This master class was held as part of the Week open doors Kezhemsky district center children's creativity city of Kodinsk, Krasnoyarsk Territory.
There is a children's music school-studio in Kezhemsky CDT, one of subjects in which is "solfeggio" (photo 1).
MASTER CLASS INFORMATION CARD
| Topic: | Cultivating a sense of metrorhythm in solfeggio lessons. |
| Target: | The teacher-master transfers his experience through a demonstration of a sequence of actions, methods, techniques and forms pedagogical activity. |
| Members: | Pupils of the music school-studio, teachers of the Central Children's Theater, music teachers of secondary schools. |
| Methodical means: | Methodical message, direct display, commented display. |
| Equipment for the teacher-master: | Piano, blackboard, time division scheme. |
| Equipment for participants: | Handouts A, B, C ( Attachment 1, Appendix 2 , Annex 3), a sheet of music paper, a simple pencil, an eraser. |
| Duration: | 45 minutes. |
| Conduct form: | lesson in music school-studios. |
LESSON INFORMATION CARD
| Lesson topic: | Rhythmic groups with sixteenths. |
| Target: | Cultivating a sense of rhythm. |
| Tasks:educational | To consolidate the rhythmic turns passed in the 3rd grade, the rules for the main division of durations, the skills of timing in two-, three- and four-meters; to form the skill of reading rhythmic scores; to continue the formation of singing skills, to control the degree of assimilation of the ratio of durations. |
| developing | To promote the development of cognitive interest, to form in students the ability to overcome difficulties in learning. |
| educational | Cultivate responsiveness, mutual assistance, responsibility. |
| Age of students: | 11-13 years old, 4th year of study at the music school-studio CDT. |
| Lesson type: | Combined. |
| Forms of work: | Group, individual. |
| Teaching methods: | Conversation, practical work. |
| Lesson plan: | 1. Organizing time(1-2 minutes). 2. Introduction to the topic: methodical message with a show (15-20 minutes). 3. Preparation for practical work (3 minutes). 4. Practical work No. 1: rhythmic dictation (6 minutes). 5. Practical work No. 2 mathematical examples for addition, subtraction, multiplication and division of durations (8-10 minutes). 6. Summary of the lesson (3-5 minutes). |
PROGRESS OF THE MASTER CLASS
I. Organizational moment
The teacher greets the participants, reports on the order of work in the master class mode, checks the readiness for the lesson, the availability of the necessary materials.
II. Introduction to the topic of the lesson, methodical message with a show
– Italian word "solfeggio" comes from the word solfo", which means notes, musical signs, gamma. This is the name of the lessons in which they develop hearing: they sing melodies from notes, write musical dictations, determine various intervals and chords by ear. At solfeggio lessons, children are instilled with a love for folk music, the work of Russian and foreign composers, their musical abilities develop: ear, rhythm, memory.
You can develop a sense of metrorhythm in every type of work, but for a more successful one, effective result it is sometimes necessary to isolate and work out separately, to comprehend the meter-rhythmic relationships in the studied works, and also to apply special rhythmic exercises.
AT lower grades- this is the tapping of a rhythmic pattern of a familiar song, melody, repetition of a rhythmic pattern performed by a teacher or written down on a blackboard or on rhythm cards.
Let's see how this looks in practice.
The teacher sings the first phrase of the Russian folk song “There was a birch in the field” (Figure 1), the second phrase is slammed by the students, the third - again by the teacher, the fourth - by the students. For this exercise, it is very convenient to use songs that have the structure of a “pair of periodicities”: “And I am in the meadow” (Figure 2), “I will go, will I go out”, “Veysya, cabbage”, etc.
Rice. 1. Russian folk song "There was a birch in the field"
Rice. 2. Russian folk song "And I am in the meadow"
– In the middle and senior grades, you can develop and consolidate the sense of rhythm with the help of other exercises: these are two-part rhythmic scores, rhythmic canons, rhythmic dictations.
Conducting and sometimes other forms of metrorhythmic pulsation play an important role in the development of a sense of metrorhythm (tapping the beats with your hands, or with a pencil on the table, or beating with your foot).
Question to students:
- Guys, tell me METER and RHYTHM are the same concepts or different?
Answers:
- Various. The meter is the pulse of music, it can be double and triple. The meter does not change throughout the entire piece.
Rhythm is a series of durations, each piece of music has its own rhythm. The rhythm that Beethoven used in the Fifth Symphony for Motive of Fate cannot be confused with another.
– In music, there is a basic and a special division of durations. The main thing is division into two: a whole duration is divided into two halves, a half duration is divided into two quarters, a quarter duration is divided into two eighths, and so on. This principle of division is well represented in this "pyramid" (Figure 3):
Rice. 3
- You can also imagine this division in the form of an apple (or cake), which is cut equal parts 2 - half, 4 - quarter, 8 - eighth (Figure 4).
Rice. four
- On the initial stage learning, i.e. in the lower grades, acquaintance with durations begins with quarters and eighths. These durations are related to concepts such as walking and running. Then half and whole are studied, and even later smaller, sixteenths in various combinations. As a rule, thirty-second and sixty-fourth are not used in school practice.
– The time relationships between certain durations can be demonstrated in singing the C major scale:
Students sing the C major scale in different rhythms. When singing with half notes, the melody follows widely, singsongly (Figure 5), quarter notes give aspiration to the melody (Figure 6), eighth notes - playfulness (Figure 7), and sixteenth notes - motorism (Figure 8).
Rice. eight
- In accordance with the program requirements in the 4th grade, children are already familiar with sixteenths in various combinations. This is a group of four sixteenths, rhythmic groups of an eighth and two sixteenths, two sixteenths and an eighth. At the beginning of the year, the children got acquainted with one more rhythm: the eighth with a dot and the sixteenth. All these groups of durations are mastered by students in singing exercises and beating out the rhythm with aloud counting.
