Shatkovsky (in particular, the formation of modal ear).

Work in the preparatory group with preschoolers leads to the introduction into practice of new methods in the field of preschool music pedagogy, developmental psychology. Taking into account the theory of developmental learning (B. Elkonin, V. Zankov), work with preschoolers is based on the problem-search method and the creation of game motivation, which can significantly enhance the educational and creative activities of students, increase the depth of assimilation of educational material, contribute to the identification and development of creative students' potential.

In the process of researching the methods of work in the preparatory group of the music school, the compiler turned to methodological developments: J. Metallidi and A. Pertsovskaya “Solfeggio for the preschool group”, 1998; M. Kotlyarevskaya-Kraft, I. Moskalkova, L. Bakhtan "Solfeggio for the preparatory departments of music school"; E.N. Vishniak "Working with children in the preparatory group of music schools". Based on the experience of the above musicians, the compiler tries to apply it in modern, changed conditions, to generalize the best - which is the expediency of the program.

The novelty of the program lies in the design of a new model of music education, the combination of modern methods with the personal developments of the compiler of the program and the synthesis of methodological approaches to teaching preschool children.

The program "Solfeggio for kids" has an artistic and aesthetic focus on:

Creating conditions for the development of the child's personality

Development of motivations for knowledge and creativity

Introducing students to universal values

Implementation of the tasks of musical education and training

Development of artistic interests and tastes

This program is relevant and in demand at the preparatory department of the State Children's Music School.

The compiler considers it appropriate to develop a comprehensive cultural education and development of the child's creative abilities.

The study of the program is aimed at achieving the following goals:

Teaching: mastering the knowledge and skills necessary for a novice musician in mastering vocal, intonation, metrorhythmic and auditory skills;

Developing: development of cognitive interests and creative abilities, attention, memory, logical and creative thinking;

Educational: formation by means of musical art of love for the musical traditions of the native land and the classical heritage of world musical art; the formation of such qualities as perseverance, diligence, perseverance in achieving the optimal level of knowledge, skills, abilities and methods of activity necessary for further effective education in the primary grades of children's music schools.

It should be emphasized that work on this program involves a creative approach and a flexible, variable way of building educational material; it is possible to adjust the complexity of tasks and make changes to the program, based on the degree of assimilation by students of the expected knowledge and practical skills.

The main part of the educational program

PROGRAM STRUCTURE

Unlike the already existing programs of the subject "Solfeggio", this program for the preparatory department of the Children's Music School is designed for a 3-year course of education for children, starting from the age of 4 and before entering the primary classes of the Children's Music School. Depending on the age of an incoming novice child, they are assigned to a suitable group, and 4 and 5-year-olds who have already completed training are transferred to groups one step higher. The specifics of the program are built in such a way that newcomers who have entered the group of students easily and quickly master the educational material, forms and mode of operation. Practice has shown that the optimal number of children in a group should be no more than 12 people. Classes in the subject "Solfeggio" are held once a week from September 1-4 to May 25-28.

1 year of study. Age - 4-5 years 1 group. 36 hours. 6-8 students

2 year of study. Age - 5-6 years 1 group. 36 hours. 8-10 students

3 year of study. Age - 6-7 years 1 group. 36 hours. 10-12 students

Taking into account the age of the children and the level of the educational material, for the successful development of the program, classes in the group should be combined with the individual help of the teacher for each child. As can be seen from the table, in the group of the first year of study, where children take their first steps in mastering the program, it is desirable to fill groups from 6 to 8 students; in the second and third groups of students - up to 10-12 people. Desired lesson duration:

for the first year of study - 35-45 minutes

for the second year of study - 45-50 minutes

for the third year of study - 60 minutes with a five-minute break (30 minutes - break - 25 minutes).

The program was developed in line with student-centered pedagogy, which allows a differentiated approach to the development of each child, taking into account his individual psychological characteristics, artistic and creative abilities, health status, family situation.

The program "Solfeggio for kids" carries not only developing, but also educational functions. The very concept of musical education is broader than just the development of musical abilities. In the process of teaching a preschooler, it is necessary to take into account the laws of personality formation, age characteristics. The content of musical education is also the development of imaginative thinking, imagination, will, attention, arbitrariness, etc. True pedagogical, influence by means of musical art forms and develops the emotional sphere of the child, arousing emotions of interest and joy. A positive emotional mood in teaching a preschooler is mandatory, as are mandatory game, exciting forms that encourage the child to be active.

From the foregoing, the first methodological principle that underlies this program grows: the interaction of means that activate the intellectual and emotional development of the child. The need for this interaction is due to the very peculiarity of perception, which is more or less associated with thinking, memory, attention (the sphere of intellect) and has an emotional coloring (the sphere of emotions).

The second methodological principle is also connected with this feature of perception - the primacy of the accumulation of musical impressions (the principle of anticipatory perception), which then form the basis of active musical activity. And only at the final stage of this process does a theoretical understanding of musical phenomena take place, a theoretical concept is “born”. The third methodological principle is connected with this approach - from particular to general.

The fourth principle is the concentric teaching method, understood as the need for constant return to what has been learned at a new level. Using this method allows you to return to the past problems on new musical material, which is directly opposite to the method of "passing" (and safely forgetting) topics. This is also important because the subject of solfeggio requires constant training of memory and hearing in certain directions, without which forward movement in the development of musical abilities is impossible.

Two more important (especially when teaching preschoolers) methodological approaches are associated with the concentric method: the principle of repeatability and the principle “from simple to complex”.

Given the importance of each methodological approach and the peculiarities of its application at the initial stage, one should carefully consider not only the content, but also the form of each lesson. The lesson at the preparatory department should be built according to the plan-scenario, which implies the dramatic development of the "action": the logic of the appearance of each form of classes, the movement to the climax, as well as the relationship of the lessons-"scenes" to each other.

The structure of the educational process at the preparatory department is determined by the practical forms that underlie each lesson; the principle of active activity of a preschooler also determines the predominance of oral forms in the lesson system and homework, which should be minimal.

The structure of the program is determined by the following areas:

Formation of vocal-intonation skills of modal feeling;

Cultivating a sense of metrorhythm;

Formation of musical-auditory and musical-figurative representations;

Each of the three sections is built according to the following plan:

Conceptual content

Proposed forms of work, which include elements of the development of creative skills.

The traditional sections “Theoretical Information” and “Development of Creative Skills” are not singled out separately, but are included in the content of the main areas of the program, as they are an integral and productive part of the work on the formation of vocal and intonational skills, the development of a sense of metro rhythm, etc.

Such a distribution of material is not only logically connected with the fundamental methodological principles, but also corresponds to the modern experience of working with preschoolers.

The name of the section "Conceptual Content", which occurs in this program and replaces the traditional "Theoretical Information", indicates a new approach to the presentation of theoretical material.

