Mastering the keyboard of the instrument, developing technical skills and creativity in the specialty class
Outline plan open lesson in accordion class
Student: age 7, grade 1.
Lesson topic: Mastering the keyboard of the instrument, developing technical skills and creative abilities in the specialty lesson.
Lesson type: combined.
The purpose of the lesson: Formation of performing and development of technical skills of playing the instrument.
Lesson objectives:
1. Educational: to generalize and deepen the knowledge of the student, to form the skill of vertical movement of the third finger along the second row of the left keyboard.
2. Developing: development of attention, musical ear when playing an instrument, technical skills of performance, creative abilities.
3. Nurturing: instilling interest and love for the art of music.
4. Health saving: correct landing, position of hands, installation of the tool.
Lesson form: individual.
Technical means: Button accordion for a student, button accordion for a teacher, console, table, chairs, notes, workbook student visual aids, music Center.
Repertoire lesson plan:
1. Positional exercises.
2. Gamma in C major, arpeggio.
3. R.N.P. "Cornflower", R.N.P. "Don't fly, nightingale"
4. S. Skvortsov. "Etude".
5. R. Bazhilin. "Sunny rain" (playing to the soundtrack).
Lesson structure:
From the first lessons, the student learns to play without looking at the keyboard. Before starting the song, he needs to put his fingers on the keys: do - the second finger, mi - the third, fa - the fourth.
The traditional setting involves the use of the original principle of fingering, which assigns to each vertical row a certain finger - the "owner". AT this case staging right hand more fixed, since the first finger, being behind the neck, helps to keep the hand in a certain position. This allows the student to better feel the key itself, ensures the stability of the position of the brush. It must be remembered that you need to keep the “window” open, that is, the hole between inside brushes and fingerboard. When working on the right keyboard, the minimum weight load is controlled to overcome the resistance of the "spring" and the internal release of the muscle efforts of the finger at the moment of leaving the keyboard. At the end of the exercise, it is necessary to release the hand: drop down, small swing movements with the hand.
The position of the left hand when playing with the right: "heel", i.e. the base of the palm, the left hand is located on the edge of the cover of the left semi-body, the hand is above the keyboard; it is better to place the fingertips on the body behind the auxiliary row. This position teaches left hand to correct staging, promotes the work of the necessary muscles.
Mastering the basics of mechanical science, extracting long sounds, is performed by ear, without notes, as shown by the teacher. The teacher pays attention to the evenness of mechanical science, the quality of sound production, the inadmissibility of bending the fingers, the feeling of three points of support necessary for contact with the left half-body, and the presence of a point of support of the instrument in the inner part of the thigh of the right leg when leading the fur in grip.
Developing a feeling tactile sensations, the ability to find the right keys and measure muscle efforts with the elasticity of the keys, not allowing excessive pressure and deflection of the joints, maintain control over the correct position of the left hand.
Mastering the skill of vertical movement of the third finger along the second row of the left keyboard is performed by ear, as shown by the teacher. Before starting the game, you need to place four fingers on the second row of the left keyboard, on the salt key - place the second finger, on the do - the third, on the fa - the fourth, on the black - the fifth finger. The exercise is performed with the third finger, the rest, non-playing fingers are a “friendly family”, they should not be raised. The hand moves up or down with the same position of the fingers.
When getting acquainted with a new work, there is a certain method of learning:
1. The teacher reads the words of the song.
2. The teacher plays the melody of the song with his right hand and sings at the same time.
3. The teacher and the student sing together to the sound of the melody on the instrument.
4. The student sings a song to the teacher's game.
5. The student sings and slaps the rhythmic pattern at the same time.
6. The teacher plays and sings a song with the student, naming the notes.
7. The teacher plays and sings a song, together with the student, determining the place to change the fur - by inhaling between phrases.
8. The student plays the song several times, different options performance: play and simultaneously sing a melody with words, play and sing, naming notes, play a melody without words.
