The most rational form of work with parents. The key task of music education

EXPLANATORY NOTE

The changes taking place in public life our country, have largely affected the education and culture system. Children's Music Schools and Children's Art Schools remain the center of musical upbringing and education of children, as before. they are the most massive link in the system of music education.

Based on the programs developed by the USSR Ministry of Culture (1967, 1988, etc.), children were admitted to a music school in the bayan and accordion class at the age of 9-10 years, taking into account the specifics of the instrument and the physical data of the child.

At present, accordion and accordion teachers are faced with the problem of teaching children of 5-6 years of age. This is due to the desire of parents to teach young children to play instruments such as button accordion and accordion.

There is no literature on teaching children aged 5-6 to play the button accordion and accordion, so it became necessary to create this program.

The program is designed to teach children 5-6 years old to play the button accordion and accordion.

The purpose of this program is to most effectively organize studying proccess in accordance with modern requirements presented to music pedagogy.

This program designed for 2 years of teaching children in the preparatory class:

STAGE I- preschool (musical development of young children.)

Direction this stage- general education.

GOAL: creation of a "foundation" on which all further development of the student will be built. The period of spiritual mastery of music (keep in mind, wear in the soul, hear with your own ear).

II STAGE- school (not considered in this program).

Many years of research and work experience have shown that it is possible to teach children of this age. A.D. Artobolevskaya also said that “ children should be introduced to art from an early age.”

The following conditions are necessary for successful learning:

Physical readiness
mental readiness
Motivational readiness (the child's ability to switch to learning activities and oppose gaming activity educational)

Literally for every child, regardless of the degree of his giftedness, you can find an appropriate approach, pick up the keys to enter the country of music.

The main goal of training is general musical development

Related Goals:

introduction to amateur music-making “playing for oneself”
awakening interest in beauty
development of musical taste.

The key task of music education:

bringing learning to play a musical instrument closer to the needs of students and their parents . It is necessary to build the educational process in this subject in such a way that mastering it finds practical use in the student's life, both during and after graduation.

As the practice of communicating with parents in the tasks and goals of teaching to play an instrument in the system of the Children's School of Arts has shown, they would like to see the formation of the following musical abilities and interests of children:

freely read musical works from a sheet;
have a sufficiently large repertoire for leisure activities and constantly expand it independently;
choose by ear the melody you like with accompaniment;
sing to your own accompaniment;
love and understand music, have a good musical taste;
be able to tell your friends about music and composers, keep up a conversation on musical themes;
develop and expand figurative and emotional - sensory perception

These wishes of the parents should become a guide to the action of the teachers of the Children's Art School during the entire period of the child's education at the music school.

The objectives of the first two years of study:

Development of musical abilities (ear, rhythm, memory)
Formation of initial instrument skills (seat, hand placement, keyboard study, methods of sound extraction and mechanical science, development of fingering discipline).
Mastering the initial theoretical knowledge (keys, notes, note durations, counting, pauses, dynamics, strokes, etc.)
Introducing the child to various types of musical activities (independent performance of simple songs, playing in an ensemble with a teacher, singing to accompaniment, selection by ear, sight reading, rhythmic exercises, etc.)
Preserve love for music and develop interest in music lessons (learn to listen and empathize with music, contribute to its meaningful perception).

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS,
WORKING WITH CHILDREN aged 5-6

It is desirable that children enrolled in this program have certain musical abilities:

ear for music
memory

But these indicators are not the main criterion for teaching a child. The predominant factor should be: interest and desire to make music. A child's abilities develop in the process of active musical activity. It is the task of the teacher to properly organize and direct it from early childhood, taking into account changes in age levels.

So, the fifth year of life is characterized by active curiosity of children. The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations. He is observant, able to determine:

music cheerful, joyful, calm
sounds high, low, loud, quiet
in a part piece (one fast and one slow)
What instrument is the melody played on (piano, violin, button accordion).

The child understands the requirements:

how to sing a song
how to move in a calm round dance
how to move in a moving dance.

The sixth year of life is the period of preparing the child for school. When teaching 6-year-olds, it is necessary to take into account the life and musical experience that the child has by the time he enters school.

Children six years of age can:
describe a piece of music
understand the means of musical expression:

a) hear dynamic nuances
b) understand the mood of musical plays

Program execution algorithm:

Learning to play the instrument begins with the so-called notation period (At the first stage, exclude the section - acquaintance with musical notation).

listening to music (definition of character, genre)
consciousness of the rhythmic originality of genres
singing songs with and without accompaniment.
determination of the number of sounds, motives
awareness of the concept of the relative pitch of sounds
familiarity with fret
getting to know intervals
hand positioning and mastery of strokes
playing in an ensemble
performance of light pieces, etudes, exercises
performance of creative tasks: drawings for plays, composing small melodies, short rhymes, selection by ear, transposition.

In a lesson in the specialty, the student must, first of all, learn to play the instrument. Experience shows that it is preferable to start playing the instrument with the left hand. Songs must be selected taking into account psychological characteristics preschool children.

Melodies should be short (folk songs, songs and plays). The length of the pieces should not go beyond 8 measures.
It is desirable to accompany plays with poems (a poetic text not only creates an emotional mood in a child, but also helps to understand the rhythmic side of a song)
Musical education build on the Russian national basis, on classical images, on examples of folklore creativity of other peoples.

Preference should be given to the game non legato.

You need to start learning with playing with one finger and from lesson to lesson, with each new piece, include all fingers in the work. Already in the first lessons, the student must understand the patterns of fingering, based on the natural and comfortable arrangement of the fingers on the keyboard.

Making sure the baby:

hears high and low sounds, the movement of the melody up and down;
knows well the structure of the keyboard, division into octaves;
the name of the keys;
has an idea that the melody consists of various durations and has a certain meter rhythm;
owns the skills of sound extraction with the third fingers of each hand,

You can start learning musical notation and playing notes. Teaching musical notation should be gradual, not forced. Experience shows that the best way to master musical notation is for the student to record the melodies he plays. There can be no question of explaining rhythmic laws to a preschooler. Rhythm is perceived by a child at this age by ear, visually, with the help of text, by comparing long and short durations. Indispensable for homework are sheet music, in which theoretical material is presented in a rather simple form, many creative tasks, riddles.

Proceed to the first practical lesson only after fulfilling the requirements for the student’s landing, installation of the instrument, setting of hands:

prepare straps
choose a chair of the right height
set up a mirror (let the student admire himself)

Dedicate part of the lesson to the exercises:

Sitting at the table, first with one hand, then with the other and with two hands “together” (“Bridge”, “Jumping”, “Ball”, “Classics”, “Jumping Bridge”)
Preparing game movements on the instrument, for the development of hand flexibility
For relaxation
Air valve

figurative perception, active work Imagination is a hallmark of children's thinking. For the development of figurative thinking, the teacher is invited to apply the following exercises in the work:

“Let's visit” - used when setting the hand, performed with 3 fingers.
“Lightning lock” - to relax the wrist. Free sliding on the keyboard up and down.
“Bird flights with landings” - arcuate and undulating movements on the keyboard.
“Sharpshooter” or “Hunting”. Auditory coordination game. With a large movement of the hand, hit the desired key.
“Find Me” is an ear training exercise.
“Walking excavator” - transfer of character through touch from the 1st to the 5th finger with the swing of the wrist.
"Bear". The goal is the mechanical learning of notes in the left keyboard. Perform in a different way.
"Echo" - the development of auditory skills.
"Cuckoo" - the transfer of character.

In developing the reverse thinking of a novice musician, it is advisable to proceed not from an appeal to a “holistic” image, but from the performer’s ability to identify an image in sound, i.e. to give reception, sound, nuance that character, that degree of brightness, which are dictated by the image. It is at the initial stage of training that it is necessary to strive to develop figurative

thinking of the student, to look for such ways of developing the student that would gradually turn his fantasy into sound imagination.

Forms of work:

1. Individual training in the specialty class. The form of classes is a lesson for 20-25 minutes 2 times a week.

2. Playing in an ensemble with a teacher

Ensemble is a kind of joint music-making. G. Neuhaus also wrote about playing in an ensemble: “From the very beginning, from the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays. Children immediately feel the joy of direct perception, although grains, but art. Not yet knowing the notes, and the fact that the students play the music that they have heard, will undoubtedly encourage them to perform their first musical duties as best as possible. And this is the beginning of work on the artistic image.”

Tasks of the teacher in the work on the ensemble:

develop and activate the creative beginning of the child's personality.
captivate a child with music
involve the child in creativity

Playing skills acquired by children when playing in an ensemble:

Introduction to the instrument
Getting to know the range, keyboard
Mastering rhythmic patterns
Acquisition of elementary initial game movements
Mastering dynamic shades, strokes
Development of sound imagination
Working with parents

It is very important when starting work with children of 5-6 years of age, to make parents accomplices of the pedagogical process.

HELL. Artobolevskaya wrote: “The joyful work for the parents themselves should be the time that they will give to music lessons. The family can and should become the first step in artistic education.”

Cooperation goals:

creation in the family of an atmosphere of utmost respect for any good music (instrumental, symphonic, opera, ballet, jazz, folk)
creation of a single community: teacher, child, parents, which is based on:
- full confidence
- benevolence
- interest and common purpose

Tasks for working with parents:

inclusion of parents in the educational process
to make parents good helpers to their child in his daily activities at home.
formation of new family interests
spiritual rapprochement between children and parents
the formation of motivation, due to which interest and zeal in music lessons increase.

individually
with a team of parents

The most rational form of work with parents:

inviting parents to lessons (the initial stage of education is especially important)
parent meetings with a student concert
individual and collective consultations
family events (holidays, competitions, family evenings dedicated to various topics, where students will have the opportunity to show their musical abilities acquired in the course of work in all sections of the program.

Teacher: prepare the necessary didactic material on various topics (visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)

For teachers working under this program, you must have at least the following teaching aids:

D. Samoilov “15 lessons of playing the button accordion”

G. Stativkin "Initial training on the ready-to-select button accordion"

G. Boytsova "Young Accordionist" parts I-II and others (indicated in the list of references).

Work under this program assumes that the teacher has at least a little pedagogical experience. The authors of this program can provide methodological assistance in its implementation (there is the necessary methodological literature and didactic material).

Educational and material base:

To work with children 5-6 years of age, it is necessary to prepare in the classroom small chairs corresponding to the height of the students, and an indispensable condition - small musical instruments. Our school has the following tools:

Bayans:

“Vostok” 43 x 80
“New” elective
button accordion 43 x 41

Accordions:

“Baby” 23 x 14
“Weltmeister” 25 x 32
“Youth” 26 x 60

CONTROL AND RECORDING OF PROGRESS

Forms of control:

Control tasks
Control lessons (1 time per quarter)
Public performance

Evaluation criteria:

Iconic assessments (sun, cloud)
Evaluation in the form of a symbol (majors - minors, golden notes)

ANNUAL REQUIREMENTS

By the end of the year, the student must master: 15-20 pieces, songs, chants performed with two hands together

etudes, ensembles with another student or teacher varying degrees completeness (from analysis - acquaintance to concert performance with a mandatory fixation point for each piece of music in the “Individual Student Plan”)
various exercises for both hands
scale in C major.

Plan

Introduction
Main part:
1. First meeting with the student
2. Sample Plan first lessons
3. Working with rhythm
4. Matching by ear and transposition
5. Playing in an ensemble
Conclusion
Bibliography

Introduction

In the donot period, which lasts approximately from two weeks to two months, the teacher gets an idea about the individual characteristics of the child, his temperament, giftedness, general development, the degree of intensity of further classes with the student is largely determined. In my opinion, the donot period is that short period of time during which the teacher must not only have time to establish contact with the student, but also have time to captivate him with music and consolidate interest in it. How exciting and fruitful this period will be depends on how the future musical fate of the child will develop.

Over the past three years, I had to work a lot with first-graders. I had to make a set of students, form a class. In the first year of work in a new place, my class consisted of 12 beginners, most of who had no idea what they would do in a music school. Some of the guys went to study out of curiosity, some “for the company” with the first, others out of boredom, etc. During those two months that are traditionally set aside for the final period, I had to have time to introduce my newcomers to musical culture and here it was necessary to apply all my human charm, to show imagination. resourcefulness and knowledge in the arsenal about working with beginners, which turned out to be not quite enough. I found it especially challenging to work with elementary school students. Seven-year-old Lera was constantly distracted, complained of fatigue, put forward her demands, in a word she did not want to join the “teacher-student” community, and eight-year-old Kirill did not want to tie two notes, only spinning in his chair, looking at his watch and arguing about every occasion.