Students tune in and sing given example using sheet A (Appendix 1). The teacher draws attention to the fact that a group of 4 sixteenths occupies one metric share (Figure 9):
And also, with a count, this sample is slammed aloud, working on sheet B (Appendix 2), (Figure 10):
Similarly, children demonstrate the practical mastering of other rhythmic groups with sixteenths - an eighth and two sixteenths (Figures 11, 12):
Rice. 12
Two sixteenth and eighth (Figures 13, 14)
Rice. fourteen
- Children really like examples where vocal and rhythmic lines are combined, they require more careful study, but then deliver more satisfaction from the work done (Figure 15):
Rice. fifteen
– The dotted eighth note and the sixteenth note are the most complex rhythmic pattern of the ones covered, its development requires the introduction additional syllable in the account: once, "on the" two -i (Figures 16, 17):
Rice. 16
Rice. 17
III. Preparation for practical work
| As a practical work, students are offered the "Exercise on the fingers", the essence of which is as follows: the teacher tells the children that his two hands are two shares in the amount of two quarters. Thumb bent inside the palm, students see four fingers on the outside of each hand. If the fingers are connected to each other, then this is a quarter duration, and the students clap it, counting “one-and-two-and” (photo 2). |  Photo 2 |
||
| If the fingers are connected in two, then these are two eighths (photo 3). |  Photo 3 |
If all the fingers are located separately, then they should be defined as sixteenth (photo 4). |  Photo 4 |
| - Rhythmic patterns, composed in this way, allow the teacher to compose any exercises for clapping and recording: | |||
| Eighth and two sixteenths with two eighths - in photo 5, |  Photo 5 |
four sixteenths and two eighths - in photo 6. |  Photo 6 |
| Half - in photo 7, |  Photo 7 |
the eighth and two sixteenths on both shares - in photo 8. |  Photo 8 |
| A quarter with a dot and an eighth are shown in photo 9. |  Photo 9 |
The eighth with a dot and the sixteenth on both shares - in photo 10. |  Photo 10 |
- You can also depict a syncopated rhythm: an eighth, a quarter, an eighth, or two smaller ones: a sixteenth, an eighth, a sixteenth.
Rhythm shown right hand, is a strong beat for students, the rhythm in the left is the second, weak beat. First, the exercise is worked out while sitting with the count out loud, when there are no mistakes, you can work standing up, beating off a double meter with your feet. Thus, in this exercise, the interaction of meter and rhythm is worked out, new rhythmic groups are assimilated, coordination of hands and feet improves, and a loud score prevents rhythmic falsity. In addition, the appearance of the rhythm of each subsequent measure occurs "in real time", which requires students to concentrate and be attentive. The pace of the exercise can vary from slow to agile, depending on the level of the group. You can start working on this exercise from the earliest period of study, when students know quarters and eighths. AT this case there are senior students in the lesson, so the following durations are used: quarters, eighths, sixteenths in various combinations.
Pupils “warm up”, clap the rhythms shown by the teacher.
IV. Practical work No. 1: rhythmic dictation
Students clap the rhythm 3-5 times as shown by the teacher with the count aloud, then repeat it individually - with their feet and hands (photo 2, 5, 6, 7, figure 18), then write it down on a piece of music paper.
| Photo 2 | Photo 5 | Photo 6 | Photo 7 |
Rice. eighteen
V. Practical work No. 2: solving mathematical examples for addition, subtraction, multiplication and division of durations
- In this work, the numerical ratios of durations are mastered, within the framework of the main division. The division of durations is based on actions with fractions (Figure 19).
Participants complete the task on sheet C (Appendix 3).
Rice. 19
VI. Lesson summary
- Numerical ratios in music are very important, and any violation of them can lead to the destruction of the musical structure. Rhythm is one of the main means musical expressiveness, and every musician should treat the rhythm very carefully. Rhythmic falsity is considered the most unpleasant and gross mistake.
- I would like to end our meeting today with the words:
“Rhythm is the patterns of musical time, beautiful and intelligent.
The meter marks the time when the sounds appear in the pattern.
Tempo tells how fast the pattern will unfold.
And the pattern itself, i.e. Rhythm is already music!”
E. Finkelstein.
Our lesson is over. Thanks to the students for their work in the lesson, thanks to the distinguished guests, colleagues for their attention and participation.
Literature:
- Kaluga T. Solfeggio. Program for children's music schools, music departments art schools, evening schools general musical education. - Moscow, 1984.
- Lebedev S., Trubinov P. Russian book about Finale. - St. Petersburg: Composer, 2003.
- Metallidi Zh., Pertsovskaya A. We play, we compose, we sing. Solfeggio for the 3rd grade of the children's music school. - St. Petersburg: Composer, 2011.
- Musical encyclopedic Dictionary/ I.P. Dabaeva, O.V. Tverdokhlebova. – Rostov n/a: Phoenix, 2010.
- Sirotina T. Rhythmic alphabet. - Moscow.: Music, 2007.
- Davydova E., Zaporozhets S. Solfeggio for the 3rd grade of children's music schools. - M.: Music, 1997.
- Davydova E. Solfeggio for the 4th grade of children's music schools. - M .: Music, 1999.
- Finkelstein E. Music from A to Z. Entertaining reading with pictures and fantasies. - St. Petersburg: Composer, 1993.
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN "CHILDREN'S MUSIC SCHOOL №4
SMOLENSK"
Lesson as the main form of work with students in music schools.
Teacher
Smolensk
1. Introduction.
2. Lesson is the main form of organizing classes.
4. Student's homework.
5. Skill development independent work students.
6. Types of lessons.
7. Conclusion.
8. List of used literature.
Pedagogical work is a complex process, and even more so in the sphere of culture and art than in other areas. The range of tasks facing the teacher here is especially wide.
The tasks of the teacher are very deep and extremely diverse. This is the education of students, the development of their musical abilities, the comprehensiveness of musical training.
Teaching can never be separated from the education of students. The teacher should instill in the child a love for music, teach him to perceive musical works in all their diversity, depth, beauty.
A lesson in a specialty is the main form of work with a student. At the lesson, the teacher gives the necessary knowledge and skills to the student, directs his development and education. Each lesson is a kind of link in the chain of classes. general purpose lesson can be defined as checking the status of the student's work on this moment and ensuring its success in the future. At the lessons, as it were, the results of homework for the previous short period are summed up and an impetus is given for subsequent work.
The development of the student proceeds gradually, and the teacher must be aware of the importance of each lesson. The teacher cares about the quality, the systematic nature of the lessons, that they are interesting for the student. Work in the classroom requires the teacher to have great inner composure, behind which lies the purposefulness of his thoughts. Actions, one feels his will, activity, encouraging the student to think and work in the right direction. The true interest of the teacher in the lessons is reflected in the nature of the lesson, in its tone.
When learning to play musical instrument the teacher does not draw up an exact lesson plan indicating the topics of each lesson. Individual plan a lesson is enough to build training on its basis. Preparation for the lesson consists in viewing musical literature, various editions of a particular work. The entire repertoire of the student should be "in the fingers" of the teacher. The teacher needs to be aware of the published literature, it is necessary to get acquainted with new works. All this makes the teacher work hard to make the lessons successful.