Much attention in the lesson is given to listening to music. The performance by the teacher of the plays selected for listening educates musical taste student, instills a certain manner of performance, broadens the horizons, diversity of the repertoire. Listening to works is accompanied by conversations - dialogues about the character, content, expressive means the play being listened to. The performance of music by the teacher should serve as a model for the student.
Playing in an ensemble should be included in the plan of each lesson. Joint music-making contributes to the development of a sense of rhythm, enriches harmonic pitch, develops reading skills. The teacher and the student during the game are one, this brings them closer, has a beneficial effect on relationships.
The class is working with a tape recorder. This methodical "highlight" is very popular with children. Playing to the phonogram develops the ability to listen and hear. It instills in the performer rhythmic discipline, a sense of tempo, performing expressiveness.
During the classes:
1. Game of positional exercises. On the initial stage training for the development of the student's primary motor skills, special exercises are needed that prepare him to perform technical tasks. Pay attention to the student's landing, the position of the arms, legs, and the installation of the instrument.
2. Playing the scale in C major in whole, half, quarter, eighth durations with aloud counting with various strokes, arpeggios.
3. Playing previously learned pieces, pointing out the disadvantages and advantages: R.N.P. "Cornflower", R.N.P. "Don't fly nightingale."
4. The successful development of technology is impossible without work on sketches. S. Skvortsov "Etude". Work on the accuracy of fingering, change of fur.
5. Conducting a physical education session.
"Humpty Dumpty". The exercise is performed while standing. Raise both arms up and down through the sides, slightly tilting the torso forward. Hands sway by inertia, at the same time the words are pronounced: “humpty dumpty”.
"Soldier and Teddy Bear" is performed while sitting on a chair. At the command "Soldier", straighten your back and sit still, as tin soldier. At the command “Bear cub”, relax, round your back, like a soft plump teddy bear.
6. When playing to a phonogram, you need to control the game. One of important components when playing is a metro rhythm. If the metro rhythm is violated, the entire performance collapses. The metro rhythm also contributes technical development student.
Lesson analysis:
The result of the lesson showed that the tasks set by the teacher were comprehensively disclosed:
- clearness and clarity of tasks.
- a variety of musical material that contributes to the development of the creative abilities of the child.
- creating a figurative row ( figurative comparisons, associations).
- activation of auditory control.
- development of thinking (playing in an ensemble).
- submission theoretical concepts in the context of the musical image.
- self-analysis by students of performed works.
7. Homework.
8. Mark.
Used Books:
1. G.I. Krylov. "The ABC of the Little Bayanist", part 1, part 2.
2. D. Samoilov. "Accordion Reader, Grades 1-3"
3. V. Semenov. " modern school bayan games.
4. D. Samoilov. "15 lessons of playing the button accordion".
5. P. Serotyuk. "I want to be an accordionist."
Municipal educational institution additional education
"Children's Music School" No. 1 of the city of Taishet
Open lesson in the specialty
(Department folk instruments)
On the topic: "Work on an artistic image in diverse works."
Lecturer: Gumirova O.V.
Taishet 2016
Lesson type: combined (consolidation of knowledge, complex application of knowledge).
Type of lesson: traditional.
Lesson form: individual.
Topic: "Work on the artistic image in diverse works."
An open lesson is held with a student of the 8th grade Rudakov Grigory, button accordion.
Target: creation of conditions for the development of the skill of working on an artistic image in diverse works.
Tasks:
1. Educational: to consolidate the studied theoretical knowledge (to define the concept of "artistic image of a work"), to continue the formation of practical skills (to teach to reveal the idea of a work, work on means musical expressiveness, execution at an average pace with the tasks set).
2. Developing: develop the ability to listen and understand executable work, coordination of movements, figurative musical thinking, creative activity through various activities.
3. Educational: educate love of music, educate aesthetic taste, perseverance, diligence, composure.
Teaching methods:
1. Perspective: verbal transmission and auditory perception. The teacher communicates ready-made information using demonstrations. The student comprehends and remembers.
