Introduction

Solfeggio - the ability to read music, proficiency in musical notation - is the basic discipline when teaching in a nursery music school. Solfeggio lessons develop a number of skills necessary for a future musician: an ear for music, the ability to correctly intonate, the ability to determine the meter, rhythm and tempo of a particular work, etc. Solfeggio as a subject is directly related to all the disciplines that are included in the course of the music school, including the specialty.

Solfeggio training begins from the first year of a child's admission to the Children's Music School and goes in parallel with the training of other musical disciplines, both theoretical and practical. At the same time, teaching solfeggio sometimes turns out to be a “stumbling block” for a child, causes certain difficulties for understanding and assimilation, which is equally due to the peculiarities of solfeggio as an academic discipline, which is characterized by the accuracy of formulations, abstractness and other features that make it related to the exact sciences (for example, , mathematics), which also cause a number of difficulties for students, and the specifics of the psychology and age-related physiology of the older preschooler and elementary school student(underdeveloped logical thinking etc.). Teaching musical literacy has many common features with teaching the main types of speech activity in a foreign language.

Modern methods of teaching solfeggio are aimed primarily at helping the student to overcome the difficulties that arise in the learning process, both of a purely methodological and psychophysiological nature. Thanks to the syncretic approach that dominates modern solfeggio teaching methods, the learning process involves various areas psycho-physical and spiritual activity of the student.

An objectthe research of this work is the method of teaching musical notation to primary school pupils.

Subject of work- the skills necessary for a musician to master the basic elements musical language, and their reflection in teaching aids for elementary grades of children's music schools.

aimThis work is a comparative analysis of several methods of teaching musical literacy in the lower grades of the music school. In connection with this goal, the work puts the following tasks:

analysis of the main aspects of solfeggio as an academic discipline;

analysis of the age characteristics of the psychology of younger students;

selection of methods for comparative analysis;

analysis of exercises aimed at mastering the basic elements of the musical language by students in the textbooks selected for comparison;

analysis of exercises aimed at training and consolidating the skills of solfegging, writing musical dictations, etc., in compared teaching aids;

analysis of gaming and creative tasks in compared teaching aids.

RelevanceThis work is explained by the fact that in the modern world the importance of mastering the basics of musical literacy, the skills of listening to music and understanding the musical language for the formation of a harmoniously developed human personality is recognized. Gradually, disciplines such as solfeggio, harmony, and even performance on musical instruments (for example, recorders) go beyond the programs of music schools and are introduced into the programs of general education schools (still specialized, but in which music education is not a major). At the same time, it is obvious that in a music school, the degree of success in mastering musical literacy by a student depends on the degree of success in passing by him and other disciplines provided for by the program (first of all, mastering musical literacy is necessary for classes in a specialty in which the child learns to work with the text of a musical work).

Theoretical significancework consists in the fact that its results can be used to improve the technique of teaching musical notation in the lower grades of music school, which can contribute to the optimization of all educational process.

Practical significanceof this work lies in the fact that its results can be used both in teaching the solfeggio course at a music school, and in teaching musical literacy or the basics of music theory in "non-musical" educational institutions(school of arts, school of creative development, secondary school).

The work consists of an introduction, three chapters and a conclusion. The introduction poses the main problems analyzed in the work. The first chapter is devoted to the general theoretical and psychological and pedagogical aspects of teaching solfeggio, as well as the main aspects of solfeggio as a discipline. The second chapter deals with the main components of a solfeggio lesson. The third chapter is devoted to a comparative analysis of the two leading solfeggio textbooks for students in grades 1-2 (“Solfeggio” by A.V. Baraboshkina and “We play, compose and sing” by J. Metallidi and A. Pertsovskaya), written at different times and in based on various methods.

1. Teaching solfeggio at music school: common features

.1 Solfeggio: the content of the concept. The connection of solfeggio with other disciplines of music school

The very concept of "solfeggio" as academic discipline course of the children's music school can be interpreted in a narrow and broad sense. Solfeggio in the strict sense of the word is the ability to read notes, the possession of musical notation. At the same time, the solfeggio program at a children's music school (under "children's music school" in this case can be understood as any primary music educational institution, including for adult students) includes familiarizing students with the basic concepts of music theory (mode, triad, stable and unstable sounds, scale, accompaniment, etc.).

There are 4 main forms of work in the methodology of teaching solfeggio:

) intonation-auditory exercises, in which the student reproduces with his voice what he hears with his inner hearing;

) analysis by ear of perceived music or its individual elements, or awareness of what the student hears;

) singing from notes, which includes both singing from the notes of learned melodies and reading from a sheet;

) musical dictation, that is, an independent recording of a musical work (or any part of it) performed specifically for recording or sounding in memory.

All these forms, performing the same task, are interconnected and complement each other. The last two - singing from notes and musical dictation - are especially important.

The main task facing those entering a music school is to learn how to play a musical instrument. Learning to play an instrument in music school from the very first lessons turns out to be connected with the study of musical notation, and sometimes the specifics of playing an instrument forces the student to somewhat go ahead of the solfeggio course that is taught in a given year of study. Thus, the specifics of learning to play low register instruments (cello, clarinet) from the very first lessons makes it necessary to master such difficult moments for the student, especially the first year of study, as the bass clef or notes on the lower additional lines; sound extraction exercises at the initial stage are often recorded using whole notes - while whole notes, according to some teaching aids, are covered a little later in the solfeggio course.

The skills of singing from notes, intonation, as well as playing a melody from the ear, are practiced by students in choir classes. Also, it is at the choir that the training of two-voice, which occupies a significant place in the solfeggio training program, begins. At the same time, singing intervals and triads (including in a certain given rhythm) in solfeggio lessons develops the voice of students, develops the skills of correct intonation necessary for choral singing. In children of 6-7 years old, the vocal cords are not yet sufficiently developed, and therefore, even with an ear for music, a child cannot always reproduce notes correctly with his voice; in solfeggio lessons, he gradually acquires this skill, and also (especially when singing intervals and triads) expands the range of voice (which is relatively small for a child of 6-7 years old; so, in order to sing exercises in solfeggio textbooks, a student must have range from "si" or even "la" of a small octave to "mi" of the second).

At the initial stage of education in the music school there is no such subject as musical literature; it is replaced by periodic listening to music, which occurs precisely in solfeggio lessons. Although in the course of music schools for adults (5-year education), musical literature is present from the first year of study and there are even teaching aids on solfeggio based on the material of the course of musical literature (for example,). At the same time, teaching musical literature in the senior classes of music school is impossible without the skills acquired in the solfeggio course - for example, singing from notes (including from a sheet) or deciphering a musical notation using inner hearing.

Finally, many solfeggio skills are fixed in practice in the disciplines studied in high school: elementary theory, harmony, analysis.

Thus, all subjects included in the music school course are connected with solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, on the other hand, it relies on these disciplines.

2 The psychological aspect of teaching solfeggio: features of child psychology and thinking and their impact on the learning process

As a rule, children enter children's music schools at the same age as they go to a general education school - from 6-7 years old, although admission to the first grade of the wind department (due to the specifics of playing these instruments, which requires greater physical fitness) is carried out among 9 -10 year olds. This age group has its own psychophysiological characteristics, which are reflected in the specifics of the learning process.

The child's thinking develops in the process of education; The family plays an important (and perhaps even paramount) role in the development of thinking. Senior specifics preschool age connected with the problem of the so-called. readiness for school - the requirement for a child to have a number of skills and abilities, incl. thinking. The general readiness of the child for school, for purposeful mental and physical activity, plays an important role in teaching at children's music schools.

Solfeggio as a theoretical discipline is associated with training abstract thinking, the ability to operate with abstract concepts that are close to mathematical functions (tonic, dominant, interval, etc.), which is not always possible for younger students due to the age-related characteristics of their psyche and intellect. Also, teaching solfeggio in some moments can be equated with teaching types of speech activity - reading (reading notes), speaking (singing with notes), listening (listening and accurately reproducing what was heard) and writing (the ability to write notes). Certain difficulties can also be caused by the fact that many students of the 1st grade of the Children's Music School (they are also students of the 1st grade of a general education school) still cannot read or write in ordinary alphabetic writing. In addition, it happens that a musically gifted child may suffer from disorders of certain types of speech activity (dyslexia, dysgraphia), and when teaching musical notation, he encounters the same problems as when teaching writing or reading.

For normal development, children need to understand that there are certain signs (drawings, drawings, letters or numbers) that, as it were, replace real objects. Gradually, such drawings-drawings become more and more conditional, since children, remembering this principle, can already, as it were, draw these designations (sticks, diagrams) in their minds, in their minds, that is, they have a sign function of consciousness. The presence of these internal supports, signs of real objects and enables children to decide in their mind is enough challenging tasks, improve memory and attention, which is necessary for successful learning activities. The student needs to be able to understand and accept the task of the teacher, subordinating his immediate desires and motives to him. This requires that the child be able to focus on the instructions that he receives from the adult.

Motor development is often considered as one of the components of a child's physical readiness for school, however, for psychological readiness she has great importance. Indeed, the muscles of the hand must be strong enough, fine motor skills must be well developed so that the child can hold the pen and pencil correctly so that he does not get tired so quickly when writing. He must also have the ability to carefully consider an object, a picture, to highlight its individual details. It is necessary to pay attention not to individual movements of the hands or eyes, but to their coordination with each other, that is, to visual-motor coordination, which is also one of the components (already the last) school readiness. In the process of learning, a child often needs to simultaneously look at an object (for example, at a blackboard) and write off or copy what he is currently considering. Therefore, the coordinated actions of the eye and hand are so important, it is important that the fingers, as it were, hear the information that the eye gives them.

AND I. Kaplunovich believes that each person, depending on gender, age and individual characteristics, is dominated by one of the five substructures of thinking that are laid down in childhood. Yes, girls are more developed topological(emphasizing the properties of connectedness, isolation, compactness of the subject; carriers of this type of thinking are unhurried and strive for consistency in actions) and ordinal(characterized by adherence to norms, rules, logic) types of thinking, in boys - projective(the focus is on the possible use of a particular subject) and compositional(focus on the position of the object relative to others in space) ; metric(emphasis on the number of objects) is inherent in children of both sexes.

In senior preschool and primary school age, we can meet with the beginnings of the development of verbal-logical thinking. Evidence of this is the data on the level of its development at preschool age. If the children's interpretation plot picture does not cause much difficulty in the vast majority of children, then the ability to generalize becomes practically accessible only by the age of six. Positive dynamics is noted in the development of micromotor skills, visual perception and memory, verbal-logical thinking. spasmodic positive dynamics characteristic for the development of visual-constructive activity and spatial thinking. There is no dynamics in the development of auditory and tactile perception, as well as auditory-speech memory. However, as a rule, fine motor skills, cognitive functions and memorization functions are already formed in younger students, however, low rates of development of short-term auditory verbal memory remain and short-term visual memory is poorly developed.

All these features should be taken into account when teaching solfeggio, in the process of teaching which special emphasis is placed on motor skills and memory.

Game moment in training

One of the very effective methods of teaching children younger age- game: through the game, for example, in kindergarten, foreign languages ​​are studied. The game is a syncretic action (see below about syncretism), it involves mental activity, physical and speech actions (for example, in response to a certain command of the driver ( mental operation) you need to do a certain sports or dance move(physical activity) and at the same time utter a special remark). Solfeggio training can also go through the game - through movement to the music (for better assimilation, for example, of the concept of pulsation or certain rhythmic patterns; for example, in L. Abelyan's manual, when presenting material with a complex rhythm - for example, the blues-like song "River Coolness" - it is proposed not only to sing given text according to the notes, but also to dance to it), through team games(of the classical type “who is more” or “who is better”), games that imitate the actual activities of musicians (noise orchestras, etc.)

A young child is not yet ready for academic and theoretical education (which is sometimes a sin in the programs of general education schools for elementary grades); in addition, in the game, the child can best realize his creative potential, the development of which is so important in teaching music (and not only: the ability to think and act creatively will be needed by the child in subsequent everyday life).

.3 Solfeggio and training of skills necessary for a musician. The concept of musical ear

The main regularities of the structure of the melody are the mode, the high-altitude relationships of sounds and their metro-rhythmic organization. In their unity, they determine the main idea of ​​the melody, its expressive features. Therefore, in working on auditory awareness of these patterns, one cannot separate them from each other.

The teacher is required to work on all these patterns at the same time, while observing a strict sequence in their study.

Lazy feeling. Architectonic hearing

From the very first lessons, students should be taught to relate to melody as a certain meaningful connection of sounds and teach them to understand their structure (architectonics).

When listening to a melody, the student must immediately determine in what mode it is written. As a rule, at the initial stage of training, either major, or natural or harmonic minor are given; melodic minor is less common, harmonic major appears only in senior courses; in some experimental methods, students are introduced to the minor pentatonic scale already in the first lessons, while the major pentatonic scale and non-classical modes are included in the program only in senior courses and not always. Methods for determining the mode can be very different - from purely intuitive (students are asked to determine whether this or that melody or chord sounds “fun” or “sad”) to “academic”, associated with the distinction between the intervals that appear in the melody or chord.

Based on the modal relationships of sounds, on the feeling of stable and unstable turns, the student must be aware of the melody as a whole.