The form of the lesson should be built in accordance with the character, abilities, individual characteristics of the student's psyche. The desire of parents to be present at the lessons (especially at the first ones) should also be welcomed. Their active participation in the learning process of children is necessary condition for creating comfortable conditions in the classroom and the organization of fruitful studies at home. It is parents who should stimulate children's interest in learning, reading books, attending concerts.
Work on the works being learned is the main content self-study student and at the same time the main material of the lesson.
In my class, children with different musical ability. To achieve a positive learning outcome in training, it is necessary to master the technique pedagogical work:
be able to properly approach each student, taking into account his individual characteristics, to find the right solution in the most different situations;
be able to use the limited time of the lesson expediently, so as to have time to check the results of the student's homework, give him clear, memorable instructions and have time to provide needed help at the lesson itself.
At the lesson, it is necessary not only to give the student the necessary knowledge, skills and abilities, but also to direct his development and education. Educational and educational work are inseparable from each other, and must continuously instill in students consciousness, perseverance and resourcefulness in work, firm discipline combined with initiative.
The development of gaming skills is inseparable from the education of the character of the student as a whole: a student who carelessly analyzes the text usually shows carelessness in a number of aspects of his behavior, which I influence when the opportunity arises. Rhythm in the student's game is most closely related to the main features of his character: lack of clear metro-rhythm always indicates a certain laxity of character; on the contrary, the clarity of rhythm corresponds to the ability to clear volitional actions, and rhythmic endurance is closely related to endurance in behavior and speech. Paleness, emotional lethargy of the student's game often coincides with such properties of his character as isolation, lack of sociability, which is also in the sphere of possible influence.
The development of the student proceeds gradually, and the teacher is aware of the importance of each lesson. This determines the constant obligatory concern for the quality, systematicity of classes, and, of course, that they are interesting for the child. Whatever work is done in the classroom, it requires great internal composure, purposefulness of thoughts, actions, feelings, will, activity that encourage the student to think in the right direction, to work in general.
Rejecting the authoritarian educational process, it is necessary to create a relaxed atmosphere in the classroom and mutual cooperation, equal communication with the student, giving him trust, love, faith in his abilities. For the most part, children are simple, frank, kind. Communicating with a child, I learn from him, to know how each student of the class lives, his hobbies, the situation in the family and in the secondary school, his position in the team. This helps to understand a lot in the character and behavior of students and positively influence the formation of the personality of each child.
The nature of the lesson depends, of course, on the individual characteristics of the student. There are students who are creative work, and those that dispose only to conscientious attentiveness: but this does not mean that creative initiative should not be gradually aroused in the latter.
In most cases, at the beginning of the lesson, you need to calmly, leisurely listen to the material - some pieces in their entirety, others - in fragments. Only after the material is checked, some positive points are noticed, shifts compared to the previous lesson, and along with this, failures, uncorrected errors - only then it becomes clear what should be worked on first. These short minutes allow you to identify the main thing that you absolutely need to achieve today, to outline what it is desirable to work on if there is enough time, and what part of the material can be postponed until the next lesson. Listening ends with an assessment of the student's homework, expressed in such a tone that the best way will set it up.
Of course, this is not a standard beginning of the lesson. For example, if you immediately understand that a student did not work well at home, you can not listen to his performance of the entire piece to the end; in any thing, listen only to the passage on which work was carried out in last time; check the ways the student used at home.
So, checking the student's homework allows you to outline the content of the upcoming lesson, the sequence of tasks, and the predominant forms of work. Work on the pieces to be learned and, in connection with this, on the acquisition and development of pianistic skills is the main content of the student's independent studies and, at the same time, the main material of the lesson.
After listening to the material, it is good to start with a relatively simple task that mobilizes the student's attention. (For example, from the analysis of a simple text, the improvement of any element of technology or an excerpt from a play that the student especially liked). This is followed by careful and lengthy work on the most important and difficult essay for the student. The next moment is the "semi-independent" work of the student on one of the plays and checking the methods of study that he used at home. And finally, when the student's attention is already drying up, some form of music-making. In addition, the lesson includes reading sheet music, playing various exercises. During a lesson full of intensive work, it is necessary to give the student some relaxation: play him a piece, talk about the latest musical impressions, play four hands with him. After that, you can return to persistent work again.
This is just one of many examples of the purposeful construction of a lesson, showing that not only its content, but also the internal dynamics, the sequence of various tasks and forms of work, determine the degree of its effectiveness and the impact on the student's homework.
However, a lesson with children cannot be reduced only to a game - it must necessarily include moments intensive work requiring a lot of student effort. It goes without saying that the older the student, the most of lesson should be dedicated to work. It is important to timely notice signs of student fatigue, a drop in interest and give him some relaxation in time or even finish the lesson.
Children need frequent encouragement, evaluation of the work done (better in verbal form than through a score). The emotional world of a teenager requires special attention. transitional age sometimes characterized by isolation, shyness, behind which doubts, fluctuations in mood, increased vulnerability are hidden. By showing tact and delicacy to such experiences, without imposing your participation, you can win the confidence of a teenager, imperceptibly call for revelation. To encourage the student's desire to show his taste when choosing a repertoire, in interpreting the music being studied.
In my work I use different types lessons, for example, holistic "thematic" lessons, concentrated around a single core. Here are examples of thematic lessons:
1. Analysis of musical text. I teach children the method of parsing, comprehending author's instructions, covering musical complexes of melodic constructions, chords, etc.). At the lesson, I periodically switch the student's attention from careful work to execution. When there is a piece in the program, which he is already more or less fluent in, I give him the appropriate instructions: “Now play this piece so that we hear what wonderful music it is, and both of us enjoy it.” It is very good if at least the comrades of the student are present at the same time. Here you need to show restraint and not interfere with the performance, even if it does not fully satisfy. It is very important to cultivate the ability to bring the performance to the end without corrections and hesitation. Inappropriate "conscientiousness" sometimes leads to the fact that even with public speaking the student stops to immediately correct any failure. In the mind of the student must be clearly delineated the study , passing under the unstoppable control of "demanding hearing", when any inaccuracy must be noticed and immediately corrected, and performance, when the play must be brought to the end and only after that work on the details is continued. The more often we create and maintain an atmosphere of responsible performance in the classroom, the more the student will achieve in acquiring pop well-being. Unfortunately, the pupils keep a thoroughly prepared play in their memory and hands only for a short period. Usually, as soon as a piece is played at a party or an exam, it is immediately forgotten.