2. Reproductive: the student remembers 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.
Verbal, visual, practical;
Activation of hearing, appeal to the musical perception of the student;
Development of thinking, creative initiative;
Techniques of control and self-control: when performing, listen to the reproduced sound; correctly sing the melody and convey the rhythmic pattern.
Technical training aids:
Instrument (accordion), chair, remote control, sheet music, laptop, video and audio applications.
Psychological conditions on 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 current situation, a favorable psychological microclimate in the lesson.
Application pedagogical technologies:
1. Health saving technology:
The muscles of the fingers develop, which positively affects the memory, which will develop more intensively.
Rational organization lesson: gymnastics for the eyes, an exercise to relax the muscles of the neck with free turns of the head (right, left, up, down).
alternation various kinds learning activities(playing scales, exercises is replaced by repetition of learned pieces and listening to music).
2. Technology of student-centered learning:
Recognition of the student as the main acting figure of everything educational process There is a 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. The lesson creates conditions for self-realization of the student, the development of individual cognitive abilities, creative imagination.
3. Technology problem learning:
This technology implies a consistent and targeted promotion educational problems in front of the student. The student becomes active mental activity, expresses own opinion and actively acquiring knowledge.
4. Technology of formation of motivation or gaming technology:
Technology implies organization gaming activity aimed at searching, processing and assimilation educational information. Inclusions in educational process game moments increases the student's interest in playing the instrument, activates it creative activity. The teacher creates a so-called "success situation" in the lesson. The feeling of success increases the motivation to study, maintains interest and passion for playing the instrument and causes positive emotions.
Repertoire lesson plan:
1. Chromatic scale for the right hand and exercises for the left hand.
2. Ya. Frenkel " Russian field”from the movie“ New Adventures of the Elusive ”.
3. “I’ll go outside” r.n.p. arr. O. Buryan
Lesson plan:
1) Organizing time.
2) Warm up. Exercises aimed at the freedom of the motor apparatus.
3) Work with musical material (using health-saving technology).
4) Problem situation based educational material.
5) consolidation of the material covered.
6) The result of the lesson.
7) Homework.
During the classes:
1) Organizational moment. Greeting, landing at the instrument, mood for active creative work.
Determining the purpose and objectives of the lesson, after first asking the student about what he knows about the "means of musical expression." What connects them and how they interact with each other.
2) Warm up. Exercises aimed at the freedom of the motor apparatus.
- chromatic scale with the right hand with dynamic hues;
- a game chromatic scale right hand with dynamic shades, different strokes;
- repetition of the bass stroke in the left hand, used in a work with dynamic nuances.
We monitor the quality of sound production, rhythmic pattern and freedom of the fingers of the right hand.
3) Work with musical material.
Listening to music on a laptop. J. Frenkel "Russian Field" from the movie "New Adventures of the Elusive".
Discussion artistic image works. During the dialogue, it is possible to use pictures, drawings that help to understand the meaning of the work.
1. What do you think this piece is about?
2. Do you know the lyrics of the song?
3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the tempo in this piece? Dynamics, strokes, the nature of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music?
6. Try to explain what is an "artistic image"?
Joint study of dynamic lines and phrasing constructions, stroke features.
Determining the climax of a piece graphic image dynamics in notes, singing a melody, showing a teacher on an instrument; method of the game-comparison (the game of the teacher and the student is compared, analysis). Execution with the assigned tasks of the work in parts.
Performance of the work "Russian Field" from the movie "The Adventures of the Elusive Avengers" with the fulfillment of previously set tasks:
1. to make changes of fur in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical signs;
3.accurately withstand all durations;
4. keep a uniform pace of execution;
5. achieve non-stop playing with two hands, while accurately observing the musical text.
- physical. warm-up(using health-saving technology) :
Exercise for the eyes - move the eyes to the right, left, up, down, close them, open them. Look at the nearest object, then at the furthest object. Repeat several times.