They come to my aid methodical works such authors as A.D. Lazareva (Manual for teachers of children and parents “Learning while playing”), V. Kuzin (methodological guide “Pre-instrumental period”), T.A. Rokityanskaya (methodological manual "Educating a sense of rhythm"), R.N. Bazhilin ("School of playing the accordion"), V. Semyonov ( modern school playing the accordion"), V.V. Ushenin (School of Artistic Skills of the Bayanist"), etc.

By combining the mutually complementary guidelines of the above authors, and adapting them in relation to the button accordion, I got the structure of the lesson, which solved the problem of fatigue, made the learning process an exciting experience.

Main part

1. First meeting with the student

I spend part of the first lessons in the form of a group lesson. This form of work gives me unlimited possibilities for modeling game situations that naturally reveal the individual characteristics of students. Even as an accompanist in rhythm lessons, I noted that children really like joint creativity: students quickly become liberated, show their abilities brightly, complete the tasks of the teacher with pleasure and strive to complete these tasks as best as possible.

As a rule, I invite all my first-graders to the first lesson.

And our acquaintance goes like this. We sit in a circle, and I invite my first-graders to answer a few questions and ask them in advance. Questions may be of the following plan - What is your name, how old are you, what do you like to do most of all, do you like listening to music, etc.

Then I sing these questions to the music, offering to try to answer me also in a singsong voice. Some children are shy, but there will definitely be a daredevil who will try to complete my task, and everyone else is already behind him. If the student finds it difficult to complete the task or cannot accurately reproduce the melody, we do not despair and do it together. Gradually, the stiffness will disappear, and the vocal apparatus will develop. I carry out this exercise until the end of the donot period. Thanks to him, students get used to singing in the classroom (later it will be replaced by solfegging) as a naturally necessary form of work. Musical language is invariably associated with speech and, of course, singing. If the student is not able to use the vocal apparatus given to him by nature, then how can he pronounce something clear or even simply intelligible in the language of a musical instrument. Thus, the prerequisites for mastering articulation techniques are already created in the donut period. For the performer, the concept of “breathing” is important. Bayan is one of the few instruments that has the ability to imitate vocals due to the fact that it has a kind of “lungs” - fur. Duration, dynamics, character of sounding are regulated by means of fur, with simultaneous pressing of a key. Each movement of the fur should contribute to the disclosure of the content of the piece being performed. Therefore, it is important to begin the formation of the first sound production skills with exercises that will help teach you how to lead the bellows correctly. In the “Modern School of Bayan Playing” by V. Semenov, exercises are given on the “breathing” of the instrument. Various methods of bellows guiding with the air valve pressed to achieve the nature of the exercises are proposed (“Calm breeze”, “Little storm”, “Calm breathing”, “After running we will rest”).

The process of intonation is very complex, and it is impossible for a student to understand it, and it is not necessary. It is enough for the teacher to understand this process. As mentioned above, musical intonation is associated with speech intonation. As in human speech, meaning and emotional coloring transmitted with one or another intonation (interrogative, exclamatory, narrative, etc.). Words, phrases, sentences are pronounced with a certain intonation, the intonation has a separate sound (A! A? A ...). Therefore, at the initial stage of learning to play the button accordion, it is necessary to associate the musical material with the word, using the texts available to the child. To date, collections are being published, intended for children who begin mastering the button accordion. They selected musical material, consisting of light plays, children's songs, folk songs, etc., which are understandable to the student and not very difficult to perform: D. Samoilov “15 lessons of playing the button accordion”, R. Bazhilin “School of playing the button accordion”, Reader of playing the button accordion. Issue 2. Comp. A. Krylousov, Reader for button accordion. Junior classes of children's music school. Comp. R. Grechukhin. Many songs in the collections are given with words, since the very nature of the instrument (bayan) is conducive to singing, accompaniment. Singing undoubtedly affects the understanding of music and its emotional performance. Such important task how singing from the first lessons contributes to the development of intonation and inner ear in students. In the work, you can also use the textbooks used in solfeggio lessons.

The realities of modern life (the presence in the family of an affordable amount of household appliances, cars, mobile telephones, computers, a certain opportunity to see the world) leave an imprint not only on adult young parents, but also on their children. The above generally develops and positively affects the personality of a small student: it expands the horizon, makes his attitude to the surrounding reality into in a certain sense liberated, pragmatic, but often simplified. Many of them, in the initial period of learning to play a musical instrument, are psychologically determined to learn everything at once. If the desired is not fulfilled, certain problems arise: nervousness, loss of interest in musical studies and, as a result, abandonment of the work begun.

One of the exceptions similar scenario is the quick introduction of the child to practical music-making from the first lesson. After getting acquainted with the device of the instrument, we land behind it as recommended by the "Modern School of Bayan Playing" in Semyonova. As practice has shown, such a fit and setting of the instrument are the most rational.

At the beginning of my teaching practice, at the first lesson, I gave an exercise in oblique rows, which gives the feeling of a keyboard (“School of Artistic Excellence” by V.V. Ushenin). However, then I abandoned this sequence of presentation of educational material. While the student is groping for the keys, the corresponding touch is developed. A legato stroke without a finger lift, and students, as a rule, are afraid to take their fingers off the keyboard can be the reason for the gaming machine to jam. In the first lessons, students, as a rule, still cannot control the degree of effort applied to press the keys. Unnecessary clips can be caused not only by an incorrect fit at the instrument, but also by excessive zeal when pressing the keys. Important role the teacher at the initial stage of training consists in tireless control over the formation of the skill of rational movement of hands on the keyboard. It should also be taken into account that the entire initial repertoire consists of songs, counting rhymes, jokes, which are usually performed on one or two notes with a non-legato stroke, which is easier to learn. V. Semyonov also in his school suggests starting to work on sound production from playing pieces where a solid sound attack is used (klaxon control). We, after the exercises on mechanical science, go directly to playing the exercise “My name” on the right keyboard. Pushing the fur apart, and at the same time pressing the note F with the third finger, the student sings his name in syllables. The first syllable falls on the expansion of the fur, the second - on the compression. Since we have a group lesson, everyone takes turns pronouncing his name, the names of friends and relatives on the instrument. You can add an element of competition to this exercise. Whoever remembers the most names is the winner. In my future work, I often use this game method of work. Question-answer on the instrument, in addition to developing the skill of finger swing, makes the learning process interesting, exciting, and most importantly, creative.

2. Sample plan for the first lessons

Often one comes across the opinion that it is better to start playing the button accordion at an older age, since, they say, the instrument is heavy - “We can’t pull it.” Nevertheless, teachers, violinists, pianists, begin to work with children of 4-5 years of age, although classes with kids have the same aspects for teachers of various instruments: the selection of musical material, the methodology for conducting lessons, a tool that allows you to fulfill your tasks without excessive effort. task child. If all these aspects are solvable, then teaching the button accordion of a child of primary school age should be successful.

Students in grades 1-3 are considered junior students. When working with younger students, it is very important for the teacher to take into account age features: often switching attention, fatigue, lack of musical skills. They do not know how to analyze, they are characterized by bright emotionality. Involuntary attention directed to everything new is better developed. Weakness of inhibitory processes, attention is held for only 35 minutes. For them, all material should be presented in the form of a game. DIFFICULT: do school regime; get used to official, normative relationships; They don't know how to plan and organize work. Capriciousness, stubbornness are still common. Interests are not stable, there is a tendency to aesthetic cycles: they like to draw, compose. Psychologists do not recommend conducting music lessons immediately after classes in a comprehensive school. In order for music lessons to bring joy and inspiration, the student must take at least a two-hour break before visiting a music school. Thus, even an incorrectly drawn up schedule of classes becomes the reason for the lack of interest in classes.

To date, my lesson for a first grader of primary school age consists of seven sections.

Approximate plan of the first lessons:

Greeting and creating a creative mood
Performing exercises on mechanical science and setting up the performing apparatus
Checking homework
Performing rhythmic exercises
Repetition of the past and work on new musical material, homework.
Transposition or playing by ear
Playing in an ensemble

Evidence of the assimilation of the material - confidence and correct execution. Having achieved the development of one task, we move on to another. I always take into account the attention and activity of the student. If signs of fatigue appear, we switch to other activities or reduce the duration of the lesson - do not overload the child.

3. Working with rhythm

At the very first lessons, I draw the student's attention to the musical rhythm. The human body lives in rhythm: breathing, blood circulation (pulse), sleep and wakefulness, walking, running, gesticulation, speech - all this happens in different rhythms. Rhythm is the consistent repetition of an action or movement. A child with rhythmic disorders is not capable of perception, learning, and collective work in the classroom. In a word, it is impossible to overestimate the importance of rhythm in human life. Rhythm can soothe, excite, teach concentration and relaxation. The teacher needs to understand rhythms in order to be able to control the situation in the lesson and not harm the health of children. We must always remember that rhythm games have a very strong impact for children, and each age has its own rhythms.

The main guiding principle of teaching rhythm is a figurative-motor approach to various rhythmic phenomena. Well, if the first few lessons are held not in an individual form, but in a collective one, then rhythmic games in a group will perfectly contribute to the education of such qualities as contact, communication skills in a child, develop a good reaction, attention.

In the first lessons with younger students, we perform the following rhythmic exercises:

"back and forth" - rocking
"Don-Don" - Russian folk song
"The cat grumbles" - lullaby
"The horse is walking" - game round dance song
"Engine" circular rhythm game
"Rhythmic walking" exercise for mastering the rhythmic language
"Grandfather and grandson" - we study the duration
"Who took" - a circular rhythmic game.

Accordingly, with older students, we manage to go through the same period large quantity exercises and consider more complex rhythmic combinations.

Play by ear

Many teachers begin the donut period with the selection of melodies. This process should take place on the material of children's and folk songs which will have to be arranged in order of increasing complexity. They are remembered by the child and are selected by ear from different keys. Melodies for selection are best used with a poetic text, which contributes to the understanding of the performed work and facilitates the feeling of the metro rhythm and structure of the melody. In the process of selection, the child is forced to look for the right intonation in the course of playing music, which in the shortest way leads him to a sharpening of the sense of pitch.

Part of the rhythmic exercises that we perform are carried out with bayan accompaniment, which allows students to hear the sound of the instrument as much as possible during the lesson. Many chants and songs can be used in parallel as educational musical material. I notice how fascinating the rhythm and music of many folklore songs affects children. Many parents note that when they come home, the children continue to hum the melodies they remember in the lesson. After working on the rhythm of a chant, it is very easy to pick it up by ear, as well as transpose it.

For example - work on the lullaby "A cat grumbles" is carried out as follows. To the music of a lullaby, the student shakes imaginary little animals. The swinging movement is done in different ways: if we swing an elephant, then its movements will be large, wide, maybe for a whole musical phrase. If the mouse, then you can make frequent movements, quarters or even eighths. Next, we recite the song text, while simultaneously tapping out the rhythm of the tune. For the first time we perform a song from the key Do. AT slow pace using the indicated fingering (2-4-3), the melody of the song is played. Likening the upward movement to figurative-emotional development, the downward movement to a decline, one should achieve meaningfulness and purposefulness of intonation. Having achieved a confident performance of the song with the help of traditional fingering, the student masters another fingering option - 2-3-4. We transpose into the key of D major and then into E major, using three fingering options in turn. Often I suggest that the student choose one of the fingering options at home. It is important that a novice musician take the initiative, independently choosing the fingering option that is convenient for him and the optimal position of the hand. Work on a play can be divided into two or more lessons.

Despite the fact that the initial period is called the notation period, musical notation is usually given by the teacher from the first lessons. I introduce students to the musical staff, musical signs, the key "salt". In addition, we learn to designate graphically the rhythm. Initially, we march to upbeat music and I explain that the steps we perform can be recorded with sticks, and this will be the beginning of comprehending the metro rhythm and its musical notation. We determine with the student the steps in the words "lion", "elephant", "tiger" - one step at a time; "Mom", "Dad", "Tanya" - two steps; "apples", "cherries", "oranges" - three. After we have decided that there are frequent and rare claps in the poem, I show the student the record:

P l P l P l P l

We train to fix the rhythm on paper until the student fully masters the schedule of rhythmic recording.

