Methodological development in music on the topic: The development of harmonic hearing in solfeggio lessons in the senior classes of the Children's School of Art. Methodological development on the topic "education of music skills in solfeggio lessons in children's and children's schools

MBOU DO "Children's School of Arts in Lgov"

Methodical development on solfeggio on the topic:

"Teaching the skills of selecting accompaniment in solfeggio lessons in grade 1"

Teacher of theoretical disciplines Chuprinina E.A.

2016

In recent years, in textbooks and programs on solfeggio, along with the traditional sections of the curriculum (solfegging, development of vocal and intonation skills, education of the metrorhythm, musical dictation, theoretical information) great attention devoted to the development of creative skills, creativity children.

The main directions of the creative development of children, noted in the solfeggio program, are associated with such forms of work as the selection of accompaniment to various melodies and elements of improvisation.

An important aspect of the development of children's musical creativity is their mastery of the skills of selecting accompaniment.

S. Maltsev and I. Rozanov wrote in the article “Teaching the Art of Improvisation” (Soviet Music, 1973, No. 10) that already from the 1st grade of school it is necessary to start selecting accompaniment, to introduce harmony in music.

Work on the selection of accompaniment should begin already in the 1st grade, after getting acquainted with the concepts of mode, tonic. To do this, you should take the simplest tunes in the range from I to III steps. At first, children should be invited to play the melody with the right hand, solfegge, and the left hand accompanies the sound of the tonic on the strong beat.

Example: #1

Already at the next lesson, using the same melodies as an example, you need to show a slightly complicated accompaniment - the simplest form accompaniment - bourdon (tonic fifth).

Example:#2

When learning melodies, one should use a permutation of parts - at the beginning, play the melody with the right hand, and the tonic fifth (bourdon) in the left, then vice versa.

And already from the first lessons of work (playing melodies with a bourdon in the left hand) you can significantly diversify - playing with an ensemble (teacher - student, student - student), if there are 2 pianos in the class - an ensemble of four students; one student plays the accompaniment, the other solfegges, and the whole group marks the strong beat of the bar with a palm stroke, etc.

In order for students to show interest in playing with accompaniment, it is possible at the lesson at the end of a quarter, half a year, school year hold a competition for best performance melodies with accompaniment, or invite one of the students to play accompaniment, while the whole group, under the guidance of a teacher or student conductor, sings a song with words in character.

The types of work aimed at ensuring that students show maximum interest in working on accompaniment can be very different and depend on the teacher's imagination, as well as on the goals and objectives set in the lesson.

Quarto-quint circle of tonalities.

Letter designations of tonality.

Natural, harmonic, melodic appearance of major and minor.

Keys of the first degree of kinship.

Enharmonic equal keys.

Chromatic passing and auxiliary sounds.

Chromatic scale.

diatonic intervals.

Tritons of the natural and harmonic type of major and minor.

Characteristic intervals in harmonic major and minor.

Anharmonicity of tritones.

Anharmonicity of diatonic and characteristic intervals.

Main and side triads.

Major seventh chords with resolution.

Reduced, increased triad with resolution.

Period, sentences, cadences, extension, addition.

Forms of work at solfeggio lessons

The main forms of work and types of tasks in solfeggio lessons serve to develop musical ear, memory, sense of rhythm, creative initiative, help the practical development of theoretical material, form the skills of sight reading, pure intonation, auditory analysis, recording melodies by ear, selection of accompaniment. At each lesson, it is necessary to proportionally combine exercises for the development of intonation skills, solfegging, rhythmic exercises, auditory analysis, various types of musical dictations, tasks for mastering theoretical concepts, creative exercises.

Intonation exercises

One of the tasks of the solfeggio subject is the formation of the skill of pure intonation. Intonation exercises include singing scales and various tetrachords, individual steps, melodic turns, sequences, intervals in the key and from the sound, chords in the key and from the sound. At the initial stage of training, it is recommended to sing intonation exercises choir or groups, and then move on to individual performance. Intonation exercises are performed without accompaniment on the piano with preliminary tuning, but in some cases the "help" of the piano is acceptable in the form of harmonic accompaniment, emphasizing gravity, fret color. Intonation exercises at the beginning of training are performed at an average pace, in a free rhythm; in the future, a certain rhythmic organization is desirable. At the initial stage of training, it is recommended to use hand signs, cards with serial numbers of steps, a "ladder" depicting scale steps and other visual aids.

Intonation exercises can be polyphonic. It is recommended to sing intervals, chords and their sequences in harmonic (two-part, three-part) sound.

Intonation exercises are performed both in harmony and from the sound (up and down). With the help of intonation exercises, you can work out theoretical material, prepare for solfegging, sight reading, activate hearing and memory before musical dictation or auditory analysis.

Solfegging and sight reading

Solfegging contributes to the development of correct singing skills, intonation accuracy, the formation of a conductor's gesture, the development of a sense of rhythm, and the development of a conscious attitude to a musical text.

From the first lessons, it is necessary to follow the correct sound production, breathing, body position when singing. It is necessary to take into account the peculiarities of the children's voice apparatus, work in a convenient range (“to” the first octave - “re”, “mi” the second), gradually expanding it. Examples for solfegging and for sight reading should be performed with conducting (at the initial stage, timing is possible). In the lower grades, solfegging and sight reading in chorus, in groups with a gradual transition to individual performance is recommended. The development of inner hearing and attention is facilitated by the performance of a melody by fragments in a choir and one student, aloud and to oneself.

Solfegging and sight reading involves singing without piano accompaniment, but in difficult intonation turns or if you lose the sense of harmony, you can support singing with harmonic accompaniment. A separate type of work is the performance of songs with piano accompaniment from notes (at the initial stage - with the accompaniment of a teacher, in high school - with your own).

Examples for solfegging and sight reading should be based on the intonations of the passed intervals, chords, familiar melodic turns, include well-known rhythmic figures. Naturally, sight-reading examples should be simpler. Before starting the performance of any example, it is necessary to analyze it from the point of view of known melodic turns, movement along the sounds of chords, intervals, and finding certain rhythmic patterns. As a preparatory exercise, you can use the solmization of examples (pronouncing the names of sounds in rhythm with conducting). The artistic value of the examples performed, their accessibility for a given age, and stylistic diversity are very important.

As soon as possible, singing of two-voice examples should be introduced using a parallel movement of voices, a sub-voice warehouse with a predominance of unisons. Work on imitative two-voice begins with the singing of the canons. Two-voice examples are first performed in groups, then with the accompaniment of one of the voices (by a teacher, another student, independently), in duets. In two-voice, it is also necessary to teach students to conduct, including when performing one of the voices on the piano.

In high school, one of the types of solfegging is the performance of songs, romances with your own piano accompaniment from notes. This type of task should take into account the degree of the student's mastery of the piano, technical and coordination difficulties should not obscure the primary task from the students - performance piece of music. The selection of repertoire for such tasks is very important: it must be feasible, understandable to students and at the same time be of undoubted artistic value. The education of musical taste is another of the tasks of solfeggio lessons, and the greatest opportunities for this are such forms of work as solfegging, auditory analysis.