The concept is based on the whole structure of phenomena, the gradual awareness of which fills it (the concept) with meaning. Gradually there is an accumulation of conceptual experience, as a result of which the concept acquires a huge system of connections and relationships that the child gradually realizes and experiences. The concentric teaching method is based on this system of conceptual development.

Also, the content of each section of the program includes material, based on the study of which, students will acquire: knowledge that contributes to the development of an emotional reaction to music; the ability to tell about their impressions, adequately express them in the plasticity of movement, in drawings and colors; the skills of expressive performance of works on the instrument, the voice of vocal works-songs; self-regulation of their emotional states with the help of musical works of different mood and character in the process of various types of musical activity; methods of activity provided for by the requirements for the level of training of students: educational and performing, educational and theoretical, creative, cultural and educational.

BASIC FORMS AND METHODS OF WORK IN THE LESSON

METHODS USED

Methods based on the method of organizing classes:

Verbal (oral presentation, conversation, story, lecture)

Visual (showing video and multimedia materials, illustrations, observations; using manuals; showing a sample of performance by the teacher)

Practical (completion of the task according to instructions, samples, cards)

Problem-search (search by the student for a mistake intentionally made by the teacher)

Game motivation method (use of numerous didactic games)

Scientific method (use of tests, individual survey cards, tables and graphs; analysis of results, forecasting the growth of academic performance and comprehensibility of educational material, experience with scientific literature, reference books, dictionaries)

Methods based on the level of activity of children:

Explanatory and illustrative (children perceive and assimilate ready-made information)

Reproductive (students reproduce the acquired knowledge and mastered methods of activity)

Partial search (participation of children in the collective search for a solution to the problem, together with the teacher)

Research (independent creative work of students)

Methods based on the form of organization of students' activities in the classroom:

Frontal (simultaneous work with the entire group of students)

Individual-frontal (alternation of individual and frontal forms of work)

Group (organization of work in groups)

Individual (individual performance of tasks, problem solving)

PRACTICE FORMS

Traditional lesson

Combined practical session

Lecture-conversation

A game

Integrated lesson (solfeggio + musical literature, solfeggio + choir)

Open lesson with the presence of parents

Lesson-quiz (at the end of the 3rd year of study)

PROJECTED RESULTS

As a result of this program students:

Learn different ways to work

Learn to follow verbal instructions;

Develop attention, thinking, imagination, artistic and aesthetic taste, creativity and fantasy;

Master labor skills;

Improve communication skills and acquire communication and teamwork skills.

As a result of the program, students:

They will master theoretical knowledge in all types of musical activity: musical and noise sounds, registers, frets (major and minor), staff, treble and bass clefs, notes, durations, beats, accent, time signature 2/4 3/4, start-up, tone, semitone, sharp, flat, bécar, dynamic shades, forte, piano, crescendo, diminuendo, modal connections of degrees (suspension and insufficiency), intervals, tonality, tonic, subdominant, dominant, chord, triad, major scale structure, transposition, etc. d.

They will master special skills and abilities: correct singing breathing (calm breath, economical exhalation, change of breath in phrases), singsong and coherent singing, correct formation of vowels “a” “o” “u” “i”, development of good articulation and clear diction; intonation of the simplest chants on one or two sounds, within the tetrachord, singing chants to develop a range and a sense of pitch, singing simple songs with words with harmonic support from the teacher, singing simple exercises on notes based on tonic-dominant gravitations, transposing the simplest chants into familiar ones tonality.

They will develop musical and auditory representations: determining the emotional nature of a musical work, analyzing musical genres (song, dance, march, waltz, polka, etc.), determining intervals, triads, sizes by ear, verbal definition of the nature of the work and its means of expression.

Enrich your vocabulary.

They will develop such qualities as memory and hearing: learning poems and songs, memorizing and guessing previously learned chants, understanding the perception of the structure of the melody in the studied musical examples, exercises, chants and songs.

Master the following activities:

Educational-executive

singing songs with harmonic accompaniment of the teacher;

performance of rhythmic accompaniments to the listened piece of music;

playing on the piano keyboard while singing the text of simple melodies, intervals, triads.

Educational-theoretical:

knowledge of the rules and the ability to tell them with understanding, use them when performing practical tasks;

lay out familiar rhythmic combinations, rhythmic accompaniment with cards.

Creative:

improvisation of phrase endings;

completion of the melody according to the given words and rhythm, stable phrases ending in the tonic;

improvisation on the piano of melodies expressing certain images;

composing melodies.

Cultural and educational:

participation in concerts, performances;

performance at matinees and holidays with songs, playing the instruments of a noise orchestra;

demonstration of their skills and abilities in front of parents and other teachers in open lessons.

CONTROL SYSTEM AND EVALUATION MECHANISM

The control system includes self-, mutual-, teacher control and allows you to assess the knowledge, skills and abilities of students in a comprehensive manner for the following components: a system of theoretical knowledge, special skills, performing and general creative potential.

Appropriate criteria are developed for assessment at each stage of training for the above components. These criteria are open to students and everyone can adjust their learning efforts to achieve the desired result and the corresponding grade.

Forms of control include:

Frontal survey

A cursory current survey

Systematic checking of homework

Control lessons at the end of each quarter

Control cut for all types of work at the end of the III year of study

Oral testing to consolidate theoretical knowledge

Credit for accumulated creative skills

Final exam

All types of control allow assessing the knowledge, skills and abilities of students at each stage of education and allow the student to be in his usual conditions, which contributes to the full disclosure of his abilities, and also allows him to demonstrate the skills acquired by him in the learning process.

The main result of the teacher's activity is the personality of the child, the dynamics and the result of its development in the process of music lessons.

CONDITIONS FOR THE IMPLEMENTATION OF THE CURRICULUM

Availability of study groups (no more than 12 people)

Availability of teaching aids for students, methodological literature

Availability of sets of noise instruments

Availability of TCO, phono and audio libraries

Availability of didactic handouts

Implementation of close communication with teachers in the specialty, choral class, musical literature and parents of students

Mutual attendance of teachers of theoretical disciplines

Compliance with interdisciplinary connections

Cooperation of different musical educational institutions, exchange of experience

Active search for new forms and methods of teaching solfeggio, self-education of the teacher.

Development of vocal-intonation skills and modal feeling

The main form of activity in the preparatory class is singing. It is also a performing practice that develops the emotional side of the child's psyche, his voluntary attention, the skill of self-control. It is through singing that a preschooler expresses himself.

Solfegist teachers are well aware of how many bad intonation children they have to deal with, especially in the preschool group. Therefore, the formation of the modal feeling of children, their sound-altitude representations is the most important task of the initial stage of education. It is in the preparatory class that it is also possible to lay the fundamental foundations of such forms as sight singing, solfegging, singing in an ensemble, etc.