2. Melody as the theme of the lesson. Identification of the melodic essence of various works and accompanying lines. With regard to one of the pieces (the most understandable and accessible to the student), I confine myself to showing on the instrument what and how the student should achieve, completing the show approximately following words: "You can, of course, achieve this on your own." Such trust obliges the student, increases his readiness to make every effort to achieve success. I usually use this form of influence with older smart, especially receptive students. With novice students, I use such techniques in simple plays. Perhaps at first the children will be able to achieve little on their own, however, if you steadily continue to use this form of influence, sooner or later it will justify itself. Then time will be freed up for lengthy work on difficult tasks, and for simpler ones, you can rely on the student's independent work.
A successful end of the lesson is of great importance for the student's homework: summing up the lesson, emphasizing the most important task, and, finally, writing in the diary. The ultimate goal of any lesson in a special class includes the following points:
1. The student must enrich his performing knowledge;
2. He must take with him a clear idea of the content and form of his future work;
3. His figurative memory should be enriched with benign game images, and his motor memory should be enriched with traces of accurate and harmonious game movements;
4. He must receive an "emotional charge" for further work.
One of the greatest difficulties of individual lessons is the ability to quickly and flexibly switch from one lesson to another. It is unforgivable if, for example, the echoes of irritation caused by the previous student are transferred to the next. A faithful and constant assistant is the student himself: his interest. Activity, enthusiasm - all these are reliable indicators of a successful lesson.
Ways and means of developing the student's independence are aimed at deepening his ability to think, engage, stimulate his initiative and are determined by the whole complex of his individual data and conditions of classes. The success of the student's studies depends on how fruitful the work in this direction is. At the same time, the achievement of even a high level of independence by him cannot allow the teacher to weaken the leadership of all work. He will always remain a teacher, leading classes in a certain, thoughtful direction.
List of used literature.
1. "Methods of teaching to play the piano" - M .: 1978. 2. Timakin pianist. Toolkit. Edition 2nd. Moscow: Soviet composer. 1989.
3. Shchapov lesson at a music school and college - M .: Classics-XXI 2004.
4. Lyubomudrova N. "Methods of teaching to play the piano" - M., "Music", 1982
Public lesson teacher DShI them. A.A. Pantykina Shvetsova M.N.
The date of the: 18.11.2012
Present: Deryabina T.V., Zakirova G.G. Ivanova I.Anatol.
Lesson topic: Development of technical skills in the initial period of training on the example of scales and other elements of technology.
Methodological support of the lesson:
G.M. Tsypin, Learning to play the piano, M., Enlightenment, 1984
S.E. Feinberg, Pianoism as art, M., Klassika-XXI, 2003
Konrad Wolf, Lessons from Schnabel. M, Classic - XXI. 2006
I. Hoffman, Piano game. Answers to questions about the piano game, M., Classics-XXI. 2002
S.V. Grokhotov. How to teach to play the piano. First steps, M.. Classic - XXI,
2005
The purpose of the lesson: Creating conditions for the successful development of scales and other elements of technology.
Tasks:
To ensure the psychological well-being of the student in the classroom, contributing to a better perception of the material.
Use various exercises for mastering scales, chords and arpeggios.
To achieve high-quality performance of scales and other elements of technology.
Encourage the student to reflect, self-control and introspection.
Lesson Plan
Methodical message
Working on the scale in C major . chords and arpeggios.
Working on scales
Mastering legato exercises.
Mastering exercises for placing the first finger
Playing the scale separately with each hand and with both hands in divergent motion from one sound.
Work on the chords
Mastering finger exercises.
Playing chords separately with each hand for two octaves.
.
Mastering legato exercises in three sounds.
Mastering legato exercises for four sounds.
Playing arpeggios of three sounds separately with each hand for two octaves.
Playing arpeggios of four notes separately with each hand for two octaves.
Working on long arpeggios.
Mastering the exercise of placing the first finger.
Mastering exercises for positional play.
Playing arpeggios separately with each hand for two octaves.
III The result of all work: Play the C major scale for two octaves separately with each hand, with two hands in a divergent movement from one sound, chords for two octaves separately with each hand; short arpeggios for two octaves separately with each hand; long arpeggios for two octaves separately with each hand.
Our hands are not built in parallel, but symmetrically, so even an advanced pianist finds it difficult to play the same thing with the right and left hands through an octave or two - therefore, to start playing the scale in direct movement impractical. When we learn the scale, we must play with each hand separately, with the right hand starting from the bottom up, and with the left hand from top to bottom. When playing with two hands, one must start in opposite movement earlier than direct. This will not be a great difficulty for the student, since he began to play the scale when the sounds of which it consists were learned earlier.
The scale should be played at a moderate pace, since only then is it possible to control the legato. Always prepared fingers, intelligible pronunciation and competent insertion of the first finger. For a confident performance of the scale, you should pay attention to the fact that the fourth finger always has its place. Each time, setting the scale, the teacher determines the position of the fourth finger in the right and left hands. Attentive attitude to fingering brings up accuracy, accuracy in performance.
Working on the major scale, in parallel, start mastering chords and arpeggios. These are the necessary elements of technique that develop stability, good support in the fingers, positional play, the location of the fingers in the tonic triad and its inversions. The student begins to hear first two voices (thirds of the tonic triad with 1-3 fingers, 3-5 fingers), then three-voices (chords of the tonic triad with 1-3-5 fingers). The upper voice is often poorly heard in the chords. To do this, the weight of the hand must be directed to 5 and., Inclining the brush to it. After mastering the chords of the tonic triad, include its inversion in the work. Then play short and long arpeggios.
Starting work on scales and other elements of technique, the student encounters difficulty in putting the first finger. Often the student strains the first finger or adapts unsuccessfully to its lining. Late on the key or a sharp pressing of it leads to uneven play of scales. It is also difficult to perform legato, in scale and arpeggio, equalize chord voices, play with a support, and maintain a melodic line.
Therefore, it is necessary to develop exercises to help the student. ,
The exercise must be appropriate for the task at hand. It is necessary to overcome the difficulties encountered.
The exercise should be easier and simpler than the difficulty being overcome.
It is advisable to make the exercise as short as possible.
Properly organized exercise achieves results in a short time.
In the exercise, the difficulty to be overcome should be facilitated. The goal should be
easily achievable. It is necessary to develop such exercises that are impeccably successful.
Lesson content
II Work on scales, chords and arpeggios with a first grade student Katya Schukina.