Rhythmic exercises

Rhythmic exercises are necessary for the development of a sense of metro rhythm - an important component of the complex musical ability. At the initial stage of training, one should rely on the fact that in children the perception of rhythm is associated with a motor reaction, whether it be walking, dancing, running, clapping. Therefore, it is advisable at the initial stage of solfeggio lessons to pay great attention to various motor exercises and a children's orchestra from percussion instruments, even if the program includes such subjects as rhythm and orchestra (K. Orff's orchestra, collective instrumental music making, etc.). You can recommend a variety of rhythmic exercises:

tapping the rhythmic pattern of a familiar song, melody (with a pencil, claps, on percussion instruments);

repetition of the rhythmic pattern performed by the teacher;

tapping a rhythmic pattern on musical notation, on cards;

pronunciation of a rhythmic pattern with the help of certain syllables assigned to durations;

performance of a rhythmic ostinato to a song, play;

rhythmic accompaniment to a melody, song, play;

rhythmic canons (with text, into syllables);

rhythmic dictation (recording a rhythmic pattern of a melody or a rhythmic pattern performed on a percussion instrument, with claps, with a pencil).

Each new rhythmic figure should be, first of all, perceived emotionally and practically worked out in rhythmic exercises, and then included in other types of work: solfegging, sight reading, musical dictation.

Conducting plays an important role in the development of a sense of metrorhythm. It is necessary at an early stage of training to draw the attention of students to rhythmic pulsation (shares), to introduce various exercises - timing, highlighting a strong beat - for a further transition to conducting. For several years, the skills of a conductor's gesture in different sizes, including when reading from a sheet and when singing a two-voice. It is better to start work with a conductor's gesture when singing familiar, learned melodies and listening to music.

auditory analysis

This type of work involves the development of musical perception of students. Auditory analysis should not be limited to the ability to correctly identify played intervals or chords in harmony or from a sound. Auditory analysis is, first of all, awareness of what has been heard. Accordingly, it is necessary to teach children to emotionally perceive what they hear and be able to hear specific elements of the musical language in it. To do this, you need to use both examples from the musical literature and special instructive exercises.

In the auditory analysis of fragments from musical literature, it is necessary to draw the attention of students to the correlation of certain elements of the musical language and the emotional expressiveness of music. In didactic examples, you can require a more detailed analysis:

Analysis of scales, scales, segments of scales;

Separate steps of mode and melodic turns;

Rhythmic revolutions;

Intervals in melodic sounding up and down from the sound and into the key;

Intervals in harmonic sounding from sound and in tonality;

Sequences of several intervals in the key (with the definition of the size of the interval and its position in the key);

Chords in melodic sounding with different alternation of sounds in the key and from the sound;

Chords in harmonic sounding from sound and in key (with the definition of their functional affiliation);

Sequences of chords in the key (with the definition of their functional affiliation);

It is desirable that didactic exercises were organized rhythmically.

At the initial stage of training, auditory analysis takes place, as a rule, orally. In high school, it is possible to use writing work, but it is recommended to do this after a preliminary oral analysis, as this contributes to the awareness of the integrity of the musical structure and the development musical memory.

Musical dictation

Musical dictation is a form of work that contributes to the development of all components of a musical ear and teaches you to consciously record what you hear. Working with dictations in the classroom involves various forms:

oral dictations (memorization and singing in a neutral syllable and with the name of the notes of a 2-4 bar melody after two or three plays);

dictation from memory (recording a melody learned in class or at home);

rhythmic dictation (recording a given rhythmic pattern or recording a rhythmic pattern of a melody);

musical dictation with a preliminary analysis (joint analysis with the teacher of the features of the structure of the melody, size, modal features, movement of the melody, used rhythmic patterns). 2-3 plays (5-10 minutes) are allotted for preliminary analysis, then the students start recording the melody. It is advisable to use this form of dictation widely in elementary grades, as well as when recording melodies in which new elements of the musical language appear;

musical dictation without preliminary analysis (recording of a dictation within a set time for a certain number of plays, usually 8-10 plays within 20-25 minutes). This form of dictation is most appropriate for high school students, as it involves the already formed ability to independently analyze the melody.

Before starting work on a melodic dictation, careful tuning in tonality is necessary, for which you can use intonation exercises, solfegging, tasks for auditory analysis.

The skill of recording a melody is formed gradually and requires constant careful work at each lesson. The recorded dictation involves checking it with an analysis of the mistakes made and further work in the classroom and at home. Students can identify and sign new or familiar melodic turns, rhythmic figures in the dictation, pick up a second voice or accompaniment for the dictation, learn it by heart, transpose it in writing or orally into other keys.

The musical material for the dictation can be examples from musical literature, special collections of dictations, as well as melodies composed by the teacher himself.

Creative tasks

The development of students' creative abilities plays in the learning process huge role. In creative tasks, the student can realize his individuality, psychologically liberate himself, experience joyful emotions. All this together contributes to the formation of interest in musical activity. Creative tasks in solfeggio lessons activate auditory attention, train various aspects of musical hearing, musical memory, and develop artistic taste. At the same time, it is necessary to closely associate creative tasks with the main sections of the solfeggio course, since their goal is to consolidate theoretical knowledge, form basic skills and abilities (recording melodies, identifying by ear, intonation).

Creative tasks can be started from the initial stage of training. Children have more access to creative exercises related to rhythmic improvisation. The simplest melodic tasks at the initial stage may consist in singing, completing the melody (forming a feeling of modal gravity). In the future, tasks may include improvisation of rhythmic and melodic options, and, finally, composing your own melodic and rhythmic constructions. Gradually, creative tasks are supplemented with exercises related to the selection and composition of a second voice, accompaniment, first from the proposed sounds or chords, then with an independent search for harmonic means. Each teacher can diversify these tasks, based on own experience and musical taste.

Creative tasks are effective at all stages of learning. In addition, they help to identify children with a penchant for improvisation, composition, and direct attention to the development of these abilities, and possibly future professional orientation.

The issue of accompaniment, as the selection of harmonic accompaniment to a melody, is not the subject of so many works. Most of of them was published in the middle of the 20th century (1961–1974). Some are devoted to the problem of the lack of accompaniment skills among graduates of music schools, secondary and even higher educational musical institutions. Some of the works are either of a research nature or contain general recommendations, while both teachers and students are usually concerned with specific questions: “how to do this and that, if ...”, arising from practical implementation melody harmonization tasks.

The methodological guide presented here is not a discussion on the designated topic, but one of the options for solving the problem of “how to teach” those who want to learn (teach themselves) to select accompaniment by ear. It is intended specifically for those who have encountered various kinds of difficulties in performing such a task. The proposed author's work is a practical guide for students of the instrumental department and music lovers who have the basics of musical literacy and the skills of fairly free piano playing (at least within grades 3–4 of music school).

The essence of the work is in the gradual practical development of techniques for harmonizing simple melodies for singing (solfegging); in solving typical problem situations faced by students. First of all, the work is addressed to students who have not mastered the skill of independent "selection by ear" of accompaniment to a melody or who do not have "harmonic intuition" over the years of studying at the Children's Music School, and those who believe that this form of music-making is too complicated, but who wish to learn how to select accompaniment . The Handbook also contains the necessary theoretical information, which is immediately proposed to be applied in practical tasks, both in the main text and in musical appendices. The work follows the principle of "from simple to complex", as well as repetition, consolidating the skill at a new, more complex level. Periodically, if necessary, to focus on some detail, "advice" from the author is given.

