MKOU DOD "Children's School of Arts" ACRMO RK
majoring in BAYAN
"Work on in an artistic way works"
(with 3rd grade student Kirill Ilchenko)
The lesson was conducted by the teacher of the Children's Art School
Kulikova I.V.
With. Trinity
Plan - abstract
open lesson on the specialty BAYAN
teacher Kulikova I.V.
Venue: MKOU DOD "DSHI" class No. 4
Date: 03.02.2015
Lesson type: open
Form of work: individual
Theme of the lesson: "Work on the artistic image of the work"
The purpose of the lesson: To learn how to reveal the artistic image of works
Tasks:
- Educational - to define the concept of "artistic image of a work", to learn to reveal the intention of the work;
- Educational - to educate the culture of performance of the work;
- Developing - to develop the ability to listen and understand executable work, develop imagination, thinking, memory, sense of rhythm;
- Health-saving - correct fit, position of hands, body, installation of the tool.
Lesson plan.
The structure of the lesson consists of five parts:
1 part - organizational;
Part 2 - work on new material;
Part 3 - consolidation of the studied material in the lesson;
Part 4 - the result of the lesson;
Equipment: 2 bayans, music stand, table, chairs, musical literature, didactic material, metronome, tablet computer.
The lesson is conducted with a 3rd grade student Kirill Ilchenko.
Part 1 - Organizational.
- Playing the scales C, G, F major with two hands together with different strokes: legato, staccato, short arpeggios, chords in Moderato tempo;
- Playing long arpeggios right hand at the tempo of Moderato;
- Analysis homework- an oral report on the work done6 what tasks were set for the student, what was done and what did not work out and why? What difficulties were encountered in the implementation; checking homework - holistic playing of pieces with two hands together "Polyushko-field"
L.Knipperv, b.n.p. "Quail", with the fulfillment of the tasks set earlier:
- Change the fur in the indicated places of the stave;
- Accurately fulfill fingering requirements;
- Accurately withstand all durations;
- Keep a uniform pace of execution;
- To achieve non-stop playing with two hands, while accurately observing the musical text.
Part 2 - work on the disclosure of the artistic image of the work.
Setting the goal of the lesson. In order to learn how to reveal the intent of the work, i.e. artistic image, you need to understand what it is, by what means the idea of the work is revealed. Therefore, the purpose of our lesson is to derive the concept of "artistic image" and learn how to reveal it.
Methods of work on the play by L. Knipper "Polyushko-field".
Listening to a play on a tablet computer;
Holistic playback of the play by the teacher;
Analysis of performance - the student's answers to the teacher's questions.
Teacher: What do you think this piece is about? (during the dialogue, pictures, drawings are used, which help to understand the meaning of the work).
Student: About the field through which the heroes of the Red Army passed.
Teacher: Right. Do you know the lyrics of the song?
Student: I know, I read it. The song sings about the valiant Red Army.
Teacher: What helped you understand what this piece is about? What funds musical expressiveness composer used? What is the tempo in this piece? Dynamics, strokes, the nature of the accompaniment? How many parts can a play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music? Try to explain what "artistic image" is? After discussing the answers to the questions, you should start working on the artistic image of the play "Polyushko-Field".
Working methods.
- Detailed demonstration by the teacher on the instrument - playing each part separately;
- Playing in an ensemble with a teacher;
- Working on phrasing, determining the climax in each phrase, graphic image dynamics in notes (creshendo. diminuendo), singing main theme, showing by the teacher on the instrument, the method of playing - comparisons (the game of the teacher and the student is compared, analysis).
- Working on the rhythm, playing with the count out loud, slapping the rhythm of each part, working on difficult rhythmic places;
- Work on strokes - it is necessary to achieve coherent, smooth playing in the right hand part, and clarity of accompaniment in the left hand part (playing with each hand separately);
- The combination of two parts: in the first part, “an artistic image - a foot column is walking”2, and in the second part, “cavalry” (the creation of such an image is facilitated by a change in accompaniment);
- Work on a single tempo of performance - work under a metronome;
- If you experience connection difficulties, you should return to work. by separate hands, clarify the musical text, fingering, change of fur.