Exercise to relax the neck muscles with free head turns (right, left, up, down)
4) Problem situation based on educational material.
Identify your own artistic image in the next work. Identify punchlines and phrasing movement without help computer technology.
“I’ll go out into the street” r.n.p. arr. O. Buryan.
5) Consolidation of the material covered.
Discussion of all the work done in the lesson. Repetition and consolidation of the material covered.
6) The result of the lesson.
All means of musical expression have great importance in determining the composer's intention, because directly affect the character of a musical work, its inner content. Simultaneous concentration of attention in working on various means of musical expression significantly increases the efficiency of mastering each skill separately and provides a holistic, systems approach to learning, which helps to correctly determine the artistic image of the work. emotional experience a piece of music helps to develop the perception of music and has a positive effect on creative process, which contributes to the development of interest and the cultivation of a feeling of love for music with the formation of artistic and aesthetic taste.
7) Homework, grading.
Self-analysis and self-assessment of the student about the work done in the lesson with correction by the teacher. Definition homework.
Synopsis of an open lesson in the bayan specialty on the topic “Work on the artistic image of a work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper.
Description of work: The development of the student's artistic image when playing an instrument musical works- one of the most important tasks for the music teacher. When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his "enthusiasm" when playing. These include creative imagination and creative attention. Education of creative imagination aims to develop its clarity, flexibility, initiative. The ability to clearly, vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists. I bring to your attention a summary of the lesson in the specialty button accordion on the topic "Work on the artistic image of the work." This summary presents the forms and methods of work in the specialty lessons with students of the junior classes of the Children's Music School on the disclosure of the artistic image of the work on the example of diverse plays.
Purpose: This abstract the lesson can be useful for teachers of the specialty (button accordion, accordion) music schools and art schools. This material designed for students in grades 1-2 of the music school.
Lesson type: open
Work form: individual
Lesson topic
– Work on the artistic image of the work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
educational- define the concept of "artistic image of a work"; learn to reveal the intent of the work.
Educational- educate the performance culture.
Educational– Develop the ability to listen and understand the work being performed, develop imagination, thinking, memory, sense of rhythm.
During the classes
The structure of the lesson consists of five parts:
1 part - organizational;
Part 2 - work on new material;
Part 3 - consolidation of the studied material in the lesson;
Part 4 - the result of the lesson;
Part 5 - the wording of the homework.
Part 1 - Organizational
Preparing the gaming machine:
playing scales in C, G Major with the right hand with different strokes: legato, staccato; arpeggio, right hand chords in slow pace;
playing the C major scale with the left hand;
playing the C major scale with two hands.
analysis of homework - oral report on the work done homework: what tasks were set for the student, what was done and what did not quite work out, why? What difficulties were encountered in the implementation; checking homework - holistic playing of pieces with two hands "Polyushko-field" by L. Knipper and B.N.P. "Quail" with the fulfillment of the tasks set earlier:
1. to make changes of fur in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical signs;
3.accurately withstand all durations;
4. keep a uniform pace of execution;
5. achieve non-stop playing with two hands, while accurately observing the musical text.
Part 2 - work on the disclosure of a work of art
Setting the goal of the lesson– In order to learn how to reveal the idea of the work, i.e. artistic image, you need to understand what it is, and by what means the idea of the work is revealed. Therefore, the purpose of our lesson is to derive the concept of "artistic image", and learn, using the means of musical expression, to reveal it.
Methods of working on the play by L. Knipper "Polyushko-field"
holistic playing of the play by the teacher;
performance analysis: student's answers to teacher's questions:
1.what do you think this piece is about? During the dialogue, it is possible to use pictures, drawings that help to understand the meaning of the work.
2.Do you know the lyrics of the song?
3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the pace in this piece? Dynamics, strokes, the nature of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music?
6. Try to explain what is an "artistic image"?
After the student answers the questions, one should start working on the artistic image of the play "Polyushko-Field".