Acquaintance with the white keys of the right keyboard also begins in the notation period. To memorize the location of the sounds of the C major scale, I usually use song material. Each note has its own song and characteristic. The material is presented in the following way. The teacher performs a chant, and where the name of the note occurs, the student performs it on the keyboard. It turns out a small suite for joint performance. Learning songs with a student, I try to pay attention to the emotionality and artistry of her performance. Based on the content, we perform songs cheerfully or sadly, affectionately, softly or marchingly, etc. n. The song material was borrowed by me from the cartoon “Do re mi”. A little later, we begin to master the exercise in oblique rows. We first learn to move fingers along two adjacent rows with different pairs of fingers, including 1-2 (mastering the third position) - the exercise is called “Gnomes are walking”. When the goal is reached and the student's fingers confidently walk along two rows, we enter the third row. Further, the game in the second and third positions is mastered and fixed.

Playing in an ensemble

My pedagogical experience shows that the donot period is closely connected with ensemble music-making. Due to the accompaniment rich in melodic and harmonic colors, the performance becomes more colorful and lively. Harmonic hearing often lags behind melodic. A student can freely deal with monophony, but at the same time experience difficulty with auditory orientation in the polyphony of a harmonic warehouse. I noticed that when we started working on the collection of D. Samoilov "15 lessons of playing the button accordion" and tried to perform the first simple ensembles, the students experienced difficulties during the joint performance. The part of the second instrument served as a serious hindrance. Reproduce polyphony or chord vertical - especially favorable conditions for the development of harmonic ear.

In addition to playing in a duet, I practice playing noise instruments. Thus, there is another opportunity to consolidate the skills of the ability to work with rhythm. In a collective lesson, we distribute ready-made parts with a graphic representation of the rhythm, and after several successful performances, we change them.

Conclusion

The learning process as a whole should go from general ideas to the narrowing and deepening of work on particulars. The broader the general educational foundation laid down in childhood, the more fruitful the work in a special, narrowly professional area will be later on. The wider the base of the pyramid, the higher its top can be. Foundation is primarily developed intellect, the ability to build multi-component logical circuits.

At the stage of initial, general music education the child must learn to pick up by ear, sing in a choir, improvise, listen to music with subsequent comments, watch films - performances, etc.

Unfortunately, most often children who do not have such preliminary general musical training come to a music school. In this regard, special requirements are imposed on the donotation period of study, since it is intended to serve as the basis for the further comprehensive musical development of the student. Thus, the use of various forms of work in the classroom not only justifies itself, but to a greater extent is the key to further learning. successful study special class students.

I have been using a similar methodology for conducting lessons in the pre-notation period for the last 3 years, although it should be noted that it was not formed immediately. One of the pedagogical problems is the problem of an individual approach in the learning process and, of course, one has to take into account the individual characteristics of students, to ensure that the material is absorbed by them easily and quickly.

I would like to note one more point that justifies the use of such a methodology for conducting lessons. In younger schoolchildren, the skeletal system of the hand to a greater extent consists of cartilage tissue, which does not allow them to make fast, and most importantly, accurate small movements. The pre-notation period of study, combined with unforced comprehension of musical notation and unhurried mastery of two keyboards, allows students to adapt to the new environment and unobtrusively prepare the gaming device for further serious work. Almost all of my first-graders of primary school age showed good results at the academic concert, two of them became "competitive" children. Despite the fact that in the first half of the year, beginners do not have any reporting, usually by this time we have a small repertory baggage ready, and we boldly perform at all kinds of school and out-of-school concerts, more often of course as part of an ensemble.

There are some points that I still need to think about. At my first lessons, I set out to captivate students, first of all, with creative activity, and here such serious moments as landing, setting up the performing apparatus, working on sound extraction and intonation seem to fade into the background. It can be difficult to switch students from classes that take place in a playful way to serious work that requires effort and attention.

As K. Ushinsky said, “Pedagogy is the most extensive, complex, most necessary art of all the arts - it is an art based on the data of sciences. Musical pedagogy is doubly art, doubly creativity, based on the data of a double series of sciences. Therefore, there should be nothing stereotyped, “frozen” here, and my notes are not a guide to working with all children, but only one of the options in the approach to teaching elementary school students to play the button accordion.

Bibliography

A.D. Lazareva. A guide for teachers of children and parents "Learning while playing."
Kuzin. methodical manual "Pre-instrumental period"
T.A. Rokityanskaya methodological manual "Education of a sense of rhythm"
R.N. Bazhilin “School of playing the accordion”,
V. Semyonov "Modern School of Bayan Playing"
V.V.Ushenin. "School of Artistic Mastery of Bayanist"

Kozyreva E.N., p.g.t. Mortka,

Khanty-Mansi Autonomous Okrug

From the author
The proposed work is intended for students of the preparatory or first grades of the music school in the bayan class with ready-made chords (accordion). The educational and musical material in it is presented in ascending order of complexity in such a way that within each Lesson and from Lesson to Lesson, each new piece consists of 90% of the elements included in the previous one. Music material includes:
a) children and folk songs with text (rhythmic exercises-games);
b) melodic exercises (student playing in an ensemble with a teacher);
l) original plays;
d) processing folk melodies;
e) sketches;
e) ensembles.
The construction and passage of the very first Lesson is exemplary. All subsequent Lessons are recommended to be studied according to the principle of the first, with the assignment of more and more complex musical, artistic and technical tasks to the students. In the future, guided by this principle, the teacher will be able to independently develop an individual system of classes with each individual student.
Musical, artistic and technical problems are solved in this work, based on the following principle:
the main support for the full mastery of the technical capabilities of the instrument is the maximum development of the student's musical and, more broadly, creative abilities.
The proposed technology for mastering the instrument just makes it possible to maximally activate auditory perception, contributes to the conscious mastery of artistic sound.
Although "15 Lessons" can also be used as a simple repertoire collection, it is still recommended to pay attention to melodic exercises, especially initial stage learning. For a student at the first music lessons in his life, playing even one sound in an ensemble with a teacher is the brightest event: it, as it were, makes him equal with the teacher - makes him a Music Performer.
Of course, this is not the only way to learn to play the button accordion, both for the student and for the teacher. But the fact that a little musician from the first lessons hears the full-fledged sound of his button accordion and acts as an active participant in this sound is undoubtedly a huge emotional stimulus in an effort to learn how to play well and participate in collective music-making.

From the author
Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
Lesson 8
Lesson 9
Lesson 10
Lesson 11
Lesson 12
Lesson 13
Lesson 14
Lesson 15
NOTICE APP
Etudes
1
2
3
4
5
6. In the chicken coop

Ensembles

For bayans duet
K. Longchamp-Drushkevichova. merry fellow
I am Kepitis. Morning in the forest
Thin rowan. Russian folk song
And I'm in the meadow. Russian folk song
Dunya kept the transport.
Russian folk song

For accordion trio
Quadrille. Joke
M. Reuterstein. in the evening
V. Savelov. old hurdy-gurdy
Evening call, evening Bell. Russian folk song

At present, accordion and accordion teachers are faced with the problem of teaching children 5-6 years of age. This is due to the desire of parents to teach young children to play instruments such as button accordion and accordion. There is no literature on teaching children 5–6 years old to play the button accordion and accordion, so it became necessary to create this program. The program is designed to teach children 5-6 years old to play the button accordion and accordion.

The changes taking place in the social life of our country have largely affected the system of education and culture. Children's Music Schools and Children's Art Schools remain the center of musical upbringing and education of children, as before. they are the most massive link in the system of music education.

There is no literature on teaching children aged 5-6 to play the button accordion and accordion, so it became necessary to create this program.

The program is designed to teach children 5-6 years old to play the button accordion and accordion.

The purpose of this program is to most effectively organize the educational process in accordance with modern requirements for music pedagogy.

This program is designed for 2 years of teaching children in the preparatory class:

STAGE I - preschool (musical development of young children.)

The direction of this stage is general education.

GOAL: creation of a "foundation" on which all further development of the student will be built. The period of spiritual mastery of music (keep in mind, wear in the soul, hear with your own ear).

STAGE II - school (not considered in this program).

Many years of research and work experience have shown that it is possible to teach children of this age. A.D. Artobolevskaya also said that “children should be introduced to art from a very early age.”

The following conditions are necessary for successful learning:

Physical readiness
mental readiness
Motivational readiness (the ability of the child to switch to learning activities and oppose play activities to learning and cognitive)

Literally for every child, regardless of the degree of his giftedness, you can find an appropriate approach, pick up the keys to enter the country of music.

The main goal of training is general musical development

Related Goals:

introduction to amateur music making "playing for oneself"
awakening interest in beauty
development of musical taste.

The key task of music education:

bringing learning to play a musical instrument closer to the needs of students and their parents. It is necessary to build the educational process in this subject in such a way that mastering it finds practical application in the life of the student, both during training and after graduation.

freely read musical works from a sheet;
have a sufficiently large repertoire for leisure activities and constantly expand it independently;
choose by ear the melody you like with accompaniment;
sing to your own accompaniment;
love and understand music, have a good taste in music;
be able to tell your friends about music and composers, keep up a conversation on musical topics;
develop and expand figurative and emotional - sensory perception

These wishes of the parents should become a guide to the action of the teachers of the Children's Art School during the entire period of the child's education at the music school.

The objectives of the first two years of study:

Development of musical abilities (ear, rhythm, memory)
Formation of the initial skills of owning an instrument (landing, setting of hands, studying the keyboard, methods of sound extraction and mechanical science, education of fingering discipline).
Mastering the initial theoretical knowledge (keys, notes, note durations, counting, pauses, dynamics, strokes, etc.)
Introducing the child to various types of musical activities (independent performance of simple songs, playing in an ensemble with a teacher, singing to accompaniment, selection by ear, sight reading, rhythmic exercises, etc.)
Preserve love for music and develop interest in music lessons (learn to listen and empathize with music, contribute to its meaningful perception).

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS WORKING WITH CHILDREN aged 5-6

It is desirable that children enrolled in this program have certain musical abilities:

ear for music
memory

music cheerful, joyful, calm
sounds high, low, loud, quiet
in a part piece (one fast and one slow)
What instrument is the melody played on (piano, violin, button accordion).

The child understands the requirements:

how to sing a song
how to move in a calm round dance
how to move in a moving dance.

Children six years of age can:
describe a piece of music
understand the means of musical expression: a) hear dynamic shades; b) understand the mood of musical plays.

Program execution algorithm:

Learning to play the instrument begins with the so-called notation period (At the first stage, exclude the section - acquaintance with musical notation).

listening to music (definition of character, genre)
consciousness of the rhythmic originality of genres
singing songs with and without accompaniment.
determination of the number of sounds, motives
awareness of the concept of the relative pitch of sounds
familiarity with fret
getting to know intervals
hand positioning and mastery of strokes
playing in an ensemble
performance of light pieces, etudes, exercises
performance of creative tasks: drawings for plays, composing small melodies, short rhymes, selection by ear, transposition.

In a lesson in the specialty, the student must, first of all, learn to play the instrument. Experience shows that it is preferable to start playing the instrument with the left hand. Pieces must be selected taking into account the psychological characteristics of preschool children.

Melodies should be short (folk songs, songs and plays). The length of the pieces should not go beyond 8 measures.
It is desirable to accompany plays with poems (a poetic text not only creates an emotional mood in a child, but also helps to understand the rhythmic side of a song)
To build musical education on the Russian national basis, on classical images, on examples of folklore creativity of other peoples.

Preference should be given to playing non legato.

Making sure the baby:

hears high and low sounds, the movement of the melody up and down;
knows well the structure of the keyboard, division into octaves;
the name of the keys;
has an idea that the melody consists of various durations and has a certain meter rhythm;
owns the skills of sound extraction with the third fingers of each hand.

You can start learning musical notation and playing notes. Teaching musical notation should be gradual, not forced. Experience shows that the best way to master musical notation is for the student to record the melodies he plays. There can be no question of explaining rhythmic laws to a preschooler. Rhythm is perceived by a child at this age by ear, visually, with the help of text, by comparing long and short durations. Indispensable for homework are sheet music, in which theoretical material is presented in a rather simple form, many creative tasks, riddles.