The student should be able to understand the structure of the melody, the number of constructions, its mode and tonality (which helps the student to specify the sounds of the melody, for example, when recording, based on their modal meaning). When memorizing (or writing down) a melody, the student must be aware of the modal connections within the melody and not lose the feeling of relying on stable sounds of tonality (mainly tonics).

Melodic (sound pitch, intonation) hearing

No less important and closely related to the mode and structure is the awareness of the direction of movement of the melody. Having understood the structure of the melody according to the constructions, the student must also imagine the nature of the movement of the sounds of the melody - up, down, in one place, mark the upper and lower boundaries of the melody, determine the place of climax. By understanding the line of a melody, students will be able to distinguish between smooth, stepwise movement and "leaps" based on the scale and modal relationships, and this will allow them to record sequences of sounds or intonations. This is especially important in the early stages of learning, when recording simple melodies.

Raising attention to the line of movement of the melody is also of great importance for understanding the intervals in the future (or rather, the width of the interval step). The movement along the intervals should be the result of exercises in the awareness of movement along the steps of the fret and the complete clarity of the graphic pattern of the melody. Intervals should be used in those cases when the modal meaning of the upper sound is not clear during the jump and it is necessary to clarify the width of the jump.

Observations of the development of students' hearing show that wide intervals are perceived more accurately and remembered faster than narrow ones. Perhaps this happens because in a wide interval the difference in the sound of each of the sounds is larger, brighter and therefore easier to perceive, while in narrow intervals (seconds, thirds) this difference is very small and accurate hearing is required to feel it.

At the moment, the main problem of the methodology is the question of ear education in connection with the new intonational and harmonic features of modern music, while the modal and step systems are guided by classical works (which leads, as teachers say, to ear inertia). Therefore, it is necessary to expand the musical material that takes place in solfeggio lessons, and not only at the expense of folk music (which sometimes gets into solfeggio textbooks, too, after processing and adapting it to classical melodic moves - for example, major pentatonic, variable meters are completely excluded from Russian song material etc.). So, there are a sufficient number of jazz solfeggio textbooks (but they are designed for students not younger than grades 3-4, that is, those who already have initial musical training); in addition, in the specialty classes, children from the very beginning perform works by composers of the 20th century (Bartok, Shostakovich, Myaskovsky, Prokofiev) (and children studying the saxophone or clarinet learn to play jazz from the very first lessons, which is associated with the specifics of their instruments - as novice guitarists learn to play pieces in the flamenco style quite early, which is also associated with the specifics of the instrument).

Timbre hearing. The feeling of phonism

According to timbres, sounds of the same height and volume are distinguished, but performed either on different instruments, different voices, or on one instrument in different ways, strokes.

The timbre is determined by the material, the shape of the vibrator, the conditions of its oscillations, the resonator, and the acoustics of the room. Overtones and their ratio in height and volume, noise overtones, attack (initial moment of sound), formants, vibrato and other factors are of great importance in the timbre characteristic.

When perceiving timbres, various associations usually arise: the timbre quality of sound is compared with visual, tactile, gustatory and other sensations from certain objects, phenomena (sounds are bright, shiny, matte, warm, cold, deep, full, sharp, soft, saturated , juicy, metal, glass, etc.); less commonly used auditory definitions(voiced, deaf).

A scientifically substantiated timbre typology has not yet developed. It has been established that timbre hearing has a zone nature. 3 it defines relationships between elements musical sound as a physical phenomenon (frequency, intensity, sound composition, duration) and its musical qualities (pitch, loudness, timbre, duration) as reflections in the human mind of these physical properties of sound.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be distinguished, contrasts can be strengthened or weakened; changes in timbres are one of the factors of musical dramaturgy.

In the course of learning solfeggio, it is important to teach listening not only to monophonic melodies, but also to consonances (intervals and chords). The perception of consonances is associated with such a phenomenon as harmonic pitch. In students at the initial stage, it is still rather poorly developed, but already at the initial stage it is necessary to introduce exercises aimed at training it.

Perception of the metrorhythm.

Methods for understanding the metrorhythmic organization of sounds during recording represent a specific area of ​​perception and require special techniques for assimilation.

Pitch and metrorhythmic ratios in a melody are inseparable, and only their combination forms the logic and thought of a melody.

Most often there are 2 types of musical talent of students. The first type includes students with good intonation hearing, who react sharply to pitch ratios, but have a weak and unclear sense of the metro-rhythmic organization. The second type includes students of a more conscious nature, but with undeveloped intonation hearing. They first of all feel and realize the metrorhythmic organization. Metric accents for them are often associated with a change in pitch.

The metrorhythmic organization of a melody is perceived by a person not only through hearing; the entire human body is involved in its perception. Rhythmic abilities in humans appear earlier than hearing; they can also manifest themselves in movement to music (dance, plasticity). Many musical genres affect listeners primarily with their meter-rhythmic side; some constant rhythmic formulas are the main criterion in determining the genre of music (especially various dances). In music, the rhythmic beginning is a reflection of the rhythmic laws of life. Rhythmic abilities are associated with the human psyche (balanced people are more rhythmic than those who easily give in to emotional fluctuations).

One of the properties of musical sound is its duration. A clear definition of the duration of a sound, the ratio of the durations of different sounds to each other, the totality of all durations are a prerequisite for the organization of sounds in music.

It is desirable to present each new metro-rhythmic pattern to students primarily from its emotional side. It must be learned by ear, reproduced by movement, clapping, in the form of rhythmic solmization, performed on accessible percussion instruments, in singing syllables to sounds of the same height, in pronouncing syllables without singing ( ti-ti, ta, don, dilietc.). Then the rhythm is assimilated in the recording, during which the teacher provides the students with the final awareness of the ratio of sounds by their duration within different meters. Finally, the studied rhythm is included in the melodies for singing solfeggio, with text, from a sheet, in creative exercises and dictation.

Ensemble music playing is an important means of developing metrorhythmic skills (at the initial stage of training, noise orchestras, popular in modern methods of teaching solfeggio, are especially useful).

Inner hearing. musical memory

A special property of the musical ear, based on imagination and representation, is the inner ear. Internal hearing is secondary, since it relies on auditory experience, on the information that he received from the external. Therefore, in works devoted to inner hearing, much attention is paid to musical memory as a "repository" of all this information. Inner hearing can act both involuntarily and voluntarily. Inner hearing helps when reading music with the eyes, without the participation of an instrument (which is useful not only in music lessons). theoretical disciplines, but also when learning the repertoire in the specialty).

One of the most effective ways to develop your inner ear is to listen to music with notes in your hands.

The development of inner hearing is not the least training memory.Musical memory is required component musical ability; at the same time, musical memory alone cannot ensure the development of musical skills. At the same time, musical memory is just one of the varieties of memory, and the general laws of memory apply to its musical variety.

Memory consists of three stages: memorization, storage and reproduction. Memorization, like perception, has a certain selectivity, which depends on the direction of the personality. The involuntary memorization of music is an essential part of being musical; however, for a novice musician, it is more important to train voluntary (conscious) memorization associated with the development of intelligence. Another direction in working on musical memory is the ability to use various types of musical memory.

The following types of musical memory are distinguished: auditory(the basis for inner hearing; allows you to recognize both whole works and individual elements of musical speech; important not only for musicians, but also for people of other professions), visual(the ability to memorize the written musical text and mentally reproduce it with the help of inner hearing; at the initial stage of training, it is usually very poorly developed, therefore it requires special attention); motor (motor)) (it is also a game movement; it is important in performing practice; it is associated not only with the movements of the muscles of the hand, but also with the movements of the muscles of the face (for performers on a wind instrument), abdominal muscles, voice apparatus(with vocalists), etc.); emotional and mixed.

Absolute and relative pitch.

The phenomenon of absolute pitch lies in the fact that a person can determine its name and location from one sound of a note (for example, “mi of a small octave”), and also accurately sing a given note without prior tuning by instrument or tuning fork. The carrier of relative hearing does not possess such abilities, but at the same time he can reproduce the move along one or another interval or chord. Perhaps the phenomenon of absolute and relative pitch is associated with the specifics of the development of one or another type of musical memory: a carrier of absolute pitch remembers the sound of all notes, a carrier of relative pitch remembers the sound of one or another intonation move (i.e., more abstract phenomena). At the same time, teachers have long known the so-called. paradox of absolute pitch: despite the fact that the carrier of absolute pitch can accurately reproduce the sound of a note, he hardly recognizes moves by chords or intervals; also, when recognizing a particular note, overtones that create the timbre of the instrument can interfere with it (in the mind of a speaker with absolute pitch, “A” piano and “A”, for example, an oboe can act as different notes). Thus, when learning solfeggio at the initial stage, it is the carriers of relative hearing who experience fewer difficulties.

2. The main components of the solfeggio lesson

.1 Learning music literacy

Fulfillment of written tasks in musical literacy.

Musical literacy implies the ability to record musical texts and reproduce them, as well as mastery of basic musical terms.

The scope of knowledge and skills on this topic includes the ability to record and reproduce musical texts in various octaves, in treble and bass clefs, various rhythmic patterns and with all possible accidentals. But learning to read music takes place in the classroom as well; in addition, in the specialty classes, the student learns some durations earlier than in the solfeggio classes (for example, whole notes or sixteenth notes, which are found in etudes and technical exercises already in the first grade, and in solfeggio are studied only in the second), designations of dynamic shades (forte, piano, crescendo, diminuendo, sforzando), as well as designations of strokes, which in the course of solfeggio are also not passed at the initial stage (legato, staccato, non legato) or not passed at all (detache, portato).

Teaching musical literacy is akin to learning to read and write in a native or foreign language: when teaching musical notation, it is necessary that a specific auditory image is fixed in the mind of the student behind a specific visual image (note sign). We are not even talking about training students with absolute pitch, the presence of which, as mentioned earlier, sometimes even interferes with learning music, but about working out ideas about the placement of notes on a musical staff, about the relationship of a musical sign, its sound and the location of a given note. , for example, on a piano keyboard. It is important for the student to remember that the notation of a note simultaneously reflects its length in time (duration) and height, that the pitch of a note can change due to accidental signs (which in some cases are written at the key, in others - near the note itself). A particular difficulty is the development of pauses by students, reading notes in the bass key, dotted rhythm.

However, the concept of "musical literacy" includes not only the ability to distinguish notes, but also knowledge of a number of terms and concepts (scale, scale, tonality, mode, tempo, size, beat, start, phrase, interval, triad, stable and unstable sounds, etc.). .d.). A student, when mastering musical literacy, should be able to determine the size of the proposed melody, distinguish between strong and weak beats, conduct in one size or another (at the initial stage of training, conducting is limited to sizes 2/4, 3/4 and 4/4); very important in this regard is the ability to choose the correct pulsation (what duration to consider as a unit of rhythm). Also, by the end of the initial stage of learning, the student should know the principles of determining the key (by tonic and key signs), the correspondence of notes and steps in one key or another (which, when learning on the principle of relative solmization, may cause some difficulties at first - for example, it is difficult for the student to understand why before,which he used to associate exclusively with the tonic, maybe the third, and fifth, and even the second step, depending on the key), the intervals between the sounds of major and minor scales, major and minor triads, etc.

A large role in solfeggio manuals is given to written work - rewriting notes from a textbook into a music book, written transposition (recording a melody in a different key), building intervals and chords, and, finally, dictations (we will talk about dictations later). The process of writing notes, being a relatively independent skill, requires systematic development, and, therefore, should be an object of planning at the initial stage of learning. Useful are special exercises for the speed, correctness and accuracy of recording motives that are determined by ear and repeated by voice; conducting an oral dictation and its subsequent recording with fixing the time of writing and assessing the accuracy and literacy of what was written; learning by voice, on a piano or other instrument of a melody and quickly recording it by heart, etc. (cm. ).

Written assignments are especially important for young children, because, due to the psychophysiological characteristics of the body, children of this age better comprehend the material not by ear and not through sight, but through the work of the hand. Partly an obstacle in this aspect is the mass distribution of computer music editors: since children now master the computer in sufficient early age, then a 7-8-year-old child may well master a musical editor; however, pressing computer keys is less useful to him than writing notes by hand.

Solfegging. Singing from the sheet

Solfeggio, that is, singing from notes, is a central concept in the solfeggio course, regardless of the stage of training. In principle, the entire solfeggio course is aimed at learning to play music without the help of an instrument, with the help of inner hearing and knowledge about the sound of certain melodic moves, movements at certain intervals.

In the first grade, sight-singing begins at the end of the first semester. In order to learn to sing from a sheet, one must already master the basics of musical notation, have auditory ideas about the ascending and descending movement of the melody, pauses, durations, etc.

When singing from a sheet, you first need to analyze the melody, determine its tonality, size, structure of the melody (phrases, their repetition or variation), point out the features of the movement of the melody (gradual, triad, etc.), pay attention to the tempo and dynamic shades . Before singing from a sheet at the initial stage, preparatory exercises are necessary - tuning to the key in which the melody intended for reading from the sheet sounds, singing stable sounds and singing them (ascending and descending), singing in the indicated key the intervals that are present in this melody (as from bottom to top, and from top to bottom). At the same time, we are not talking about training absolute pitch at all: when singing from a sheet, the teacher gives the tonic of the melody on the piano or (in weak groups) its first sound (not necessarily the tonic), and the task of the students is to focus on the musical notation and keeping in mind the sound of the tonic, reproduce the written melody with their voice, applying their knowledge about the movement of the melody, about the sound of intervals, about the rhythmic pattern and size, etc. that they already have. Conducting is very useful when singing from the sight.