In terms of the style of presentation, the Handbook is somewhat unconventional: in the genre of “imaginary dialogue” with students and, accordingly, the vocabulary of the work is as close as possible to colloquial speech which makes it easier to understand. When creating the Handbook, specific questions often asked by students or formulated by them when reading the Handbook as it was created were taken into account. The answers to these questions formed the basis of the structure of this work. As for the practical tasks for choosing an accompaniment, they are given either in the form of homework, or are worked out in a solfeggio lesson with a collective analysis of a melody. In parallel, at the lessons of harmony, various types of figurations are mastered in such traditional forms ah, as a combination of chords, playing a period, or a harmonic sequence (digital). This turns the training "technical" assignments into small pieces of music sketches.

The material of the Handbook developed gradually, from the generalization of many years of experience practical work author with students of performing departments College of Music(in recent years - on the basis of the orchestral and department of folk instruments - Russian and Kazakh).

This work could be expanded, but its purpose is to identify and help students practically master the most problem situations when choosing an accompaniment; to help those who do not trust their hearing, who doubt their abilities, whose intuitive is suppressed by the rational, but has a desire to learn to see the hidden harmony in the melody. And in the process of work, students understand that the proposed Manual is only the first steps on the way to improving the skill of free harmonization of melody in texture, which is often so necessary in practical activities musician.

Below are video clips showing one of the creative forms work at the lessons of harmony in the group of populists and orchestra players of the music college in Rudny. 3rd year students Artyom Akhmin and Veniamin Gavrikov perform independently composed periods using different kind figurations, including non-chord sounds (auxiliary chromatic, passing and delays). The periods are performed by heart, the ability to transpose in a key with three signs is obligatory.

Creative forms of various kinds learning tasks are mastered in this group from the 1st course. First on elementary theory of music and solfeggio, and then on harmony. At the same time, all students, without exception, each to the best of their abilities, desire and free time, show good results. Some students are already showing great interest in the content side of music and the "technical" issues of composition. It was in the process of working in this group on the formation of the skill of free harmonization of a melody that the idea of creating an Accompaniment Manual arose.

The main goal of education in the nursery music school- education of a harmoniously developed personality through music. The complex of abilities that must be possessed developed personality, should include both general and special musical abilities. As a result of training and education, the general properties of the personality are differentiated, qualities arise and develop that ensure the success of one special kind activities. Special Ability Training Affects Development common properties and personality traits. Special abilities to different types activities often deeply interact with each other and in the process of formation reinforce and enrich each other. To special abilities include: ear for music, memory and imagination. The development of hearing in children begins, as a rule, with the ability of the simplest distinctions individual sounds, in the future, musical ear acquires a complex and differentiated form. The subject of solfeggio is practical discipline and is aimed at developing musical abilities. It develops in students a certain system of knowledge and skills necessary for their subsequent musical activity. An integrated approach to learning modern level provides for work on the development of all components of musicality: ear for music, sense of rhythm, musical memory, imagination, emotional responsiveness to music and aesthetic taste. The problem is that children with different degrees of musicality come to the first grade, i.e. with different musical tastes. Some children with a good melodic ear have a voice, others somehow sing on 2 or 3 sounds. Thus, solfeggio teachers face the difficult task of developing the musical ear of any child who comes to a children's music school. The successful development of an ear for music depends on many factors, among which an important point is the earliest possible immersion of the child in the world of sound images and ideas. Analyzing the main forms of musical hearing - melodic and harmonic - the famous scientist B. M. Teplov came to the conclusion that they are based on two abilities: modal feeling, which is emotional component musical ear, and the ability of musical auditory representation, which is the auditory component of musical ear. Thus, “ear of music cannot be regarded as a single ability. It is a combination of at least two basic abilities.” He further states that “the ability to visualize ... together with the modal sense underlies harmonic hearing.”

Musical ear includes several types:

sound pitch;

melodic;

polyphonic;

harmonic;

timbre-dynamic;

interior.

All of them lend themselves to development and education in the process of teaching children at a music school. Of course, learning can only be effective if integrated development. However, each type of musical ear can be discussed separately. This paper will consider one side that is extremely important in the upbringing of a young musician - the development of harmonic ear in solfeggio lessons.

The purpose of this methodological development involves the creation of the necessary conditions for further intensification educational process in the education of harmonic hearing in high school students of the Children's School of Art and the formation of stable intonation skills.

Methods and forms of work on the development of harmonic hearing

The modern musical language that surrounds us is very complex. Needed from primary school prepare children for it. The study of various harmonic consonances makes it possible by the end of training at a children's music school to form a versatile harmonic ear in students. Students often want to find an accompaniment to their favorite song, and a solfeggio teacher should help them master the chords they need when choosing an accompaniment. A well-developed harmonic ear helps students to play works in their specialty more meaningfully and emotionally, to better hear the harmonic colors of chords when listening to works on musical literature. And in choral singing, the orchestra also develops an ear for music, including harmonic. Harmony sharpens intonation, educates and develops the musical ear of children, gives them a lot of vivid impressions. In the solfeggio course, work on the development of harmonic hearing is important part the whole process of education in children's music school. This methodological development will consider the forms and methods of working on the development of harmonic hearing, as well as exercises that help in the development of this type of hearing. Depending on the stage of learning -- explanations new topic; fixing the topic; final check, - two groups of methods must be used:

1) Theoretical forms of work: messages, conversation.

2) Practical forms of work: compositions, selection of accompaniment, improvisation with a given condition.

Along with the presentation of theoretical material, you should use:

1) Recordings of choral and instrumental works in order to identify the importance of one of the leading means of musical expression - harmony.

2) Visual aids, tables.

They use solfeggio in the lesson the following forms works:

Intonation exercises, solfegging;

Auditory analysis;

Theoretical information;

Dictation;

Creative exercises.

Therefore, at the second stage (fixing the material) there are different forms work. Among them:

1) singing in intonation exercises of steps, intervals, chords in tonality and from sound. At the same time, demand from students clarity and adherence to a single pace in performance;

2) harmonic analysis of a small fragment of the work;

4) sight reading in transport by keys and intervals, solfegging of learned melodies with a previous theoretical analysis;

5) composition of melodies in the form of a period according to a specific task, selection of accompaniment, improvisation;

At the end of each quarter there is a final control lesson, which uses practical and theoretical forms work. The control lesson includes:

1) paperwork in musical literacy (building scales, intervals, chords, performing creative tasks);

2) written work on solfeggio: dictation monophonic or simple in texture two-voiced, recording interval and chord sequences in the form of numbers in rhythm;

4) creative tasks: before composing melodies according to the proposed principles, composing a second voice, harmonizing melodies, performing students' own compositions.