The problems of a child's speech development often become a "stumbling block" in the work of music teachers. Physiologists say that the level of speech development in children depends on how well they master the small movements of the fingers. At the initial stage of training, it is possible to accompany the singing of intonational material with “finger games”, in this way we stimulate the musical and speech development of children and prepare them for playing musical instruments, drawing and writing, develop motor functions and coordination.

At the initial stage of mastering the program, attention should be paid to game forms of musical and speech stimulation and speech therapy and “finger exercises” should be included in the permanent work:

1. The wind blows, blows, palm trees shake to the sides.

(Hands are pressed to each other from the wrist to the elbow, fingers are spread out, we swing our hands to the beat of the music)

(The palms are pressed to each other by the side parts, we move the fingers-claws)

2. A seagull flies over the water and dives for fish.

(The thumbs are connected by the sides, the rest are pressed to each other, spread apart, like wings, we wave them in the air. The palms are closed, we perform wave-like movements.)

And under the palm tree, the crab sits and moves its claws.

3. Under water at a depth, the crocodile lies at the bottom.

(The palms are pressed against each other with their bases. The fingers are bent - teeth, mouth. Open and close the mouth.)

And under the palm tree, the crab sits and moves its claws.

Spider - spider sewed a web. (Rubbing index fingers on thumbs)

Suddenly it started to rain, washing away the cobwebs. (We beat the index finger on the palm of the other hand, we rub our hands)

The sun came out, it began to bake. (We connect the wrists, spread our fingers, swing from side to side with the “sun”)

Spider - the spider is working again (again we rub the index fingers on the thumbs)

A fox

SU-SU-SU-SU, they don't let the fox into the house.

SA-SA-SA-SA, waiting at the house for two hours.

SY-SY-SY-SY, really wants sausages.

SI-SI-SI-SI, take a piece to her.

Mountain

RA-RA-RA-RA, there is a mountain on the mountain.

RY-RY-RY-RY, behind the mountain mosquitoes.

Ro-ro-ro-ro, lost the rooster feather.

RU-RU-RU-RU, and the badger took it to the hole.

The perception and assimilation of the elements of mode and the modal feeling itself are most effectively developed through the formation of vocal and intonation skills.

Correction of intonation requires an individual approach, it is necessary to do this consistently, carefully and patiently.

It is useful for students with poorly developed modal hearing not to take part in general singing for some time, but to listen carefully. With great interest and receptivity, such students are soon included in the common work.

It is more difficult with those children who lack coordination between hearing and voice. Such students can be offered short chants of two or four sounds and, having achieved pure intonation from any one sound, try to gradually expand the range, repeating the chants a semitone, a tone higher or lower.

There are children - "hooters" who sing only in a small octave. They can be offered exercises that imitate the singing of a small bird, cat, which will help them get out of the vice of a low register. After a while, such children begin to sing quite clearly in the first octave.

Work on pure intonation in children is associated with the development of vocal skills.

It is necessary to take into account the capabilities of the child's voice: it is usually convenient for children to sing in the range of the sixth "re - si" of the first octave; the sound of the voice in this sound volume is the lightest, most natural; the sound "do" of the first octave sounds heavy, tense, so at first it should be avoided. Much attention should be paid to the selection of educational musical material, it should be artistically interesting, convincing, structurally clear. Equally, there should be songs performed a cappella and with the accompaniment of a teacher. One of the prerequisites is an expressive performance based on a preliminary visual analysis of the textual and melodic content, the identification of key intonations, culmination points, the distribution of dynamic shades, etc.

A solfegist teacher must know the basic techniques for educating singing skills and master them; this form of work should be in the center of his attention throughout all the years of study. The formation of singing skills is reduced to the following:

Monitor the position of the body, head; children should sit straight, not slouch, keep the body straight, resting their feet on the floor; hands lie freely on your knees, head in a natural position;

To form the correct singing breathing: a calm breath, an economical exhalation, a change of breath between phrases;

To teach the correct sound formation associated with the cultivation of a careful relationship with one's voice; children should not be allowed to sing in a loud, forced, open tone; work on the cantilena first on short melodic phrases. Slow, sing-song, coherent singing allows the child to listen to the performance and it is easier to realize the modal connections of the melody, to keep the tonality;

To teach the correct formation of vowels a, o, y, and, their soft rounded intonation (open your mouth freely, lips and tongue are not constrained, active);

Work on good articulation, diction, teach clear pronunciation of consonants.

In the work of intonation, hand signs will be of great help to the teacher. The use of hand signs, "columns" gives rise to visual-motor ideas about the relationship of steps in harmony, connects auditory perception with visual awareness of the pitch line of the melody.

I step - the cam looks down,

Stage II - all fingers look up,

Stage III - palm - down,

Stage IV - index finger - down,

V step - palm - to yourself,

Stage VI - all fingers look down, the hand looks like a bell,

VII step - index finger - up.

Since young children do not know the designation of scale steps in Roman numerals, you should spend some time studying them. In the group of the 1st year of study, study the designation of I-III levels, the 2nd year of study - I-V levels and in the 3rd year of study I-VII levels.

Equally important is the consistency and gradualness in the development of modal patterns, which gives the maximum opportunity to expand the range of the child's voice, the accumulation of intonation baggage in the memory.

In order for the guys to quickly remember the gravity of the unstable in the foundations, you can tell them a little fairy tale about Mishka's birthday:

Fairy tale: Mishka lived in the LADny House. He invited all his friends to his birthday party. One of the first came Frog. She decided to help the owner prepare for the meeting of the guests. And work began to boil. The frog quickly cleaned the house, Mishka brought various tasty things from the cellar: for the chanterelle - a fish, for the sparrow - millet, for the squirrel - nuts, for the hedgehog - mushrooms. For the bunny, a large yellow turnip was brought into the HOUSE (RE in DO). The apron put on Mishka (FA in MI) and started decorating the table. Everything was ready to receive guests. The FROG put SALT in the middle of the table (LA in SALT) and there was a knock on the door. Elegant smiling guests appeared on the threshold, in whose hands were gifts for the birthday man, and the fox brought a huge bouquet of Lilacs (SI in DO) into the HOUSE and the fun began.

The skill of oral transposition stimulates the development of modal feeling. For prolonged singing in only one key leads to the impoverishment of musical and auditory representations, causes auditory passivity and limits the mental activity of children, and most importantly, inhibits the development of solfeggio skills.

The sequence of passage of the material can be as follows:

1. Short melodies-chants of a narrow range: la1 - mi1 (the central zone of the sound of a child's voice

2. Sings that include stable steps of the mode with sounds adjacent to them, i.e. songs that help master the major scale within the tonic fifth:

3. Gradual expansion of the range of melodies, complication within the modal content:

Further study of the major mode is based on the practical development and awareness of the manifestations of the modal organization and the centers of modal formation: the concepts of gravity, stability and instability, the center of the mode, the feeling of introductory tone, tonic-dominant relationships, the concept of "interval", familiarity with the major pentatonic scale. Based on the principles of the “anticipatory perception” method, the teacher introduces these complex concepts after a lot of practical work: singing songs, listening to musical examples, auditory analysis.