Carrying out a physical education session 6 raise your hands up, pull well, relax your hands, “throw” down. Work with didactic material: Tap the written rhythm on the cards.
Methods of working on b.n.p. "Quail"are similar to the methods of working on the play by L. Knipper "Polyushko-field".
Part 3 - consolidation of the skills acquired in the lesson.
Holistic playing of pieces by students with both hands, along with the exact fulfillment of the task - to reveal the artistic image of the work during the game. Analysis of own performance, indicating positive and negative aspects when playing pieces.
Part 4 is the end of the lesson.
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works during the game, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for the work to sound, it is not enough to accurately learn the text, you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, it is planned independent work student to reveal the artistic image of works.
Part 5 - the wording of the homework.
Consolidation of the skills acquired in the lesson - a holistic playing of the pieces by heart, taking into account all the comments.
These methods used when working on the disclosure of the artistic image on the example of the works "Polyushko-Field" and "Quail" can be used when working in other works. Such methods of work help students in the future to work independently on the disclosure of the artistic image in the works.
Homework.
Mark.
were present.
Islamov Timur Shaukatovich
Job title: button accordion teacher
Educational institution: MAU DO "Children's School of Arts"
Locality: With. Inzer, Beloretsky district
Material name: methodical development open lesson
Topic:"Development of technical skills of accordion students in the Children's Art School"
Publication date: 27.02.2017
Chapter: additional education
MUNICIPAL AUTONOMOUS INSTITUTION
ADDITIONAL EDUCATION
CHILDREN'S ART SCHOOL
METHODOLOGICAL DEVELOPMENT
OPEN LESSON
SPECIALTY BAYAN
Lecturer in the Department of Folk Instruments
Islamov Timur Shaukatovich
Topic: "Development of technical skills of accordion students in the Children's School of Art"
Methodical development
open lesson
majoring in BAYAN
topic
lesson:
"Development
technical
skills
accordion students
DSHI"
The lesson was conducted by the teacher of the Children's Art School
Islamov T.Sh.
Lesson type: combined.
Work form: individual
is
basic
organizations
educational
activities, it individual lesson teacher with student
which is the mastery of the game on musical instrument, grafting
love for music, disclosure creativity, expanding horizons
and, as a result, an increase in intelligence.
Target
lesson–
detection
major
elements
Definition
major
principles
development
improving the technical skills of the student.
Lesson objectives:
Educational:
consolidation
studied
theoretical
rhythm, melody, dynamics);
continuation of the formation of practical skills (playing with strokes of non
legato, legato, staccato; work with dynamic shades, performance
works at a given tempo).
Developing:
hearing development;
coordination of movements;
figurative activation musical thinking through various
activities.
Educators:
cultivate a love for music;
cultivate aesthetic taste;
educate perseverance, composure.
Health saving:
finger muscles develop, which positively affects memory;
rational
organization
physical education,
exercises
muscle relaxation;
alternation
various
activities
exercises
is replaced
repetition
learned
analysis
new musical material).
Methodical methods:
verbal, visual, practical;
activation
appeal
musical
perception
student;
direct and suggestive forms of influence;
development of thinking.
Equipment: 2 button accordions (for students and teachers), 2 chairs, music
aids, console.
Repertoire lesson plan:
1. Exercise.
4. Plays, studies
Lesson structure.
Presentation to the learner range of tasks standing in front of him.
Main part:
1) Exercise.
"Learning only art material, and without doing technical
work, the student will lag behind in the technical side of performance,
performing
art
musician
certain well-developed motor skills” (V. Demchenko).
material
acquisition
motor
development various elements techniques are scales, arpeggios, chords,
special exercises, studies. In the course of working on this material, and
also when performing musical works, it is necessary to remember that
what a successful technical development student - accordion player depends on
many factors:
setting the instrument and hands,
fur technique,
fingering,
coordination of movements of the right and left hands,
learning
necessary
the correct position of the student. Landing is designed to
the student felt as comfortable as possible.