Sight-singing makes it possible to check the level of intonation and auditory skills of each student, therefore it is one of the necessary forms of work in the solfeggio lesson.

Musical dictation.

Musical dictation is a "reinforcing" moment in the solfeggio course. In order to record a piece of music currently being played, one should have a well-developed ear and a sufficient reserve of theoretical knowledge. A musical dictation (like a regular dictation) first of all reinforces the connection between the audible and the visible; dictation also contributes to the development of inner hearing and musical memory, as well as the practical development and consolidation of theoretical concepts and the experience gained as a result of the student's practical musical activity.

The goals and objectives of the musical dictation are to be able to analyze the recorded musical passage, understand its form, the direction of the melody, stepwise or interval jumps, the stability or instability of rhythmic stops, that is, all the elements of musical speech that are known to students at the moment, and then correctly state it all in musical notation. In many ways, the preparatory exercises for writing a dictation are close to the preparatory exercises for sight-singing, only the process of writing a musical dictation is a mirror opposite to the process of sight-singing: in the first case, the student's task is to turn the heard melodic fragment into a musical text, and in the second - to play the melodic fragment aloud presented in the form of musical notation.

It is generally believed that musical dictation develops musical memory in general. However, the role of dictation is primarily to develop conscious memorization, that is, to increase the efficiency of memory. Joint analysis with students of the text proposed for the dictation, preliminary tuning to the melodic moves of the proposed dictation (movement along a particular interval, along a triad, singing stable and unstable sounds, etc.) and even singing them (individually or in a group) helps students learn to write dictations, educates working memory and skills of conscious, random memorization and give knowledge of musical patterns. Significant disadvantages are the habit of students to rely on the degree of tension vocal cords, on passive imitative memory, "shorthand" of the melody in the process of its sounding, etc. The exercises accompanying the writing of the dictation should be aimed, among other things, at eradicating these shortcomings.

Piano exercises

From a methodological point of view, it is advisable to reinforce such aspects of solfeggio training as the construction of triads and their inversions, the selection of accompaniment to a melody, with piano exercises. Both in traditional and in many "non-traditional" teaching aids, piano playing plays a central role in teaching musical literacy. From the very first lessons, writing notes, the stave are compared with the piano keyboard; the construction of chords and intervals is also shown on the piano.

However, this approach can cause some difficulties for many students. Thus, there may be a danger that students will get used to recognizing intervals and chords by ear only in the piano sound, while building and distinguishing by ear intervals and chords on another instrument will be difficult or even practically impossible for them (due to some features of the musical instrument). hearing). The concept of tone and semitone on the piano is reinforced by visual awareness of black and white keys and is easy to learn, while the ability to determine by ear or sing a tone or semitone is more difficult. Finally, the general piano course provided for by the program (for students who are not pianists) begins, as a rule, not earlier than the third year of study, and in solfeggio classes, when the need arises for piano exercises, students studying string or wind instruments lose to their “colleagues” - pianists in knowledge of the keyboard and fluency of fingers. For violinists or cellists, when practicing the piano, the right hand works worse (since they hold the bow with their right hand, and the fingers of the right hand practically do not move during the game; those who play the plucked instruments - guitarists or harpists - in this respect turn out to be more advantageous from a methodological and technical point of view. position point of view). Students of wind instruments also, from the very first lessons in their specialty, are laid the principles of fingering, which are different from the pianoforte (when extracting one sound, several fingers are involved at once, and when extracting sounds in a low register, the fingers of both hands simultaneously). Such students may experience psychological discomfort due to their own awkwardness or even be ridiculed by more skilled and experienced piano students in this respect, which is often the case in a team of younger students, with its own hierarchy, etiquette and value system.

Thus, the teacher faces an additional task of overcoming these difficulties of a technical and psychological nature.

These kinds of difficulties can be overcome if students are given creative tasks in which everyone can equally show their skills and abilities, regardless of their piano playing technique - for example, the use of other instruments in teaching, on which one or another musical element can be shown (metallophone, etc.). ). You can also use listening to recordings of music played on other instruments (violin, etc.) in the learning process, and give tasks to recognize in the sound of these recordings those melodic moves (by triad, by intervals, etc.) that students already heard on the piano. This task is quite difficult, but it can be useful.

Creative tasks.

Modern methods of teaching solfeggio at the initial stage are characterized by attention to the creative activity of the student (a trend common to recent pedagogy). Students are required not only to reproduce the material of the musical text of the exercises, but also to create their own musical texts. The most common types of creative tasks are to compose the end of the proposed melody, come up with an accompaniment or a second voice to the melody, compose a song to the proposed text. Such tasks help to better assimilate the material covered, to learn how to use the acquired knowledge not passively, but actively. The attention of students is focused on the musical text - this way of teaching music could be called text-centric by analogy with the teaching methodology foreign languages, in which the language is acquired not through memorizing rules and lists of words, but through working with text. Many of these creative tasks are focused on the connection of a musical text with a verbal one (when composing a melody for a given text and accompaniment to it, it is recommended that students pay attention to the plot and dramaturgy of the text, to its rhythm, etc.).

.2 Solfeggio textbook and its role in the lesson

In the world practice of teaching solfeggio, 2 opposite schools coexist - absolute and relative solmization. The first takes as a basis the pitch of sounds in one or another notation and first studies C major, then the alteration of sounds, leading to other keys. The second one is based on the study of the ratio of steps in a fret at any relative height.

The history of the development of solfeggio in Russia is closely connected with the activities of choirs and church choirs, where long time 2 ways of writing notes coexisted: banners (hooks) and linear notes (modern notation). The first Russian solfeggio textbooks appeared in the 17th century: A. Mezents' ABC and N. Diletsky's Music Grammar [see. 29, p. 24].

Currently, various systems and methods of teaching solfeggio are also based on 2 directions - absolute and relative.

In essence, all solfeggio textbooks can be grouped into 2 main areas. One includes systems based on the study of individual elements of the musical language. Another direction is made up of systems that study the connections of sounds (step, modal, harmonic). According to E.V. Davydova, with whom it is impossible not to agree, the second direction is more effective, since it makes it possible to develop an ear for listening to music, educates the ability to understand the content of the work.

Some authors strive for the comprehensive development of musical ear in students, others - for the speedy fixation of any skill in students, etc. One of the most common systems at the turn of the 19th and 20th centuries is the so-called interval system (the study of melody as the sum of intervals). Intervals are memorized according to familiar song motifs. The basis of this system is the study of sounds in C major, which are called "simple sounds", in various combinations, without taking into account their modal position and tone value. A sense of harmony is not brought up on such a system; this approach suffers from simplification. Now this approach is considered obsolete, although such an element as memorizing the sound of intervals based on popular song motifs is used quite widely even at the present stage of education (for example, it is practically a template - learning to sound a clear fourth using the example of the initial bars of a march from "Aida" or the Anthem of Russia ). Close to the interval system are systems based on the study of the degrees of the major or minor scale in different keys. This approach also somewhat simplifies the understanding of the mode and the organization of the melody. Close to this system are the so-called. manual systems (the movement of the hand shows the steps of the fret). However, the basis here again is diatonic. Close to this system is the Hungarian relative system created by Z. Kodaly on the basis of Hungarian folk music (a combination of hand signs, intonation, etc.). A modification of this system, made by the Estonian teacher Kalyuste (the use of hand signs and the syllabic designation of steps - e, le, vi, na, zo, ra, ti(in which distorted traditional names of notes are guessed)), or rather, its elements, are still used today. The main drawback of this system is that in the minds of students there is a connection between the concept of tonic exclusively with a note. before(which creates difficulties when working with other keys).

Leningrad teacher 1950s-60s. A. Baraboshkin [see. 4, 5, 6] developed her own system (which has become classic and has been used for several decades) also on the basis of the Hungarian one, but made significant changes to it (rejection of manual signs, refusal to work only in C major, etc.). Closely linking intonations with the main modal patterns, with the concept of stability and instability of sounds, major and minor tonics, phrases, etc., she starts with jokes on one sound, then moves on to two notes, and gradually expands the musical range of the material offered by the student; the material is presented in a syncretic way (one and the same chants becomes the material for exercises to develop various skills), there is a constant repetition of what has been covered. The manual, written by Baraboshkina herself, served as material for the practical part of this work.

Currently, methods based on listening to music, on working with a musical text, are becoming increasingly popular. At listening to music, for example, the educational and methodological complex of T. Pervozvanskaya, S.B. Privalov (for adult students) and many others (etc.). This facilitates the task of comprehending many elements of the musical language, because some moments are easier to assimilate not by memorizing abstract scholastic formulas, but by interpreting the heard musical text (preferably classical).

.3 Visual aids in early childhood education

Visualization plays a big role in teaching solfeggio to children of primary school age, which is associated with the peculiarities of their psyche (see paragraph 1.2.).

A.V. Zaporozhets wrote that the forms of children's thinking - visual-effective, visual-figurative, verbal-logical- do not represent the age stages of its development. These are, rather, stages of mastering some content, some aspects of reality. Therefore, although they generally correspond to certain age groups, and although visual-effective thinking manifests itself earlier than visual-figurative thinking, these forms are not uniquely associated with age.

The transition from visual-active to visual-figurative and verbal thinking, as shown in experimental studies A.V. Zaporozhets, N.N. Poddyakova, L.A. Wenger, occurs on the basis of a change in the nature of orienting and research activity, due to the replacement of orientation based on trial and error with a more purposeful motor, then visual, and, finally, mental.

Visual and effectivethinking, carried out by real action with objects, connected with objective activity and aimed at its maintenance, is primary and arises at an early age. But a six-year-old child can resort to it if he is faced with a task for which he does not have sufficient experience and knowledge.

Most commonly used by children figurativethinking, when in solving a problem he uses not specific objects, but their images. The very fact of the emergence of figurative thinking is very important, since in this case thinking is separated from practical actions and the immediate situation and acts as an independent process. In the course of visual-figurative thinking, the diversity of aspects of the subject is more fully reproduced, which so far appear not in logical, but in actual connections. Another important feature of figurative thinking is the ability to display in a sensual form the movement, the interaction of several objects at once. Content figurativethe thinking of a younger student is not limited to specific images, but gradually moves to a higher level of visual-schematic thinking (see). With its help, it is no longer the individual properties of objects that are reflected, but the most important connections in the relationship between objects and their properties.

As mentioned above, solfeggio is in many ways close to exact sciences and contains many abstract concepts (mode, pitch, duration, rhythm, tempo, interval, etc.). For better assimilation by students of this difficult-to-perceive material, it is necessary to present it in a visual form, to show the abstract through the concrete.

Visual methods have received a very wide and specific application in musical education. Visualization functions - "increase interest in academic subjects, make their content more intelligible, facilitate the assimilation of knowledge and methods of activity" . Listening to music is one type of visualization; if the objects of study are inaccessible to direct observation, students get an idea about them indirectly with the help of illustrations, layouts, diagrams, tables, maps. Visualization in music school can be used in the course of teaching all disciplines. So, in the course of the specialty, visualization manifests itself in the forms of display (for example, a demonstration of the structure of an instrument, fingering, sound extraction, etc.) and guidance (a display, the purpose of which is to teach the student to act further independently).

Figurative illustrations are increasingly being used in primary musical education. In some cases, illustrations help to feel the mood of the music or present its content more figuratively, in others - to comprehend some genre features of the works, etc. Finally, well-chosen illustrations - a reproduction, a photograph, a slide - can expand children's understanding of the relationship of music with living environment: to give an idea about the era when music was created, about the time and conditions of its performance, about some phenomena and events of modern musical life. As a visual aid on musical-theoretical subjects, a blackboard is used, on which the teacher draws various schemes (a scheme of a fifth circle of keys, a scheme for constructing a musical work, etc.). Such schemes contain information in a concentrated, "folded" form and sometimes make it possible to comprehend quite complex concepts.

Among modern educational and methodological complexes, a whole group of manuals (, etc.) can be distinguished, which are precisely visual aids. Rich illustrative material (rather of an iconographic nature) is also presented in the manual of T. Pervozvanskaya, or L. Abelyan; this is especially noticeable in the manual of T. Pervozvanskaya, in which the musical terms presented in the text are accompanied by a picture representing a person or animal at each mention. So, the steps of the mode are depicted in the form of a king, a queen and their courtiers - although, perhaps, a hero named Medianta (the third step of the mode), due to the variability of his character, depending on the mode, had to be made a queen, and not a king, and a stable sound should have been presented to the tonic just in the form of a king; intervals - in the form of male and female figures in Renaissance clothes, the appearance of which quite well indicates the nature of the sound of the interval; at the same time, the consonances are presented in the form of female characters (the third is a pretty rustic girl, the fifth is a girl with the face of a Madonna, the sixths are women in theatrical costumes of the heroines of a classical tragedy), and the dissonances are male (a quart is a brave young knight, a large and small sevenths are two ridiculous lanky gentlemen, similar to the character of G. Vitsin from the movie "Twelfth Night", the triton is a mischievous jester, etc.); cluster - in the form of an evil cat, etc.