Acquaintance with the minor key takes place at the level of active perception and mastery of the song repertoire, while this is only the “accumulation” of auditory material, which makes it possible to further comprehend the complex modal processes occurring in the minor key.

In the passage of keys, one should adhere to two directions: keys, which are being worked on at all levels of the “anticipatory perception” method, and keys; with which children are just getting acquainted, knowing the key signs, being able to identify them in the musical text, picking up the passed songs-chants on the instrument. The first direction can be attributed to C major, D major, to the second - G major, F major, A minor.

One of the final forms of work on the modal feeling is solfegging, which accompanies each stage of the formation of modal sensations. This form is fixed in homework and is continued in work on reading from a sheet. When selecting examples for sight reading, one must strictly adhere to the principle from simple to complex, and in accordance with the topic covered. It should also be remembered that this form is the most difficult for a preschooler, requiring sufficient development of a whole range of skills, and therefore has a final character for each topic covered.

Conceptual content

Sounds are high, low, medium. Registers

Keyboard, keys. Octaves.

Staff. Notes.

Keys: violin, bass.

Accidentals: sharp, flat, bekar.

Frets: major, minor.

Tone, semitone. The structure of the major scale.

Sound, tonality. Key signs.

Gamma steps. Tonic, introductory sounds.

stable steps. Singing.

Stable, unstable ending of phrases.

Triad major, minor.

Unison, interval, chord.

Intervals: Prima, second, third, fourth, fifth, sixth, octave.

Forms of work

1. Singing welcome songs-chants.

2. Singing a song with the words a cappella, or with the harmonic support of the teacher.

3. Singing songs-chants: intonation on one, two adjacent sounds, I-II-III, III-II-I, I-III, III-I, IV-III-II-I, III-IV-III-I , I-II-III-IV-V, V-IV-III-II-I.

4. Singing intonation tone and semitone.

5. Singing "logo songs" with repetitive motifs.

6. Singing songs with the harmonic support of the teacher.

7. Singing "interval songs" (melodies with words for a given interval)

8. Singing a song with singing some melodic elements “to oneself”.

9. Singing a song along the lines of a "chain".

10. Singing a song with the clapping of a rhythmic pattern (rhythm syllables), with tapping out metric beats, with conducting.

11. Selection of a short song-song on the piano from different sounds and singing it with words or with the name of the notes.

12. Solfegging a song from music notation.

13. Transposition of songs-chants in the keys of C, D, F, G major.

14. Determination of the passed songs by hand signs, by visual aids: "Column", "Ladder".

15. Intonation of the scale of major scales: C major, D major.

16. Intonation of the following modal revolutions: movement along stable sounds, singing of stable sounds, introductory sounds; tones and semitones; ascending and descending movement in the volume of the tonic fifth with the adjacent VI degree; upper, lower tetrachords; repetition of sound, jumps from V ST. on I st. up and down.

17. Singing intervals in harmony: thirds from I and III Art.; a quart from the V st., a quint from the 1st st., a sixth - from the 3rd and 5th st.

18. Singing the scale with the omission of one or two sounds; detection of a missed sound.

19. Singing to the tonic:

Singing "tracks home" from the V century. up and down: according to hand signs, along the "Ladder", "Column";

Composing response constructions and singing them with words.

20. Singing a song with your own accompaniment:

Aged tonic fifth;

Intervals that include stable steps of the mode;

Tonic-dominant basses.

21. Singing mini-canons in groups with the support of a teacher.

Cultivating a sense of rhythm

Organization in time is one of the most important tasks at the initial stage of teaching children music.

The development of a sense of metrorhythm should be given special attention, since rhythmic hearing has its own specific properties.

The process of formation and development of this musical ability includes perception, understanding, performance, creation of the rhythmic side of musical images. Teaching rhythmic values ​​only through abstract explanations is detrimental to the musical development of children.

The perception of musical rhythm is an active auditory-motor process. And it is very important that the initial perception of music causes motor reactions in children.

The study of the ratio of durations should begin not with an arithmetic calculation, but with an idea of ​​their temporal relationship and connection with movement: a quarter duration is a step, eighths is a run, and a half is a stop. In the name of durations, it is desirable to use rhythmic syllables: “ti-ti” (“be-gom”) - eighths, “ta” (“step”) - quarter, “tu” (“stop”) - half, while designating durations with conditional movements (“smart” palms): eighths - clapping, quarters - palms on the table or movement from top to bottom with the edge of the palm, half - handles on the belt. The concepts of “quarter”, “eighth”, “half” should be introduced only when the children will freely feel the temporal proportionality of sounds.

When writing rhythm at the initial stage, it is advisable to use graphic notation with sticks: short sticks correspond to eighth notes, long sticks correspond to quarter notes.

It is also important to consider the rhythm within a certain meter, and not as a vague, not conditioned by musical meaning, alternation of musical sounds of a certain duration; in a rhythmic task, there should be a feeling of a meter as an internal spring that directs the flow of music from one strong beat to another.

To develop a sense of meter, you can use uniform movement: walking to a song, to an instrumental piece of music; imitative movements that children make during the game. An important condition: the meter must be beaten, (slapped) without stopping, without any deviation from the tempo.

Rhythmic activities are easiest to give the form of a game, and involve all children without exception in it.

Already from the first steps, it is necessary to educate the student's ability to grasp the rhythmic phrase as a whole and teach him to be aware of its internal structure, starting with the simplest constructions and gradually moving towards more complex ones.

Rhyming words, we begin to study the ratio of durations:

"The Tale of the Lion" illustrates rhythmic groups in two-part meter: LE-EV - half, BE-LOCH-KA - a quarter and two eighths, KRO-CO-DIL - two eighths and a quarter, PO-RO-SE-NOK - four eighths , Yo-ZhIK - two quarter notes.

"Our Tanya is crying loudly ...",

"One-two-three-four-five, the bunny came out ...",

"Geese, geese, ha-ha-ha ...".

Then songs containing rhythmic movement only from eighths and quarters in 2/4 time:

song-game "Guests" K. Orf,

V. Kalinnikov "Shadow-shadow",

Ukrainian folk song "Merry Geese"

French folk song "Big Deer"

T. Potapenko "Mushrooms",

A. Filippenko "Two Frogs",

A.Filipenko "Merry musician",

Blessing "Dance",

Kotlyarevsky "Merry beetle".

Only when children can freely, confidently and expressively slap, recognize, lay out with cards the rhythmic pattern of familiar songs, consisting of eighths and quarters, can they be given a new task of understanding rhythmic patterns.

New half duration:

"Malyar" Leshchinskaya,

"Duck" Artsibasheva;

Zatakt:

counting rhyme "The gray wolf came from a fairy tale",

"Winter Dance" by Starokadomsky;

Sixteenths:

"Soloveyko" Filippenko,

"Clock" Metlov,

"Kittens" Chichkov;

Pause:

"Two horses" Leshinskaya,

"On a horse" Lepin.