"Staging
formation
free
rational movements on the keyboard. Before proceeding to work on
musical
instrument,
muscular
control muscles in the simplest hand movements.
You can start with preparatory exercises without a tool. Any
action
produced
reduction
certain
It is necessary to ensure that the contraction of some muscles does not cause
the tension of others not involved in the work. I do these exercises with
students and they really like them:
1. Starting position: hands are free. Raise and stretch them out in front of you.
remains
horizontal
position,
in a relaxed state, it falls down and swings like a pendulum.
2. Hands down and completely relaxed, Sharply clench your fingers into a fist
left hand, and then, relaxing the muscles, open your fist, at this time the right
the hand is completely free.
3. Exercises for the hands and fingers, sitting at the table:
Raise the brush and let it fall on the fingertips. Repeat
hands at the same time.
"Counting"
rhythmization
performed
alternately
simultaneous
speaking the text aloud.
4. Exercises (with tool):
"Tassel"
relaxation
wrist.
free
slip
keyboard up and down.
"Flights and landings" - arcuate and undulating movements
by keyboard.
Exercises
by air
valve
("Airplane
"Breeze",
"Wind", "Storm")
Exercises,
conducive
development
technical
divide
certain
learning,
passing
material
in proportion
abilities
specific
student.
exercises
divide
several
stages. The initial stage of work includes the following learning tasks:
familiarity with the elements of musical literacy;
organization
motor
device,
formation
instrumental skills;
development internal hearing, musical memory.
upbringing
independence,
initiative,
self-control
working with the tool.
The work goes from simple to complex.
At the next stage, new tasks appear:
careful development of initial exercises;
major
chromatic,
acquaintance
minor
mastery of a staccato stroke, a combination of various strokes;
introduction of exercises for mastering major and minor arpeggios
learning chord technique.
2). Scales, arpeggios.
primary
exercise,
student
more consciously, the main emphasis is on working on the scales.
daily
necessary
successful
technical
promotion
Systematic
consistent
material
necessary
development of basic gaming skills and abilities.
successful
arpeggio
chords
helps
overcome many technical difficulties:
1) allows you to better make a choice of rational fingering;
2) creates fine and free finger fluency;
3) promotes coordination of movements of both hands;
4) the smoothness of the fur and the change in the direction of its movement;
helps
execution
various
various methods of sound extraction.
Playing scales with different strokes helps students develop
quality articulation. In addition, playing scales, arpeggios and chords
contributes to the consolidation theoretical knowledge in practice, develops
students a sense of harmony and metrorhythm.
The development of technology is successful only if the student
playing
arpeggio
certain
musical task.
3) Conducting a physical education session.
tired,
needed
activities. Well suited for this physical exercises as
games. "Humpty Dumpty". The exercise is performed while standing. Raise both hands
up and through the sides to drop them down, slightly tilting the torso forward.
Hands swing by inertia, at the same time the words are pronounced: “humpty-
"Soldier and Teddy Bear" is performed while sitting on a chair. On command
"Soldier" straighten your back and sit still, as tin soldier.
"Bear"
relax,
round up
fat teddy bear.
Rhythmic exercises can also be attributed to a change in activity:
I play the play, the student determines the character. We disassemble by notes
rhythmic
repeated
playing
accompaniment, and the student taps the rhythm of the melody. I play a tune
- the student knocks strong and weak beats.
This exercise will help develop sight reading skills: I see - I recognize
I hear, I play.
4) Plays, sketches
It will be useful for the student to know concrete examples, how
use
composers
gamma-shaped
sequences
works
how much
varied
musical context.
When parsing a musical text, I accustom my students to a certain
Necessarily
title
information
goes down.
What I see, I say right away. The student must recognize the structure of the melody -
stepwise movement, jumps, intervals, movement along the sounds of the scale,
triads.
necessary
speak out
(withstanding the duration), tap out the rhythmic pattern.
Such a detailed analysis facilitates and makes clear the first playback.
musical text.