Intonation exercises

The composition of intonation exercises includes not only singing scales different ways and melodic sequences, but also various forms of work with intervals, chords, interval and chord sequences. The resolution of the steps is carried out in the form of a melodic turn, designed rhythmically and metrically, tuning the ear to a given key without harmonization. Children are convinced that stages I, IV, V are the main ones, thanks to their ability to tune their hearing to the desired key. The resolution of intervals follows the same principle: a given interval is resolved through a harmonic revolution (two-voice interval sequence) into the tonic in such a way that a clear auditory tuning to the desired key is created. The resolution of chords is built in the form of a harmonic revolution, which tunes the ear to the desired key. Preferably, each interval and chord resolution should refer to certain type harmonic revolutions - authentic, plagal full, and tonic and appeared once - at the end of the sequence. For the development of purity of intonation and harmonic hearing, exercises for resolving dissonant intervals, exclusively on a modal basis, play an important role. After a slight tonal adjustment, the students sing this dissonant interval with resolution in major and minor. Also, students sing interval chains in which there are diatonic intervals, tritones, characteristic intervals. First, it is helpful for the whole class to sing the upper voice of the chain in the right rhythm and time signature, then lower voice. After that, the students sing this interval chain in two voices vertically: some sing the base of the interval, and the other vertices. This form of work teaches students to mutually listen to each other and prepares them for polyphonic singing. It is useful to denote harmonic functions in interval chains. Along with interval chains, one-tone harmonic sequences, as well as sequences including alteration, deviation and modulation, should be introduced into intonation exercises. First, chord sequences are given, consisting of the main triads of the mode (T53 S53 D53, and then D7 is introduced with invocations and permissions). After that, you can start singing small plagal and authentic cadence turns, which may include D7, МVII7, UМVII7, II7. These chord chains should be sung vertically with conducting and an ensemble of three or four students.

piano playing

Playing interval and chord harmonic progressions on the piano is very important for the development of harmonic ear, as it allows you to listen to the complex sound of a chord and chord chains. The main meaning of the same exercises is the development of imagination and fantasies of students. For those who cannot immediately perform the exercises, it is useful to first read it vertically, chord by chord or interval by interval, then sing the upper or lower voice, and only then play the sequence on the piano, achieving the necessary character. It is also useful to sing one of the voices while playing the rest of the voices on the piano. Chord chains should be played first with one hand, in a close position, then the bass should be played with the left hand, and the rest of the sounds with the right. These small cadence revolutions must be played in any major and minor key with two hands. This method greatly develops the ear and musicality of students, makes theoretical tasks closer to live meaningful music. It is desirable to play interval chains with harmonic accompaniment.

In the development of harmonic hearing, an important role is played by the singing of two-voice and three-voice numbers by duets and trios. More simple numbers with the usual intonations of the vocal warehouse, you can sing from the sheet in chorus or groups. A student singing the part of one of the voices of a musical work, in addition to fulfilling all the conditions for monophonic singing, must comply with the rules of polyphony. The main ones are tuning (exact pitch, pure intonation of harmonic consonances and chords arising from the combination of melodic lines of choral parts) and ensemble (unity of tempo, rhythm, dynamics). As homework, it is useful to play the piano with one voice, and sing and conduct with the other voice. It is useful to sing examples not only solfegging, but also without the name of the notes - into syllables, into vowels. And only then start singing polyphony with the text. The foundation on which polyphonic singing is built is unison. When students sing in unison, one should achieve unity of voices and a single performing manner of expressive singing. At the beginning of training in two-voice singing, some students switch to singing the part of another member of the ensemble. Pre-singing both parties allows you to notice the features of the melodic pattern of each voice and thereby helps each member of the ensemble to consciously sing his part, without falling into another. In parallel with the development of the skill of polyphonic singing, in the sections of intonation exercises and auditory analysis, harmonic intervals between voices, chords, and cadence turns are actively fixed. As musical material, we use collections of two-part singing by Kalmykov and Fridkin, Ladukhin, Dragomirov. Polyphonic singing greatly develops harmonic hearing, reinforces internal auditory representations, and is a solid basis for mastering the laws of harmonic language.

auditory analysis

In the music school program, auditory analysis is carried out in two ways: a holistic analysis of the work, its form, genre features, tempo, basic means of expression, characteristic for this work; and analysis of the elements of musical language, i.e. intervals, chords, modes, and so on. Harmonic auditory analysis is best done in the classroom by all children. The choice of material for such an analysis depends on the level of the group, on the initiative of the teacher. It is helpful to select a variety of examples, including topics and elements covered in the class whenever possible. You can use fragments in the form of a period from the sonatas and symphonies of W. Mozart, L. Beethoven, F. Schubert, M. Glinka, P. Tchaikovsky. In addition, for auditory analysis, it is important to include fragments from works in the specialty. This analysis allows you to feel the relationship between the specialty and theoretical disciplines. Identification of this connection helps to increase children's interest in solfeggio and musical literature, significantly affects the quality musical education generally. In addition to oral analysis, found in the example of harmonic means, other forms of work can be recommended: 1) recording the digitization of the example;

2) intonation and playing this number on the piano;

3) finding a similar harmonic turnover in works by specialty;

4) creatively gifted students can be asked to compose a short musical theme using this chord progression. In the upper grades, it is necessary to do harmonic analysis without the help of the piano: students look at the musical text and write down the harmonic sequence with digital numbers. In the sixth grade of the Children's School of Art among chords they use D7 with inversions and resolutions, introductory seventh chords, in the seventh grade in chord chains there is modulation into a parallel and dominant key, deviations, modulation in the key of the first degree of kinship. In high school, students must find a modulating chord, note the transition to a new key. If you constantly teach students to pay attention to the details that make up the musical image, then this, first of all, will contribute to the development of the skill to quickly navigate the musical material. In addition, using samples of musical literature, we promote the assimilation of individual intonations by students, showing them in certain modal relationships and noting their meanings for artistic expressiveness this example. In this form, classes are more lively, and students are more active and interested. Analysis should be done at each lesson, diversifying it depending on the task. So, in one lesson, the example given by the teacher is analyzed; the next lesson is a dictation on this topic. Next, work at home is given - analyze musical example according to the material being studied. In addition to analyzing the elements of the musical language, it is necessary to engage in a holistic auditory analysis of a musical fragment. To do this, you need to take easy piano pieces, romances, choirs. For example, "Children's Album" by P. Tchaikovsky, "Children's Scenes" by R. Schumann, songs and romances by A. Varlamov, A. Alyabyev, A. Gurilev, songs by L. Beethoven. With a holistic auditory analysis, one must go from the general to the particular. Before the students, the teacher outlines approximate circle questions they must answer. For example:

2) What is the form of the play? rhythmic features.

3) Features of the melodic pattern, the number of phrases, the location of the climax.

4) The nature of the invoice.

5) Tonal - harmonic plan plays. Types of cadences.

For such an analysis, it is necessary to select works that are bright in content and clear in form. For example: prelude in A major by F. Chopin, " morning prayer" P. Tchaikovsky. In auditory analysis, students also guess the intervals of chords out of tune orally or in writing.

Visual aids

In the lessons, you should use the drawn keyboard in various exercises in musical literacy (intervals, chords, chromatic scale), as well as for developing inner hearing, a sense of harmony, dictation and solfegging skills. Interval and chord tables and rhythm cards are also used. Visual aids in the solfeggio lesson help students to better master the various elements of the musical language: scale steps, intervals, chords, modal functions, types of voice movement in two voices, and so on. it various tables, cards.

Creative tasks

Creative tasks can be different:

1) Composition:

Melodies of different genres in 2-part and 3-part form;

Melodies using intonations of passed intervals and chords;

Composing a piano miniature of a program nature (with a title or an epigraph) or a piece for a folk instrument with piano accompaniment.