1. Work on scales
From working thief lay down a tov exercise eni I:
a) Play and sing with the words of a sequence of two sounds, three sounds and
five fingers, right hand, then left hand.
b) Complicate five-finger exercises.
From work p ODK fingering the first finger:
a) On the cover of the instrument: put your hand and “bring” the free first
finger to the second, third, fourth and fifth fingers of the right and left hands.
b) On the keyboard: Lean on the fifth finger, and with the rounded first one, freely “step” along the keys. With a flexible brush, very light eighth notes that sound in the background long sound, (see Attachment)
c) Exercise "Droplets": Rely on the third finger in a note to sharp, then F sharp, and with the first finger it is easy to play every eighth note staccato alternating sounds lower - higher. (see Attachment)
d) Exercise for laying on black keys: First, beat a group of two, then three black keys. Repeat each link several times in different octaves with the right and left hands. Bring the first finger under the palm in time, helping the brush move in the right direction. Listen to the evenness of the melodic line, (see Appendix)
e) Exercise for laying on the white keys: from each step of the scale, play five notes in order with the right hand up, and with the left hand down, placing the first finger after the third. Control the clarity of pronunciation and the evenness of the melodic line, (see Appendix)
Play the C major scale with your right hand one octave, then two octaves. Same with the left hand. In a divergent movement from one sound "to" to one, then to two octaves. To control the evenness of the sound when placing the first finger, the development of a melodic line, the combination of sounds in legato.
Work on the chords
work out the opo ru pal tsev in exercises.
a) Play the thirds of the tonic triad with the first - third fingers, the third - fifth fingers in different octaves with the right, then with the left hand.
b) Play fifths with the first - fifth fingers in different octaves with the right hand, then with the left hand.
P odgoths play a chord, listen at voices in exercises
a) The student should play thirds of the tonic triad with the first or third fingers, and with the third - with the fifth fingers.
b) Play fifths with the first to fifth fingers in different octaves separately with each hand. Listen and sing voices.
c) Play a chord. The teacher is the lower and middle voice, the student is the upper one and vice versa.
d) Play the tonic triad with the first-third-fifth fingers alternately with the delay of each sound. Listen to the sound of voices. Play chords in different octaves. Then master the inversions of the tonic triad, memorizing the fingering.
Play chords: tonic triad with inversions separately by each hand for two octaves. Control the sound of all chord voices.
Working on short arpeggios
Otrab about play legato in exercises:
a) Play arpeggios of three notes. The hand "breathes" after each link
b) Play arpeggios of three sounds with a unifying movement of the brush from the first finger to the fifth finger. Lead the melodic line up, then down. (See Attachment)
c) Play arpeggios of four notes, removing your hand after each link.
d) Play arpeggios with light accents of three notes to take the stress off the first finger. (See Attachment)
Play short arpeggios of four notes separately with each hand for two octaves. Control the evenness of the sound, legato connection.
I. Technique is a general concept that includes scales, arpeggios, chords, double notes, octaves, touches of all kinds, legato, staccato, as well as dynamic shades. All this is necessary for the formation of a complete technique.
All the technique of the classical period, and even the romantics, is saturated with scale-like sequences or its individual types, as well as arpeggios. You need to be prepared for this. Students who have not gone through the school of scales will noticeably lag behind in technical development. Without a conscious and purposeful development of technique, it is impossible to achieve any results in the art of playing the piano. Therefore, the formation of technical skills and abilities of students - pianists should be dealt with already at the initial stage of training.
One of the most important tasks is to develop the student's spatial accuracy of the finger apparatus, that is, the ability to accurately, cleanly and accurately hit the desired keys with his fingers. Often one has to observe cases of sloppy, as they say " dirty game". Therefore, the teacher must first of all not allow any inaccuracies in the student's game.
Work on technology should be carried out systematically. Already in the initial period of training, the student gets acquainted with various types exercises that gradually develop his versatile technical skills.
First, this is a cycle of non legato exercises. Here a good feeling of the keyboard is brought up, the correct movements are assimilated, the stability of the fingers, and most importantly, the student gradually gets used to controlling the sound of each key pressed by ear.
Gradually, the tasks become more difficult and exercises on non legato are replaced by exercises on legato. the main task at this stage - the ability to smoothly combine sounds, to achieve an audible legato.
You should start by connecting two sounds 2-3 p.. 3-4 p.. 1-2 p., 4-5 p. Then three sounds 2-3-4 p., 1-2-3 p., 3 4-5 p.
Such exercises my students play and sing with words.
The final legato exercise is five-finger sequences. They are the basis for starting the study of scales. Having mastered the five-finger exercises, the student will learn how to accurately put fingers in the keys, combine sounds on legato, and lead a melodic line.
Gammas are the next stage of work on the exercises. Here legato playing skills are consolidated and developed, the smoothness and evenness of the melodic line is developed, finger fluency develops, the student gradually begins to get acquainted with the basic patterns of fingering, technical formulas, etc.
Scales should be played only when the student already knows them perfectly, so that he can sing with his voice. Without hesitation, he can build any scale on the keyboard from each note with one finger. Only when he knows the scales can he start playing them.
Usually they start with the C major scale, then play the G major scale and continue like that. adding one character. From a pianistic point of view, it is much easier for a student to play a scale with black keys, as this contributes to a comfortable position on the keyboard (long fingers on black keys). In this case, the hand lies naturally.
But often they begin to study scales in the order of the fifth circle. Learning the C major scale is easier than learning the scale with many sharps. It is better to start playing the scale with the first and second or first and third fingers, keeping the hand closer to the black keys so that the student does not have to fidget with his hand. When he plays any of the major scales fairly freely at a moderate pace with two fingers, you can gradually begin to apply the usual more complex fingering. Having mastered the major scale, separately with each hand, include performance with two hands in the work.
Working on long arpeggios
work out podk ladyvani e first finger.
a) Play the sounds of the tonic triad in the first and second octaves alternately on the legato with the first and third fingers (C-SOL-C), placing the first finger under the palm separately with each hand.
b) Play the sounds of the tonic quarter-sext chord alternately on the legato in the first and second octaves with the first and fourth fingers, placing the first finger under the palm of your hand separately with each hand
Worked out practice positional play in an exercise n yah:
a) Play with the delay of the sound “to” with the first finger. Accurately hit the next “do” sound with your first finger. Quickly move the hand closer to the keyboard.
b) Transfer hands from position to position, bringing the first finger under the palm, first to the third, then to the fourth fingers.
c) Show the technique of “sliding” from position to position without observing legato at the moment of transition from the third or fourth fingers to the first (positional game).