5.Conclusion
The student coped with the tasks assigned to him: he tried
hand over
art
works,
learned
independently analyze their own performance, find errors,
performance difficulties and look for ways to overcome them. The student realized that
in order for the work to sound, it is not enough to accurately learn the text,
you need to pay a lot of attention to work on dynamics, phrasing, rhythm,
strokes, i.e. over the means of musical expression. Further
planned
independent
disclosure
artistic image of works.
exercises
steadily
observe the beauty of the sound. Exercise is important to play with pressure and even with
some sports hobbies.
vice versa,
careless
due
control
quality
fulfillment
certain
sound
disorganizes
harmfully affecting the performance of the works being learned.
Indispensable
condition
conscious
button accordion player
primary
stage of learning instructional material is a game in slow
pace. With such a game, the performer has time to comprehend the extracted sounds,
metro-rhythmic
organization
fingering,
expediency
movements.
conscious,
thoughtful
promotes
speedy
acquisition and consolidation of skills, automation of movements.
Automation
movements
is
indispensable
condition
achieving technical excellence.
6. Homework.
Content:1. Introduction
2. Goals and objectives of the lesson
3. Type of lesson
4. Shape
5. Teaching methods
6. Lesson progress
7. Financial technical support
8. Criteria for evaluating the effectiveness of the student's performance.
Open lesson in the accordion class of the teacher Ivanova V.I.
Lesson topic: The work of a novice accordionist on the disclosure of the artistic image of the work.
Date, time 30.09.2016
Venue: Children's music school in Shakhtinsk
1. Introduction
Each piece of music is based on an artistic image. The identification of the artistic image of an essay begins with the first steps of familiarization and is ultimate goal performer. Working on the disclosure of the content of the work, the teacher should not be limited only to musical notation with various notations. It is necessary to convey to the student information about the composer, his work, era, the plot of the composition. After the first stage of familiarization, we proceed to detailed analysis works:
1. Verbal description of music. content
2. Form (how many parts are in the play)
3. Melody
4. Metrorhythm
5. Tonality
The task of the teacher is to bring the student-accordion player closer to creating an artistic image using the techniques available to him.
2. The purpose of the lesson: To show the process of revealing the artistic image in a way accessible to the student.
Tasks:
a) educational
study of theoretical knowledge.
b) Developing
development of hearing, coordination of movements, creative skills and abilities.
c) educational
formation aesthetic taste, love for the instrument, music, desire for creative activity.
3. a brief description of lesson
Type of lesson: combined - obtaining and consolidating any knowledge and skills.
Methods: verbal
visual
practical
4. Shape: customized
5. Move
- Organizing time
- gamma in C major
- Etude
- play
- Phys. minute
- play
- play
6. Logistics and technical support:
- Instruments, table, chairs, console, collections for playing the accordion.
7. Criteria for evaluating performance
- High level
- Average level
- Low level
Student II class. Aizharikov Chingis, 7 years old, studies at a seven-year course. With good musical abilities, requires special approach to physical capabilities(selection according to the height of the chair, tool). Genghis is diligent and diligent.
8. Lesson progress
8.1. Organizing time
- Prepare the student for work in the lesson, set up emotionally, activate attention.
8.2. Gamma in C major
We play with the right hand with quarter durations, change the bellows by 4 sounds, monitor the evenness of the movement of the bellows and the accuracy of the execution of the legato stroke.
The next task is a legato stroke, a crescendo to the top, a diminuendo in a downward movement, we change the fur at the top (on the tonic)
Third play of the scale with a stroke non legato with the previous requirements.
We play the scale with the left hand using the little finger, which helps to correctly place and fix the position of the left hand and the cyst.
When working on the scale, we follow the fit, setting of the instrument, hands and fingers.
8.3. In Lushnikov "Etude"
The goal is to listen to the melody, maintaining the quarter lengths, strokes non legato (dense), the bass is short, we learn to master the fur, practicing crescendo and diminuendo.
8.4. Muses. A. Zhilinsky "Cat - purr"
A figurative little piece in a moderate tempo with a triple time signature.
It is easy to imagine an imposing cat, a family pet.