Working methods
1. detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3. work on phrasing: determining the climax in each phrase, graphic representation of the dynamics in the notes, singing the melody, showing the teacher on the instrument; method of the game-comparison (the game of the teacher and the student is compared, analysis)
4. work on the rhythm: playing with the score aloud, clapping the rhythm of each part, working on difficult rhythmic places;
5. work on the strokes - to achieve a coherent, smooth game in the right hand part, and to achieve clear accompaniment in the left hand part (playing by separate hands);
6. connection of two parts: in the first part, the artistic image is “a foot column is walking”, and in the second part – “cavalry” (the change in accompaniment contributes to the creation of such an image);
7. work on a single tempo of performance - playing under a metronome;
8. If you encounter difficulties when connecting, you should return to work with separate hands to clarify the musical text, fingering, change of fur.
Methods of working on B.N.P. "Quail" are similar to the methods of working on the play by L. Knipper "Polyushko-field"
Part 3 - Consolidation of the skills acquired in the lesson
Holistic playing of plays by students with two hands with the exact fulfillment of the task - to reveal the artistic image of the work during the game. Analysis of own performance, indicating positive and negative sides when playing pieces.
Part 4 - Summary of the lesson
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works during the game, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for the work to sound, it is not enough to accurately learn the musical text, you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, it is planned independent work student to reveal the artistic image of the work.
Part 5 - the wording of homework
Consolidation of the skills acquired in the lesson - a holistic playing of pieces by heart, taking into account all the comments.
These methods used when working on the disclosure of the artistic image on the example of the works "Polyushko-field", "Quail" can be used when working in other works. Such methods of working on a work help students to independently work on the disclosure of the artistic image in the works.
Open lesson on accordion specialty
with 2nd grade student Dima Zharikov.
Performed:
button accordion teacher
MOU DOD LDSHI Lagan
Lesson topic:
· Mastering the performing strokes of "legato" and "staccato".
The purpose of the lesson:
Show consistent work on the work;
· Develop the skills of performing strokes "legato" and "staccato".
Lesson objectives:
· Educational - education of attention, the ability to listen and remember;
· Educational - consolidate the practical skills of playing with strokes of "legato" and "staccato";
· Developing - work on sound production techniques. Revealing individual approach to the use of expressive means.
· Health saving:
1. correct fit, tool installation, hand position;
2. dynamic pause, the inclusion of game moments (the muscles of the fingers develop), gymnastics for the eyes to relax the muscles.
3. alternation of various types of educational activities (exercises are replaced by repetition of learned pieces, playing scales, analysis of musical material and listening to music)
Lesson type:
· Combined.
Lesson form:
· Individual.
Teaching methods:
· Verbal transmission and auditory perception;
· Playing an instrument;
· Game Methods;
· Observation;
· Conversation.
Means of education:
· Musical instrument(accordion);
· Musical literature.
Lesson plan:
1. Organizational moment.
2. Warm up. Exercises aimed at the freedom of the motor apparatus.
C major - two hands, arpeggios (short, long), chords;
A-minor (natural, harmonic, melodic), arpeggios (short, long), chords.
4. Repetition of learned plays:
B. n.p. "Yanka", N. Lysenko "Vovchik's Song"
R. n.p. “Oh, you are a birch”, B. Savchenko “Song of the cat Leopold”
5. Checking homework
Ukr. n.p. "On the street the violin plays"
6. Mastering new educational material play by K. Listov "In the dugout".
7. Guess the game fairy tale characters.
8. Summing up the lesson.
9. Grade for the lesson, homework.
During the classes
1. Organizing time:
preparation of the teacher for work;
· psychological adjustment;
Attention activation.
2. Work on technical material
· Performing Finger Fluency Exercises. (Much attention should be paid to the exercise. The study of new material and the repetition of completed plays without prior preparation inevitably leads to a number of erroneous movements. Exercises, focusing the student's attention on new movements, increase the effectiveness of classes and shorten the learning period);
· Execution of scales:
C major (two hands), arpeggios, chords.