Proceed to the first practical lesson only after fulfilling the requirements for the student's landing, installation of the instrument, setting of hands:

prepare straps
choose a chair of the right height
set up a mirror (let the student admire himself)

Dedicate part of the lesson to the exercises:

Sitting at the table, first with one hand, then with the other and with two hands “together” (“Bridge”, “Jumping”, “Ball”, “Classics”, “Jumping Bridge”)
Preparing game movements on the instrument, for the development of hand flexibility
For relaxation
Air valve

Figurative perception, active work of the imagination - a distinctive feature of children's thinking. For the development of figurative thinking, the teacher is invited to apply the following exercises in the work:

"Let's visit" - used when setting the hand, performed with 3 fingers.
"Zipper lock" - to relax the wrist. Free sliding up and down on the keyboard.
"Bird flights with landings" - arcuate and undulating movements on the keyboard.
"Sharpshooter" or "Hunting". Auditory coordination game. With a large movement of the hand, hit the desired key.
"Find me" - an exercise in the development of hearing.
"Walking excavator" - the transfer of character through touch from the 1st to the 5th finger with the swing of the wrist.
"Bear". The goal is to memorize notes mechanically in the left keyboard. Perform in a different character.
"Echo" - the development of auditory skills.
"Cuckoo" - the transfer of character.

In the development of reverse thinking of a novice musician, it is advisable to proceed not from an appeal to a “holistic” image, but from the performer’s ability to identify an image in sound, i.e. give the reception, sound, nuance that character, that degree of brightness that are dictated by the image. stage of training, it is necessary to strive to develop figurative

thinking of the student, to look for such ways of developing the student that would gradually turn his fantasy into sound imagination.

Forms of work:

1. Individual training in the class in the specialty. The form of classes is a lesson for 20-25 minutes 2 times a week.

2. Playing in an ensemble with a teacher

Ensemble is a kind of joint music-making. G. Neuhaus also wrote about playing in the ensemble: “From the very beginning, from the very first lesson, the student is involved in active music-making. Together with the teacher, he plays simple, but already artistic pieces. Children immediately feel the joy of direct perception, although grains but art. Still not knowing the music, and the fact that the students play the music that they have heard will undoubtedly encourage them to perform their first musical duties as best as possible. And this is the beginning of work on an artistic image. ”

Tasks of the teacher in the work on the ensemble:

develop and activate the creative beginning of the child's personality.
captivate a child with music
involve the child in creativity

Playing skills acquired by children when playing in an ensemble:

Introduction to the instrument
Getting to know the range, keyboard
Mastering rhythmic patterns
Acquisition of elementary initial game movements
Mastering dynamic shades, strokes
Development of sound imagination
Working with parents

It is very important, starting work with children of 5-6 years of age, to make parents accomplices in the pedagogical process.

Cooperation goals:

creation in the family of an atmosphere of utmost respect for any good music (instrumental, symphonic, opera, ballet, jazz, folk)
creation of a single community: teacher, child, parents, which is based on:

full confidence

benevolence
interest and common purpose

Tasks for working with parents:

inclusion of parents in the educational process
to make parents good helpers to their child in his daily activities at home.
formation of new family interests
spiritual rapprochement between children and parents
the formation of motivation, due to which interest and zeal in music lessons increase.

individually
with a team of parents

The most rational form of work with parents:

inviting parents to lessons (the initial stage of education is especially important)
parent meetings with a concert of students
individual and collective consultations
family events (holidays, competitions, family evenings dedicated to various topics, where students will have the opportunity to show their musical abilities acquired in the course of work in all sections of the program.

Teacher: prepare the necessary didactic material for various topics(visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)

"New" elective

button accordion 43 x 41

Accordions:

"Baby" 23 x 14
"Weltmeister" 25 x 32
"Youth" 26 x 60

CONTROL AND RECORDING OF PROGRESS

Forms of control:

Control tasks
Control lessons (1 time per quarter)
Public performance

Evaluation criteria:

Iconic assessments (sun, cloud)
Evaluation in the form of a symbol (majors - minors, golden notes)

ANNUAL REQUIREMENTS

By the end of the year, the student must master: 15-20 pieces, songs, chants performed with two hands together

etudes, ensembles with another student or teacher of varying degrees of completeness (from analysis - acquaintance to concert performance with a mandatory fixation point for each piece of music in the "Individual plan of the student")
various exercises for both hands
scale in C major.

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN

"CENTER FOR CHILDREN'S AND YOUTH CREATIVITY" ROVESNIK"

CITIES OF YEVPATORIA OF THE REPUBLIC OF CRIMEA»

AGREED

Pedagogical Council

MBOU DOD TsDYUT "Rovesnik"

Minutes No. _____ dated ______ 2017

APPROVE

Director of MBOU DOD TsDYuT "Rovesnik"

E.A. Kartashova

Order No. __________ dated _______ 2017

Additional general education program

“Learning to play the button accordion (accordion)

children's association "Music Studio"

The program is aimed at children from 7 to 15 years old.

Implementation period - 5 years

Compiled by: Markelova Irina Nikolaevna,

methodologist, teacher of additional education

Evpatoria

2017

Explanatory note

Music is one of the most powerful means of education. She is able to express deep thoughts, feelings, experiences.

Initial learning to play a musical instrument - surprisingly lively, creative process, during which children get acquainted with music, learn to understand it, they form an aesthetic taste, children receive the initial skills of playing the button accordion (accordion).

Education in the music studio is aimed at the general musical development and education of children, the formation of their aesthetic tastes on the best examples of folk instrumental music, as well as works by Soviet and modern composers.

The development of amateur music skills today is the core of the entire system of general music education, which combines the professional work of a teacher with the needs of children and their parents, and has practical application in the lives of children.

This additional general education program (hereinafter referred to as the Program) is a modified one, it is compiled on the basis of a typical "Program for teaching the button accordion, accordion for out-of-school institutions" (Music. Education. 1986), sample program for music school and music departments DShI "Musical instrument. Bayan" 2005, 1990, based on additional general education program"Learning to play the button accordion," GBOU DOD Center for Creative Development and liberal education"On Vasilievsky" Vasileostrovsky district of St. Petersburg (2014), a work program for subject"Musical instrument. Bayan" of the additional general developmental program of artistic and aesthetic orientation "Teaching to play musical instruments" MOU DOD "Verkhnetulomskaya Children's Music School", author Startseva Natalya Veniaminovna, teacher of accordion, button accordion (2013). The program is adapted to the conditions of the institution of additional education for children. When compiling the program, the personal experience of the teacher was taken into account.

The focus of the additional general education program

The program "Learning to play the button accordion, accordion" takes into account all the multifaceted possibilities of these musical instruments and is based not only on folk instrumental culture, but also involves the development of both classical music and original works for the button accordion and accordion. The program belongs to music programs, hasartistic and aesthetic orientation and is general cultural in terms of development.

Relevanceprograms is that by learning to play the button accordion, the child not only develops his musical abilities, aesthetic taste and thinking. At the same time, he gets acquainted with our history, traditions, customs; perceives the button accordion as a Russian national musical instrument. A real accordionist (accordionist) is not only a technical musician, but also a connoisseur of his own history and folk instrumental culture.

Relevance of the program lies in its general availability. It is intended for children with any musical abilities who wish to learn how to play the button accordion (accordion). The program assumes the sequence and gradual musical development of students, taking into account their age characteristics, with an individual approach to each of them, creating a situation of success, an atmosphere of joy and creativity.Relevance of this program is also the opportunity for the child's creative self-expression and positive socialization through training in performing arts skills. Relevance The proposed program is also determined by the request from children and their parents for programs for the artistic and aesthetic development of children, the implementation of which is carried out in MBOU DOD TsDYUT "Rovesnik" on a free basis.

Pedagogical expediency program lies in the fact that in the process of mastering it, children develop intellectual and creative abilities. This is achieved through the development of musical ear, attention, memory, coordination of movements, the development of a sense of rhythm, the basics of stagecraft. In addition, the program allows children to get acquainted with the best examples of folk instrumental music, original works for button accordion and accordion by Russian and foreign composers, as well as musical works of world classics. During the implementation of the program, children are brought up with artistic taste, diligence, and a desire to learn the basics of craftsmanship.

Bayan and accordion are universal instruments. The performer leads the melody in his right hand and accompanies himself, performing the part in his left. So, in children studying in the bayan (accordion) class, both melodic and harmonic pitch. And this is very important in music, because harmonic ear is not an independent ability, since its basis is modal feeling and musical-auditory representations. It is formed under the condition of a sufficiently developed melodic ear and represents a further stage in the development of musical ear.

In the course of classes, students develop coordination of movements and motor apparatus, as well as auditory and visual memory, a sense of rhythm, and motor skills. In the process learning is coming formation and development of spiritual and moral character. From the first steps, perseverance develops, the ability to long-term concentration of attention in one lesson.

Music lessons form such positive qualities of character as patience, perseverance, attentiveness, the ability to mobilize in a stressful situation (concert performances).

Playing music in an ensemble prepares a child for life in, and subsequently in society, teaches you to listen not only to yourself, but also to take care of the work of others.

Teaching a child the technique of reading notes from a sheet reveals to him further prospects for his development. Independent music-making is a very important factor in the self-realization of the child's personality.

In our time, when the pop direction prevails in the flow of musical information entering the mind of the child, familiarizing the child with the classics, folk and modern music will contribute to harmonious spiritual and intellectual development, as well as increase his emotional perception of the world around him.

Distinctive feature program is that it is designed for students educational institutions, not pursuing the goal of obtaining further professional musical education. Big role is given to general musical development, home music-making and ensemble playing. Work on plays is full figurative examples. In progress sensitivity, attentiveness, responsiveness in relation to others are formed, which is facilitated by the appropriate selection of material, which includes fairy tales, poems and songs (depending on the age of the student) in the content of the lesson.

Considering the desire of the child to fulfill " real music”, an ensemble consisting of a student and a teacher (and later two students) is used in the classroom. Ensemble performance contributes to the development of metrorhythmic feeling and polyphonic hearing.

It also features:

The recruitment of children is carried out, first of all, on the basis of their desire to learn how to play the button accordion (accordion), and not on the availability of musical abilities;

Attention is directed to the development of the intellectual outlook and the entire worldview of the student, without being locked into the framework of narrow professionalism;

Implemented complex work over the development of the maximum auditory activity of the student, his concentration, his deep listening to the work being performed;

The training system allows maximum individualization pedagogical approach. The student receives theoretical knowledge simultaneously with practice, which is the most productive and appropriate.

Building the content of the program, taking into account individual development children;

The pedagogical repertoire has been enriched: a list of musical works by class, recommended for performance at academic concerts, as well as works expressively representing the figurative world of the child;

The list of exemplary performing programs is differentiated according to the degree of complexity, which allows the teacher to select the repertoire taking into account the individual abilities of students;

Assumes a creative approach of the teacher to the task of developing the individual abilities of the student.

The purpose and objectives of the program:

Target: musical and aesthetic education of children, the formation of their artistic taste, the expansion of musical horizons, the development of the creative personality of the child in the process of mastering the knowledge and practical skills of playing the button accordion (accordion)

Program objectives:

Tutorials:

studying the basics of musical literacy;

mastering practical skills and skills of playing the button accordion (accordion);

mastering the elementary skills of playing in an ensemble, reading sheet music;

Acquaintance with the genre diversity of music by Russian and foreign composers, as well as folk and original music for bayan (accordion).

Developing:

development of musical abilities (ear of music, sense of rhythm and meter, musical memory) and coordination;

development of musical thinking;

development of the child's performance qualities (emotional response to the performed works, artistry);

development of technical abilities, involving the mastery of basic technical techniques on the material of scales, arpeggios, etudes;

development of emotional and value attitude to music.

Educational:

the formation of artistic taste on the best examples of folk musical art, classics of Russian and foreign music;

fostering interest and love for music and musical art;

education of respect and love for the traditions of Russian folk instrumental creativity;

the formation of personal qualities: purposefulness, efficiency, self-control, performing will, artistry, the ability to demonstrate their results;

nurturing positive moral qualities and spiritual culture.

Conditions for the implementation of the program:

The program is designed for children 7-15 years of age and is designed for 5 years of study. All comers are accepted to the studio without preliminary selection (on the basis of the parents' application). Prospective students do not take entrance exams. The teacher checks only their musical data: hearing, rhythm, musical memory, in order to determine the presence of musical abilities and the level of musical development, as well as the general level of development of the child's personality.

Form of organization of classes: individual.

Class mode:

The main form of educational and educational work is a lesson in the form of an individual lesson. For students aged 7 - 15 years, according to the training program, classes are held 2 times a week for 45 minutes (one academic hour). The duration of teaching hours per year per student is 72 hours at the rate of 36 weeks.

Forms of holding training sessions:

Educational lesson, lesson;

Lesson in the ensemble;

Open lesson;

Control lesson;

Rehearsal;

offset;

Academic concert.

Teaching methods

When learning to play the button accordion (accordion), they are widely used as traditional methods, and methods that reflect the specifics of the subject related to the musical and aesthetic education and upbringing of children.