When introducing children to new rhythmic material, it is very important to use visual aids that are understandable to the child - rhythm cards, diagrams, since visual images facilitate the perception of musical rhythm.

It is very important from the first steps to develop in children the skill of internal rhythmic tuning before performance; they must be able to imagine in advance the tempo and size of the work, because it is the tempo that is the elementary expressive means that determines the nature of the musical work, its genre feature.

At first, the teacher gives the setting, conducting or slapping the metric beats; subsequently, children should be able to tune in on their own, given the nature of the work being performed.

For a more subtle perception of music, it is necessary to educate in children the ability to follow agogic nuances.

You should avoid tapping, slapping the rhythm inexpressively, always at the same “accelerated” pace. It is also necessary to awaken creativity in children by giving tasks of an improvisational nature: rhythmic accompaniment, improvisation of a rhythmic pattern to a given text.

Conceptual content

Duration: half, quarter, eighth, sixteenth.

Tempo, beats, even pulsation, strong weak beats, accent.

The beat, the beat, the beat. Bipartite and tripartite sizes.

Pauses: quarter and eighth.

Conducting in 2/4, 3/4 time.

Rhythmic pattern, fermata.

Forms of work

1. Clap the metric parts in the listened piece of music (2/4, 3/4 sizes):

the whole class;

One group slaps only strong beats, the other all beats;

One group slaps the beats, and the other - a rhythmic pattern.

In these exercises, you can use the instruments of a children's noise orchestra.

2. Conducting on 2/4 and 3/4 or marking metric beats, pronounce the rhythmic pattern with rhythmic syllables.

3. With one hand, tap out metric beats, and with the other hand, a rhythmic pattern.

4. Repeat the rhythmic pattern in whole or in phrases:

Clapping or "smart" palms (conditional movements): quarter duration - palm strike on the table, eighth - clapping, half - hands on the belt;

Rhythm slogans.

5. Find out the song by the rhythmic pattern:

Written on the board;

Lined with rhythmic cards;

Slammed by a teacher or one of the children.

6. Analyze the rhythmic pattern of the song:

Write down or lay out the rhythmic pattern of the song with cards;

Initially, cards of the same color are used. At a later stage, when the feeling of a strong beat is gained, you can use cards on which the strong beat is marked in a different color.

Correct "mistakes" in the recorded rhythmic pattern made by the teacher.

7. Rhythmic "echo". Repeat the phrases of the piece of music you listened to with “smart” palms, pronouncing rhythmic syllables with the whole group or “chain” - groups of children in turn. This form of work can be turned into a game; a child who has completed the task incorrectly is eliminated from the game - sits on a chair ("pebble") or stands up ("column").

8. The game "Repeat". Repeat the rhythmic pattern of a musical phrase (2 measures in 2/4 time), be able to write it down from memory or lay it out with rhythmic cards (oral dictation).

9. Determine the size in the piece of music you listened to. The game "Droplets": the children fix the strong beat with clapping, the weak beats "drip" with the index finger of the hand.

10. Comparison of bipartite and tripartite sizes.

11. Comparison of durations sounding simultaneously in different voices.

Divide the class into two groups: one group performs quarters, the other - eighths;

In the piece of music you listened to, draw the attention of children to 2 voices: the upper one is eighths, the lower one is quarters (for example, Handel's Passacaglia). Then the children listen to this work and clap their hands with “smart” hands: one group - quarters, the other - eighths;

INTRODUCTION

This manual is a generalization of the experience of primary musical education of preschoolers, the methodological substantiation of which lies in the theory of problem-based learning, which has become widespread in the practice of general education schools.
The purpose of the problematic method is to develop the ability to think in students. To do this, the knowledge presented by the teacher is applied directly in the process of obtaining it. At the same time, there is no presentation of ready-made rules, mechanical memorization of terms: they are remembered, because they have to be operated all the time. The horizons of students expand gradually with the help of questions and feasible tasks. The problematic method in teaching awakens the spiritual strength of the student and forms thinking, creating the prerequisites for harmonious development.
The focus of this handbook is not only on what to teach, but also on how to teach. The authors see the purpose of the manual not only to offer a new methodology, but also to teach how to teach according to it.

The methodology itself is connected with the main task: to take into account the specifics of teaching young children. One of the main properties of the child's psyche is the desire to comprehend the world through active action. If from the first steps of learning to rely on the actions of the student, his knowledge will be strong and productive, since such knowledge develops not only memory, but thinking and skill. Hence the path to consciously expedient human activity in any field. That is why the parameters by which the degree of assimilation of knowledge should be assessed should be various types of actions, and not their verbal formulations.
The proposed method builds all types of work and action: sing to the peonies and pace the rhythm of the melody; clap metric shares; compose a song; show the melody of the song along the "ladder"; lay out the listened musical phrase with movable buttons; conduct an orchestra or choir; mark (knock, clap) the end of phrases; come up with a rhythmic pattern, words according to rhythm; play accompaniment to the song, etc.
Such assignments force the student to learn, to understand what is needed - contrary, perhaps, to his desire at the moment - because, in terms of concepts, he assimilates them completely freely and naturally. All these operations are accessible to children, they are all performed with interest and are easily comprehended.
The attitude to the word "do" is different for an adult and a child. For an adult, the task "what to do" raises questions - how to do it and why. The child first does, then thinks. For him, the activity itself is important. This feature of children's consciousness dictates to us the sequence of learning: do, think, speak.
It is well known that children love to make discoveries themselves. Ready-made truths are, simply speaking, uninteresting to them, they are more willing to seek and find than to solidify and learn. From here - a direct path to a kind of "game of discovery". This game addresses not only the intellect of the student, but (which is even more important at first) and his emotions. For example, the task for the student: frog.- leads the child to the discovery by him of a sound musical image. You can indicate or imagine many convenient game forms that diversify musical activities. For example, a conversation in the form of a sung dialogue. This is a kind of singing improvisation, when the teacher and student can conduct conversations on any abstract topics, immediately shifting oral speech to singing.For example, the answer to the question "What happened to the hedgehog?" can turn into a little impromptu musical dialogue.
A certain difficulty that arises in the lesson and is associated with the discovery of something new should not become an insoluble problem for the student. The small tasks that the teacher sets for the student in the lesson are designed to stimulate his thought, his attention, and most importantly, they must convince the child every minute that he is able to create and discover new things! That is why such tempting tasks are set before children, the solution of which for the child is not hard work, but an additional source of joy, when effort does not exhaust, but, on the contrary, is quickly rewarded.