2) Selection of accompaniment to the melody in various textures.

3) Performance of digital accompaniment.

4) Singing songs and romances with accompaniment.

The development of creative initiative plays a huge role in the learning process, contributes to emotional attitude to music, reveals the individual capabilities of students, arouses interest in the subject of solfeggio. All this is a necessary prerequisite for successful classes not only in solfeggio, but also in the specialty. Creative exercises develop taste and observation, activate auditory attention, train harmonic hearing. Target creative exercises- in acquiring and consolidating the basic skills of reading from a sheet, writing dictation, analyzing harmonic intervals and chords by ear.

Innovation of the teacher in modern conditions of teaching the subject

Modern model innovative school focused on implementation individual program personal development, the formation cognitive motivation student and his creative initiative. The search for new techniques and methods of teaching contributes to the solution of this problem. As a result, the teacher-innovator should strive to reveal creative potential students - pupils of children's music schools, children's art schools and colleges of arts, for whom the disciplines of the musical-theoretical cycle will become a "territory" for the development of talents and creative abilities. The content of the "Solfeggio" lessons involves reliance on the use of traditional forms of work, such as dictation, auditory analysis (elements of musical language and holistic), vocal intonation. In the event that these tasks are presented in an entertaining form, they activate the emotional response and the game initiative of the students. This is also facilitated by the use various forms creative tasks: free composition and according to given conditions, completion, improvisation, which must be applied at all stages of the lesson: both in mastering theoretical concepts, and in developing students' hearing, and in developing musical intonation skills. It is also proposed to use such a standard form of work as sight reading (with own accompaniment) of melodies with classical laws harmonic accompaniment or pop-jazz songs and melodies by alphanumeric designations. It is possible to connect a heuristic component due to the implementation of genre vocal or instrumental improvisation on this sample (from the list for reading from a sheet): in the genre of march, polka, waltz, tarantella, tango, ragtime or in another genre - at the student's choice, with accompaniment in texture in according to the chosen genre. Improvisation or spontaneous, momentary composition is one of the most interesting and most complex shapes creative music-making, suggesting freedom creative expression and mobilization of the student's creative abilities. improvisation fills school time spirit of creativity and, thus, overcomes the limits of everyday life, turning the "strict" discipline of "Solfeggio" into an exciting activity.

Conclusion

Harmonic hearing is one of the components of musical hearing, and any form of their manifestation is directly related to the functioning of internal hearing. Harmonic hearing is, first of all, the ability to mentally represent in the centers of hearing the sound of a polyphonic composition of a harmonic or polyphonic warehouse. Harmonic hearing can be developed in any child. However, with the most careful work of the teacher, the result will still be different for different students. Internal harmonic hearing develops slowly. The possibility of his education is limited only by the ability to mentally imagine from the musical text or from memory the sound of any previously heard polyphonic work. This is a long and laborious process that requires a lot of patience, endurance, inner composure and perseverance of the teacher and student. The main condition for the successful development of harmonic auditory perception is the systematic and consistent work, gradual complication from simple to complex. It is necessary to create such working conditions at the lesson under which students would feel comfortable, freely operating with familiar harmonic means. And, most importantly, a constant harmonic basis that accompanies the main forms of work in the solfeggio lesson. Undoubtedly, the most important principle of conducting solfeggio lessons for students is their fascination, which is based on the connection of music with life. It is this principle that turns out to be a kind of antipode to the formalistic presentation of program material. Classes then take place in an atmosphere of emotional warmth, mutual trust of the teacher and students who feel themselves involved in creativity in the process of "immersion" in the sphere of music. Students should live in the lesson, live in musical images, experience and emotionally respond to all the vicissitudes of the lesson. Overcoming "theorizing" in the classroom should become a rule for the teacher. The development of harmonic hearing contributes to the development of creative skills, which is important. After graduation theoretical concepts are forgotten, but the skills of singing, selection by ear and improvisation (composing) remain for life. Education is inextricably linked with education, and the effectiveness of student learning is determined not by what the teacher tried to give students, but by what they learned during the educational process.

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The development of harmonic hearing in solfeggio lessons in the senior classes of the Children's School of Art

The main goal of studying at a children's music school is to educate a harmoniously developed personality through music. The complex of abilities that a developed personality should possess should include both general and special musical abilities. As a result of training and education, the general properties of the personality are differentiated, qualities arise and develop that ensure the success of one special type of activity. Training of special abilities affects the development of general properties and personality traits. Special abilities for different types of activity often deeply interact with each other and in the process of formation reinforce and enrich each other. Special abilities include: ear for music, memory and imagination. The development of hearing in children begins, as a rule, with the ability of the simplest distinctions between individual sounds, but in the future, musical hearing acquires a complex and differentiated form. The subject of solfeggio is a practical discipline and is aimed at developing musical abilities. It develops in students a certain system of knowledge and skills necessary for their subsequent musical activity. An integrated approach to teaching at the modern level provides for the development of all components of musicality: ear for music, sense of rhythm, musical memory, imagination, emotional responsiveness to music and aesthetic taste. The problem is that children with different degrees of musicality come to the first grade, i.e. with different musical tastes. Some children with a good melodic ear have a voice, others somehow sing on 2 or 3 sounds. Thus, solfeggio teachers face the difficult task of developing the musical ear of any child who comes to a children's music school. The successful development of an ear for music depends on many factors, among which an important point is the earliest possible immersion of the child in the world of sound images and ideas. Analyzing the main forms of musical hearing - melodic and harmonic - the famous scientist B. M. Teplov came to the conclusion that they are based on two abilities: modal feeling, which is the emotional component of musical hearing, and the ability of musical auditory representation, which is the auditory component of musical hearing. Thus, “ear of music cannot be considered as a single ability. It is a combination of at least two basic abilities.” Further, he states that "the ability for auditory representation ... together with the modal feeling underlies the harmonic hearing."

Musical ear includes several types:

sound pitch;

melodic;

polyphonic;

harmonic;

timbre-dynamic;

interior.

All of them lend themselves to development and education in the process of teaching children at a music school. Of course, the effectiveness of training can only be manifested with integrated development. However, each type of musical ear can be discussed separately. This paper will consider one side that is extremely important in the upbringing of a young musician - the development of harmonic ear in solfeggio lessons.

Development of harmonic hearing in the process of solfeggio classes

The purpose of this methodological development involves the creation of the necessary conditions for further intensification of the educational process in the education of harmonic hearing in high school students of the Children's Art School and the formation of stable intoning skills.

Methods and forms of work on the development of harmonic hearing

The modern musical language that surrounds us is very complex. It is necessary to prepare children for its perception from the primary school. The study of various harmonic consonances makes it possible by the end of training at a children's music school to form a versatile harmonic ear in students. Students often want to find an accompaniment to their favorite song, and a solfeggio teacher should help them master the chords they need when choosing an accompaniment. A well-developed harmonic ear helps students to play works in their specialty more meaningfully and emotionally, to better hear the harmonic colors of chords when listening to works on musical literature. And in choral singing, the orchestra also develops an ear for music, including harmonic. Harmony sharpens intonation, educates and develops the musical ear of children, gives them a lot of vivid impressions. In the solfeggio course, work on the development of harmonic hearing is an important part of the entire learning process in a children's music school. This methodological development will consider the forms and methods of working on the development of harmonic hearing, as well as exercises that help in the development of this type of hearing. Depending on the stage of learning - explanations of a new topic; fixing the topic; final check - two groups of methods must be used:

1) Theoretical forms of work: messages, conversation.