Play long arpeggios separately with each hand for two octaves. To control the evenness of the sound when placing the first finger, the development of a melodic line, the combination of sounds in legato.
Summary of all work : Play the C major scale two octaves separately with each hand, with both hands in a diverging movement from one sound, chords two octaves separately with each hand; short arpeggios for two octaves separately with each hand; long arpeggios for two octaves separately with each hand.
Feedback on an open lesson
teacher DSHI Shvetsova M.N.
Date of the lesson: 11/18/2009
The lesson was held with a first grade student Katya Schukina.
The lesson conducted by the teacher Shvetsova M.N. was quite well organized and planned. The teacher clearly observed the planned lesson plan; clearly formulated the purpose of the lesson, tasks; has a good command of the material of the lesson, which confirms the methodical message.
To reveal the topic of the lesson, the teacher selected necessary material. The teacher clearly explained the need for each task. A variety of exercises have been selected to prepare for the performance of scales.
M.N. Shvetsova stimulates the student in the classroom, moderately encourages and encourages, uses the method of personal demonstration, helps, suggests how to cope with the difficulties that have arisen.
Development of technical skills, during the period primary education, develops in the student perseverance, diligence, determination, the desire to achieve the intended goals.
Ivanova I. A.
The skills acquired in the lesson, as well as their development in the course of subsequent lessons, are necessary for the technical growth of the student, the successful performance of the concert program.
FEEDBACK ABOUT THE LESSON
The theme of the lesson "Development of technical skills in the initial period of training on the example of scales and other elements of technology" is disclosed quite fully. The goals and objectives of the lesson were achieved through a change in activities and a change in tasks.
The teacher in his work with the student uses a lot of preparatory game exercises creative approach to tasks. During the lesson, an extensive methodological message was heard, step-by-step work with a preparatory class student on the C major scale, chords, long and short arpeggios was shown. Many visual materials were used. The tone of the teacher is friendly, calm, which contributes to active participation students in the learning process.
Educational, developing and educational purpose set in this lesson, the teacher fulfilled.
Teacher
Zakirova G.G.Any analysis of the lesson should be analytical in nature, which helps to identify the most successful fragments of the lesson, as well as those that require further improvement. Unfortunately, the possibilities analytical activities in the course of lesson planning are far from being fully used. This is due to both subjective reasons (teachers, in anticipation of negative feedback, avoid evaluating the activities of their colleagues) and objective reasons (lack of practice in the lesson analysis methodology, experience and courage in similar issues school leaders), which leads to formalism in indicators (only the number of lessons attended is often taken into account), and not to a qualitative, productive analysis. However, the development of modern pedagogical technologies allows you to search and find new approaches.
Working for many years at the Children's Music School as a teacher and leader, I came to the conclusion that when analyzing lessons, teachers experience difficulties, because they do not really imagine what should be put at the forefront in this process, what to pay attention to and discuss. After all, each open lesson for a teacher, first of all, is a way to improve their skills. Therefore, it is extremely important for him to hear a qualified reasoned assessment and build a perspective of his professional growth. Analyzing pedagogical activity (both someone else's and his own), the teacher learns to avoid unnecessary mistakes and gains new invaluable experience. Therefore, the purpose of this methodical work: boost professional level teacher, the quality of his education, as well as methodological assistance to teachers and school administration in teaching methods of analysis and introspection of pedagogical activity.
The material is developed and based on the concepts of leading Russian teachers, as well as their own work experience. The recommendations given in the work can serve as a reminder and hint for teachers in the analysis of the lesson, so that their reviews include not general “blurred” phrases, but specific, constructive comments not only on theory and performance, but also on the methodology of conducting the lesson, from which determines the quality of learning by students educational material.
-Theoretical substantiation of the content and analysis of the lesson: basic pedagogical principles its implementation.
-Practice and methods of lesson analysis in a music school, adaptation of general pedagogical principles to the specifics of music education.
1. Theory of analysis
and basic pedagogical principles of the lesson
Analysis- a logical method of cognition, which is a mental decomposition of an object (phenomenon, process) into parts, elements or features, their comparison and sequential study in order to identify essential, i.e. necessary and certain qualities and properties (as defined by V.I. Tsybasova).
The analysis of any lesson is a comprehensive approach in which the psychological, pedagogical, content, methodological and subject aspects are closely interconnected. Contributing to the improvement of the teaching process as a whole, the analysis is of paramount importance, especially for the teacher himself, giving the lesson. In the course of the analysis, he gets the opportunity to look at his lesson from the outside, to realize it as a phenomenon as a whole, to purposefully comprehend the totality of his own theoretical knowledge, ways, techniques and methods of work in their practical interpretation in interaction with the class and specific students. This is a reflection that allows you to evaluate your strengths and weak sides, identify unrealizable reserves, clarify individual points of the style of activity.
Along with the analysis of the lesson by the school administration, it is extremely important to hear the teacher's self-analysis, his assessment of his own pedagogical activity. In many schools, this is not practiced, but in vain: introspection is an indicator of the teacher's professionalism, the degree of his understanding of the tasks of education, and not just the goals and objectives of one lesson.
The objectives of attending lessons may be different. This is familiarization with the work of the teacher (the work of students in their class in their specialty), and control of the administration, and the provision of methodological assistance, and an open lesson as a form of methodical study, advanced training.
The teacher and supervisor attending the lesson should be familiar with the goals and schemes of the proposed analysis in advance.
Model general analysis lesson
Let's consider some important points and accents of the lesson analysis that have developed in the Russian teaching practice. I propose a generalized model of lesson analysis from the position managerial approach to the activities of the teacher:
-analysis of the objectives of the lesson, setting and bringing the objectives of the lesson to students;
-analysis of the structure and organization of the lesson. The presence of a lesson plan and the organization of its implementation by the teacher. Lesson equipment, use technical means training (TSO);
-analysis of the content of the lesson. Compliance with the requirements of the curriculum. Organization of independent work of students. Repetition, generalization;
-analysis of the methodology of the lesson, the validity and correctness of the selection of methods, techniques and teaching aids. A variety of techniques and methods of work. Usage visual aids, didactic and technical teaching aids;
-analysis of the work and behavior of students in the classroom. Overall assessment of the class. The degree of mastery of practical skills. Accumulation, objectivity of grades;
-analysis of homework received by students. The nature of the homework (creative, training, reinforcing, developing) and its feasibility;
-overall assessment of the degree of achievement of the objectives of the lesson. Argumented characteristics of the advantages of the lesson and its disadvantages. Diagnosis of causes and proposals for their elimination. Recommendations to the teacher on self-education based on conclusions and suggestions;
The administrator must choose the right style of conversation with the teacher (goodwill, respectfulness, tactfulness of the conversation), based on positive points. At the end of the analysis of the lesson, fill out and give the teacher for signature a protocol certifying the fact of the analysis this lesson.
self-analysis of the lesson.