Making independent discoveries, the child at the same time needs guidance in order to move exactly along those paths that will lead him to the desired result. This methodological development of lessons is intended to help the teacher manage learning. But at the same time, the authors would not like to give it the appearance of an instruction or a “do as I do” instruction, during which the teacher’s initiative will be infringed. the type of task can be done in a variety of ways, but precise reference to the main "milestones" is essential if we do not want learning to turn into complete improvisation. That is why the manual assumes a strictly defined program. It plays a dual role: firstly, it provides a clear sequence of learning skills, when the group moves forward in small but sure steps, coming to the discovery of something new on the basis of what is already known. Secondly, it saves the teacher's time, and also allows you to use the experience already accumulated by many years of classes using this method.
Diversity plays an almost central role in the education of young children. He largely determined the program of action for each lesson. Lesson planning takes into account the following:
a) Quick change of tasks. Any kind of work should not require too much time - from one to five or six minutes. Although time is not specified in the methodological development of lessons (since it significantly depends on the situation,
developing in the lesson), it should be remembered that there is a line beyond which it is impossible to delay the task. The teacher must develop a special "sense of time" by carefully looking at the reaction of the students.
b) After tasks that require mental stress, switching to other, easier types of work is provided. Written tasks alternate with emotional and motor discharge,
c) The necessary rhythm of the lesson is provided, aimed at maintaining the activity of children's perception at the proper level.
d) "Emotional crescendo". Every 2-5 minutes, not only the types of work change, but also (in the second half of the lesson) new types of actions are added, giving scope for the emotional and motor activity of students. The lesson ends
at the moment of the greatest emotional rise and so that its action continued for some time.
e) Finally, it should be said about the frequently repeated situation in solfeggio lessons, when, when one of the students was asked, the rest of the group
dwells in dreary inactivity. In the classroom, things should be set up in such a way that all students, without exception, are always busy with work. Everyone sings songs from their homework (by hand signs you can see who coped with it, who did not), everyone listens to the intervals. If one is playing, then the rest stand around with some task (for example, clap la dongs when a false note sounds). If there is an essay in the first homework, then the group listens to two or three students, and then (the time has come for the change of tasks) they receive written work (say, write notes on the rulers, between the rulers, a treble clef, etc.). If the composition is completed at the end of the year, then the task assigned to the students becomes more difficult: they must be able not to repeat the melodies of their comrades. It makes everyone listen to each other. Therefore, each of the tasks fixed in the lessons is designed to ensure that the whole group takes part in the work in one way or another. Children not only love to learn everything new and different - they also love to repeat what they already know - something that at least once served as a source of joy. This property of the child's psyche is the basis of successful learning.

It is recommended to connect the new with the already familiar in the following way: a) separate specific units - "steps" are distinguished in the material being studied; b) adequate actions are found for these "steps". At the same time, students receive an unambiguous system of instructions for all - how and in what order they should act.
For example, instructions are given; play a triad (up, down) from a given key; then play the triad and its extreme sounds (the fifth interval); then play a fifth and turn it into a triad, with the determination of its mood by ear, etc.
Each new task is always an extension of the learned concept, including, as a rule, a new aspect of the action. Such increments—or "steps" as we have called them—are introduced no sooner than the student has mastered the previous level of knowledge well. At the same time, elementary tasks serve as the basis for independent creativity. (A student, for example, can, playing a triad from a given key, compose a song on its sounds, play fifth accompaniment to it, choosing independently the register, rhythmic organization of sounds, their simultaneous or sequential performance, dynamic shades, etc.)
In those cases when a student of the preparatory department learns to play an instrument, from the very first steps he can put his knowledge into practice, feel the joy of recognizing familiar elements of musical speech in the works he plays. A close connection between musical literacy and the specialty is being created: I see - I hear - I play; connection that is impossible without practice. The child sees the benefits of knowledge, which awakens in him the desire to walk further along the difficult, but fascinating, path.
When studying in "alphabetical order" the links of steps in harmony, it is very convenient to use hand signs.
Hand signs are not only actions that concentrate the attention of children, they are also the establishment of strong conditioned reflex connections. They help to develop the motor skills necessary for free reading of music and recording melodies no longer just by sounds, but by intonations. That is why this manual provides for the use (especially at the beginning of training) of relative solmization. In it, the authors see not only an excellent means of teaching intonation and educating hearing (including harmonic), but also the best opportunity for solfegists to combine teaching children with visualization and live action.
Another feature of the child's psyche is that younger students are at the first, lowest level of knowledge. They still have to master in a short time a huge number of elementary concepts and skills. At the same time, the child is absolutely indifferent to the relationship between these concepts. That is why, starting to acquaint a child with music, with the originality of its speech, it is necessary to introduce him as quickly and timely as possible into the circle of musical concepts with which he will have to deal with now, in practice. At the same time, the hierarchical sequence of these concepts is a purely secondary problem. That is why, in particular, the manual provides for acquaintance with intervals when the student is not yet able to fix the interval on paper, that is why children learn what a triad is, having studied all the steps of the scale, or learn to distinguish major from minor, still not having a clue about mode and modal mood. With a superficial acquaintance with the given methodology, all this can give the impression of randomness, but the randomness here is apparent, because the logic of mastering new concepts in the textbook is not subject to the principle of their “seniority”, but to the principle of their urgent need in practical work.
At the same time, if the child is indifferent to the order in which concepts are mastered, then the deepening of the concept always proceeds sequentially - in small, growing “steps” precisely fitted to each other. Here the order must be strictly observed, because the child simply cannot jump over the next stage of cognition. .
Especially important are those "steps" that are used in specially selected melodies. Their verified sequence is the main reason why an arbitrary replacement of melodies for singing or intonation patterns is undesirable. The omission of any "step" is also unacceptable; then the entire sequential interconnection of the course loses its meaning.
Getting acquainted with some thing, the child never perceives it in a differentiated way. For him, knowledge is a holistic act. The child's perception is synthetic to such an extent that he is able to immediately grasp many aspects of an object, different impressions about an object, organically linking one with another.
This property of the child's consciousness is also a valuable assistant to the teacher; it allows you to saturate each action of the lesson with the most diverse tasks, concentrate learning and, ultimately, save time.