The task of the student is to depict the waddling gait of the cat, performing dashed and phrasing leagues and dynamic shades (crescendo and diminuendo)
8.5. Phys. minute
Exercises - Alien handles
- Teddy bear and tin soldier
8.6. "Jest"
Before playing, let's talk about the meaning of this word "Folding sentence, sentence, sharp word"
Based on the decoding of the name, we will form a cheerful, mischievous image with the help of contrasting dynamics and strokes of non legato and staccato.
The task is to work out a staccato stroke, dynamic shades of piano and forte.
8.7. Russian folk song"Polyanka"
Short talk about Russian folk art and about the expected content of the song "Polyanka":
Invite the student to dream up and try to compose their own version of the text of the song, but first make an oral analysis of the means of expression and learn the melody of the play. The invented text will help to show the character of the play more clearly. We have to work on such stroke techniques as accent and staccato.
The piece is built on the repetition of identical phrases, so the student can be offered contrasting dynamics f - P (forte - piano)
8.8. Ensemble
Ensemble "Letka - Yenka"
Russian text by M. Plyatskovsky music. R.Lethinen
Jump-jump, in the morning on the meadow -
Jump-jump-ran a cricket
And after, also jump and jump,
A ferret animal jumped out of a dark mink.
Jump-jump, they are in a hurry to catch up -
Jump-jump-ten frogs.
Jump-jump, from branch to flower
A moth flutters next to friends
Acquaintance with the piece begins with reading the words and determining the nature of the song - dance.
The task is to teach the student to listen to the accompaniment and then there will be a pause for 2 and 4 beats.
- Be able to play your song and sing the lyrics.
At the end of the lesson, we summarize and, on its basis, form homework.
9. Conclusion
On the this stage In our work with you, we often work with children who do not have special talent, and if we manage to learn with the child the spelling of notes in the treble and bass clefs, the duration of the notes and the simplest methods of sound production, while taking into account the weight of the instrument, 2 keyboards, which, with the right fit the child feels only by touch, and in order to extract at least some semblance of sound, it is necessary to apply physical effort for fur. But despite all the difficulties, as soon as a child can reproduce some simple melody, it is necessary to ensure that this primary performance is expressive, that is, that the nature of the performance exactly matches the character of the given melody, G. Neiguz thought so.
Genuine interest in a child arises not in any arbitrary combination of sounds, but only in a solid and clear melody that evokes either emotional experiences, or figurative representation that creates a particular mood. A significant role in awakening interest is played by the verbal text of the song. Interest in music, deprived of such an important stimulus as emotional impact, will quickly die out, just as a stream dries up, deprived of its source.
10. Sources used
1. L. Kolesov “The content and forms of the accordion player’s work on piece of music»
2. V. Lushnikov “School of playing the accordion”
3. A. Malinovskaya "Piano-performing intonation"
4. G. Boytsova "School - playing the accordion"
Municipal treasury educational institution additional
children's education "Bolshetsaryn Children's Art School"
Plan - summary of the lesson in the specialty "Bayan"
Topic: "Mastering the keyboard on the instrument, the development of technical skills and creativity in the lesson of the specialty."
Lecturer: Malykhina O.V.
Bolshoy-Tsaryn settlement 2014
Mastering the keyboard of the instrument, developing technical
skills and creativity in the specialty lesson
Outline of an open lesson in the button accordion class
Student: Guskova Nastya, age 9, class 1.
Lesson topic: Mastering the keyboard of the instrument, developing technical skills and creative abilities in the specialty lesson.
Lesson type: combined.
The purpose of the lesson: Formation of performing and development of technical skills of playing the instrument.
Lesson objectives:
1. Educational: to generalize and deepen the knowledge of the student, to form the skill of vertical movement of the third finger along the second row of the left keyboard.
2. Developing: attention development, musical ear when playing an instrument, technical performance skills, creative abilities.
3. Educators: instilling interest and love for the art of music.
4. Health saving: correct landing, position of hands, installation of the tool.
Lesson form: individual.