To achieve the set goal and implement the objectives of the program, mainly traditional general pedagogical methods are used: verbal, visual and practical, which are based on the source of knowledge: word, visualization, practice:

Verbal Methods: Story, conversation, explanation of new material.

A story or a conversation begins, for example, a conversation about musical and noise, high and low sounds, about the work of composers, etc.

The explanation is accompanied, for example, by a conversation about mechanical science, about the features of certain methods of sound extraction.

Briefing is necessary when students are familiarized with safety rules, both during classroom activities and when children go out to attend events outside the studio.

Visual Methods:

Personal showing of the teacher , demonstration of techniques for performing musical fragments and works, as well as observation, demonstration of illustrations, video materials, work with musical material and visual aids .

Practical Methods:

Methods by which the necessary performing skills and abilities are formed. Among them, the leading method is the performance of musical training exercises, scales, etudes, the playing of musical works.

In addition to traditional general pedagogical teaching methods, in the course of mastering the program of learning to play the button accordion (accordion) the following methods also apply:

verbal (story, conversation, explanation);

the method of exercises and repetitions (development of the student's gaming skills, work on the artistic and figurative sphere of the work);

display method (showing by the teacher of game movements, performance by the teacher of plays using various display options);

explanatory-illustrative (the teacher plays the work and explains to the student);

reproductive method (performing the learned repertoire, repeating game techniques by students according to the model of the teacher);

method of problem presentation (the teacher poses and solves the problem himself, while showing the student different ways and solutions);

partial search (the student participates in the search for a solution to the problem);

the method of musical generalization, which is aimed at mastering by children the key knowledge contained in the content of the program and aimed at developing musical thinking;

a method of comparing various musical genres and means of expression;

music observation method;

method of inducing empathy;

method of studying the musical image;

method of listening and analyzing speeches;

the method of evaluating one's own performance and the performance of other students;

method of independent work;

demonstration (listening to music, attending concerts).

The choice of methods depends on the age and individual characteristics of the student.

Education methods: personal example, stimulation, praise, encouragement, remarks, persuasion, clear instructions to independent work.

Techniques used by the teacher:

conversation with students, oral presentation of the material;

mastering knowledge and skills through performance on a musical instrument;

analysis of information, analysis of a piece of music, analysis of performances;

teaching performing skills by showing a teacher on a musical instrument;

listening to music using electronic media;

educational work - conversations, attendance at concerts, festivals, competitions, participation in various events.

All topics of the curriculum are studied every year and at every lesson. The difference lies only in the level of mastery of the material, in the degree of complexity of assimilation of the musical repertoire, in the improvement of artistic performance. Each subsequent year of study is characterized by more high level mastering the entire block of knowledge, skills and abilities, i.e. there is a development in a spiral of a whole complex of constituent elements of the art of playing the button accordion. The training is based on the principle of "immersion", when the student is immediately given a large amount of information, which he masters in practical activities.

The process of educating the musical culture of the child (the culture of behavior in the classroom, on stage) takes place individually in the classroom, in the group at closed rehearsals before performances and at performances. This also includes the student's motivation for high-quality independent studies, without which it is impossible to learn to play any musical instrument.

The effectiveness of the program implementation

Monitoring and recording progress:

The general system for diagnosing the creative abilities of children and the effectiveness of training consists of three types: initial diagnostics, intermediate certification, final examination.

Initial diagnosis the musical abilities of the child lies in the fulfillment of the tasks offered by the teacher, who checks musical data: hearing, rhythm, musical memory, in order to determine the presence of musical abilities and the level of musical development, as well as the general level of development of the child's personality.

Intermediate certification is held annually to assess the assimilation of knowledge, skills and abilities by students for a particular year of study.

Checking the student's assimilation of knowledge, skills and abilities and summarizing is carried out in various forms:current control in the process of individual work; credit lesson; technical test; academic concert;examination, as well as performances at various competitions, concerts, auditions, open classes for teachers and parents.

As a rule, intermediate certification is held in May of the academic year in the form of an academic concert, at which the student must demonstrate the knowledge, skills and abilities acquired during the year.

On the academic concert student shows his performance skills. The program of academic concerts is determined by the teacher from previously learned works and consists of the performance of works by the student, according to the level of complexity corresponding to the year of study and taking into account his musical abilities.

At the academic standings, the performance of the work is assessed - how well the tasks were completed: the quality of the students' performance of the learned works, whether it was possible to convey the image of the work by means of musical expression (strokes, dynamics, tempo), what were the errors and shortcomings in the performance, what was successful and what has not yet happened .

The score is expressed in oral: the teacher notes the achievements of the student, analyzes current problems and shortcomings and gives appropriate recommendations in their solution. After an academic concert based on the results of certification based on diagnostics knowledge, skills and abilities of students transfer to the next year of study.

If, due to objective or subjective circumstances the student does not have time to master the planned repertoire, he is offered a second passage of this year of study.

Checking the performance of scales, sight-reading skills, selection by ear, ensemble playing is carried out by the teacher during classes in the classroom throughout the entire period of study.

final examination or the final diagnosis is for the student to pass the final exam after completing only 5 - summer course learning.

In the final grade, students can play any works at the discretion of the teacher on tests; the number of tests and terms are not specifically defined (free mode). The main task of the 5th year of study is to present the final program at the exam in the most finished form. A student can take two programs a year, can repeat a work from programs previous years learning. Before the exam (May), students beat the graduation program in tests, class parties or concerts. Graduation program requirements: polyphony, large form (classical or romantic), one study and any piece.

Expected results:

As a result of mastering the program, it is expected to obtain the following results:

Students will master basic skills and techniques of playing the button accordion (accordion), master the proposed repertoire;

They will know the basics of musical theory and the main means of musical expression;

- learn to work independently, competently and expressively perform musical works;

Students will develop the ability to speak in public, gain experience in participating in events;

Gain knowledge about folk musical culture;

Learn to be good listeners;

Raise the level of their culture, as well as the culture of communication and behavior.

In this way, the result of mastering the program assumes that the child must master the basic skills of playing the button accordion (accordion), know the basic means of musical expression, be able to independently solve various musical and artistic tasks, and also have wide knowledges about music.

Educational and thematic plan

I year of study

Number of hours

for 1 student

theory

practice

Total

Introductory lesson. Safety engineering.

Introduction to the instrument.

Work on landing, setting up the performing apparatus.

Fundamentals of musical literacy.

Mastering musical and performing skills (individual lessons on the instrument):

Ensemble music.

Final lesson.

1 year of study

Introductory lesson (1 hour).

Getting to know students. Checking music data. Scheduling individual lessons. Work planning. Basic requirements for students. Rules of conduct in the classroom and safety rules.

Acquaintance with the instrument (1 hour).

Introduction to the instrument. The history of the appearance of accordion, button accordion, accordion. Tool device. General familiarity with the keyboard and its registers (high, medium, low). Sound formation. Acquaintance with the white keys, explaining how each key corresponds to its sound.

Work on landing, setting up the performing apparatus (12 hours).

Theory:

Basic rules for landing behind the instrument, general position body, legs, arms, hands (straight back; support on three points - heels, the edge of the chair, fingers; free hands. The teacher explains the rules to the student in the first lessons and in the future constantly monitors their implementation.

The setting of the executive apparatus. Correct hand position and correct finger work.

Practice:

Direct work on landing. Keyboard exercises.

Exercises for setting fingers, liberation of the wrist, elbow and shoulder joints.

Fundamentals of musical literacy (12 hours).

Musical sound (pitch, duration, volume, timbre). Acquisition of musical notation. Note names. Note staff. Treble clef. The location of the notes of the 1st octave on the stave in the treble clef. The concept of rhythm. Note duration. Pauses.

Tact. Tact line. Size 2/4, 3/4, 4/4. Strong and weak beats.

Bass clef. The arrangement of notes on the stave in the bass clef.

Alteration signs. dynamic shadesf, p. Pace. Register. Lad.

Working with children various exercises to consolidate knowledge about two-part, three-part, four-part sizes.

Learning exercises with different rhythmic patterns.

Exercises in workbooks.

5. Mastering musical and performing skills (individual lessons on the instrument) (41 hours).

Theory.

strokes : non legato, staccato, legat about, performance techniques . Explanation and demonstration by the teacher correct execution specific stroke or technique of the game.

Analysis of musical text (notes, fingering, duration, strokes, later dynamics).

Practice.

Mastering Strokesnon legato, staccato, legato,indicated by short leagues of 2-3-4 sounds. Finger fluency exercises, hand coordination exercises. Work on the formation of mechanical science skills. Work on games and exercises. Work on guidance material:

Introduction to gammaC- dur. Scale learningC- durright and left hand in one octave with different durations.

Work on the repertoire. Learning musical pieces and working on them: 2 etudes, 8-10 pieces of different character.

6. Ensemble music making (4 hours).

Theory : the concept of "ensemble".

Practice: formation of the initial skills of ensemble playing (duet with a teacher).

Final lesson (1 hour).

Summing up the work for the year. Final audition.

Predicted results:

By the end of the first year, the student:

Master the elements of musical notation within the program;

Master the basic skills of performing simple exercises and plays;

He will master the performance of pieces on all the basic strokes:non legato, staccato, legato, indicated by short leagues of 2-3-4 sounds;

Learn to play simple pieces with two hands (8-10 pieces, 2 etudes).

Learn to play scalesC MAJOR, G MAJOR, F MAJOR one octave with each hand.

Approximate list of works for 1 year of study:

"Cornflower" children's song

“Like under a hill, under a mountain” is a Russian folk song.

A. Filippenko "Festive"

D. Kabalevsky "Little Polka"

"In the garden, in the garden" Russian folk song

A.Tikhonchuk "Polka"

"Quail" Belarusian folk song

"Comic"

"I went up the hill" Russian folk song

"There was a birch in the field" Russian folk song

W. Mozart "Lullaby"

A. Ivanov "Polka"

"Polyanka" Russian folk dance

L. Knipper "Polyushko field"

Kolodub "Waltz"

"Oh, bursting the hoop" Ukrainian folk song

"Bandura", Ukrainian folk song

"Yanka" Belarusian folk dance

Etudes:

L.Schitte C major

G. Wolfart in A minor

G.Behrens C major

N.Koretsky G major

K. Czerny C major

A.Salin in A minor

L.Schitte F major

Ensembles

1. "Polyanka", Russian folk dance.

2. "A Cossack rode across the Danube" Ukrainian folk song.

Repertory collections:

1. Bayan. Preparatory group. /Comp. Denisov A., Ugrinovich V.-Kyiv: Musical Ukraine, 1984.

2. Bayan. 1 class. /Comp. Alekseev I.D., Koretsky N.I. - Republished - M.: Kifara, 2003.

3. Bayan 1-3 classes of music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov.

M.: Kifara, 2003.

4. Musical folder of accordionist. Junior classes of music schools. IN 1. /Comp. Sevastyanova, L. Martynova.-M., 2005.

Sudarikov A. Fundamentals of primary learning to play the button accordion. - M., 1978.

Accordion Reader: Junior classes of music school / Comp. A. Krylousov. V.1.-M.: Music, 2005.

Etudes for button accordion for different types of technique. 1 class. Edition 5 - Kiev: Musical Ukraine, 1984

Etudes for button accordion and accordion: 1-2 classes of children's music school and children's art school / Comp. T. Lukyanova - St. Petersburg: Union of Artists, 2011.- 67 p.

To the young musician accordion player: preparatory class Children's music school: teaching aid / ed. V.V.Ushenin. - Rostov-n / D: Phoenix, 2011. - 57 p.

1. "Quail" Belarusian folk song

2. Polyanka Russian folk dance

3. G.Behrens Etude in C major

1. "I went up the hill" Russian folk song

2. D. Kabalevsky "Little Polka"

3. A.Salin Etude in A minor

Educational and thematic plan

2nd year of study

Work on instructive material (exercises, scales, etudes);

Work on a piece of music.

Ensemble music.

Final lesson.

2nd year of study

Introductory lesson (1 hour).

Repetition of the rules of landing behind the instrument, requirements for classes.

Fundamentals of musical literacy (8 hours).

Recording notes of the second octave in the treble clef; bass clef, recording notes of a small octave in a bass clef; names of all octaves; 16th note and rest durations, dotted rhythm; the concept of harmony; abbreviations of musical notation; keys, introduction to musical syntax: motive, musical phrase, musical sentence, caesura; musical form, performing strokes; dynamic shadescrescendo, diminuendo.