A-minor right hand (natural, harmonic, melodic), different strokes and dynamic shades, arpeggios, chords.
· Repetition of learned plays. Execution with correct bellows movement, fingering and dynamic shading.
B. n.p. "Yanka";
N. Lysenko "Vovchik's Song";
R. n.p. "Oh, you are a birch";
B. Savchenko "The Song of the Cat Leopold".
3.The topic of the lesson.
The theme of our lesson: Mastering the performing strokes of "legato" and "staccato".
Theoretical part. Depending on the nature of the music (calm, melodious or cheerful, playful, dancing), the sounds can be played smoothly, viscous or short, jerky.
Legato - a way of playing in which sounds are played in a coherent manner, smoothly transitioning from one to another. At the same time, the fingers smoothly “step over”, feeling a light load of the hand. Each next key is pressed at the moment the fingers of the previous one are released. Notes played legato are united by an arcuate line - a league. With “legato”, the attack of the sound always begins without an accent, wide breathing, sounds seem to pass into one another, excluding creeping. "Legato" is peculiar - wide breathing, related play.
Staccato - this is a jerky performance of the sound, in which the fingers touch the keys briefly, cheerfully and vigorously. Staccato is indicated by a dot above or below the notes. So that the accompaniment does not drown out the melody. Bases and chords are often played staccato. While the same durations of the right-hand part are maintained in full.
Practical work. The play is Ukrainian. n.p. “The violin plays in the street”: playing with two hands on notes. Analysis of the means of musical expression. Working on strokes "legato" and "staccato".
It is necessary to explain to the student the technique of performing “staccato” strokes, which consists of 3 main parts:
swipe of the finger
finger strike;
rebound from the keyboard.
On the example of one note, it is necessary to achieve the desired execution of the stroke and fix it on the example of two measures of the piece.
D / z working off technically difficult places. Observing the desired fingering and changing fur after two measures.
Health saving. Exercise for the eyes: move your eyes to the right, left, up, down, try to make a figure eight with your eyes. Exercises for the development of finger muscles, which positively affects memory, which will develop more intensively. For greater interest, the exercise is performed with the words:
Somehow notes floated in the boat
Do re mi fa sol la si
And behind the boat, after the boat
Quietly swam carp
"What a wonderful weather
Carp said,
But did not hear them in the boat
Do re mi fa sol la si
Songs were sung in the boat
Do re mi fa sol la si
And they danced under the boat
Naughty carp
The boat rocked hard
And went diving to the bottom.
Carp saved the notes
Si la sol f mi re do.
Mastering new educational material.
K. Listov's play "In the dugout". During the Great Patriotic War 1941-1945 many songs have been written. In February 1942, Konstantin Listov wrote to A. Surikov’s poems “Fire beats in a cramped stove” new song, and called it "In the dugout." This song was immediately, unconditionally accepted - both by the hearts of the soldiers and the hearts of those who were waiting for him at home.
At the first acquaintance with K. Listov's play "In the Dugout" it is necessary to disassemble it theoretically: first, we find out the key of the work, by signs it can be Cb - major or G - minor. By the last note and the accompaniment in the left hand, we find out the tonality of G - minor. Next, go to the size 3/8. Let's count one, two, three.
Consolidation of new material.
It is impossible to learn the whole piece in one lesson, so it is necessary to achieve the execution of the “legato” stroke using the example of the first phrase, showing how the fingers should move - smoothly connected with deep pressure without gaps, and at the same time without creeping, note by note.
Motivation formation technology or game technology.
It is good to use it during primary education. The inclusion of gaming moments in the educational process (the Game "Guess the fairy tale characters") increases the student's interest in the accordion lessons, activates his creative activity. Try to guess a number of fairy-tale characters and animals and show them in the pictures.
Sounds G. Galynin "Bear";
V. Vitlin "Kitty";
R. n.p. "Bunny".
Summing up the results and results of the lesson:
How was the lesson?