The traditional method of teaching solfeggio does not always recognize the use of visual aids, and this sometimes turns out to be justified. So, presented in the manual by L. Abelyan (and having enough long history) the representation of durations in the form of pieces of a cut apple (whole - halves - quarters - eighths) is unanimously recognized as unsuccessful, as it interferes with teaching children to pulsate into quarters or eighths; nevertheless, the main durations used in music recording, especially in musical texts for elementary education, are quarters, and the pulsation usually goes in quarters (quarter \u003d two eighths, half \u003d two quarters, whole \u003d four quarters), less often - in eighths (however , sizes with eighths - 6/8, 3/8 - appear in didactic material not earlier than the third grade, although in the works of the specialty they can be caught earlier). Based on the above figure, the child may think that it is always necessary to pulsate on integers (since they are the basis, and the others are derivatives of them), which is almost impossible.

2.4 Game forms of education, their role in working with children of primary school age

In modern pedagogy, there is an increasingly decisive rejection of the traditional class-lesson system of organizing the educational process, optimization of the educational process (especially for younger students) by referring to new methods, including gaming ones.

Game teaching methods are aimed at teaching students to be aware of the motives of their teaching, their behavior in the game and in life, i.e. to form goals and programs of their own independent activity and to foresee its immediate results. The psychological theory of activity distinguishes three main types of human activity - labor, play and educational. All species are closely related. Analysis of the psychological and pedagogical literature on the theory of the emergence of the game as a whole allows us to present the range of its purposes for the development and self-realization of children. The game is objectively a primary spontaneous school, the apparent chaos of which provides the child with the opportunity to get acquainted with the traditions of the behavior of the people around him. Children repeat in games what they treat with full attention, what is available to them to observe and what is available to their understanding. That is why the game, according to many scientists, is a kind of developing, social activities, a form of mastering social experience, one of the complex abilities of a person. D.B. Elkonin believes that the game is social in nature and direct saturation and is projected to reflect the world of adults. Calling the game "arithmetic social relations”, Elkonin interprets the game as an activity that occurs at a certain stage, as one of the leading forms of development mental functions and ways of the child's knowledge of the world of adults. The game is the regulator of all life positions child. The school of play is such that in it the child is both a student and a teacher at the same time. Arising in Soviet system education, the theory of nurturing education has intensified the use of games in the didactics of preschool systems, but practically did not bring the game to students, adolescents and youth. However, in the social practice of recent years in science, the concept of the game is comprehended in a new way, the game extends to many areas of life, the game is accepted as a general scientific, serious category. Perhaps that is why games are beginning to enter didactics more actively. From the disclosure of the concept of the game by teachers, psychologists of various scientific schools, a number of general provisions can be distinguished:

The game is an independent type of developmental activity for children of different ages.

The game of children is the freest form of their activity, in which the world around them is realized, studied, a wide scope is opened for personal creativity, activity of self-knowledge, self-expression.

The game is the first stage of the activity of a preschool child, the original school of his behavior, the normative and equal activity of younger schoolchildren, adolescents, youth, who change their goals as students grow older.

The game is the practice of development. Children play because they develop and develop because they play.

The game is the freedom of self-disclosure, self-development based on the subconscious, mind and creativity.

Play is the main area of ​​communication for children; it solves problems interpersonal relationships experience of human relationships is acquired.

Many researchers write that the patterns of formation of mental actions on the material schooling found in the play activities of children. In it, in peculiar ways, the formation of mental processes is carried out: sensory processes, abstractions and generalizations of arbitrary memorization, etc.

The game is not conditioned by special learning skills (attention, discipline, ability to listen); the game is a more active form of work with students. It allows the players to feel like the subjects of the process. The game connects all channels of information perception (both logic, and emotions, and actions), and does not rely on mere memory and reproduction. Finally, the game is a more reliable way to learn knowledge. .

The game motivates the student very effectively, because it is aimed not at the result, but at the process. Even a passive student quickly connects to the game. Everyone loves to play, even those who don't like to learn. The game also activates cognitive activities. The rules of the game themselves determine the disciplinary framework. Players and teams observe them while playing. When building a game, the teacher does not have to worry about popularizing the content of the material, because the game is meaningful as far as everyone can understand it. Games in the lessons allow some to learn the material at the level of substantive actions, others at the level of knowledge, and others at the level of logical conclusions. Evaluation of knowledge and actions of the student in the lesson - required element, but desirable in the game. But the form of evaluation in the game is preferable to the game.

It should be noted that the game form does not always fit into the space of the lesson. Firstly, the algorithm of the game process does not coincide with the algorithm of the lesson. The lesson is based on 4 stages: actualization of acquired knowledge (survey on past material), knowledge transfer (explanation of new material), consolidation (training and homework) and assessment. The game develops in a different way: the organization of the playing space (explaining the rules, organizing teams), game actions(in the course of the game, the necessary knowledge is updated, and the necessary skills are trained, and active cognition), summing up the results (organizing the situation of success) and analyzing the game (theoretical conclusions).

Secondly, the very mechanism of obtaining knowledge is different. At the lesson, students receive theoretical knowledge in order to turn it into their experience, and in the game they gain experience in order to derive theoretical knowledge from it.

Thirdly, the time frame of the lesson clearly corresponds to the settings of the psyche: 5-10 minutes for the organization of sustained attention during the survey, 15-20 minutes of sustained attention for explaining the new and 10-15 minutes of residual attention for training; and the framework of the game corresponds to its internal logic and the time of physiological fatigue. In each game, the intensity of physiological and mental processes is different, and therefore the time of their implementation is different.

The importance of forming the cognitive emancipation of schoolchildren arises in connection with the following rather typical situation. It often turns out that children who are quite quick-witted and even savvy in the usual extracurricular environment (in games, in communicating with each other), suddenly turn out to be slow-witted in an educational and cognitive environment (in the classroom, in practical exercises, when doing homework). With careful psychological diagnosis in such children, as a rule, no other defects in the structure are found. cognitive processes, indicating significant gaps in their development, however, emotional and personal-communicative difficulties are identified that prevent the child from being fully involved in educational and cognitive activities. In many cases, it also turns out that individual, sometimes quite significant gaps in the development of cognitive processes proper are combined with pronounced difficulties of the indicated plan: emotional and personal-communicative blocks seem to stand on cognitive processes. They prevent them from manifesting and developing not only in the classroom, but also in the game training of cognitive processes: such children prefer to remain silent, behave quite passively and often refuse to perform game tasks. In this case, their cognitive enslavement (i.e., constraint in the functioning of their cognitive processes with the relative safety of the operational structure) acts as the main obstacle. Instead, it is necessary to form the opposite quality - cognitive emancipation.

The term "cognitive emancipation" refers to the possibility of free and active functioning of the child's cognitive processes using the maximum of its potential. This requires, firstly, the elimination of the child’s emotional and personal-communicative barriers associated with the implementation of cognitive processes, and, secondly, the acquisition of a full and emotionally safe experience of the functioning of cognitive processes using the maximum of abilities: when the child can freely express various hypotheses, freely look for ways to solve certain cognitive problems and, due to this, receive positive emotional support, communicate with peers and express themselves as a person.

Classes aimed at the formation of cognitive emancipation are best carried out in game form- using simple, everyday, accessible material, on which you can teach children to isolate a problem, analyze the way to solve a problem, look for different approaches to the performance of tasks, to be aware of the reasons for possible failures, to compare their decision with the work of their peers, to state their decision with reason. Then the acquired skills of cognitive looseness are transferred by the child to more complex educational material.

2.5 Syncretism as a dominant feature of modern solfeggio teaching methods

Modern methods of teaching various subjects (with regard to general education and music schools) are characterized by an integrated approach to learning, or syncretism. Syncretism should be understood as the desire to practice and develop several skills at each lesson, and not just one, as well as to combine several types of activities in the classroom.

When teaching solfeggio, a one-time combination of various sections of this course, the use of combined forms of work, for example, the development of musical perception (auditory analysis) and vocal-intonation skills, is effective; determining by ear the steps of the scales of ladotonalities, chants, intervals, chords and consonances of their chains, and then repeating them in a voice with the name of the sounds, performing on a musical instrument in the original key and in transposition; education of musical perception and dictation; a record of what was heard; use of perceived material for composition, etc.

Each lesson should involve all the main sections of solfeggio: auditory analysis, various exercises for the purposes of training (intonation, rhythm, etc.), various singing and creative (performing and composing) forms of work, dictation, work on mastering the basic theoretical provisions.

If the teacher omits at least one of the main sections in the lesson, then there is a stagnation in the development of skills or musical abilities. It should be taken into account that solfeggio lessons in accordance with the curriculum are held in most cases once a week. If one or another section of solfeggio falls out of several lessons in a row, then there may be a danger of losing the acquired skills.

The use of such effective techniques learning, as combined forms of work, transposition, sequencing, performance by heart, etc. intensifies lessons, promotes rapid development students. Teaching techniques, before they begin to work on the development of skills and abilities, also need to be taught systematically. For example, the method of pacing is useful for developing the metro-rhythm and tempo only from the moment when it turns into a free reflex action as a result of methodically systematized training.

The intensification of the modern solfeggio lesson is facilitated by the widespread use of musical instruments (piano, musical instruments specialty, various independent and accompanying orchestral, ensemble and percussion groups), musical equipment (metronome, tuning fork), technical teaching aids (light, sound and combined teaching boards, tape recorders and players - and now also CD players, overhead projectors, filmoscopes , epidiascopes, etc.), visual aids, handouts, in the lower grades - also games.

Even more important at the present stage is the ability of the teacher to make interdisciplinary connections, especially with the specialty. Solfeggio creates the necessary prerequisites for performing and composing creativity, and this requires the development of musical thinking, musicality and creative activity, all aspects of musical hearing, memory, internal auditory representations, as well as the development of the whole range of skills necessary for musical activity, and the deepening of theoretical knowledge . All this should be laid down at the initial stage of training.

3. The specifics of teaching solfeggio in the lower grades of music school

This chapter is devoted to a comparative analysis of a number of aspects of teaching solfeggio at the initial stage based on the textbook "Solfeggio" by A. Baraboshkina for grades 1 and 2 of the music school (, ) and the textbook "We play, compose and sing" for grades 1 and 2 of the music school Zh. Metallidi and A. Pertsovskaya (, ).

Both of these manuals were created by teachers from Leningrad-Petersburg and both are actively used in the learning process.

A. Baraboshkina's manual, the first edition of which was published back in the 1960s, which has already become a classic (teaching on its basis is still going on in a number of children's music schools), is characterized by a traditional approach to teaching this subject, a relatively small amount of theoretical material itself and at the same time very competent and accurate presentation and structuring.

The manual by Zh. Metallidi and A. Pertsovskaya, the first edition of which appeared at the turn of the 1980s-90s, is designed for more than intensive course studying solfeggio, and, in addition, apparently, on children who have some preschool musical training. In addition, its compilers are not so much teachers as composers, which left an imprint on the presentation of educational material and the specifics of the formulation of tasks.

.1 Introduction to the basic elements of the musical language

Duration

In Baraboshkina's textbook, acquaintance with durations begins from the very first lesson. These are the easiest durations to understand and perceive - quarters and eighths. Illustrations depicting these durations are given directly in the text. The perception of durations by students goes through special exercises - the recitation of nursery rhymes (for example, "Lambs-Hard-Horns") with the clapping of rhythm. Students are given to understand that the rhythm is made up of sequences of sounds (or, in this case, syllables) of different lengths - some are shorter, others are longer. Above shorter syllables in the text are eighths, above longer ones - quarters. Such a methodical move is very competent, as it helps students to learn unfamiliar concepts through something familiar (musical durations through the sound of syllables in a poem, which, perhaps, the child is already familiar with from books). However, students do not immediately get acquainted with the grouping of eighths (only to paragraph 12). Half notes (and dotted half notes) are introduced even later, while dotted quarter notes and whole notes are introduced only in the second grade program. The study of durations is closely connected with the study of rhythm and meters.

In the Metallidi textbook in the first grade, quarter, eighth and half are studied within one lesson; soon after that, sixteenth notes are introduced (on which the main emphasis is placed in the 2nd grade program) - so far only as an exercise for playing the piano, because the perception and performance of these durations requires certain technical skills and causes difficulties (including in professional classes). In the second class, durations with dots and whole notes are also introduced. The study of durations also goes from the familiar to the unfamiliar (the perception of durations by the melody of songs familiar to the child), from clapping or tapping the rhythm (which will be discussed in the next paragraph).

Pauses in Baraboshkina's textbook are introduced almost in parallel with durations; in the Metallidi textbook - already when the durations to which these pauses are equal in length are learned. That is, in Baraboshkina's textbook, first there is an acquaintance with eighth and quarter pauses, and only then (when half notes have already been passed) - with half; the whole rest is introduced in the second class in parallel with the whole note. In the Metallidi textbook, a half pause is introduced along with a quarter and an eighth (since the half duration is passed along with a quarter and an eighth); whole and sixteenth - also not earlier than the second class. In Baraboshkina's textbook, acquaintance with pauses goes through the text - musical and poetic (the song "Chatterboxes", imitating a dialogue, where a pause marks a change of remarks). In the Metallidi textbook, pauses are studied in parallel with the lead-in, and it is assumed that by the time the pauses are studied, the student already has conducting skills (in Baraboshkina's textbook, conducting exercises are introduced later); the assimilation of pauses also proceeds through the musical material (but already in isolation from the accompanying poetic text).