Mastering musical and performing skills (53 hours).

Practice:

Further work on landing and setting hands. Work on sound, mechanics.

Further work on strokeslegato, nonlegato, staccato.

Work on the coordination of movements of the right and left hands when playing the instrument.

Development of performing skills. The development of small technology. Mastering the basic principles of fingering discipline. Work on a qualitative change in the direction of movement of the fur, transitions from one position to another (laying, shifting, moving the hand).

Work on guidance material:C- dur, G-dur, F majortwo hands in 2 octaves,a- mall, e- mall, d- mall

Work on musical works: 2 studies, 8-10 pieces different nature.

Learning new works. Analysis of musical text. Work on the means of musical and artistic expression. Development of musical-figurative thinking. Performing breath. Mastering dynamic shades through the ability to own fur.

Mastering the elementary skills of playing in an ensemble (duet with a teacher). Simultaneous start and end of the game. Accurate observance of the duration of notes, harmonious and balanced in sound performance. Unity of tempo, consistent observance of the change in the strength of the sound. Development of musical and auditory discipline. Studying 1-2 pieces as part of an ensemble.

Final lesson (2 hours).

Predicted results:

By the end of the second year, the student:

Learn to play diverse pieces (perform from notes), including etudes, ensembles, light arrangements of folk songs and dances, as well as original pieces for button accordion (8-10 pieces, 2 etudes);

Master stroke executionlegatoin fast and cantilena pieces;

Learn scales: C- dur, G-dur, F majortwo hands in 2 octaves,a- mall, e- mall, d- mall(harmonic and melodic view) right hand in two octaves, depending on the anatomical capabilities of the student's hands - short arpeggios, chords.

Approximate repertoire of the 2nd year of study:

Collections:

1. Album for children and youth. Pieces for button accordion and accordion. Part 1./Comp. V. Ushakov, S. Stavitskaya. - St. Petersburg, 2003.

2. Bayan. Grade 2 Edition 13. - Kyiv: Musical Ukraine, 1987.

3. Bayan 1-3 classes of music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov.-M .: Kifara, 2003

4. Bayan at the music school. Pieces for 1-3 cells. issue 64./ Comp. F. Bushuev, -M: Soviet composer, 1991.

5. Bayan at the music school. Pieces for 1-3 cells. issue 58, comp. Y. Bushuev, -M: Soviet composer, 1988.

7. Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

8. Polyphonic pieces for accordion. 1-3 classes of children's musical school.-M.: Kifara, 1997.

9. Samoilov D. 15 lessons of playing the accordion.-M: Kifara, 2004.

10. Smorodnikov Yu. Etudes for button accordion (accordion). - M., 2006.

11. Reader for button accordion 1-2 classes of music school. / Compiled by R. Grechukhina, M. Likhachev.-St. Petersburg: Composer, 2005.

12. Etudes for button accordion for different types of equipment. Grade 2 Edition 4 - Kiev: Musical Ukraine, 1981.

Plays:

1. Russian folk song "How Vanyusha walked, walked"

2. Ukrainian folk song "Oh bursting hoop."

3. Czech folk song "Annushka".

4. Russian folk song "Like under an apple tree."

5. R. Schumann "March".

6. J. S. Bach "Minuet".

7. T. Khrennikov "Kolyelnaya".

8. W. A. Mozart "Polonaise".

9. W. A. Mozart "Minuet".

11. N. Chaikin "Waltz".

12. Russian folk song "The baby walked along the forest."

13. A. Dubuc "Romance".

14. K. Czerny "Etude".

15. B. Berens "Etude".

Ensembles:

1. Russian folk song "Ivushka".

2.Belarusian folk dance "Kryzhachok".

to be performed by students at an academic concert.

1. N. Chaikin "Waltz"

2. Russian folk song "Like under an apple tree"

3. K. Czerny "Etude" C major

1. R. Schumann "March".

2. Russian folk song "How Vanyusha walked, walked"

3. B.Behrens "Etude" in G major

Educational and thematic plan

3 year of study

Work on instructive material (exercises, scales, etudes);

Work on a piece of music.

Ensemble music.

Final lesson.

3 year of study

Introductory lesson (1 hour).

Schedule individual lessons. Work planning. Repertoire selection. Rules of conduct in the classroom and safety rules.

Fundamentals of musical literacy (6 hours).

Recording high octave notes in the bass clef. intervals. Syncopation. Dotted rhythm. Triplets. Key and random accidentals. polyphony. Homophony. Polyphony. Melismas - mordent and grace note.

Performing terminology: moderato, andante, adagio, largo, lento, and llegro, vivo, ritenuto, poco a poco, dolce, cantabile, a tempo, tempo I.

Expansion of musical impressions, information and knowledge about the music being performed. Elementary concepts of expressive means of music.

Mastering musical and performing skills (55 hours).

up to 3 characters in the key two hands, short and long arpeggios, chords.

Analysis of sketches using different types of technology. Work on finger technique, techniques for performing more complex technical works. The concept of "polyphony". Work on voice leading, the ability to connect voices and listen to their sound.

Work on musical works: 2 etudes, 6 - 8 pieces of various character.

Learning new works. Analysis of musical text. Work on the means of musical and artistic expression. Application discipline. Consolidation of skills for quick and accurate analysis of musical text, development of skills to work independently on a piece of music. Phrasing work. Formation of elementary concepts about the content in music, skills of artistic (expressive) performance, skills to work on sound quality and expressiveness of performance. Development of finger fluency.

Reading from a sheet of simple plays.

Ensemble music making (8 hours).

Ensemble play. Mastering the skills of ensemble playing. Studying 1-2 pieces as part of an ensemble.

Final lesson (2 hours).

Summing up the work for the year. Academic concert.

Predicted results:

By the end of the third year, the student:

Master the basics of musical literacy within the program;

will be able to perform diverse pieces of varying complexity: etudes, ensembles, pieces from the pedagogical repertoire, arrangements of folk songs and dances;

master scales up to 3 characters in the key two hands in two octaves, short and long arpeggios, chords;

Approximate repertoire of the 3rd year of study:

Collections:

Accordion. Grade 3 Edition 11. - Kiev: Musical Ukraine, 1986

Bayan at the music school. Pieces for 1-3 cells. issue 58 / Comp. F. Bushuev, -M: Soviet composer, 1988.

Bayan at the music school. Pieces for 1-3 cells. issue 62 / Comp. F. Bushuev, -M: Soviet composer, 1990.

Bayan at the music school. Pieces for 1-3 cells. issue 64 / Comp. F. Bushuev, -M: Soviet composer, 1991.

Bayan 1-3 classes of music school. Plays, sketches, ensembles, folk songs. / Comp. D. Samoilov.-M.: Kifara, 2003.

Bayan at the music school. Pieces for 3-4 cells. issue 48./Comp. M. Tsybulin, -M: Soviet composer, 1983.

Belyaev G.A. Colors of music: a collection of plays and songs for bayan (accordion): 1-3 classes of music school / G.A. Belyaev.-Rostov-n / D: Phoenix, 2012. -77 p.

in the world of dance. Issue 1: Minuets, gavottes, country dances, quadrilles. Arrangement for accordion or button accordion/Comp. G. Boytsova.- M.: Music, 2012.

Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1 / Comp. V. Ushakov,

S. Stavitskaya. St. Petersburg, 2003.

Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet composer, 1988.

Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for bayan (accordion). - Baranovichi, 2006.

Note folder for accordionist. Junior classes of the music school. Issue 1 / Comp. S. Sevastyanova, L. Martynova. M., 2005.

Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

Perevezentsev N. Steps of Mastery. Issue 1.-Ivanovo: Ed. Episheva O.V., 2013.

Pedagogical repertoire of bayanist and accordionist of music school. 1-7 cells./ Comp. from the work of V. Efimov, L. Klenkov, A. Korobeinikov. M., 2001.

Etudes for button accordion. Issue 16 / Comp. L. Gavrilov. M., 1988.

Etudes for button accordion for different types of technique. Grade 3 Edition 5 - Kiev: Musical Ukraine, 1986.

Internet resources.

Etudes:

Samoilov D. Three etudes: No. 1 in C major, No. 2 in D minor, No. 3 in C major

Novozhilov Etude in D major

Samoilov D. Etude in C major

Behrens G. Etude C -dur

Messner E. Etude C -dur

Tyshkevich G. Etude a-moll

Plays:

Gurilev A. "The little bird flew away"

Gribkov Y. "Accordion"

Affectionate waltz

Denisov A. Song without words

Kravchenko B. Lyrical choruses

Dargomyzhsky A. Romance

Blinov Y. A little sad; Cheerful clown

Perevezentsev N. "Naughty", "Polka with variation",

"Sad", "Evening"

Folk songs and dances:

Grachev V. Processing Latvian. n. p. "The Wolf and the Goat"

Korobeinikov A. Processing of the river. n. p. "Play, my bagpipe"

Guskov A. Processing of the river. n. p. "Oh, you, whoop it, bull"

Processing of Belarusian n. p. “A mosquito sat on an oak tree”

B.n.p. Savka and Grishka

U.S.P. “Oh, the dove cooked the quinoa”

Polyphonic works:

Corelli A. Sarabande d-moll

Krieger I. Minuet a-moll

Mozart W. A. Menuet F-dur

Handel G. Sarabande d-moll

Mozart.L. Minuet in d-moll

Sviridov G. Ancient dance. From "Album for Children" a-moll

Maykapar S. Minuet F-moll

Works of a large form:

Dubuk A. Russian song with variations

Bukhvostov V. Little suite in 3 parts: Chastushka; round dance; Busts

Schmit J. Sonatina A-dur. Part I

Denisov A. Song without words

Klenkov L. Treatment of the river. n. p. "Like ours at the gate"

Behrens G. Etude C -dur

Mozart.L. Minuet in d-moll

Zhilinsky S. Sonatina G-dur

Tyshkevich G. Etude a-moll

Educational and thematic plan

4 year of study

Work on instructive material (exercises, scales, etudes);

Work on a piece of music.

Ensemble music.

Final lesson.

4 year of study

Introductory lesson (1 hour).

Schedule individual lessons. Work planning. Repertoire selection. Rules of conduct in the classroom and safety rules.

The main types of triads and their circulation. Basic harmonic functions (T, S, D) .

Increasing the duration of notes (fermata, league, dot). Musical intervals.

musical form. Two-part form, simple three-part form.

Features of the rondo form, suites, variations.

Performing terminology: meno mosso, piu mosso, rubato, presto allegretto, allegro, vivo, vivace.

Mastering musical and performing skills (58 hours).

Learning Instructional Material: Scalesup to 4 characters in the key two hands in two octaves, short and long arpeggios, chords.

Work on musical works: 2 etudes, 6 - 8 pieces of various character.

Work on phrasing, further development of artistic (expressive) performance skills, skills to work on sound quality and expressiveness of performance. Development of finger fluency. Reading from a sheet of simple plays.

4. Ensemble music making (8 hours).

5. Final lesson (2 hours).

Summing up the work for the year. Academic concert.

Predicted results:

By the end of the fourth year, the student:

master the basics of musical literacy within the program;

will be able to independently determine tasks in the work on works;

will be able to learn and perform diverse musical works, ensembles, original plays, adaptations of folk songs and dances, polyphonic works;

master scales up to 4 characters in the key, arpeggios, chords;

;

master the skills of ensemble performance.

Approximate repertoire of the 4th year of study:

Collections:

1. Bayan. Grade 4. - Kyiv: Musical Ukraine, 1986

3. Bayan at the music school. Pieces for 3-4 cells. issue 48/Comp. M. Tsybulin, -M: Soviet composer, 1983.

5. Vlasov V. Album for children and youth. St. Petersburg, 2001.

6. Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet composer, 1988.

7. Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for bayan (accordion). - Baranovichi, 2006.

8. Note folder for bayanist and accordionist. Golden library of pedagogical repertoire. Middle and high school classes. Issue 2 / Comp. V. Bakanov.-M., 2006.

9. Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

10. Perevezentsev N. Steps of Mastery. Issue 1.-Ivanovo: Ed. Episheva O.V., 2013.

11. Pedagogical repertoire of bayanist and accordionist of music school. 1-7 cells./ Comp. from the works of V. Efimov, L. Klenkov, A. Korobeinikov. - M., 2001.

12. Russian dance. Collection of Russians folk dances for button accordion or accordion. / Compiled by A.Salin. - M., 1963.