This circumstance significantly influenced the very principle of constructing this manual: first, in it, solfegging is inseparably linked with the assimilation of musical literacy. Such a connection allows, on the one hand, to make music-making in the lesson meaningful and active, on the other hand, to master musical literacy not by wording, but by relying on live sound (from music to rules, and not vice versa). Secondly, each section of the lesson is designed to solve several related tasks at once (for example, the first section is simultaneously singing, fixing a new intonational model, repeating intervals, working on expressiveness, etc.).
Of course, among the diverse tasks solved at each lesson, there is one defining, central one (otherwise the lesson schedule itself would not make sense). However, the versatility of each stage does not allow one to sharply delimit the thematic sections within the lesson from each other. The lesson is a single process of deploying many related tasks based on specific actions. At the same time, the actions themselves are distinguished, but not the tasks. For example, the section "Working with a musical staff" prepares an intonation model for subsequent improvisation, and improvisation simultaneously serves as a tuning before the dictation.
Not all tasks set in each section of the lesson are specified in the manual (it would be impossible), but they are implied. In addition, the teacher can “load” each action with additional tasks if he is convinced that this is feasible (meaning tasks to consolidate the material covered).
The most important factor in the successful learning of children is the emotional atmosphere of the lesson. Craving for positive emotions is a vital necessity for any normal psyche. The reaction of satisfaction that occurs in children who have found the right answers (“I can!”, “I can!”, “I know!”) Creates not just a creative environment, but an atmosphere of joy.
The rational and emotional spheres of the child must act as a whole. Appeal only to the rational beginning destroys, dries up the emotional richness of the child's nature, while the studies of modern psychology convincingly prove that it is the state of emotional uplift that increases memorization many times over in comparison with pure logic. That is why such “little things” as the intonation of the teacher when talking with children, his look, his manner of communication are of the utmost importance for successful work at each lesson.
The most fundamental means of understanding the world for children is the game. Funny pictures, funny texts for singing, placed in this manual, game situations in the lesson - all this should help to ensure that learning does not become a boring duty and does not take away the happy feeling of life from children.

The game has a lot of advantages compared to other types of cognitive activity. The game never tires; it naturally includes children in the orbit of the knowable; in addition, the game situation is an excellent means of simulating any process under study; finally, the game ideally mobilizes the child's emotions, his attention, his intellect, not to mention the fact that it serves as an excellent motor discharge. During the game, the child is no longer able to be distracted by anything else - the game absorbs him entirely.

It is in the game that the child lives the brightest, most intense creative life.
We firmly believe that an early learning guide for any discipline should be primarily a playbook. The whole task here is to direct the game in the right direction for learning. For us musicians, it is especially important that situations arise in the game that are very similar to the situations that take place in music. Thanks to this, the student gets the opportunity to experience new concepts in action, and not memorize them in the form of ready-made formulations.
In this manual, the principle of game analogies is widely used. Thus, the game "musical hide and seek" helps to better understand and feel the meaning of crescendo and diminuendo; the games "Train11", "Gnomes and Giants" help to understand the nature of music, the length of phrases, and the ability to anticipate the end of a melody.
Of course, a game lesson will require some organizational work from the teacher. But this work will be the easier, the less the teacher will be an outsider in the game he is conducting. Like a conductor, who, while controlling music, cannot but be “inside” the music, the teacher himself must take part in all game situations that he manages in the lesson. This, by the way, helps him control the game, not allowing it to go aside from the purpose of the lesson.
Any task in the lesson can be made a game. Any “strict” at first glance work can be given a touch of play. For example, before performing the second voice of the canon, you can jokingly promise the children: “Now I will interfere with you! Will you go wrong or not go wrong ?.” After that, the children try their best not to stray into singing and at the same time listen carefully to the second voice of the canon - and all this because singing has become a game situation for them, that is, it has mobilized their strength and their attention.
Specially composed games are given in the lessons, as a rule, at the end: this is dictated by the need for an "emotional crescendo" and a final relaxation.
It is impossible not to take into account another important need of the child associated with his spiritual growth: the need for self-affirmation. Among children, rivalry, the struggle for leadership, all kinds of naive boasting are very common. This is an integral part of their daily game, the meaning of which is to assert their significance in life. One of the most important forms of children's self-affirmation is role-playing. The child is a natural actor. With what rapture he acts as a hero, commander, leader!

A game is always a problematic situation that requires flow, initiative, and creativity. In a variety of musical games and tasks, children are offered various roles throughout the school year - "conductor1", "choirmaster", "accompanist", "composer", thanks to which children acquire self-confidence, artistry, freedom, imagination along with the necessary knowledge and skills , and most importantly - interest in making music, in the process of learning musical secrets. Experience shows that in these situations, children are very demanding of each other, they are very jealous of the execution of their instructions and try to make their own mistakes as few as possible. And what an invaluable benefit this method brings to their communication skills! It not only diversifies the work, but, most importantly, helps each student to acquire a diverse musical experience literally from the first steps of their studies.
In the proposed methodology, role-playing is provided in almost every section of each lesson.
The last of the features of this teaching aid is the reliance on the independent creativity of children. Here, perhaps, it is impossible to point to any specific sections or paragraphs where special attention would be paid to creativity. All the proposed methodology is based on creativity. Actually, for a child, any kind of cognition is already creativity; it does not separate one from the other. In itself, the problematic method presupposes cognition primarily on this basis.
And here the teacher faces the responsible and difficult task of directing the children's creativity, while showing maximum attention and tact. The teacher should not give rigid instructions on how to complete the task, or compare the “works” of students and condemn them for mistakes.
The child always composes with joy. And if he refuses to do this in class, it means that either we ourselves humiliated his self-esteem in him, or we allowed his comrades to do it.
Of all the various types of creative actions, improvisation is closest to the child - that is why so much space is given to this type of work in the manual. The importance of improvisation in music lessons cannot be overestimated. It is especially important that improvisation allows not only to create, but already in the process of learning to use the acquired skills, thereby consolidating them.

The next section of the introduction is devoted to one of the most difficult pedagogical problems - teacher-child communication, and is addressed primarily to novice teachers.
Having received a group of children, you should first of all win them over, because the greatest truths spoken by an unloved teacher will be rejected.
Location begins with attention to those you are going to teach, and attention begins with questions: what. you think? How do you think? why? etc. Here, the top questions are asked, and the ability to listen to everyone. Especially a lot of questions should be asked to timid ones: they need the teacher to help them arouse a sense of self-confidence. Then they will become our helpers in the difficult task of learning. Questions (and they should be brief) are not only a test of knowledge, but also an acquaintance with the ideas of each, in order to later reckon with them and rely on them.

We must constantly be patient and not answer, as is often the case, the question asked by ourselves. In case of difficulty, the student is given an additional task, leading a question that will lead to an answer to the original one. This requires constant readiness on the part of the teacher, mobilization of his attention, patience, ingenuity.
Education should not begin with words incomprehensible to the child: higher! below! false! not right! The word "wrong" can be said only when the student already knows how to do it right, and for this it is necessary to accumulate some kind of auditory impressions.
Starting to "pronounce" music is no easier than pronouncing the first words. Music should enrich the soul of every child - both the one who sings cleanly and the one who "mumbles" on one sound, especially since this is not his fault, but a misfortune . This should be explained to everyone in the class so that the “lagging behind” are not laughed at.
Children who have embarked on the path of musical education must be given the opportunity to live in the world of sounds, to discover them for themselves without regard to evaluation. The teacher must respect the effort expended and even find something good in the bad. After all, the end result is far ahead!