In preparation for the lesson and after it, it is important for the teacher to consider and voice the following questions.
1. What is the place of this lesson in the topic, section, course?
2. A brief psychological and pedagogical description of the real possibilities of students in this class
3. How the tasks of the triune didactic goal were solved in the lesson:
1)educational (what was taught?);
2)educational (what brought up?);
3)developing (what did they develop?);
Have they been integrated with health-saving goals?
4. Why was this lesson structure chosen? Logical connection between various stages lesson.
5. What concepts, ideas, provisions, facts are the main focus of the lesson and why?
6. What combination of teaching methods was chosen to cover the main material? Give justification for the choice of teaching methods (be sure to do this!).
7. Was differentiated approach to students? How was the control of the assimilation of knowledge, skills and abilities of students organized?
8. How was the efficiency of students ensured throughout the lesson? What methods of health-saving pedagogy were used?
11. Psychological atmosphere of the lesson (comfort). What specifically manifested the culture of your communication with the group, class?
12. Did you manage to fully implement all the tasks and tasks set? If it didn't work, why not? How do you evaluate the results of the lesson? Outline the prospects for your activities.
These are the general pedagogical principles for the analysis and analysis of the lesson. Let's see what is the possibility of their implementation in the practice of the Children's Music School.
for the administration of the music school
In a music school, classes are somewhat specific, primarily because they are based not only on theory, but to a greater extent on creativity and improvisation. A lesson in a music school cannot be mathematically precisely built and conducted. There will always be a place in it for a creative deviation from the general plan of the lesson, which, however, does not violate the main goal of the lesson. However, the general pedagogical principles of conducting and analyzing the lesson as a whole are applicable to creative lesson. Important things to remember pedagogical rule: the effectiveness of the lesson will be only when it is methodically thought out and analyzed.
Before visiting theoretical (group) lesson Preliminary work required: familiarity with curriculum, calendar-thematic plans on the topic, the mood of the teacher for the presence of an outsider in the lesson. Depending on the purpose of the visit, you can ask in which class (with which student) it is more appropriate to attend a lesson.
The main analysis usually covers several important points, which you need to consider when writing a protocol for attending a lesson:
-checking students' homework: survey, taking into account the knowledge gained, encouragement, censure, reasoned assessment, conclusion and generalization;
-explanation new topic, concepts: material feed depth, compliance calendar plan, presentation: accessible, competent, compressed or expanded, the ability to illustrate the material with a voice, on an instrument (mark the quality), individual work with students;
-the effectiveness and variety of consolidation of the material and the organization of independent work of students: the ability to capture the attention of the group as a whole and the use of individual methods of work, the ability of the teacher to choose the best methods that contribute to the activation of learning, the development of harmonic, melodic and rhythmic hearing of students, their ability to think independently, connect the subject with related (special) disciplines, the culture of notes in students' notebooks, staging specific tasks, questions and bringing to the correct specific answers, the teacher's emphasis on accurate intonation in solfeggio and choir, the inclusion of game moments and associative thinking in younger students;
-educational aspect of the lesson: tone, mood, pace of the lesson, emotional coloring, artistic techniques, the aesthetics of the presentation of the material; "live, not dry", use additional literature and primary sources both from the side of the teacher and from the side of the children, the teacher's attention to the interests, questions of each child, patience and endurance with the answers of poorly performing and poorly intoned students. It is preferable to build aesthetic cycle classes in the form of a conversation, conversation, dialogue, rather than in the order of a teacher's monologue or a series of questions and answers;
-the use of technical teaching aids and visual aids in the lesson: the ability to use audio and video equipment without distorting the perception of music, the quality of illustrations, handouts, portraits, work with school board: accuracy, conciseness, literacy of records;
-generalization of the lesson, homework (assessments with a mandatory explanation, conclusions on the assimilation of basic concepts, specificity and thoughtfulness of homework, final goal which - in fixing the topic, a group task or individually for each (according to abilities and capabilities), an entry in diaries;
Thus, the lesson should be teaching, developing and educating, which must be fixed in the end when attending a lesson, if it, of course, meets these requirements.
Analysis of an individual lesson (by art form) , a lesson, as a rule, creative, focused not on the average student, as in a group, but on a single one, taking into account only his abilities, creative abilities and psyche. Therefore, it is necessary to analyze the performance culture of the student. The following are analyzed:
-place of the lesson common system classes (analysis of the program, preparation for the concert, current work, development of individual technical, artistic tasks etc.);
-the number of works in the student's program, how much work is covered in the lesson, the distribution of attention to each of them, compliance with the program requirements and the individual capabilities of the student;
-the quality of the chosen program: complexity, relevance, expediency and accessibility of the repertoire;
-literacy in the work on each work. Technical tasks: attention to the student’s playing apparatus, coordination of hand movements, a variety of techniques and exercises to improve the technical level, working out individual positions, passages, etc., attention to the accuracy of strokes, author’s fingering, pedalization, mechanical knowledge, bow movement, compliance with tempos, melismas , correct terminology. Fulfillment of artistic tasks: sound production, touch, style, era of the author of the work, genre, construction and form, plot, climax, dynamics, images, analogies, etc.;
-a variety of teaching methods: conversation, explanation, demonstration on an instrument or voice, conducting, gesticulation, the use of audio and video recordings of the best performers of a given work, techniques and exercises that develop performing skills;
-setting specific problems and tasks in the process of work. Repeated playing of musical text in a lesson is not allowed without first determining the goal. Evaluation by the teacher goal achieved, complication of a task or consolidation of a skill. The effectiveness of this type of work;
-development of the student's creative thinking, independence in the disclosure of the image, incentive techniques for the development of fantasy. Does the teacher interfere with the performance with remarks, frequent stops, does it allow you to tune in, calm down, open up, etc.;
-beginning of the lesson – end: are there any results? Did the student understand what was required of him? Did he begin to understand and perform at least one piece or part of it better? Does he understand what needs to be done at home?