2) Practical forms of work: compositions, selection of accompaniment, improvisation with a given condition.

Along with the presentation of theoretical material, you should use:

1) Recordings of choral and instrumental works in order to identify the importance of one of the leading means of musical expression - harmony.

2) Visual aids, tables.

The following forms of work are used in the solfeggio lesson:

Intonation exercises, solfegging;

Auditory analysis;

Theoretical information;

Dictation;

Creative exercises.

Therefore, at the second stage (fixing the material) there are different forms of work. Among them:

1) singing in intonation exercises of steps, intervals, chords in tonality and from sound. At the same time, demand from students clarity and adherence to a single pace in performance;

2) harmonic analysis of a small fragment of the work;

4) sight reading in transport by keys and intervals, solfegging of learned melodies with a previous theoretical analysis;

5) composition of melodies in the form of a period according to a specific task, selection of accompaniment, improvisation;

At the end of each quarter, a final control lesson is held, in which practical and theoretical forms of work are used. The control lesson includes:

1) written work on musical literacy (building scales, intervals, chords, performing creative tasks);

2) written work on solfeggio: dictation monophonic or simple in texture two-voiced, recording interval and chord sequences in the form of numbers in rhythm;

3) oral questioning: solfegging of one-voice and two-voice numbers, reading from a sheet, in which it is necessary to analyze the structure of the number, the tonal plan, the harmonic basis;

4) creative tasks: before composing melodies according to the proposed principles, composing a second voice, harmonizing melodies, performing students' own compositions.

Intonation exercises

The intonation exercises include not only singing scales in different ways and melodic sequences, but also various forms of work with intervals, chords, interval and chord sequences. The resolution of the steps is carried out in the form of a melodic turn, designed rhythmically and metrically, tuning the ear to a given key without harmonization. Children are convinced that stages I, IV, V are the main ones, thanks to their ability to tune their hearing to the desired key. The resolution of intervals follows the same principle: a given interval is resolved through a harmonic revolution (two-voice interval sequence) into the tonic in such a way that a clear auditory tuning to the desired key is created. The resolution of chords is built in the form of a harmonic revolution, which tunes the ear to the desired key. It is desirable that each resolution of the interval and chord refers to a certain type of harmonic turns - authentic, plagal full, and tonic and appears once - at the end of the sequence. For the development of purity of intonation and harmonic hearing, exercises for resolving dissonant intervals, exclusively on a modal basis, play an important role. After a slight tonal adjustment, the students sing this dissonant interval with resolution in major and minor. Also, students sing interval chains in which there are diatonic intervals, tritones, characteristic intervals. First, it is helpful to sing with the whole class the upper voice of the chain in the right rhythm and time signature, then the lower voice. After that, the students sing this interval chain in two voices vertically: some sing the base of the interval, and the other vertices. This form of work teaches students to mutually listen to each other and prepares them for polyphonic singing. It is useful to denote harmonic functions in interval chains. Along with interval chains, one-tone harmonic sequences, as well as sequences including alteration, deviation and modulation, should be introduced into intonation exercises. First, chord sequences are given, consisting of the main triads of the mode (T53 S53 D53, and then D7 is introduced with invocations and permissions). After that, you can start singing small plagal and authentic cadence turns, which may include D7, МVII7, UМVII7, II7. These chord chains should be sung vertically with conducting and an ensemble of three or four students.

piano playing

In the development of harmonic hearing, an important role is played by the singing of two-voice and three-voice numbers by duets and trios. More simple numbers with the usual intonations of the vocal warehouse can be sung from the sheet in chorus or groups. A student singing the part of one of the voices of a musical work, in addition to fulfilling all the conditions for monophonic singing, must comply with the rules of polyphony. The main ones are tuning (exact pitch, pure intonation of harmonic consonances and chords arising from the combination of melodic lines of choral parts) and ensemble (unity of tempo, rhythm, dynamics). As homework, it is useful to play the piano with one voice, and sing and conduct with the other voice. It is useful to sing examples not only solfegging, but also without the name of the notes - into syllables, into vowels. And only then start singing polyphony with the text. The foundation on which polyphonic singing is built is unison. When students sing in unison, one should achieve unity of voices and a single performing manner of expressive singing. At the beginning of training in two-voice singing, some students switch to singing the part of another member of the ensemble. Pre-singing both parties allows you to notice the features of the melodic pattern of each voice and thereby helps each member of the ensemble to consciously sing his part, without falling into another. In parallel with the development of the skill of polyphonic singing, in the sections of intonation exercises and auditory analysis, harmonic intervals between voices, chords, and cadence turns are actively fixed. As musical material, we use collections of two-part singing by Kalmykov and Fridkin, Ladukhin, Dragomirov. Polyphonic singing greatly develops harmonic hearing, reinforces internal auditory representations, and is a solid basis for mastering the laws of harmonic language.

auditory analysis

In the music school program, auditory analysis is carried out in two ways: a holistic analysis of the work, its form, tone, genre features, tempo, and the main expressive means characteristic of this work; and analysis of the elements of musical language, i.e. intervals, chords, modes, and so on. Harmonic auditory analysis is best done in the classroom by all children. The choice of material for such an analysis depends on the level of the group, on the initiative of the teacher. It is helpful to select a variety of examples, including topics and elements covered in the class whenever possible. You can use fragments in the form of a period from the sonatas and symphonies of W. Mozart, L. Beethoven, F. Schubert, M. Glinka, P. Tchaikovsky. In addition, for auditory analysis, it is important to include fragments from works in the specialty. This analysis allows you to feel the connection between the specialty and theoretical disciplines. The identification of this connection helps to increase the interest of children in solfeggio and musical literature, significantly affects the quality of musical education in general. In addition to oral analysis, found in the example of harmonic means, other forms of work can be recommended: 1) recording the digitization of the example;

2) intonation and playing this number on the piano;

3) finding a similar harmonic turnover in works by specialty;

4) creatively gifted students can be asked to compose a short musical theme using this chord progression. In the upper grades, it is necessary to do harmonic analysis without the help of the piano: students look at the musical text and write down the harmonic sequence with digital numbers. In the sixth grade of the Children's School of Art among chords they use D7 with inversions and resolutions, introductory seventh chords, in the seventh grade in chord chains there is modulation into a parallel and dominant key, deviations, modulation in the key of the first degree of kinship. In high school, students must find a modulating chord, note the transition to a new key. If you constantly teach students to pay attention to the details that make up the musical image, then this, first of all, will contribute to the development of the skill to quickly navigate the musical material. In addition, using samples of musical literature, we help students learn individual intonations, showing them in certain modal relationships and noting their significance for the artistic expression of this example. In this form, classes are more lively, and students are more active and interested. Analysis should be done at each lesson, diversifying it depending on the task. So, in one lesson, the example given by the teacher is analyzed; the next lesson is a dictation on this topic. Next, work at home is given - to analyze a musical example in accordance with the material being studied. In addition to analyzing the elements of the musical language, it is necessary to engage in a holistic auditory analysis of a musical fragment. To do this, you need to take easy piano pieces, romances, choirs. For example, "Children's Album" by P. Tchaikovsky, "Children's Scenes" by R. Schumann, songs and romances by A. Varlamov, A. Alyabyev, A. Gurilev, songs by L. Beethoven. With a holistic auditory analysis, one must go from the general to the particular. In front of the students, the teacher outlines an approximate range of questions to which they must answer. For example:

1) What is the content of the play? What culture and national era does the composer belong to? Tempo, size, dynamics?