Rhythm and time signature

The theme of durations is closely related to the theme of rhythmic pattern and the theme of meter.

At Baraboshkina, the rhythmic pattern is introduced from the 2nd paragraph (the fourth lesson in a row). An example of a change in rhythmic pattern is given in chants consisting of the same sounds, but having a different rhythmic pattern. At the same time, in the examples, the size is not indicated for a long time and the bar line is not put.

In the Metallidi textbook, the bar line is present from the first lessons, because the manual is designed for more prepared children, however, “durations on threads” are preserved in the exercises for a long time - a rhythmic pattern separately written out under the staff.

In both benefits, in accordance with the requirements of the program, only three sizes are introduced (and all 3 are in the first grade): 2/4, 3/4 and 4/4.

The concept of rhythm is introduced through physical exercises: students are first asked to clap to the beat of the melody being played or to show strong and weak beats with a hand movement (concepts that are also introduced quite early).

Notes

Baraboshkina's textbook is designed for children who do not know music; textbook Metallidi - for those who already know the notes. Therefore, in the Metallidi textbook, there are no exercises aimed at teaching how to write notes, although assignments for copying one or another musical example into a notebook are given (which is more likely to be connected not with developing writing skills, but with memory training).

Learning to read and write notes in Baraboshkina's textbook is one of the most important aspects of teaching musical literacy. Note rewriting exercises accompany each lesson; noteworthy is the remark “write notes beautifully, as in a book” - which is connected not only with the desire to teach a student to write notes correctly, but also with the cult of calligraphy that prevailed in the 1960s in elementary school (now irrelevant due to universal computerization; possibly due to the spread music editors among musicians - users personal computers will soon become irrelevant and the call to "write notes beautifully").

Learning to read notes according to Baraboshkina's manual begins gradually, the material is given in small doses (assuming that in young children 6-7 years old who still cannot read or write, mastering musical notation will cause corresponding difficulties associated with the underdevelopment of fine motor skills of the hand etc.).

From the second paragraph of the textbook for the first grade, a staff and a treble clef are introduced (in order to teach children to depict this rather complex symbol, separate exercises are introduced that resemble work in copybook).

The first notes that are passed - saltand Ffirst octave . This is due not only to the fact that the names of these notes are contained in the word solfeggioand therefore they are the easiest to remember, but also with the fact that both notes are in the middle register and are easy to sing for both trebles and altos. The presentation of notes is also connected with the height of children's voices: each learned note must not only be able to write, but also be able to read (that is, sing correctly). In addition, familiarity with the note saltdirectly related to familiarity with the treble clef (sol key): both are written on the same ruler. On the example of notes saltand Fthe student learns that notes can be written both on the rulers and between them.

Immediately after the notes saltand F(or practically along with them) notes are introduced mi, reand la. This number of notes is enough to learn simple melodies-chants, and besides, in their writing, those skills are worked out and consolidated, as in writing notes. saltand F- for example, the principle "on the line or between the lines". For these notes, the stems are still directed upwards, their spelling is more or less uniform. Getting acquainted with this small number of notes, students can subconsciously make a useful observation that is important for further acquaintance with musical literacy: the pitch of a note is related to its position on the staff (the higher the note is, the higher it sounds).

In the fourth part of paragraph 2 of the textbook for the first grade, notes that are more difficult to perceive are introduced. siand beforefirst octave. The difficulty in writing and remembering them is that sithe calm is already looking down, not up, but beforewritten on an additional ruler under the staff.

The bass clef in Baraboshkina's manual is introduced already when students have enough skills in reading music in the treble clef and when the topics of steady sounds and accompaniment begin to be considered in the program. Students are immediately invited to understand that in the bass clef, as a rule, accompaniment notes are written, notes for the left hand.

The concepts of major and minor are introduced in both manuals in the first grade and quite early. The first acquaintance with these modes in both cases is associated with the nature of the music (more energetic - major, more tender and sad - minor). Moreover, Baraboshkina's manual contains quite useful exercises - paired musical examples, consisting of almost the same sounds, but differing in the height of one of the notes (third step) by half a tone. This illustrates the main difference between minor and major.

In both manuals, the concept of harmonic minor is introduced in the second grade (because only by the second grade do students more or less firmly master the concepts of scale, mode, stable and unstable sounds; since in harmonic minor important role is assigned to the unstable seventh step, it is really more expedient to go through it with those who already know about the introductory sounds and are well versed in the steps). But in Metallidi's manual, the harmonic minor is not a separate topic: all minor keys that pass in the second class are given in three types at once (natural, harmonic and melodic minor). Perhaps this is also due to the specifics of the program in the specialty: as a rule, when studying scales in the specialty, the student is required to play exactly three types of minor scales at once.

In connection with the mode, the problem of stable and unstable sounds arises. If in Baraboshkina's manual the very concept of “gamma”, “steps”, “stable and unstable sounds” is introduced only by the end of the first grade, and the concepts of introductory sounds appear only in the second grade, in the Metallidi textbook all this is also given more intensively. Both Baraboshkina and Metallidi introduce the concept of tonic rather early.

In the manual Metallidi, a large role is given to working with stable sounds, in particular, their singing (which prepares the student to comprehend the relationship between stable and unstable sounds, the attraction of one to another, resolution, etc.).

Keys

The concept of tonality in Baraboshkina's textbook is introduced in the first grade after the paragraphs on mode, tonic and accidentals. Through the concept of mode, the concept of tonality is also introduced: “All sounds that get along with the tonic form a tonality.” Thus, the focus is primarily on the auditory associations of students.

The first tonality introduced in Baraboshkina's textbook is G major (in Metallidi's textbook - C major, that is, tonality without signs). In the Metallidi textbook, the keys are introduced as follows: in the first class - C major, D major, G major and F major, in the second - minor parallel to the above (first without signs, then with one, then with two, and first with sharps, then with flats). In the second class, in both manuals (both Baraboshkina and Metallidi), the concept of parallel keys is introduced, but if Baraboshkina’s this is the topic of one paragraph, Metallidi’s keys analyzed in the second class are given in pairs (G major - E minor, F major - D minor, B -flat major - G minor).

With the study of each tonality in the Metallidi manual, the designation of steps, triads, introductory sounds, and singing of stable sounds are associated. The musical material representing each tonality is built on the incidental development of the material covered (which is also typical for Baraboshkina's manual).

Both textbooks involve assignments for the identification of tonality by tonic and key signs.

Triad

In Baraboshkina's textbook for the first grade, preparation for studying the triad begins in the paragraph on the concept of tonality (a task for tuning the ear, where notes arranged by triads are used). At the end of the example chants, notes of the tonic triad of the key in which this or that example is written are given, and the student is recommended to sing them and memorize them.

The concept of a chord turns out to be connected with the triad in Baraboshkina's textbook (although a chord is not necessarily a triad); the chord is demonstrated in the accompaniment of the musical examples given in the paragraph. The concept of “sustainable sounds” turns out to be connected with the triad in Baraboshkina’s textbook.

Neither Baraboshkina's textbook nor Metallidi's textbook gives examples of augmented and diminished triads.

Triad inversions are studied in the third grade, because. it is in the third grade that students get acquainted with the sixth (the interval that forms the extreme sounds when reversing triads). In the same way, not earlier than the third grade, students get acquainted with the triads of other steps. In schools with a five-year education (for adults), subdominant and dominant triads, triads of other scale levels, triad inversions and the connection between the inversions of triads of various levels are given immediately in the first and second grades, and sometimes students are even introduced to the concepts of “plagal phrases”, “ authentic turns”, “triad in tertian position”, “triad in fifth position”, “triad in root position”, usually studied in senior classes in the course of harmony and music theory, or even beyond the program of children's music school. This is explained by the fact that it is easier for adult students than for children to study theory due to the greater training of their intellect.

At the same time, in the Metallidi manual, already in the textbook for grade 1 in the third key that students have to go through (G major), the task is given to select an accompaniment to the proposed melody (exercise 114) from the given chords (constituting the sequence T 5/3 - S 6/4-D 6). By the time this exercise is completed, students are already familiar with stable sounds (I, IV, V steps of the mode), but nothing is said about the connection of these chords with stable sounds. Similar tasks (to select an accompaniment to the melody from the chords of the above sequence) are also given when students further pass the keys (F major, D major, etc.) (tasks 152, 157, 179). Thus, students train harmonic hearing.

Intervals

Both in the Metallidi textbook and in the textbook by Baraboshkina, the study of intervals in accordance with the program falls on the second year of study, but preparation for the study of intervals begins already in the first grade.

In Baraboshkina's manual for the first grade, preparation for singing and perception of intervals begins with paragraph 10 (“A jump for two notes”). Up to this point, the musical material presented in the paragraphs was built on the movement along the scale (ascending and descending) - the very concept of "gamma", however, is introduced in this manual at the end of the first class. However, the chant, which contains the movement along the third, is already contained in paragraph 8, where a melody appears, built on three adjacent sounds (the melody itself is built in such a way that it contains all the material covered by that time - a change in rhythmic pattern, pauses - and a new melodic move is added to this: a jump by a third; at the same time, the concept of "third" has not yet been introduced). The material is the folk song “Family”, which has already become a classic, which, in addition, appears in various manuals - including Metallidi's manual.

In both textbooks, intervals are associated with stable and unstable sounds of the mode. The explanation of two types of thirds through the tonic triads of the major and minor of the same name has already become a classic, fifths - through the distance between the extreme sounds of the triad or through the distance from the tonic to the dominant. The fourth interval is usually introduced not earlier than students learn the concept of subdominant or the fourth degree of the mode. The intervals of the sixth and seventh are studied in older grades due to the connection of the first interval with the inversion of the triad (sixth chord and quartz-sext chord), and the second - with the concept of the seventh chord (which is difficult to perceive and memorize in the lower grades, because it consists of four sounds, while as in the lower grades, students are still able to distinguish by ear only chords of three sounds) and its invocations (the assimilation of which requires a more solid knowledge of intervals from a second to a sixth). The concept of an octave in elementary school students, as a rule, is associated not with an interval, but with a register (first octave, small, etc.); but if, in the study of triads, an extended triad is reported, one has to speak of an octave as an interval.

Non, decima intervals, etc. are studied in high school (although, for example, children learning to play the clarinet receive the concept of the duodecime interval in the course of their specialty classes due to the specifics of switching registers on this instrument).

In Metallidi's manual for the second grade, acquaintance with intervals is very intensive. The authors of the textbook probably believe that if by the second grade students already have experience of playing music in two voices (both in the course of solfeggio and in the course of choir classes), then they are already sufficiently prepared for the perception of intervals. Although the guidelines for the textbook (p. 77 and further) say that it is advisable to first explain the meaning of the word "interval" using examples from ordinary life; intervals are presented by the authors of the manual as "bricks" from which melodies and chords are built. The concepts of "melodic" and "harmonic" intervals are immediately introduced - based on musical examples. In connection with harmonic intervals (when two sounds sound simultaneously), the concepts of "dissonance" and "consonance" are introduced using the example of two pieces, one of which - a lyrical Georgian two-voice song - is built on consonances (sexts and thirds), and the second is a short grotesque piano the modern composer's play "Bulldog Walks on the Pavement" - on dissonances (seconds and tritones). Students are immediately required to develop skills to build intervals from any sound up and down.

Students are shown intervals from prima to octaves. Each of the intervals is illustrated with musical material. The order of studying the intervals is as follows. The first intervals that children get acquainted with are prima and octave (although the octave is quite difficult to sing, it is easily recognized by ear). Then students get acquainted with the second and the fifth - the second is easy to remember due to its specific sound, and the fifth is one of the intervals on which the triad is built. Thirds and fourths are passed after mastering the fifth, and both intervals (third and fourth) are explained through the structure of the triad (third - through the beginning of the triad, fourth - through the fifth and first steps of the extended triad). On the example of a third, the student gets acquainted with the concept of a large and small interval. The Metallidi manual, like the Baraboshkina manual, assumes that the student has already imprinted these intervals in his musical memory thanks to the material covered and, possibly, classes in his specialty.

Musical illustrations for each interval are selected in order to acquaint students not only with the sound of the interval itself, but also with its stylistic and expressive possibilities (what mood of the melody gives the nature of the sound of this or that interval in a harmonic or melodic position).

Baraboshkina's manual for the second grade does not introduce the concepts of "harmonic" and "melodic intervals", and in itself the study of the theory associated with intervals is given a rather modest place. Nevertheless, the musical material of the textbook contains many exercises that gradually prepare the student for the perception and intonation of certain intervals. In the textbook Baraboshkina in the second grade, it is supposed to work only with triad intervals (fifth and third) and a quart.

3.2 Exercises to develop students' basic musical skills

Learning to read from a sheet. Transposition

Preparatory exercises for sight reading and exercises for sight reading occupy a significant place in the solfeggio course, and in both manuals they are given a significant place.

In Baraboshkina's textbook for the first grade, the concept of solfegging, that is, singing with notes, is introduced from the very first lessons (when the student is already familiar with five notes - enough to compose simple melodies). Also, a lot of exercises are given to ensure that students have a fixed connection in the minds of the position of the note on the staff and the height of its sound.