-recording homework (so it is easier for the student to navigate in moving towards the intended goal). An entry in the student's diary is required for each work. Important: are tasks fixed when writing down homework - what to do, and techniques - how to do it? Is it a specific task or not? common phrases, not binding to anything? In the order of independence and control over understanding current tasks in high school, some students can write down the assignment themselves after the lesson;
-efficiency educational work on the lesson. professional relationship in the lesson: partner (student-teacher), authoritarian (the teacher dictates), spontaneous (the student does not understand, the teacher cannot explain), what prevails: praise or censure?
I will emphasize the special moments that set up and nurture a love for music in a child:
artistic presentation of works (discussion of program plays, inventing names for non-program ones),
emotional and spiritual contact between the teacher and the student,
goodwill, optimism, enthusiasm of the teacher, the predominance of his praise, words of support,
the temperament of the teacher, the ability to use the dynamics of speech,
the basis of the lesson: dialogue. Does the teacher allow the student to speak, does he not dictate his will?
patience and tolerance for the shortcomings of the student. The ability to listen to the game and find at least a drop of good in performance.
Lesson Aspect Analysis Model (according to the systems of L. Zankov, V. Davydov)
Sometimes the administrator comes to the lesson to the teacher to identify certain areas of his pedagogical activity in order to control or provide methodological assistance on certain issues: for example, help in establishing contact with the class, in the ability to distribute lesson material over time, suggest the appropriateness and expediency of certain methods of work, observe the activities of individual students, etc. In this case, one can speak of aspect analysis lesson that every leader needs to learn.
Psychological and pedagogical analysis of the lesson carried out from the following positions:
-lesson content;
-intensity of the lesson. The significance of the topic, the measure of difficulty and complexity;
-lesson composition. Structure, logic, integrity;
-work on the formation professional skills and skills: listen and hear, think and reflect;
-material designed to develop children's creativity, feelings, use own experience knowledge and performance;
-the use of visualization as an amplifier of educational material;
-practical application of knowledge; generalizations, consolidation;
-pedagogical technique.
-the energy strength of the teacher (voice, facial expressions, mood, persuasiveness of speech, the ability to inspire, lead);
-the ability to create a mood for the lesson in children;
-maintaining the active perception of educational material (performing repertoire) during the lesson;
-the ability to set tasks, to pause after the formulation of a question or task, so as not to interfere with thinking and solving a problem; listen to the answers of children, find positive in them;
-culture of listening and performing music;
-communicative qualities.
-interest in children, their thoughts and feelings;
-mutual respect between the teacher and students, the desire for communication;
-reaction to children's mistakes, attention to all children, gives everyone the opportunity to express their point of view, supports, approves; the lesson is a dialogue, cooperation;
-the teacher does not “pull out” the student with hints, creates in him the feeling that he is accepted and understood by anyone;
-the behavior of children in the classroom: calm, bold, direct, or vice versa.
-the teacher knows how to give the initiative to children, creating a sense of methodological co-authorship.
It is not necessary to look for all the above provisions during the lesson, just some of the most noticeable ones that characterize the style of the teacher are enough.
Evaluation of the professional and pedagogical activity of the teacher is made up of a number of factors:
-professional opportunities and abilities of the teacher: Fluency instrument, theoretical material, vocal abilities, good hearing and auditory control;
-a variety of forms and methods of teaching: verbal, visual, practical, etc.;
-use of advanced techniques, new programs, experimental courses;
-outlook, erudition, intelligence in the musical and aesthetic field;
-literacy in the presentation of material, in the spelling of the main musical names and concepts, the use of correct terminology;
-development of students' motivation, encouraging their curiosity and interest in the subject,
-professional orientation,
-the connection of the taught subject with related disciplines, the connection of theory with practice;
-the ability to hold the attention of children for a long time using a variety of techniques;
-calculation of time during the lesson, possession of discipline in the classroom without shouting and twitching of students; reasonable severity;
-the ability to distribute attention to all students, not focusing on the strong;
-taking into account the psychology of the age and gender of children, control over the optimal pace and dynamics of the lesson, without straining students;
-performance and aesthetic taste, culture of behavior, expressive literate speech;
Summer flew by unimaginably fast. In a few days, another school season begins. It's time for music teachers to replenish their methodological libraries with fresh materials. And our site will help you with this. From this page you can download new developments of music lessons, teaching materials on musical education. All materials are packed into small archives, they are easily and quickly downloaded via a direct link. Use on health, arm yourself with new knowledge. Good luck to you in your far from easy work.
"World of music- beautiful world!" Development of an open lesson for students in grades 2-3. Download
"The Significance of Forming the Foundations Orthodox culture the student in the conditions modern education» download work.
"Guess the melody" (musical game program). The development will allow children to learn to identify and name musical works by ear. Download
"Children's images in music." The lesson summary contains material that will help introduce children to composers who have written music for children. Download
"String-bowed group of instruments". The work will form an idea of a symphony orchestra. He will introduce you to the instruments of the symphony orchestra, their timbre, sound extraction. Download
"The Construction (Form) of Music". The development will help to consolidate the understanding that the change of parts in the works is primarily associated with a change in the nature of the music. Download
"Expressive and pictorial intonation in music." The lesson will introduce expressive and pictorial possibilities, expand knowledge of musical intonation. Download
"Musical instruments." The purpose of the lesson: to consolidate the theoretical knowledge of the material covered. Deepen and continue the accumulation of knowledge about folk instruments. Download
"Russian folk holidays and songs of the annual calendar circle (lesson development). A lesson on listening to music for the 3rd grade of a children's music school will lay the foundation for a culture of listening to Russians folk songs. Download
"Journey Through the Ages - From Classics to Modernity (compendium)" The lesson will introduce children to the heritage of world musical art. Download
"Musical means of expression (compendium)". The work will introduce children to the works of P. I. Tchaikovsky "On the troika" through listening and developing the creative imagination of children when creating a picture of winter. Download
"Health-saving technologies for music lessons(abstract)". Purpose: to enrich the musical impressions of children, to evoke a vivid emotional response when perceiving music. different nature. Download
“Great gift of creativity. The transformative power of art (lesson development). The lesson will reveal the meaning of the concept of "the gift of creativity", to form an idea of the transformative power of music. Download
"Musical alphabet (lesson development)." Purpose: to teach correct spelling stave, treble clef, arrangement of notes, with the help of the game to instill interest in music. Download
Outline of the open lesson of the teacher of the piano department "Pedagogical views of Karl Czerny". The lesson will allow you to recall the basic pedagogical principles of K. Czerny. Download
Development of a lesson in music on the topic "Methods and techniques for the development of emotional responsiveness in work on works large form. The purpose of the lesson is to develop and improve the methods and techniques of emotional responsiveness in working on large-scale works.