We often lose sight of the fact that the methodology of working with children and ethics are inextricably linked.
When, as a result of the teacher's critical words (and sometimes a glance is enough), the student loses faith in his spiritual powers, he not only loses his desire to learn, but every meeting with such a teacher becomes torture for him, a permanent mental trauma is formed, which leads to exhaustion of the nervous system. systems. Therefore, the main reaction to the work done by the student, no matter how small it may be, should be approval, encouragement, and only then criticism.
You should not demand premature results from students - the teacher must take into account the individual characteristics of each student and, in addition, have patience. An effective means of reducing time is to notice the slightest shifts more often and encourage them.
A few specific recommendations that precede the work with this manual.
1. In cases where any of the activities indicated in the manual will be difficult or even impossible to perform, it can be left out of the lesson plan for some time.
2. A detailed lesson schedule, however, does not mean that it should be rigid and set once and for all. At each lesson, unpredictable situations arise, and the way the teacher acts directly depends on the reaction of the children. In accordance with this, the present methodology presupposes the creative use by the teacher of all the tasks of each lesson, depending on the conditions, the situation, the composition of the group, and, finally, the temperament and imagination of the teacher himself.
In conclusion, we express our deep gratitude to L. M. Maslenkova, Candidate of Art History, Associate Professor of the Leningrad Conservatory, composer G. V. Kurina (Tolyatti), musicologists L. L. Shtuden and N. L. Baikina (Novosibirsk) for their great help in preparation of this publication.

1. Names of sounds

DO, RE, MI, FA, SOL, LA, SI

Names of white piano keys:

• The white key between two black ones is PE.
• Two white keys to the right of RE - MI, FA.
• Two white keys to the right of FA (between three black ones) - SALT, LA.
• Two white keys to the right of LA (after three black ones) - SI, DO.

2. Names of octaves

Octave called a group of sounds from DO to each next DO.

The octave that is in the middle of the piano keyboard is called first.

Octaves that are above (to the right) the first octave are called: second octave, third octave, fourth octave.

Octaves that are below (to the left) of the first are called: small octave, big octave, counteroctave, subcontroctave.

3. Placement of notes on the staff

Notes are signs for recording music. stave, or staff, is a line of five lines on which notes are placed. The lines of the staff are counted from bottom to top.

Notes are located on the lines, between the lines, under the first line, above the fifth line, on the lower additional lines, on the upper additional lines.

4. Treble clef

Treble clef- this is a sign that indicates that the sound of the SALT of the first octave is recorded on the second line of the staff.

Notes of the first octave in the treble clef are written as follows:

DO - on the first additional line, RE - under the first line, MI - on the first line, FA - between the first and second lines, SALT - on the second line, LA - between the second and third lines, SI - on the third line.

5. Musical notation of the duration of sounds

The duration of a sound is indicated by different kinds of notes.

A white note (circle) without a stick is a whole note.

White note (circle) with stick - half note.

Black note (circle) with stick - quarter note

A black note with a stick and a tail is the eighth note.

The main division of the duration of sounds:

A whole is divided into 2 halves, a half is divided into 2 quarters, a quarter is divided into 2 eighths

The direction of the sticks on the staff: up to the third line, the sticks are written up, above the third line - down.

6. Size 2/4

Time signature 2/4 is a two-beat measure, in which each beat lasts a quarter, the first beat is strong, the second is weak.

Conducting scheme for 2/4: down, up.

7. Eighth notes in a double beat

Durations that are performed 2 times faster than quarter notes are called eighth notes. One quarter is two eighths.

Dividing the first beat of a measure into two equal parts: two eighths, a quarter

Dividing the second beat of a measure into two equal parts: a quarter, two eighths

Dividing the first and second beats of a measure into two equal parts: two eighths, two eighths.

8. Recording a song with and without words

If the song is written without words, two eighths, which make up a quarter, are connected by an edge.

If the song is recorded with words, then every eighth, which falls on one syllable of the text, is written separately.

9. Major and minor. Tonic

Major and minor are the most common modes in music. Cheerful, cheerful melodies, light melodies correspond to a major scale. Sad, sad melodies correspond to a minor scale. The main, reference sound of the fret is called tonic. The melody usually ends on the tonic.

10. Gamma C Major

SOL major - a major mode in which the tonic is the sound SOL (a mode with one sharp in the key).

The sounds that make up G major are:

• SALT, LA, SI, DO, RE, MI, FA-sharp, (SOL).

Key sign in the key of G major:

• FA sharp.

Gamma G major and its steps:

• SALT - I, LA - II, SI - III, DO - IV, RE - V, MI - VI, FA sharp - VII, (SOL) - I.

Tonic triad in G major:

• SALT - I, SI - III, RE - V.

Introductory sounds in G major:

• F-sharp - VII, LA - II.

17. Key in F major

FA major - a major mode in which the tonic is the sound FA (a mode with one flat in the key).

The sounds that make up the F major:

• FA, SOL, LA, SI-flat, DO, RE, MI, (FA).

Key sign in the key of F major:

• SI flat.

F major scale and its steps:

• FA -I, SALT - II, LA - III, SI flat - IV, DO - V, RE - VI, MI - VII, (FA) - I.

Tonic triad in F major:

• FA-I, LA - III, TO - V.

Introductory sounds in F major:

• MI - VII, SALT - II.

18. Transposition

transposition is called the transfer of a melody from one key to another.

At the same time, in the melody with the original key, the step numbers are put down, the step numbers are signed under the new musical staff, then the notes of the melody in the new key are assigned above the step numbers.

19. Pause

pause called a break in the sound (a sign of silence).

Whole pause, equal in duration to a whole note, is written as a black rectangle under the fourth ruler.

half pause, equal in duration to a half note, is written as a black rectangle on the third line.

quarter pause, equal in duration to a quarter note, is written as a sign resembling a zigzag.

Eighth pause, equal in duration to the eighth note, is written as a sign resembling the number four.

20. Musical phrase

Phrases are the parts into which the melody is divided.

Rhythmic stops or pauses in the melody (these are called caesuras) indicate the end of musical phrases. Any repetition in the melody - exact or with some changes - creates the feeling of the beginning of a new musical phrase. The end of a phrase is indicated by a daw or a comma.

21. Reprise

reprise called the repetition sign, these are two points - above the second and above the third rulers near two vertical lines.

22. Bass clef

Bass clef- this is a sign that indicates that the sound of the FA of a small octave is recorded on the fourth line of the staff.

According to the location of the note FA, other notes are also located on the fourth line, for example, the note DO of a large octave is written on the second additional line from the bottom, and the note DO of a small octave is written between the second and third lines.

23. Key A minor

LA minor - a minor mode in which the tonic is the sound LA. This is a mode parallel to C major.

Parallel are called major and minor keys with the same key signs. The tonic of the parallel minor key is the sixth degree of the major key.

Gamma A minor and its steps:

LA - I, SI - II, TO - III, RE - IV, MI - V, FA - VI, SALT - VII, (LA) - I.

Tonic triad in A minor: LA - I, C - III, MI - V.