All sight-singing exercises in both manuals are designed for that. so that in the musical material presented in these examples, the theoretical material learned in the lessons (moving along a triad, singing steps, etc.) is worked out and consolidated. Moreover, according to a long tradition, examples for sight singing include folk music different countries(whose melodic moves, however, do not diverge too much from classical principles). Sight-singing material is supposed to be learned by heart, which trains musical memory.

From the very first lessons, in both manuals, the concept of transposition is introduced (it is proposed to sing this or that melody lower or higher, as well as pick it up on the piano from different keys). The task that is given in Baraboshkina’s textbook almost from the very first lessons (selection of melodies from any keys) seems to be useful, thanks to the commentary with which it is provided: “If a white key in one place or another of the melody sounds ugly, try using the nearest black one.” Thus, the student trains his ear (including with the help of self-control) and learns to navigate the piano keyboard, although Baraboshkina's manual does not assume such purposeful piano playing as the Metallidi manual contains.

Music ear training. Musical dictations

In the manual Baraboshkina (both for the first and for the second grades), special attention is paid to tuning the hearing. Each paragraph beginning with paragraph 6 is preceded by a recommendation to "tune your hearing." The tuning of hearing begins from the moment when, along with the movement along the scale, movement along the intervals appears in the exercises. Through the tuning of hearing (that is, memorizing the sound of certain notes), according to the author of the textbook, triads should also be assimilated. Also, through singing and listening exercises in practice, this manual gives, for example, some important features of classical accompaniment (tonic move - dominant - tonic). Two-voice in Baraboshkina's manual is given less space than in Metallidi's manual, but the preparatory exercises for two-voice are fairly well presented. It is possible that Baraboshkina's manual is based on the principle that two-voice will become easier to learn and remember if the student has a good "hearing", that is, the student remembers quite firmly how the notes sound.

Musical dictations are outside the scope of this manual; it is assumed that their choice depends on the preferences of the teacher.

There are also intonation exercises for mastering intervals (singing intervals as a ratio of scale steps, singing intervals from sounds up and down, performing clean, small, large intervals) and triads.

The auditory exercises provided by the Metallidi manual for the second grade also include determining by ear the mode of a particular melody, the type of minor, recognizing a particular rhythmic pattern and interval in sounding musical examples.

Of the dictations in the Metallidi manual, only the rhythmic variety is recommended: it is required to arrange a melody rhythmically recorded on the board with an unmarked rhythm after listening to it. It is also proposed to determine by ear the tetrachords of a particular scale, the sounds of a triad in a different order, etc.

§ 3.3. Game and creative tasks

A. Baraboshkina's manual does not include creative and gaming tasks, since at the time when this manual was first released, due attention was not paid to gaming teaching methods.

In the textbook by J. Metallidi and A. Pertsovskaya, on the contrary, gaming and creative tasks appear as an integral part of the educational process. Through the game and independent creativity, students better learn the basic concepts and rules of the musical language.

So, much attention is paid to the music-making of students, and not only on the piano. Perhaps it was the desire to avoid those psychological difficulties, which lie in wait for a young musician who does not yet know how to play the piano during exercises on the instrument in the classroom, the authors of the textbook dictated the introduction of the textbook into the solfeggio course of playing music in a noise orchestra. Noise instruments (spoons, tambourine, glockenspiel) do not require practically any performing technique and, at the same time, they are equally unfamiliar to students of any specialty (the specialty "percussion instruments" exists in a very limited number of schools). Music playing in a noise orchestra (accompaniment according to the attached score of the piano part conducted by the teacher) helps to develop a sense of rhythm (parts of noise instruments sometimes represent a rather complex rhythm, somewhat different in pattern from the part of the solo instrument), but also develops playing skills in an ensemble (following his part and at the same time listening to partners), which in the future may be useful in the lessons of the specialty at the senior courses (where the program includes ensemble and orchestral music playing).

Also, elements of composing music play a significant role in the educational process (the task is to write an “answer” to the topic proposed by the teacher - “question”, to compose a melody to the proposed verses). When completing these tasks, students can put into practice all the theoretical knowledge (about intervals, the movement of a melody, etc.) that they have acquired in solfeggio classes.

Based on the analysis of the two benefits, the following can be said.

Baraboshkina's manual, which is poorer in material, but more "sparing" in terms of working with students and more carefully presenting the material being studied, can be recommended for use in groups of students with average musical abilities, or students, for some reason (fear of error, physical weakness , fatigue, shyness, or something similar) who cannot cope with the intensive presentation of material that characterizes more modern textbooks.

The allowance Metallidi - Pertsovskaya should be used in groups where children are taught who are stronger or have preschool musical training, as well as children who are not afraid to think creatively and engage in creativity. The program envisaged by this manual - quite intensive - will allow them to work to their full potential and show their creative abilities. The inability to work at full strength in the classroom often leads to the fact that gifted and energetic children lose interest in classes, become lethargic, lazy because it is too easy for them to learn and they do not see the point in paying due attention to such learning; the loss of skills in working with educational material can lead to the fact that such children will no longer be able to work with truly complex material.

Conclusion

Teaching solfeggio in the lower grades of music school is a complex and time-consuming process, which has its own specific features. It is important to realize solfeggio as a fundamental discipline that lays the foundation for the development of musical thinking in students.

When teaching solfeggio, several parameters must be taken into account at once. Firstly, these are the features of child psychology: the degree of development of one or another type of thinking in them, ways of cognition and features of perception of the world. Secondly, the actual musical abilities of children in a particular group. Finally, thirdly, the degree of readiness of children to study a particular topic (the presence or absence of certain skills and abilities).

All the subjects included in the music school course are connected with solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, on the other hand, it relies on these disciplines.

Psychophysiological age characteristics of younger students are a source of difficulties in teaching solfeggio. Therefore, the task of the teacher is to optimize the learning process based on this psychophysiological specificity.

In a solfeggio lesson (as in a foreign or native language lesson), all types of activities should be involved: listening, singing, writing exercises, sight reading, working with an instrument. The skills in teaching solfeggio are best practiced with a syncretic approach: the development of musical ear (the main subject of solfeggio classes) is trained through the work of not only the hearing organs, but also other organs - the vocal cords (which is facilitated by intonational exercises), fine motor skills of the hand (written exercises, working with an instrument), other muscles (tasks for timing, determining the rhythm, which in the lower grades may also look like something like plastic sketches). Of no small importance in teaching solfeggio is the development of musical memory.

For a 6-8-year-old child entering a music school, much in the program of the solfeggio course is difficult due to the underdevelopment of his abstract thinking, insufficient development of musical ear. Of course, only children with an ear for music are enrolled in children's musical schools, but they have this ability, for rare exception, in a practically undeveloped state - there is no modal feeling, harmonic hearing, there are often difficulties with the perception of the metro rhythm, children do not always know how to intonate correctly (due to the underdevelopment of the vocal cords). Finally, when teaching musical literacy, children face the same problem as when learning to read and write in general education school: difficulties in associating a visual and auditory image in a musical text. Moreover, the difficulties here are even greater than when teaching reading: if when reading a particular letter we are not interested in its height and duration, then when reading notes, both of these parameters must be taken into account. In addition, children with relative pitch(of which the vast majority in a music school) it is difficult to reproduce notes accurately without first tuning your hearing and voice. In the textbooks we analyzed in Chapter 3, tasks are given to tune the ear and voice, to develop the basic skills that should be developed when sight-singing in the lower grades of the music school, the ability to distinguish in the musical text different kinds melodic moves (by scale, by triad, by intervals), determine stable and unstable sounds and tonality (by signs at the key and tonic), navigate in a rhythmic pattern and be able to pulsate for certain durations when performing a text in a specified size.

Required skills are best developed in younger students with a syncretic approach (when several skills are developed simultaneously and in close relationship). At the same time, the game moment is important, since young children are not yet ready for "academic" teaching methods, and at the same time, it is easier for them to learn using syncretic methods than adults, since their speech activity is more closely associated with bodily plasticity than in adults. and gesture. And as mentioned earlier, teaching solfeggio has much in common with teaching types of speech activity.

Useful when teaching solfeggio to younger students are game and creative tasks, because they correspond to the principle of syncretism (all types of activities are involved in the game) and help the child develop the skills he needs as a future artist-performer - creativity, imaginative thinking, the ability to penetrate the character musical text and depict a particular character or mood in music.

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The subject of solfeggio in music school is one of the most difficult subjects. Many students frankly do not like this subject. The report presents interesting methodological techniques and findings from personal experience, allowing each student to learn interest, success and love for solfeggio during solfeggio lessons.

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Department of Education of the Office of Social Affairs

Administration of the municipality

Dzerzhinsky City District

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
"CHILDREN'S MUSIC SCHOOL"

Methodological report on the topic: teaching solfeggio in children's music school

"Solfeggio, or love from the first notes"

Prepared

teacher of theoretical disciplines

Demchinskaya Lilia Vladimirovna

Dzerzhinsky 2012

1. Solfeggio subject

1. Teacher in the musical educational process

1. Basic requirements for a solfeggio lesson

1. From personal experience about some methodological findings and techniques

1. Types of control of educational work

1. Conclusion

1. SOLFEGIO SUBJECT

Solfeggio - an obligatory discipline of the curriculum of the children's music school, which lays the foundations of musical and theoretical knowledge, consolidated by students in various types of practical activities. This subject is aimed at developing the musical and general abilities of children.

Ear for music develops in solfeggio lessons during the educational process through special exercises. A developed ear makes it possible to perceive and realize music, to experience it.

Internal musical-auditory representations are the most important property of the musical ear. No musician can do without them. In solfeggio lessons, in addition to highly specialized musical skills,creativitymanifested in ingenuity, resourcefulness, ingenuity. Creative thinking is necessary for every person, no matter who he becomes in the future. Instilled desires and the ability to desire and create will affect any area of ​​the future activities of children when they become adults.

A harmonious combination of instrument lessons with solfeggio lessons becomes the basis of musical education, which contributes to the development of the qualities of a real musician. Together with the specialty, solfeggio forms the student's ability to independently work on a piece of music, actively control this process at all its stages, and achieve artistic, expressive and meaningful performance.

Solfeggio is a discipline that is universal in its significance; its importance is also great for classes in other musical disciplines. ON THE. Rimsky-Korsakov considered solfeggio to be a powerful means of developing musicality. He called solfeggio "ear gymnastics". And in fact, during solfeggio lessons, the activity of musical ear greatly increases.

2. TEACHER

IN THE MUSICAL AND EDUCATIONAL PROCESS

In any educational activity, the decisive factor ispersonality of the teacher, his personality. First of all, he must be a good musician, fair, creative and moderately demanding person. He must know the basics of psychology and the features of child psychology. And of course love children!

A huge role in successful teaching work is played by his ability to establish contact with children, find a common language with them, win them over, win their trust and make them want to work. This skill is based on respect for the personality of the child. All children are talented in their own way! And it is important to understand and take into account in the work that children have different speed of perception of information and readiness for activity.

A complex set of knowledge and skills, defined by the solfeggio program, requires the teacher to have high pedagogical skills, great creative initiative, love for his work, patience, perseverance, pedagogical tact, deep knowledge of child psychology, skillful use of technical means in the learning process.

An important role is also played by the correct planning of the educational material as a whole, as well as the careful preparation of the teacher for each lesson. A creatively thoughtful teacher is constantly looking for new ways, experimenting, and improving the methodology of his work.

3. BASIC REQUIREMENTS FOR THE LESSON

Solfeggio lesson, having complex structure, is a single complex in which various types of activities are rationally intertwined and combined: singing from notes with purity of intonation, analysis and recording of heard music, theoretical information, listening musical works and chanting by students at the beginning of each lesson. The latter help the teacher to expand the internal musical and auditory representations of children, vocally preparing them, tuning intonation for the upcoming work.

In the process of singing from notes, there is a close interaction between intonation and musical ear. Being the fundamental principle of singing intonation, musical ear itself is actively improved under the influence of pure singing. Therefore, instilling in studentsclean intonation while singing- one of the most important tasks of the subject of solfeggio. The main reasons for the delay and difficulties of students in intonation are the weakness of their internal musical and auditory representations, the inability to operate with them, and, finally, the unpreparedness of the vocal apparatus. It is necessary to pay attention, especially at the initial stage of training, to the development of correct singing skills: breathing, sound production, phrasing, landing when singing, a conscious attitude to the musical text.

In solfeggio lessons, it is very important to teach children to sing correctly from a sheet, that is, to mentally, visually anticipate what is being sung at the moment. Therefore, sight reading must be done regularly and systematically.

Auditory analysis, reproduction and recording of heard musical material are the dominant section of work in solfeggio lessons. Moreover, these abilities are developed by previous memory training by singing after listening.

In this part of the solfeggio classes, recording a musical dictation is the most difficult form of work on the development of hearing and memory. If the visual factor helps when singing from notes, then the dictation is perceived only by ear. This explains the complexity of recording a melody. In dictation, as it were, all the knowledge, skills and auditory skills of students are summarized. It is the best form of education of internal musical and auditory representations, which requires careful preliminary preparation.

From a huge number of dictations, I try to choose such samples that organically combine the studied elements of musical speech and, at the same time, replenish children's knowledge in the field of musical literature.

Solfeggio lessons should bring satisfaction to both children and the teacher. They should arouse interest and vivid emotional impressions and, most importantly, be saturated with music.