2) What is the form of the play? rhythmic features.

3) Features of the melodic pattern, the number of phrases, the location of the climax.

4) The nature of the invoice.

5) Tonal - harmonic plan of the play. Types of cadences.

For such an analysis, it is necessary to select works that are bright in content and clear in form. For example: prelude in A major by F. Chopin, "Morning Prayer" by P. Tchaikovsky. With auditory analysis, students also guess the intervals of chords out of scale orally or in writing.

Visual aids

Creative tasks

Creative tasks can be different:

1) Composition:

Melodies of different genres in 2-part and 3-part form;

Melodies using intonations of passed intervals and chords;

Composing a piano miniature of a program nature (with a title or an epigraph) or a piece for a folk instrument with piano accompaniment.

2) Selection of accompaniment to the melody in various textures.

3) Performance of digital accompaniment.

4) Singing songs and romances with accompaniment.

The development of creative initiative plays a huge role in the learning process, promotes an emotional attitude to music, reveals the individual capabilities of students, and arouses interest in the subject of solfeggio. All this is a necessary prerequisite for successful classes not only in solfeggio, but also in the specialty. Creative exercises develop taste and observation, activate auditory attention, train harmonic hearing. The purpose of creative exercises is to acquire and consolidate the basic skills of sight reading, writing dictation, analyzing harmonic intervals and chords by ear.

Innovation of the teacher in modern conditions of teaching the subject

The modern model of the innovative school is focused on the task of implementing an individual program of personality development, on the formation of the student's cognitive motivation and his creative initiative. 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 - pupils of children's music schools, children's art schools and colleges of arts, for whom the disciplines of the musical-theoretical cycle will become a "territory" for the development of talents and creative abilities. The content of the "Solfeggio" lessons involves reliance on the use of traditional forms of work, such as dictation, auditory analysis (elements of musical language and holistic), vocal intonation. In the event that these tasks are presented in an entertaining form, they activate the emotional response and the game initiative of the students. This is also facilitated by the use of various forms of creative tasks: free composition and according to given conditions, completion, improvisation, which must be used at all stages of the lesson: both in mastering theoretical concepts, and in developing the students' hearing, and in the formation of musical intoning skills. It is also proposed to use such a standard form of work as sight reading (with own accompaniment) of melodies with classical laws of harmonic accompaniment or pop-jazz songs and melodies according to alphanumeric designations. It is possible to connect a heuristic component due to the implementation of genre vocal or instrumental improvisation on this sample (from the list for reading from a sheet): in the genre of march, polka, waltz, tarantella, tango, ragtime or in another genre - at the student's choice, with accompaniment in texture in according to the chosen genre. Improvisation or spontaneous, momentary composition is one of the most interesting and most complex forms of creative music-making, which implies freedom of creative self-expression and mobilization of the student's creative abilities. Improvisation fills the study time with the spirit of creativity and, thereby, overcomes the limits of everyday life, turning the "strict" discipline of "Solfeggio" into an exciting activity.

Conclusion

Harmonic hearing is one of the components of musical hearing, and any form of their manifestation is directly related to the functioning of internal hearing. Harmonic hearing is, first of all, the ability to mentally represent in the centers of hearing the sound of a polyphonic composition of a harmonic or polyphonic warehouse. Harmonic hearing can be developed in any child. However, with the most careful work of the teacher, the result will still be different for different students. Internal harmonic hearing develops slowly. The possibility of his education is limited only by the ability to mentally imagine from the musical text or from memory the sound of any previously heard polyphonic work. This is a long and laborious process that requires a lot of patience, endurance, inner composure and perseverance of the teacher and student. The main condition for the successful development of harmonic auditory perception is the systematic and consistent work, the gradual complication from simple to complex. It is necessary to create such working conditions at the lesson under which students would feel comfortable, freely operating with familiar harmonic means. And, most importantly, a constant harmonic basis that accompanies the main forms of work in the solfeggio lesson. Undoubtedly, the most important principle of conducting solfeggio lessons for students is their fascination, which is based on the connection of music with life. It is this principle that turns out to be a kind of antipode to the formalistic presentation of program material. Classes then take place in an atmosphere of emotional warmth, mutual trust of the teacher and students who feel themselves involved in creativity in the process of "immersion" in the sphere of music. Students should live in the lesson, live in musical images, experience and emotionally respond to all the vicissitudes of the lesson. Overcoming "theorizing" in the classroom should become a rule for the teacher. The development of harmonic hearing contributes to the development of creative skills, which is important. After leaving school, theoretical concepts are forgotten, but the skills of singing, selection by ear and improvisation (composing) remain for life. Education is inextricably linked with education, and the effectiveness of student learning is determined not by what the teacher tried to give students, but by what they learned during the educational process.

METHODOLOGICAL DEVELOPMENT

ON THE TOPIC

"EDUCATION OF MUSIC-PLAYING SKILLS AT SOLFEGIO LESSONS IN DOMS AND DSHI"

Prepared by Loskutova E.E.

G. Zheleznogorsk

2016

In modern music pedagogy Methods are increasingly being used to help students master skills independent work on the instrument and develop his creative initiative. Broad musical education is based on close connection between all musical disciplines: solfeggio, piano, choir.

The close collaboration of the piano subject with the music theory disciplines is ideal for this kind of work.

Unfortunately, for many reasons such cooperation is not always realistic. Among these reasons, one can single out the need for both the creative interest of teachers and close contact between teachers of these subjects.

Nevertheless, for the development of hearing, a sense of rhythm, musical memory, good orientation on the keyboard, creative thinking, for the development of interest in music playing in children, the following tasks should be included in the solfeggio curriculum: selection by ear of melodies of songs, accompaniment to them , transposing them, performing romances to their own accompaniment.

Helping the child in his own endeavor, the teacher simultaneously develops his ear for music.

AT creative development children must have a system - the song material must be selected from simple to complex, from songs with simple harmonization (T - D - T) to songs with a more developed one: deviations in the key of the first degree of kinship.

Music in solfeggio lessons should be associated with theoretical material, which is explained in the lessons:

a) melody and accompaniment;

The main steps and triads of the mode;

Triad inversions;

Harmonic turns;

Sequence;

D7 and his appeals;

Chromatism, alteration;

interrupted cadence;

Deviation, modulation;

Transposition;

Letter designations of sounds and keys;

Genres: polka, march, waltz, lullaby, etc.

b) rhythmic groups: all, including syncopations within the bar, between the bars, with a pause, ligated groups; sizes 2/4, 3/4, 4/4, 3/8, 6/8, etc.

And also with the forms of work: rhythmic and melodic dictations on preset songs, solfegging them from a sheet and learning them.

If we talk about the development of music skills in solfeggio lessons at the choir department, we should pay attention to the fact that children attend general piano lessons from one to two times a week, so there are problems associated with unequal development (compared to the piano department) in their mastery of the keyboard .