Did the student cope with all the tasks in the lesson?
Homework.
Ø Exercise with the right hand;
C - major with two hands;
A - minor (natural, harmonic, melodic) with the right hand;
Arpeggios (short, long);
Chords.
Ø In Ukrainian n.p. "On the street the violin plays":
Continue working on strokes, accents. Dynamic shades, mechanical science;
Learn from memory poorly memorizing places.
Ø In K. Listov's play "In the Dugout" to work out the "legato" stroke in the first four measures. Observing the desired application;
Ø Repeat by heart the learned piece is white. n.p. "Yanko".
Bibliography:
1. P. Govorushko " elementary School bayan games, 1988
Relevance.
Repeated playing of pieces from beginning to end, without understanding the artistic and technical aspects of the work and the skillful use of the necessary performing tools for this, does not lead to the desired results. You can not engage in mere mechanical memorization of fingering. Such work is a waste of time and only tires the student. All work on memorizing musical works should be divided into three stages.
Target: musical and emotional moral education children.
We suppose that rote learning of fingering is not effective work Therefore, it is required to diversify the methods and techniques used in the course of the lesson.
Tasks:
Learn to play, expressively conveying the nature of the work;
Develop ear for music, sense of rhythm;
To form an aesthetic taste and emotional perception of music;
Create a joyful atmosphere in class.
"Working with a work"
Preliminary acquaintance with the work
The work at this stage is as follows:
- Accurately read the musical text with all the terms indicating the tempo and shades of performance. It is especially important to clarify the name and pitch of the notes, and their place on the keyboard.
- Learn the duration of the notes of the excerpt being studied or part of the musical work.
- Clarify fingering-arrangement of fingers on the keyboard. Playing one place with one or the other finger is harmful for further learning, because. this may result in a breakdown and a stop.
- Follow with your eyes the path of movement of the fingers and hand in order to refine the location of the desired keys and the distance between them. It should be noted that visual representation is of great importance when learning.
Work on technique
This stage of the work consists of playing the piece and its individual passages with exact duration. Analysis of plays without taking into account the ratio of duration is harmful and unacceptable.
Basic working methods:
- During this period, the student's attention is focused on each individual sound or chord with non-stop playing and exact observance of the indicated note durations in order to perform each sound or chord clearly in duration and character of the sound. We must try to extract melodious sounds, and not noisy ones, movements that are even in tempo from beginning to end and equal in strength to each other.
- All initial playbacks should be carried out without errors, disruptions and stops, at a slow pace. A slow pace is necessary for the auditory development of the work, because. errors and breakdowns often appear due to the fact that many elements of the text, especially chords, at the beginning lie in auditory perception the student and only in the future are assimilated by ear. It may be recommended, whenever possible, to listen to the play in good performance knowing in advance what he should achieve when learning a piece at a slow pace, he will be able to study more meaningfully and more purposefully.
- The work should be played in phrases or other relatively enclosed fragments, achieving an error-free performance first with each hand separately, and later with both hands together. All playing should be carried out at the same pace, because. the difference in tempo may interfere with further playing with both hands.
Difficult places should be identified and addressed in the work. great attention. The connection of two passages can begin from the moment when two adjacent passages are memorized flawlessly. This stage of work ends with the performance of the entire work at a slow pace, without errors and stops; a feeling of fatigue and difficulty will signal that work on this stage not finished yet.
The student's further attention should be paid to mastering the speed of musical movement, i.e. tempo:
- a) while maintaining the faultlessness of the performance, one should start accelerating and bring the performance to a normal pace with great care, without violating the correctness of the game. Acceleration must go gradually and be almost invisible;
- b) it should be remembered that, in principle, fast paces are mainly the result of the general growth of the player’s technique, and not the development given task fast pace, which will be available to the student tomorrow, may not be available today; not understanding this circumstance and the student's desire for excessive acceleration leads to a chaotic game and disrupts the process of the performer's normal growth;
- c) each new accelerated tempo should be reinforced by repeated plays before moving on to the next ones.