13. Sonatinas and rondos arranged for accordion. St. Petersburg, 2005.

14. Sonatinas and rondos. Issue 2 / Comp. B. Benyaminov - L., 1999.

15. Reader accordion player 3-4 cells. /Comp. V. Grachev. - M.: Music, 1984.

16. Etudes for button accordion for different types of equipment. Grade 4. - Kyiv: Musical Ukraine, 1986.

17. Internet resources.

Etudes:

Settlers V. Etude D-dur

Kravchenko I. Etude-chastushka C-dur

Leshgorn A. Etude d-moll

Behrens G. Etude F-dur

Plays:

Kern J. "Smoke"

Zipolli D. Gigue

Beethoven L. Country dance

Temnov V. Cheerful quadrille

Perevezentsev N.B. Intermezzo, Merry Stream, Spinning Top, Romantic Waltz

Folk songs and dances

R.n.p., arr. Shelepneva "I went up the hill"

R.n.p., arr. Smerkalov "A man plowed pashenka"

U.S.P., arr. Korobeinikov "Oh you, my mountains"

Tyshkevich G. Treatment of the river. n. p. “Will I go, will I go out”

Malinovsky L. Processing of the river. n. p. "You go, my cow"

Polyphonic works

Bach J.S. Little prelude c-moll

Korobeinikov A. Prelude

Handel G. Prelude

Works of a large form

Clementi M. Sonatina C-dur, part III

Korobeinikov A. New Year's suite in 5 parts: Grandfather Frost; Bunnies under the tree; Snegurkin waltz; On sleds; Christmas lullaby

Korobeinikov A. Sonatina G-dur

1. Kulau "Sonatina".

2. I.S. Bach "Prelude".

3. M. Glinka "Mazurka".

4. K. Czerny "Etude" in G major.

1. Khadzhiev "Prelude".

2. Clementi "Sonatina".

3. R.n.p., arr. Shelepneva "I went up the hill"

4. K. Czerny Etude in C major.

Educational and thematic plan

5 year of study

Work on instructive material (exercises, scales, etudes);

Work on a piece of music.

Ensemble music.

Final lesson.

5 year of study

1. Introductory lesson (1 hour).

Schedule individual lessons. Work planning. Repertoire selection. Rules of conduct in the classroom and safety rules.

Fundamentals of musical literacy (3 hours).

musical intervals. O main types of seventh chords. Rhythmic groups: duoli, quartoli. Complicated sizes. Melismas: trill, gruppetto. Performing terminology : Da Capo al Fine, tranquillo, leggiero, scherzando, animato, grave, maestoso, doloroso. features of the sonata form.

3. Mastering musical and performing skills (58 hours).

Exercises on different types of equipment. Study of major and minor scales up to 5 signs in the key. Work on major and minor scales up to 5 signs in the key.

Mastering large technique (chords, octaves, jumps). Development various tricks fur ownership.

Sketches. Learning etudes for different types of technique using all the skills and experience in the study of technical works. Development of confidence and fluency of the fingers of both hands.

Learning more complex polyphonic works. Voice leading, form analysis.

The study of sonata form. Analysis of musical works. Work on their implementation.

Learning diverse pieces, arrangements of folk songs.

Definition of genre, character, musical features using accumulated knowledge.

Development of musical-figurative thinking and performing skills with higher requirements for sound quality and expressiveness of performance.

4. Ensemble music making (9 hours).

Strengthening the skills of ensemble playing. Studying 1-2 pieces as part of an ensemble.

5. Final lesson (1 hour).

Summing up the work for the year. Audition, exam.

Predicted results:

By the end of the fifth year, the student:

Will know the basics of musical literacy;

will acquire knowledge, skills and certain skills in learning and performing works different characters and genres provided by the musical repertoire of the program;

will be able to independently work on works of varying degrees of complexity, original pieces from the pedagogical repertoire, light transcriptions of popular music: children's songs, arrangements of folk songs;

will know the basics of stage behavior;

master the skills of ensemble performance;

prepare the program for the final exam.

At the end of the educational program, the student will have developed basic musical abilities (musical ear, memory, sense of rhythm, sense of form, etc.) to a degree corresponding to the student's initial musical data.

The result of educational activities is the ability of the student to independently work on a piece of music and evaluate the quality of their work; ability and desire to perform at concerts; the desire to listen to other musicians, as well as the ability to analyze what they hear.

Approximate repertoire of the 5th year of study:

Collections:

1. Bayan. Grade 5. - Kyiv: Musical Ukraine, 1989.

2. Bayan 3-5 classes of music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M .: Kifara, 2003.

3. Bayan 5-7 classes of music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M .: Kifara, 2003.

4. Bayan at the music school. Pieces for 4-5 cells. issue 33, /Comp. V. Nesterov, - M: Soviet composer, 1979.

5. Belyaev A. Nostalgia. Concert arrangements of popular melodies of past years. - M., 1994.

6. Vlasov V. Album for children and youth. St. Petersburg, 2001.

Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1 / Comp. V. Ushakov, S. Stavitskaya.-SPb., 2003.

Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for bayan (accordion). - Baranovichi, 2006.

9. Note folder for bayanist and accordionist. Golden library of pedagogical repertoire. Middle and high school classes. Issue 2 / Comp. V. Bakanov.-M., 2006.

10. Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

11. Plays and arrangements based on folklore. Bayan, accordion. / Comp. A. Sudarikov - M., 2003.

12. Pedagogical repertoire of accordion player of children's music schools (grades 3-5). Issue 10. / Comp. V. Nesterov, A. Chinyakov.-M., 1981.

13. Etudes for button accordion. Issue 3 / Comp. S.Chapkiy.-Kyiv, 1988.

14. Internet resources.

Etudes:

Myaskov K. Etude a-moll

Rebikov V. "Etude No. 30 d-moll"

Gedicke A. "Etude No. 31 in e-moll"

Gedicke A. "Etude No. 32 in c-moll"

Rebikov V. "Etude No. 33 in c-moll"

Medynya. "Etude No. 34 a-moll"

Samoilov D. Etude E-dur

Plays:

Bakanov V. Autumn Waltz

Dmitriev V. Youth waltz

Couperin F. "Little Windmills"

Dmitriev V. Russian intermezzo, Musicians smile, Cheerful busts,

old carousel

Folk songs and dances

Malinovsky L. Processing of the river. n. n. "My grass, grass"

Mikhailov A. "Volga tunes"

Mokrousov B. - Belyaev A. "Lonely Accordion"

Korobeinikov A. Processed r.n.p. "Saturday"

Arrangement of the Russian folk song "I'll go out into the street"

Polyphonic works

Handel G. Chaconne d-moll

Bach I.S. Fughetta

Bach I.S. Scherzo

Works of a large form

Dovlash B. Concertino

Vlasov V. Suite "Visiting a Fairy Tale".

Derbenko E. Suite based on Russian folk tale"By pike command».

Derbenko E. "Suite in the old style."

on the exam:

Haydn J. Finale from sonata in D major

Denisov A. Etude in F major

Pavin S. Holstochek. r.n.p.

Frank C. Slow dance

Dorensky A. Scherzo

Zavyalova E. On the mountain - that viburnum. r.n.p.

Ivanov V. Etude in G minor

4. Bach I.S. Scherzo

METHODOLOGICAL SUPPORT OF THE EDUCATIONAL PROCESS

The program uses the followinggeneral didactic principles:

visibility principle training involves showing the teacher the expressive possibilities of playing the button accordion (accordion), the use of audio or video recordings of performances by both famous performers and the students themselves, the use of illustrative materials in the educational process (names of musical terms, portraits of composers and outstanding performers, reproductions of paintings);

accessibility principle in the educational process, it is aimed at establishing a certain pace of studying educational material in accordance with the individual capabilities and age characteristics of students;

associativity principle is used in the classroom with each student to increase the level of understanding of musical material, the peculiarities of setting the performing apparatus, the expressiveness of dynamic shades and strokes, for a more accurate transfer of the content of a musical work;

principle of consistency and systematic is based on the presentation of educational material from the position “from simple to complex”, as well as on the regularity of training sessions, supported by homework;

principle of consciousness and creative activity consists in a combination of various pedagogical techniques that contribute to the development of interest in mastering knowledge, the development of an independent approach to the material being studied;

principle of strength and effectiveness the results of music education is expressed in the level of formed performing skills and the degree emotional attitude in execution.

Forms of organizing classes:

The main form of organization of the educational process is an educational lesson-lesson, along with which such forms as concerts for parents, children, teachers, competitive performances at the level of the studio, the Center are used. During the lesson, the teacher uses an individual form of work.

In the classroom, the basic performing skills are acquired: setting the body and hands, freedom and plasticity of the hands, coordination of movements, mechanical science and sound production techniques. Metro-rhythmic content is mastered, skills of reading musical text are laid. The student is introduced to a variety of works of various genres. Most of them are carefully worked out, brought to the level of public performances at concerts.

An important condition for mastering the button accordion (accordion) is the correct systematic completion of homework. The teacher explains how to allocate free time, draw up a schedule for classes, what you need to pay attention to. Work on an already learned work, comprehension of its figurative content occurs through the demonstration of the teacher, the use of artistic illustrations, images literary heroes. Listening to the teacher's game, the student tries to remember the dynamic gradations, strokes, pays attention to the sound of the work as a whole. An individual approach that takes into account the age characteristics and physical data of the student helps to overcome difficulties in performance. Used with beginning students game forms work.

Formation of the repertoire

For successful work and the implementation of the program by the teacher is compiled individual plan for each student, which indicates the repertoire for each semester of a particular year of study, is also compiled calendar plan, a plan of educational work and a plan of work with parents.

The teacher finds the best option for the student's individual work plan based on strict adherence to didactic principle, a detailed study of the program requirements of the corresponding year of study, taking into account the individual abilities of the student.

To expand the musical horizons, the student's individual plan includes works intended for familiarization, while varying degrees of completion of work on them are allowed.

The choice of repertoire for the student is of great importance.

The teacher chooses highly artistic works, diverse in form and content, while taking into account the characteristics of the character and abilities of the student. The entire repertoire is selected so that it is interesting to perform, and most importantly, that the student likes it and plays it with pleasure. In the education of the musical and aesthetic taste of students, the quality of the artistic repertoire plays a decisive role. The repertoire should include musical works of classical, modern and foreign composers, diverse in content, form, style and texture, adaptations of songs and dances of the peoples of the world, as well as original compositions for button accordion. The repertoire of students can also include mass children's songs, songs of the Great Patriotic War, folk and modern songs and dances. Such a repertoire will allow students to immediately engage in musical and educational work, will enhance the social significance of education and, at the same time, will make it possible to intensify the educational process.

In working on works, the teacher achieves varying degrees of completeness of performance: some works must be prepared for public speaking, others - for display in class conditions, others - for the purpose of familiarization. Requirements may be reduced or simplified according to the level of the student's musical and technical development.

In the work on the solo repertoire, effective playing tricks and technique of playing the instrument. The concept of "technical work" includes the accuracy and efficiency of movements, convenience, ease of playing, and many other methodological subtleties developed by various performing schools. Hence the teacher's close attention to the student's seat, the position of the hands, their movement, and the work of the fingers.

To develop the skills of creative, competent work of students, the program provides methods of an individual approach in determining learning task which allows the teacher to better take into account the capabilities and personal characteristics of the child, to achieve better results in learning and developing his creative abilities.

This program indicates the approximate level of complexity of the repertoire, the program offers a variety of training, for each student the repertoire is compiled individually.

At the 1st year of study, children only get acquainted with the instrument, master musical notation, receive skills in mechanical science, hand coordination, basic sound production techniques, so the repertoire is composed of simple pieces, first with the right hand, then, in the 2nd half of the year, with both hands together. The first works in the child's repertoire are folk children's songs and songs that help tune his ear to a meaningful perception of melodic intonation ("Cornflower", "Like under a hill, under a mountain", "Lambs").

During the period further education(2 - 5 years of study), choosing a repertoire, the teacher is looking for accessible works with convex imagery, concise and clear form, with extremely specific expressive means musical language. The repertoire consists of folk songs and dances, original works for button accordion or accordion by Soviet and contemporary composers. For each student, depending on abilities, it is possible different variants studied repertoire and credit programs.

With each subsequent year of study, the degree of complexity of the performed works gradually increases. The pace of development of each student is individual. The rate of complication of the repertoire directly depends on the individual characteristics of the student. The approximate level of complexity of the repertoire is given after the curriculum and the content of the program for each year of study.

The leading factor in the choice of repertoire is the student's emotional response to the sound of a particular work, his conscious desire to achieve the quality of performance in the process of work.