Therefore, it is advisable to start selecting an accompaniment only after the children have acquired some auditory experience, more free orientation on the keyboard, certain skills in playing the piano with two hands, when the study and development of the main steps and triads of the mode begins, and then their inversions.

Often, solfeggio groups include children learning to play the different instruments with its own specifics of learning (guitar, button accordion, flute and others). If it is not possible to form groups that include only children learning to play the piano, harmonization of songs is nevertheless done by all students and even those who are not learning to play any instrument,

since in the process of work the teacher helps to analyze the structure of the melody, using the concepts mastered in the lower grades, determine the key of this melody, analyze its size, rhythmic pattern, and so on.

Children playing any instruments are involved in the selection of melody or accompaniment on their own at home, but it is better if possible under the supervision of a teacher in their specialty in instrument lessons.

In order for high school students to freely select by ear, it is necessary preparatory stage and the regularity of such classes from the elementary grades.

At the initial stage, as soon as the children get acquainted with the keyboard and rhythmic durations at solfeggio lessons, the selection by ear of the simplest chants begins at first in a narrow range on one or two adjacent sounds (“Lambs”, “Red Cow”, “Magpie”, “Don- don "and the like) with a gradual expansion of the range ("Cornflower", "Horse").

Work on them begins with the fact that the students sing them together with the teacher, and then independently with the clapping of a rhythmic pattern with words and rhythmic syllables, determining the number of phrases, determining the number different sounds, their heights, with singing and simultaneous hand showing the movement of the melody. This is followed by selection from different sounds. Thus, this experience of selection by ear becomes the first experience of transposition.

Transpose plays big role in the development of hearing and coordination of movement on the piano, and also develops the student's skills in performing the song repertoire in a tessitura convenient for his voice. These chants are also used as oral dictations with

record.

It is desirable to go through as many tunes that are simple in terms of melodic line and small in volume, including singing with more wide range, but during the passage of stable steps, and with the movement of the melody along them. In the process of working with melodies with a more extended range, students should pay attention to the fact that the melody can move smoothly, jumps, sing along, along stable steps.

An important milestone work on the selection of a song "by ear" is the harmonization of its melody. The first experience of choosing an accompaniment should be simple - one sound in the bass (tonic), then - a fifth "bourdon". Again, these may initially be dictations, which the children then play with primitive accompaniment.

It is useful to transpose these dictation-chants (or jokes) with accompaniment into neighboring keys: from C major to D major, from G major to F major and vice versa.

With the study of the main steps and triads of the mode, work follows with their use in accompaniments to songs.

For example, the melody of the song "Little Christmas Tree" is used as a dictation or selection in homework. Remind you that, before picking up a melody, you need to tune in to stable steps in C major. After all, it is with one of the stable sounds that melodies usually begin. AT homework learning by heart melodies on the piano with simultaneous singing with words is also included.

At the next stage, the harmonization of the melody begins. The main triads are written out in this key and the sounds included in them from the melody are compared. The cadence is determined and its harmonization is explained. We get acquainted with accompaniments in the genre of march, polka, waltz. We write out separately the accompaniment in the polka genre.

The next stage is a game with accompaniment (included in homework with checking in class):

Playing melody with bass;

Playing a melody in the genre of a march with main triads;

Learning accompaniment in the polka genre;

Combination of melody and accompaniment.

In the song "Musicians", which can be used as a dictation during the passage of the theme "Sequence", the same work is carried out in the waltz genre in the key of F major.

Polka "Bear with a doll", also learned in advance as a song, can be given as a rhythmic or melodic dictation during the passage rhythm group two sixteenth and eighth notes and sequences. The accompaniment is used in the polka genre (i.e. continuation of work as in the song "Little Christmas Tree") in C major. Then transpose to the key of D major.

When going through the theme of "Inversion of the triad", it is advisable to use the harmonic sequence: C major - T53 - S64 - D6 - T53 in the song "12 Little Pigs". Possible textural accompaniments for this song: chord, bass chord.

Starting from the second grade, work is underway on the selection of triads of the same name, and from the third grade - on their appeals - playing the piano, using desktop keyboards.

Preparations are also underway in the game of bass accompaniments: from all white, and then black keys, quarter moves are played: an octave and in the middle of a fourth with the 2nd finger (above).

Interesting songs for selection with accompaniment, including deviations and modulations (when going through these topics). The songs are performed as a reading from a sheet, and then they learn with the words: "Good beetle" lyrics by E. Schwartz, music by A. Spadavecchia in C major using sequences of chords: C major - T53 - D6; G major - T6 (= D6 in C major) - D53; accompaniment: bass chord. In F major: "Happy birthday to you" with two accompaniment options: 1 verse on English language- bass chord; verse 2 in Russian -

with marching accompaniment.

With the types of accompaniments already covered in F major, Estonian folk song"Chorus of our Jan" and "A Christmas tree was born in the forest."

When studying the topic "Seventh chord" from each white key we play triads with the addition of a third at the top, or more simply - 4 sounds through a key.

When studying the topic “Inversion D7”, new exercises are added: we add a second below to the triad - we get a second chord; add a second at the top - quintsextachord; in a quarter-sext chord, the second in the middle is a third-quarter chord.

With great pleasure, students play accompaniments to popular melodies by letter designations. When studying letter designations, selection begins with their use. To do this, it is useful to sing romances from a sheet, which are studied in the lessons of musical literature, especially in the initial topics - romances of the first half of XIX century "I met you", "Tiny House", "Red Sundress" ...

The next step is to play by the letters of the most used chords: C7; C2; c2;d64; d43; E; E2; F6; F64; G7; g65; A2; D2; B; Es; e64; h; a7; G6; H2; D; a6; f64; fis6.

And this is how you can give students texts to select accompaniments for their favorite tunes (quite a common way):

I will never forget you

e64 H7

You wake me up at dawn

H7 e64

You will go out unshod.

a6 D6 G6

You will never forget me

a6 H7 e64

You will never see me...

In order to select a certain texture of accompaniment, there is a wonderful methodological guide for music schools by M. Kalugina and P. Khalabuzar "Education of creative skills in solfeggio lessons." At the end of it - the distribution of work by class.

Music making becomes an organic part of the educational process. Students will have to master a large and varied material at each solfeggio lesson. In order to achieve positive results in work, the teacher is faced with the task of supporting the creative activity of children on high level. And the role of music making here is undeniable. Thanks to enthusiastic teachers, games and exercises have been developed that encourage creative initiative in children, develop inner hearing, a sense of rhythm, form - something without which it is impossible to improvise.

References:

Kalugina M.E., Khalabuzar P.V. Education of creative skills in solfeggio lessons. Toolkit for music school. M., Soviet composer. 1989

Belenkaya M.G., Ilinskaya S.V. Music box. Ch.1-2. S-P., 2002

Oskina S.E., Parnes D.G. Accompaniment in the lessons of harmony and solfeggio. M. 2002

Shatkovsky G.I. Development of ear for music and skills of creative music-making. M., 1989.

Metallidi Zh.L., Pertsovskaya A.I. Solfeggio: study guides for grades 1-7 music school. S-P.

Portal for the student. Self-training

Forms of work at solfeggio lessons

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