There are two signs that determine the limits of acceleration:
- a) the appearance of breakdowns, wrong notes, entwined fingers, general distortion of sonority and other external defects;
- b) the student has a feeling of difficulty in performing and some uncertainty.
AT similar cases pupils must all sorts of accelerations stop, not trying to renew them earlier than two or three days later. Work on acceleration in general has a limit that the student must cross at this stage.
Further increase in pace this work will occur together with the general technical growth and musical development student, not at the expense further work over the play being taught.
Artistic finish execution
The main elements of artistic performance are as follows:
- a) Exact fulfillment of the indication of the volume of the sound, its amplification and attenuation (quiet-loud; amplifying-weakening), i.e. dynamic shades;
- b) exact observance of the speed of movement, instructions for accelerating and decelerating the pace, i.e. agogic shades;
- c) expressive performance of musical works, dividing it into small, meaningful parts (phrases), i.e. phrasing. Phrasing contributes to the clear transmission of the content of the music.
One of the frequent shortcomings in the performance of students is the lack of a real "pianissimo" (very quiet-pp), on the one hand, and the lack of a real "fortissimo" (very loud-ff) - on the other. Usually in the performance there is a slight deviation from the average sonority. Therefore, the student must diligently work on developing "pianissimo", without fear of either the cessation of the transmission sound or the loss of legato. All of these skills must be developed individual sounds, chords, scales, and in pieces, according to the instructions in the notes.
You should especially carefully work on phrasing, which on the accordion is associated with the technique of owning fur, because. each phrase must be entirely contained in one specific movement of the bellows - compress or unclench.
Achieving artistry and musicality of performance, one should first work on the phrasing and shades of performance (nuances) of the melody itself, and then only gradually, without deviating from results achieved, add the accompaniment part.
In practice, work on artistic decoration, the work is in close connection with technical work. Technical excellence is an integral part of artistic performance, its necessary condition. Artistic performance is impossible without understanding the given work; this understanding sometimes does not appear immediately, in the process of working on a work, and depends mainly on the musical growth of the student and on musical culture. Those wishing to acquire good skills in the field of artistic performance should remember that attentive and systematic listening to music (in opera house, at concerts, on the radio) is one of the most better ways develop a subtle understanding of music and artistic taste.
The disdainful attitude of students to the very technique of the case, exercises and everything that creates technical perfection leads to inferior results of the student's work.
First of all, you need to play scales. It is scales that are a convenient, light and calm form, which makes it easier to initial period knowledge work related to the correct fit, positioning of hands, possession of fur, comfortable fingering, etc.
The performance of scales in the first period of training should not be considered as technical means to develop mere fluency or fine technique.
Playing scales matters:
- a) for the development of a melodious, beautiful sound;
- b) to develop legato and staccato;
- c) to master the keys.
In addition, scales make it possible to achieve a game of equal durations in different paces. To this end, it is necessary to play the scale in even fourths, at the slowest pace; keeping the unit of account and tempo, play the same scale in even eighths, triplets from eighths to sixteenths; as all these skills are developed, keeping the same ratio of duration, the speed of movement (tempo) should also be increased. the following should be taken into account here.
Hours of uninterrupted playing on the accordion is harmful to health, reduces the quality of work and dulls the process of mastering and learning musical material. It is better to study little by little, with breaks, limiting each lesson to a specific task, it is more productive to work in the morning or afternoon than in the evening.
Students of professional music schools should be given to playing the accordion in total at least 3-4 hours daily.
Approximate distribution of time by type of work:
- a) work on technique (scales, double notes, chords) - 15 minutes.
- b) work on mastering the ratio of duration (rhythm) -15 minutes
- c) work on sound - 15 minutes
- d) work on the technical learning of the piece - 45 minutes
- e) work on the artistic learning of the play - 45 minutes
- f) repetition and consolidation of previously learned pieces - 45 minutes