However, the selection of repertoire depends not only on the desire of the student, but also on his abilities and psycho-physiological capabilities.

Forms of work with students in the classroom:

1. An oral report on the preparation of homework: what was more difficult to achieve, in what ways the difficulties encountered were eliminated, what was the mode of study, etc.

2. Independent analysis of your performance in the lesson: you should point out the mistakes made and outline ways to eliminate them, evaluate your game, analyze the performance of your friend, paying special attention to those works that the student himself played before and studied well.

3. Independent oral and practical analysis on the instrument of a new task in the classroom under the supervision of a teacher.

4. Verbal description of the idea or mood of the work and analysis of the means of musical expression used by the composers.

5. Determination of the features of the work: its characteristics (song, dance, march, etc.), mode, size, form (phrase boundaries). Definition of dynamic shades, repeating texture elements.

Special attention is devoted to one of the most important periods of music education - his initial stage. If necessary, the "donut" period in learning increases (the introduction of recording notes and reading them after the child plays and sings a number of songs shown to him by the teacher).

It is advisable to start classes on the analysis of musical works with song material, since the connection between words and melody contributes to a more vivid figurative perception of artistic content, focuses the student's attention on the musical language as a means of expressing the emotional state and musical content, and intensively develops his artistic thinking and taste.

Students master and improve the skills of sound extraction and mechanical science under the guidance of a teacher throughout the entire period of study, working on dynamics, strokes, phrasing and various characteristic techniques. Given the weak, not yet developed coordination of movement and motor memory of children, it is impossible to abuse rapidly and exaggerated dynamics, which can lead to pinched hands and become a serious obstacle to the technical and musical development of the student.

During the entire period of training, the teacher pays attention to the issues of setting, landing, position of the instrument and hands during performance.

Considering that accordion lessons require physical strength and endurance from the student, the teacher must notice the signs of the child’s fatigue in time and take a short break, or change the nature of the student’s activity. During the break, you need to put the tool and do physical exercises to relax muscles or to be a little like a class.

Classroom activities should be accompanied extracurricular work- visiting exhibitions and concerts, listening to music recordings, watching musical films.

Logistics of the program.

1. Logistics:

Successful implementation of this program requires the following:material and technical conditions:

training room(class, office) that meets sanitary and hygienic requirements in terms of area and level of lighting, temperature conditions;

musical instruments - button accordions of different sizes according to the age of the students;

music stands for music;

chairs of different heights, corresponding to the growth of students;

footrests and seating, if there are not enough chairs of different heights;

audio and video equipment.

2. Didactic material:

methodical and special literature;

repertoire collections, music collections;

tables of musical terms;

video recordings, audio recordings.

3. Methodical conditions:

In accordance with the musical repertoire offered for the implementation of this program, different kinds methodological products:

Game development;

Task cards;

musical material;

Musical dictionaries.

Visual material is used in the work:

Didactic posters (thematic): "Notes of the first octave in the treble clef and notes of the small octave in the bass clef", poster "Basic durations of notes and pauses", poster "Signs in keys" and others.

Didactic aids, cards;

Collections of musical material (plays, etudes, exercises and works for button accordion or accordion), individual for each student;

Material for practical tasks music theory (notebooks, pencils, teaching aids);

Aesthetic visibility for the design of the office and demonstration events.

At each lesson, the student uses a workbook, musical editions, and a diary.

BIBLIOGRAPHY

Literature for students:

1. Baraboshkina A., Bogolyubova N. Musical literacy for children. - L.: Music, 1985.

2. Gazaryan S. In the world of musical instruments: A book for high school students. - M .: Education, 1985 - 223 p., ill.

3. Govorushko P. School of playing the button accordion. - L .: Music, 1970.

4. Gerold K. Musical literacy. A guide for beginner musicians. –PETER, 2015.

5. Zhakovich V.V. Musical literacy for the little ones in fairy tales, poems and pictures. Textbook for music school.-Phoenix, 2015.

6. Konchalovskaya N. Musical alphabet. - Musical Ukraine, 1984.

7. Mirek A. ... And the harmonica sounds. - M., 1979.

8. Mirek A. From the history of the accordion and button accordion. - M., 1967.

9. Onegin A. School of playing the button accordion.-M., 1981.

10. I want to be an accordion player: a textbook for beginners. / Comp. P. Sirotyuk.-M., 1994.

Literature for the teacher:

1. Agafonov O., Londonov P., Solovyov Yu. Tutorial for playing the button accordion. M., 1982.

2. Aliev Yu.B. Handbook of a teacher-musician.-M: Humanit.publ. center VLADOS, 2005.

3. Artobolevskaya A.D. The first meeting with music.-M., 1975.

4. Album for children and youth. Pieces for button accordion and accordion. Part 1./Comp. V. Ushakov, S. Stavitskaya. - St. Petersburg, 2003.

5. Bayan. Preparatory group. /Comp. Denisov A., Ugrinovich V.-Kyiv: Musical Ukraine, 1984.

6. Bayan. 1 class. /Comp. Alekseev I.D., Koretsky N.I. - Republished - M.: Kifara, 2003.

7. Bayan. Grade 2 Edition 13. - Kyiv: Musical Ukraine, 1987.

8. Bayan at the music school. Pieces for 1-3 cells. issue 64./ Comp. F. Bushuev, -M: Soviet composer, 1991.

9. Bayan at the music school. Pieces for 1-3 cells. issue 58, comp. Y. Bushuev, -M: Soviet composer, 1988.

10. Bayan 1-3 classes of music school. Plays, sketches, ensembles, folk songs / Compiled by D. Samoilov.-M.: Kifara, 2003.

11. Bayan. Grade 3 Edition 11. - Kiev: Musical Ukraine, 1986

12. Bayan at the music school. Pieces for 1-3 cells. issue 62 / Comp. F. Bushuev, -M: Soviet composer, 1990.

13. Bayan at the music school. Pieces for 3-4 cells. issue 48./Comp. M. Tsybulin, -M: Soviet composer, 1983.

14. Bayan. Grade 4. - Kyiv: Musical Ukraine, 1986

15. Bayan 3-5 classes of music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M .: Kifara, 2003.

16. Bayan. Grade 5. - Kyiv: Musical Ukraine, 1989.

17. Bayan 5-7 classes of music school. Plays, sketches, ensembles, folk songs / Comp. D. Samoilov - M .: Kifara, 2003.

18. Bayan at the music school. Pieces for 4-5 cells. issue 33, /Comp. V. Nesterov, - M: Soviet composer, 1979.

19. Baranov A.B. "The development of artistry in children" - Additional education, 2003.

20. Belyaev G.A. Colors of music: a collection of plays and songs for bayan (accordion): 1-3 classes of music school / G.A. Belyaev.-Rostov-n / D: Phoenix, 2012. -77 p.

21. Belyaev A. Nostalgia. Concert arrangements of popular melodies of past years. - M., 1994.

22. Bayan and accordion players. - M., 1970.

23. Bayan and accordion players. Issue 3. - M., 1977.

24. Bayan and accordion players. Issue 5. - M., 1979.

25. Varfolomos A. Musical literacy for bayan and accordion players. Issue 1. - L .: Music, 2012.

26. Vakhromeev Elementary theory of music.-M., 1975.

27. In the world of dance. Issue 1: Minuets, gavottes, country dances, quadrilles. Arrangement for accordion or button accordion/Comp. G. Boytsova.- M.: Music, 2012.

28. Vlasov V. Album for children and youth. St. Petersburg, 2001.

29. Dmitriev V. Variety compositions and arrangements for accordion or button accordion. Issue 1 - S.-P.: Composer, 2002.

30. Korobeinikov A. Album for children and youth. Pieces for button accordion and accordion. Part 1 / Comp. V. Ushakov, S. Stavitskaya. -SPb., 2003.

31. Kabalevsky D.B. How to tell children about music? - M., 1989.

32. Londonov P. Folk music arranged for button accordion or accordion. –M.: Soviet composer, 1988.

33. Malinovsky L. Maiden round dance. Pieces and arrangements of folk melodies for bayan (accordion). - Baranovichi, 2006.

34. Mirek A. School of playing the accordion.

35. Malykh V. K. Issues of sound production in the bayan/accordion class: guidelines/ V. K. Malykh. - Syktyvkar, 2010. - 26 p.

36. Musical folder of accordionist. Junior classes of music schools. IN 1. /Comp. S. Sevastyanova, L. Martynova.-M., 2005.

37. Note folder for bayanist and accordionist. Golden library of pedagogical repertoire. Middle and high school classes. Issue 2 / Comp. V. Bakanov.-M., 2006.

38. Folk melodies for button accordion (accordion) - S.-P.: Soviet composer, 1998.

39. New works by Russian composers for young bayan-accordionists: 1-2 music school class: teaching aid / ed.-comp. V.Ushenin.- Rostov-n/D: Phoenix, 2010.- 77 p.

40. Obertyukin M. Dismemberment of music and change in the direction of movement of the fur. // Bayan and accordion players. issue 4, -M: Soviet composer, 1978.

41. Perevezentsev N. Steps of mastery. Issue 1.-Ivanovo: Ed. Episheva O.V., 2013.

42. Pedagogical repertoire of bayanist and accordionist of music school. 1-7 cells./ Comp. from the works of V. Efimov, L. Klenkov, A. Korobeinikov. - M., 2001.

43. Pedagogical repertoire of accordion player of children's music schools (grades 3-5). Issue 10. / Comp. V. Nesterov, A. Chinyakov.-M., 1981.

44. Polyphonic pieces for accordion. 1-3 classes of children's music school.-M.: Kifara, 1997.

45. Plays and arrangements based on folklore. Bayan, accordion. / Comp. A. Sudarikov - M., 2003.

46. Handbook for leaders of accordion ensembles. / Comp. With Rubinstein. -M., 1970.

47. Repertoire for Russian Ensembles folk instruments.

48. Russian dance. Collection of Russian folk dances for button accordion or accordion. / Compiled by A.Salin. - M., 1963.

49. Sonatinas and rondos arranged for accordion. - St. Petersburg, 2005.

50. Sonatinas and rondos. Issue 2 / Comp. B. Benyaminov - L., 1999.

51. Samoilov D. 15 lessons of playing the accordion.-M: Kifara, 2004.

52. Smorodnikov Yu. Etudes for button accordion (accordion). - M., 2006.

53. Sudarikov A. Fundamentals of primary learning to play the button accordion. - M., 1978.

54. Fridkin G. A practical guide to musical literacy. - M., 1985.

55. An accordion reader: Junior classes of music school / Comp. A. Krylousov. V.1.-M.: Music, 2005.

56. Reader for button accordion 1-2 classes of music school. / Compiled by R. Grechukhina, M. Likhachev.-St. Petersburg: Composer, 2005.

57. Reader accordion player 3-4 cells. /Comp. V. Grachev. - M.: Music, 1984.

58. An accordion reader for children's music schools (grade 5)./ Comp. V. Nesterov, A. Chinyakov. - M., 1982.

59. Etudes for button accordion for different types of equipment. 1 class. Edition 5 - Kiev: Musical Ukraine, 1984

60. Etudes for accordion for different types of equipment. Grade 2 Edition 4 - Kiev: Musical Ukraine, 1981.

61. Etudes for button accordion and accordion: 1-2 classes of children's music school and children's art school / Comp. T. Lukyanova - St. Petersburg: Union of Artists, 2011.- 67 p.

62. Etudes for button accordion. Issue 16 / Comp. L. Gavrilov. M., 1988.

63. Etudes for accordion for different types of equipment. Grade 3 Edition 5 - Kiev: Musical Ukraine, 1986.

64. Etudes for accordion for different types of equipment. Grade 4. - Kyiv: Musical Ukraine, 1986.

65. Etudes for button accordion. Issue 3 / Comp. S.Chapkiy.-Kyiv, 1988.

To a young musician, bayanist - accordionist: first class of children's music school: teaching aid / ed.-comp. V.V.Ushenin. - Rostov-n / D: Phoenix, 2010. - 73 p.

67. To a young musician bayanist - accordionist: a preparatory class for children's music school: teaching aid / ed.-comp. V.V.Ushenin. - Rostov-n / D: Phoenix, 2011. - 57 p.

Portal for the student. Self-training

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS, WORKING WITH CHILDREN aged 5-6

Program execution algorithm:

METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS WORKING WITH CHILDREN aged 5-6

Folk songs and dances

Folk songs and dances

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METHODOLOGICAL RECOMMENDATIONS FOR TEACHERS,
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