It is very important to take into account in the educational process how correctly the educational material is selected not only from the point of view of didactics, but also from the point of view of its impact on the emotional sphere of children. If the educational material is presented by the teacher in an interesting form, if it affects not only the mind, but also the feelings of the students, assimilation will be easy, and knowledge will be more solid.

Being engaged in musical education and training of children, the teacher-theorist must also remember about the formation of personality. All educational material being passed must correspond to the general development and interests of students, be accessible to their perception, and have a wide educational value. Be deep in content. And not narrowly limited only by the tasks of developing individual professional skills. The success of education largely depends on the consistency of the requirements of the teacher with the ability of children to accept these requirements, on the enthusiasm awakened in them and on the need for learning that they correctly understand, so that students learn with enthusiasm and enjoy the learning process itself.

4. FROM PERSONAL EXPERIENCE ABOUT SOME METHODOLOGICAL FINDINGS AND TECHNIQUES

These methodological discoveries are actually very simple, but it is precisely the availability of formulations of theoretical concepts that make their perception and assimilation as easy as possible.

Lad. Key.

In elementary grades, I define the concept of mode - this is when sounds get along with each other, are friends. And be sure to invite the children to listen and determine “are the sounds friendly or not friendly?” I perform C major, for example, and then the wrong key with the inclusion of "alien" sounds. And then you can already talk about the mood of the major, minor. After everyone has decided on the major and minor scales, we talk about sounds. What is their difference? Of course on top! And now everything is very simple: all the information about the tonality is on the surface. And in the end, the children themselves find it. What is C major? This is a major scale from the sound "Do". Here is the definition of tone.

Note period, rhythmic pattern.

In elementary grades, I use colored magnets in class to represent notes. They are perfectly located on the stave of the magnetic board. Young children are happy to set notes, gaining their first experiences in rhythmic and melodic dictation. Calm and flags are added with chalk. This method brings variety to the course of the lesson and each child strives to show his skills and knowledge to the board. You can also use smiley face magnets to set tones and midtones. The topic of tones and semitones will now be discussed.

Tone, semitone. intervals. "Ruler of semitones and intervals"

The topic of "tones" and semitones in the lower grades is very important. And here it is important not so much to explain these concepts as to make them feel. Here you can apply a fairy tale about tone and semitone, which children can, for example, compose, use the singing of chants in sequences on intonations of tone: “I am a whole tone, sing with me”, semitones: “he is sad semitone”, you can suggest children to make drawings of a cheerful Tone and an always sad Semitone (at least in the form of emoticons that are well known to them). Further, this topic is actively working in the "Intervals" topic. And if someone learned uncertainly, problems will definitely begin. There is also a question about tones and semitones in intervals. How to explain the qualitative value to children? Some of the teachers explain only in semitones. How to say correctly: “there are two and a half tones in a perfect fourth” or “five semitones”. And so right, and so. This is not an error. There are different quantity designations in the tutorials. But I think it's more logical to see the whole and then the details. Therefore, I do not ignore the concept of TON. But in practice, we communicate with different students (transition from one teacher to another, transfer from another school, etc.), and there are guys who were initially taught to think only in semitones, but this system is far from being firmly mastered, and relearning to tones and semitones are already difficult for them (I’m always interested in how it will be easier and faster for them to complete the task, according to which system?) And now, faced with a problem already in middle and high school on the topic of tones, semitones and intervals, I developed a methodological guide for students - “ A ruler of semitones and intervals. This manual is intended only for those children who are used to thinking in halftone categories.

0 1 2 3 4 5 6 7 8 9 10 11 12

ch.1 m.2 b.2 m.3 b.3 ch.4 newts ch.5 m.6 b.6 m.7 b.7 ch.8

In high school, highlighting the number 6, I talk about newts and everything connected with them:since the beginning of the 18th century, these intervals have been called "the devil in music" (lat. diabolus in musica ) or "devilish interval". In the Middle Ages and up to the Baroque era, inclusive, the tritone was banned in musical compositions.

This manual helps many students to quickly recall the qualitative value and build any interval. Starting with the fifth and above, I still recommend using the theme of "inverting intervals" for the speed of solving problems by intervals.

Dominant seventh chord and its appeal

When explaining this topic, some students find it difficult to remember the names of addresses. On the one hand, it would seem, what is so difficult? Invocations include the intervals that give the name to these chords. But there are such guys in practice who find it difficult to remember the order of appeals with their names, they change their places. In such cases, I resort to a simple illustrative example. At the same time, I do not explain anything, but I invite them to SEE everything on their own. On the board I write the letter designation of the chord and three appeals (without numbers).

D D D D

Then I emphasize “watch my recording carefully” and start putting the numbers in turn in each chord.

D7 D6/5 D4/3 D2

And the children enthusiastically mark their order from 7 to 2. "It's so easy!" Now it remains to name the intervals by numbers and there is no more problem.

auditory analysis

This form of work in the classroom in many students causes a feeling of rejection. Why? Because it doesn't work. Don't like what doesn't work. In working on auditory analysis, I developed my own system based on the motivation for success. After determining the intervals in writing- I name the correct answers, the students themselves mark the mistakes and give themselves grades. In the next lesson, we compare the result. And when the result improves - the children already have a motivated interest in auditory analysis, the result improves markedly. And they are looking forward to this task in the lesson. As a result, this form of work becomes the most beloved. The development of auditory skills is activated. Increased motivation for listening.

Solfegging and intonation work.

It is very important to teach children to consciously navigate in musical examples. In intonation exercises, it is useful to use a vertical ruler of steps. Usually I invite an “assistant” to the instrument so that the student plays the tonic or the necessary tonality degree. Students are invited to sing the steps of the mode that I show on the board. For this exercise, I'm using a fabricated step plate.

After such preparation, you can proceed to reading from a sheet, but with the obligatory preliminary analysis text for better results.
In relation to the children's voice, I observe a sparing regime - quietly and low, i.e. avoid high tessitura and wide range in melodies that require great flexibility of the voice and real vocal abilities, skills and abilities.

To make analytical work more successful and efficient, I require students to do it while self-studying at home. Plus, this is the definition of individual sounds in different registers of a given key and intervals, playing them on an instrument without looking at the keyboard. It is also useful to sing intervals and chords up and down from a given sound, checking them on the instrument and making sure they are correct.

CONTROL OVER THE EDUCATIONAL WORK OF STUDENTS

Solfeggio lessons, like any other subjects, need such an organization so that the teacher can monitor the progress of his students at each stage of work, i.e. taking into account knowledge, skills, abilities should be included in all parts of the educational process.

The main thing is to systematically identify the level of musical thinking of students and evaluate it accordingly. Knowledge accounting aims not only to establish what exactly is not mastered enough. But also find the reason for this. In order to eliminate shortcomings in the skills of solfegging, singing from sheet music, musical notation and listening to music in future work.

You can check and evaluate students' knowledge in solfeggio lessons in a variety of forms: both in current work and in summing up at the end of a quarter, half year or year. It is important to check and evaluate knowledge in such a way that the whole group actively works during an individual survey. Systematic survey encourages students to work regularly.

It is extremely important that the mark not only shows the level of preparedness of the student, but also contributes to his further musical growth. I always try to connect questions on theory with music.

CONCLUSION

In conclusion, I want to emphasize that solfeggio in musical education and upbringing occupies a dominant position among all other disciplines of the musical cycle. Hearing abilities, developed as a result of complex long-term training, allow not only to hear, reproduce with your voice the music you like, but also to understand it, penetrating into its sacred secrets. And in order for every child to be interested in solfeggio lessons, a very important condition is necessary: ​​regardless of his abilities, believe in his success and love his profession. Because only the success of the child motivates his activity.And it is important to give the opportunity to feel success in every lesson. And then every child with great pleasure and hope will wait for a new lesson and a new meeting with their favorite teacher.

“If a child is deprived of faith in himself, it is difficult to hope for his “bright future”(A.S. Belkin).

LITERATURE

1. Alekseeva L.N. How to educate a professional ear for music in young musicians // Education of a musical ear. Issue. 4th. - M., 1999.

2. Davydova E.V. Methods of teaching solfeggio. - M .: Music, 1975.

3. N.F. Tikhomirova. Basic teaching methodssolfeggio in music schools.

http://www.rusnauka.com

V "International Scientific and Practical Internet Conference"

"The latest scientific achievements - 2009"

4. Internet resources:

http://skryabincol.ru/index.php?option=com

http:// umoc.3dn.ru/news/opyt_prepodavanija..

Name:

METHODOLOGICAL REPORT

The system of exercises for the development of internal musical ear in solfeggio classes

(downloads: 267)

Name:

Methodical development

"Preparing students with learning problems for the final exams in solfeggio in the 5th grade (5-year education) DSHI"

(downloads: 152)

Name:

Methodical development

"Didactic materials for the final exams in solfeggio at the Children's School of Art"

(downloads: 140)

Name:

Methodological report:

"Intonation hearing, the basics of pitch intonation and methods for eliminating falseness in non-intoning students"

(downloads: 257)

Name:

Methodological report:

"Clavier - piano schools in the history of musical pedagogy"

(downloads: 335)

Name:

Methodological report on the topic: "The main performing and pedagogical problems in the work on the plays of P. I. Tchaikovsky

from =Children's Album="

(downloads: 386)

Name:
EDUCATIONAL PROJECT
Formation of skills of emotional and volitional regulation
students of children's art schools
Geraskina A.A.
annotation
Presented pedagogical project the idea of ​​forming and developing the skills of emotional and volitional regulation among students of instrumental classes of children's art schools, which are a necessary condition for success, was laid public speaking and creative self-realization of each child.
The practical significance of the project meets the objectives modern education- bringing up a harmonious personality, improving the quality of education, realizing the creative potential of the child. The project is also aimed at solving the problems facing institutions additional education: identification of gifted children, creation of a creative educational environment that brings aesthetic pleasure and joy, the formation of a general culture of the individual, successful adaptation in society.
(downloads: 308)

Name:
"Features of aesthetic education of students"
Kuzmenko Yu.N.
Content:
1. Features of aesthetic education of younger students
2. Development of interest in music in children in the family
2.1. Musical education children in the family
2.2. Interaction between a teacher-musician and a family
2.3. Methods of work of a teacher-musician with parents on the aesthetic education of younger students
4. References
(downloads: 461)

Name:
Work on polyphony in the solfeggio course at the Children's Art School
N. P. Belyankina
Content:
1. Problems of developing the skill of polyphonic singing in domestic musical pedagogy………….4
2. Features of the development of the skill of polyphonic singing………………………………………………………………………. ...............................nine
3. Practical methods of working on polyphonic singing at solfeggio lessons…………………..……..15
4. Polyphonic exercises………………………………………........................... ...........................................…..20
5. List of references……………………………………………………........... ................................................................… ..20
(downloads: 234)

Name:
Development creativity child through psychophysical exercises
Glukhikh Lyubov Anatolyevna
Content:
I. Introduction.
II. Development of creative freedom of children.
1. Mechanisms of the emergence of fear of public speaking.
2. System of creative tasks.
Relaxation and confidence exercises.
Psychophysical training for the removal of emotional enslavement.
III. Conclusion.
VI. Bibliographic list.
(downloads: 533)

Name:
project "Sing to you, Fatherland"
Project Information Card
Organization: Municipal Autonomous educational institution culture of additional education of the municipality of the city of Nyagan "Children's School of Arts"
The address: 628181 KhMAO-Yugra, Nyagan, microdistrict 1, 12
Prosvirnina Marina Vladimirovna teacher of theoretical disciplines
View, project type: short term creative
Project participants: DShI students, parents, teachers
Target: continue the formation of civic-patriotic feelings in children, fostering love for the Motherland, interest in its heroic past, developing a sense of pride in the feat of one's people in the Great Patriotic War in a large historical period of time, respect for veterans, expanding children's ideas about human feelings and their expression in music, painting, literature.
(downloads: 97)

Name
"A cycle of lectures Many-sided guitar"

Explanatory note
The guitar is one of the most popular instruments in today's world. It sounds both in the yards, around tourist fires, and in famous concert halls. This wonderful instrument has a rich history stretching back centuries, has an extensive and varied repertoire, has its bright composers, worthy performers and devoted listeners.
The past 20th century witnessed the revival and true flowering of the art of playing the classical guitar. The doors of prestigious concert halls, she found her place in the chamber and symphonic works of the world's largest composers, in many countries there appeared outstanding performers - guitarists and highly professional performing schools. In various parts of the world, entire communities of guitarists, amateurs and listeners have formed - fans of this instrument.
It is gratifying that in our city the guitar is gaining more and more educational space. Every year, the largest flow of children entering the music school chooses the guitar. expanded and Teaching Staff guitarists.
In this regard, in order to maintain the popularity of the guitar, qualitatively improve the performance level of students, enrich their musical horizons, in teaching, one has to use many new and necessary forms and methods of teaching, introducing new performing techniques, expanding the repertoire base, both classical and modern. . A musician-teacher must understand how greatly the results of his work depend on the depth of his mastery of knowledge of the methodology, theory and history of performance.
(downloads: 161)

Name
Report "Improving the scale and passage technique of the guitarist"
Yakimova Ludmila Alexandrovna
Scales have always been one of the most important instruments technical development musician-performer of any specialty. The technique of playing a guitarist is no exception.
Why are they played? Most often, the answer sounds like this: to develop fluency and the technique of playing scale passages. If we talk about the first, it is no longer a secret to anyone that fluency is a natural gift that can be developed with its help, and it is unlikely that it will be possible to significantly increase the speed of finger movement if this is not given by nature ....
(downloads: 233)

Name
Methodological report on the topic: "Development and improvement of musical memory and inner hearing in the solfeggio lesson"
Nikitina L. B.
Content:
1. PROPERTIES OF MUSICAL HEARING……………………………….. 1
1.1 Musical ear and inner ear…………………..……………2
1.2 Individual features of musical ear…………………3
1.3 Content and forms of inner hearing………………………. ……4
5
2. METHODS AND TECHNIQUES FOR THE DEVELOPMENT OF MUSICAL MEMORY.
2.1 Improving the process of memorizing audible music……..8
10
2.3 Improving the development of musical memory capacity…………..11
3. METHODS AND TECHNIQUES FOR THE DEVELOPMENT OF INTERNAL MELODIC EAR………………………………………………………..
3.1 Development of mental intonation ability ……………...12
3.2 Development of inner hearing…… …………………………………….14
3.3 The development of "prehearing"………………………………………….16
3.4 Development of elementary creative skills……………………..20
CONCLUSION………………………………………………………….22
REFERENCES………………………………………………23
(downloads: 352)

Name
REPORT on the topic "FORMING THE BASIS OF MUSICAL THINKING AT SOLFEGIO LESSONS"
Nikitina L. B.
(downloads: 292)

Name
Methodical report on the topic: "Creative solfeggio"
Nikitina L. B.
Content:
1. Introduction…………………………………………………………………….2
2. Cheerful rhythm………………………………………………………………….4
3. Role-playing games and semantic scores based on poems…6
4. Piano at the solfeggio lesson…………………………………………………………………………………………………………………………………………………………………………………………
5. Musical rhetoric in the solfeggio lesson………………………….10
6. References………………………………………………………..13
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Name
Methodological report on the topic: "The use of video tools in the lesson of musical literature."
Nikitina L. B.
(downloads: 294)

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Methodological report on the topic: “ Musical art as a means patriotic education students."
Nikitina L. B.
Content:
1. Introduction…………………………………………………………………….3
2. Theoretical aspects of the patriotic education of students by means of musical art…………………………………….3
3. Methods of patriotic education of students by means of musical art…………………………………………………….8
4. Conclusion ………………………………………………………………… 11
5. References…………………………………………………………12
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Name
INFLUENCE OF THE MEDIATOR ON THE QUALITY OF SOUND RECOVERY.
Khabutdinova I.V.
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Name
Methodological report on the topic: "Peculiarities of aesthetic education of students"
Konovalova Yu.N.
(downloads: 418)

Page 6 of 15

Methodical work on solfeggio on the topic: "Innovative forms in solfeggio lessons

in elementary grades” (teacher Pitanova I.A.)

Innovations in music education are a natural and necessary condition for its development in accordance with the constantly changing needs of students in music schools, children's art schools, children's art schools. Contributing, on the one hand, to the preservation of essential values, on the other hand, they lay the foundations for transformations. The educational process in the modern world is based on a combination of basic and variable principles of learning, which is methodological basis high-quality preparation of students in children's music schools, children's art schools, children's art schools. In connection with the development of FGT, it became necessary to create and implement original curricula, varieties of lessons, including tests and tests, which will be assumed new program pre-professional education.

The movement towards improving the traditional methodology stimulates the creative initiative of the teacher, contributes to the creation of new algorithms for teaching knowledge. Today, a teacher is effectively acting: mobile, capable of creative growth and professional improvement, of perceiving and creating innovations, and thereby updating their knowledge, enriching pedagogical theory and practice.

The modern model of the innovation school is focused on the task of implementing individual program personal development, the formation cognitive motivation students and their creativity. The search for new techniques and methods of teaching contributes to the solution of this problem. As a result, an innovative teacher should strive to unleash the creative potential of students, for whom the musical discipline "solfeggio" will become a "territory of development" of talents and creative abilities. The content of solfeggio lessons involves reliance on the application traditional forms work using entertaining, game tasks.

I have developed varieties of solfeggio lessons for students in grades 1, 2, 3. The implementation of such classes will increase interest in the subject of "solfeggio", activate the activity of students in the classroom, provide an opportunity to summarize the material covered, consolidate the acquired skills.

Types of lessons:

1. lesson - competition,

2. lesson - quiz,

3. lesson - the game "Clever and clever."

The lesson is competition.

This is a normal lesson, but all forms of work in the lesson are done by two teams. Each team selects a commander who appoints or proposes a participant in the proposed tasks.

Competition tasks - theoretical, practical, intonational, auditory, including musical dictation, solfegging by notes and by heart.

In such a lesson, students are very active, emotional, try to show more positive answers, earn high scores. Each form of work is like a new relay race, it is estimated at 5 points and multi-colored magnets are hung on the board instead of numbers:

Red - 5 points,

Blue - 4 points,

Green - 3 points.

It is desirable to conduct such lessons 1-2 times in a quarter. 1-2 main topics of the quarter are selected and practiced in such a competition.

The lesson is a quiz.

A quiz lesson is held at the end of the term as a way to test theoretical knowledge and listening skills.

In grade 1 - in 2, 3 quarters, in grades 2, 3 - in 1 and 3 quarters.

Crossword options:

1. Organization of sounds around the tonic.

2. Combination of 3 sounds.

3. Sound range from tonic to its repetition.

4. Fret height.

5.Distance via key.

6. Combination of 2 sounds.

7. Cheerful mood.

8. The sign of the increase in sound.

9. Alternation of strong and weak beats.

10. Stop in music.

For grade 1 (II quarter)

1. Note on the second line.

2. Stop in music.

3. The name of the steps.

4. The sign of the cancellation of sharp and flat.

5.The closest distance between the keys.

6. Sound range from tonic to its repetition.

7. Sad mood.

8.Counting beats.

9.Share with an accent.

10. Key fa.

For grade 2 (III quarter)

1. Combination of 3, 4, 5 sounds.

2. Sad mood.

3. Keys with the same signs.

4.Counting beats.

5. Share without an accent.

6. Incomplete cycle.

7. Interval with a distance of 2 steps.

8. Sign of lowering the sound.

9. Organization of sounds around the tonic.

10. Keys with the same tonic.

For grade 3 (I quarter)

1. Steps I, IV, V.

2. Keys with the same signs.

3. An interval that sounds softer.

4. The sign of the increase in sound.

5. Stop in music.

6. Interval with a distance of 5 steps.

7. Triad of the 5th degree.

8. Fret height.

9. The distance between the keys through one.

10. View of a minor with an increase of 2 steps.

auditory quiz

From the proposed list, 8 numbers are determined by ear with writing out the heard elements of the musical language.

Options for grade 3:

	major scale,
	Minor scale harmonic view,
	b2, B53, ch4, m3, ch8, M53,
	I, III, V steps.

Lesson - the game "Clever and clever."

The game must be played at the end school year at the final lesson.

For students of grades 1 and 2, the game is played in a simplified form with a preliminary draw. Each student draws a card with the number of his performance, and then teams of 3 people are determined, the students themselves choose their tracks, in the number of steps they are the same - 3 steps.

In 1st gradestudents consolidate theoretical knowledge and auditory skills in solfeggio and listening to music. After the participation of all players, the winners are selected from each team, the winners compete in the final, then the main finalist plays in a blitz game.

Definitions of terms.

The final

Blitz game

At the end of the game, the winners of the blitz game and the winners of the final are named, and the orders "Clever and smart" are issued.

In 2nd gradenot only theoretical knowledge and auditory skills are consolidated, but also practical skills on the main theme of the year - “intervals”.

Final (winner, winners play on)

Blitz game (game of winners-finalists)

At the end of the game, the winners of the blitz game and the winners of the finals are named, and they are awarded the orders of "Clever and clever".

In the 3rd grade, the game "Clever and clever" helps to consolidate the theoretical knowledge, practical and auditory skills acquired over 3 years of study according to program requirements.

I. The game begins with the introduction of the jury and the host of the competition.

II. Introductory speech of the leader about the rules of the game. At the beginning of the game, a qualifying round of players and fans is held. 2 written assignments are given:

1. definition by ear of intervals - 4 pcs. (playing 2-3 times) - is estimated at 4 points;

2. Correction of 4 mistakes in the melodic dictation (8 bars) - evaluated - 4 points.

3. Total score - 8.

To participate in the game, students must score from 4-8 points. The rest of the students become fans. Fans can take part in the event that the player does not know the answer to the question; for the correct answer receives an order. Which of the fans gains 3 orders during the game, he can participate in the final.

After the game, the fans also answer the remaining questions, and the winners are marked. According to the highest number of points, players are divided into teams of 3 people and occupy their lane:

"red" - 2 steps - the fastest, without the right to make a mistake;

"yellow" - 3 steps, with one mistake;

"green" - 4 steps - the longest, 2 wrong answers are allowed.

Whoever completes the lane first is the winner and advances to the final; the winner of the final takes part in the blitz game.

III. The player with the most points starts the game first. Each student of the game takes his own track, chooses one of the positions on the poster:

Lad. Key.

intervals.

Chords.

Metrorhythm.

Then he answers the question on the position, answering correctly takes 1 step. For the participant of the "red carpet" who made a mistake, it is proposed to play all-in (that is, we forget the wrong answer and wait for the right one - think aside for 2 minutes). Having answered the given question correctly, the player of the "red carpet" moves 1 step forward.

The questions of each position follow from simple to complex, including not only theoretical material, but also practical and auditory tasks.

Questions aboutIpositions - Lad. Key.

1. What is called fret.

2. A kind of mode.

3. Definition of gamma.

4. The structure of the major scale.

5. Sing the scale in D major.

6. Comparative analysis - minor scale, melodic form.

7. Definition of tonic, in a musical number, name the signs and tonic.

8. Comparative analysis - minor scale, natural look.

9. Sing the G minor scale, natural look.

10. The structure of the minor scale.

The final

1. Keys of the same name.

2. In a musical number, determine the key, name a parallel one.

3. Variable mode.

4. Sing the scale in C minor, harmonic view.

Blitz game

1. Parallel keys.

2. Name the key of F # minor parallel and of the same name.

3. Transposition.

Questions for fansIpositions:

Tone, semitone, #, stable, unstable, introductory steps, main steps, types of minor, parallel sharp keys and flat keys of the same name to C, D, F, G major.

QuestionsIIpositions - Intervals.

1. Definition of an interval.

2. List intervals.

3. Determine by ear - b4-b3.

4. Interval "fifth".

5. Determine by ear - m2-h1.

6. Build from the sound "re" - m3.

7. Interval "octave".

8. Find jumps in the melody and name the intervals.

9. Determine by ear - b6-ch5.

10. Build from the sound "salt" - h4.

The final

1. Septim interval.

2. Interval inversion.

3. Interval "sixth".

4. Build from the sound "mi" - b2 and its appeal.

Blitz game

1. Definition of dissonance, examples.

2. Find consonances in the interval chain, explain their meaning.

3. Reverse the proposed intervals, sign them.

Questions for fansIIpositions:

Pure intervals, their circulation; large intervals, their circulation; small intervals, their inversions. Decipher the intervals: b2, m3, h5, m7, h8, h4, m6.

Questions for playersIIIPositions - Chords.

1. Chord (definition).

2. Triad (structure).

3. Tonic triad in frets.

4. Build T53 in C, D major.

5. In the melody, find movement along the trident.

6. M53 from sound.

7. Determine by ear - B53, name the structure.

8. Build t 53 in E and B minor.

9. Determine by ear - SW53, name the structure.

10. Build B53 from the sound "la".

The final

1. The main triads of the mode.

2. mind53 from sound - structure.

3. Inversions T53 (t53).

4. Construct the T53 inversions in E major.

Blitz game

1. Determine by ear the main triads of the mode, build them in C major.

2. Build 4 triads from the sound - B53, M53, uv 53, um53.

3. Build the main triads of the mode in a moll.

Questions for fansIIIpositions:

Triad, decipher T53, S53, D53, T64, t6; uv 53, mind 53, building D53 in harmonic minor (reminder).

Questions for playersIVpositions - Metrorhythm.

1. Definition of a meter.

2. Determine the meter in the melody.

3. Sizing.

4. Conducting schemes of simple dimensions.

5. Determine the type of grouping.

6. Name the pauses in the melody.

7. Conducting scheme of complex size.

8. Name the duration in the melody.

9. Sing the A major scale in rhythm

10. Record the rhythmic pattern of the melody (2 measures - ¾).

2. Sing the F# minor scale in rhythm:

3. Record the rhythmic pattern of the melody (2 measures - 4/4).

Blitz game

1. Group in 4/4 time (4 measures).

3. Correct rhythmic errors in 4/4.

Questions for IV position fans:

Pause, duration of notes, calm, spelling of calms - correct mistakes, start-up, strong beat, measure, tempo, meter.

At the end of the game, "Clever and Clever Girls" names the winners, awards them with prizes, and the best ones are noted among the fans - by the number of orders received.

References:

1. Methodological article by O.S.Shlykova, teacher of the Tambov College of Arts, OGOUSPO “Innovative forms of work as a means of optimizing and intensifying the educational process within the framework of the discipline “Solfeggio” (Internet),

2. Method. Elementary Music Theory.

3. Yu. Vyazemsky. Transfer "Clever and clever". (Internet).