Technical means:
Button accordion for a student, button accordion for a teacher, console, table, chairs, notes, workbook student, visual aids.
Repertoire lesson plan:
1. Positional exercises.
2. Gamma in C major, arpeggio.
3. R.N.P. "Cornflower", R.N.P. "Don't fly, nightingale"
4. S. Skvortsov. "Etude".
5. R. Bazhilin. "Sunny rain" (playing to the soundtrack).
Lesson structure:
From the first lessons, the student learns to play without looking at the keyboard. Before starting the song, he needs to put his fingers on the keys: do - the second finger, mi - the third, fa - the fourth.
The traditional setting involves the use of the original principle of fingering, which assigns a certain finger - the “master” to each vertical row. AT this case the setting of the right hand is more fixed, since the first finger, being behind the neck, helps to keep the hand in a certain position. This allows the student to better feel the key itself, ensures the stability of the position of the brush. It must be remembered that you need to keep the “window” open, that is, the hole between the inside of the brush and the neck. When working on the right keyboard, the minimum weight load is controlled to overcome the resistance of the "spring" and the internal release of the muscle efforts of the finger at the moment of leaving the keyboard. At the end of the exercise, it is necessary to release the hand: drop down, small swing movements with the hand.
The position of the left hand when playing with the right: "heel", i.e. the base of the palm, the left hand is located on the edge of the cover of the left semi-body, the hand is above the keyboard; it is better to place the fingertips on the body behind the auxiliary row. This position teaches left hand to correct staging, promotes the work of the necessary muscles.
Mastering the basics of mechanical science, extracting long sounds, is performed by ear, without notes, as shown by the teacher. The teacher pays attention to the evenness of mechanics, the quality of sound extraction, the inadmissibility of bending the fingers, the feeling of three points of support necessary for contact with the left half-body, and the presence of a stop point of the instrument in inner part thighs of the right leg while holding the fur in a squeeze.
Developing a feeling tactile sensations, the ability to find the right keys and measure muscle efforts with the elasticity of the keys, not allowing excessive pressure and deflection of the joints, maintain control over the correct position of the left hand.
Mastering the skill of vertical movement of the third finger along the second row of the left keyboard is performed by ear, as shown by the teacher. Before starting the game, you need to place four fingers on the second row of the left keyboard, on the salt key - place the second finger, on the do - the third, on the fa - the fourth, on the black - the fifth finger. The exercise is performed with the third finger, the rest, non-playing fingers are a “friendly family”, they should not be raised. The hand moves up or down with the same position of the fingers.
When getting acquainted with a new work, there is a certain method of learning:
1. The teacher reads the words of the song.
2. The teacher plays the melody of the song with his right hand and sings at the same time.
3. The teacher and the student sing together to the sound of the melody on the instrument.
4. The student sings a song to the teacher's game.
5. The student sings and slaps the rhythmic pattern at the same time.
6. The teacher plays and sings a song with the student, naming the notes.
7. The teacher plays and sings a song, together with the student, determining the place to change the fur - by inhaling between phrases.
8. The student plays the song several times, different options performance: play and simultaneously sing a melody with words, play and sing, naming notes, play a melody without words.
great attention The lesson focuses on listening to music. The performance by the teacher of the plays selected for listening educates musical taste student, instills a certain manner of performance, broadens the horizons, diversity of the repertoire. Listening to works is accompanied by conversations - dialogues about the character, content, expressive means the play being listened to. The performance of music by the teacher should serve as a model for the student.
Playing in an ensemble should be included in the plan of each lesson. Joint music-making contributes to the development of a sense of rhythm, enriches harmonic pitch, develops reading skills. The teacher and the student during the game are one, this brings them closer, has a beneficial effect on relationships.
The class is working with a tape recorder. This methodical "highlight" is very popular with children. Playing to the phonogram develops the ability to listen and hear. It instills in the performer rhythmic discipline, a sense of tempo, performing expressiveness.
During the classes:
1. Game of positional exercises. On the initial stage training for the development of the student's primary motor skills, special exercises are needed that prepare him to perform technical tasks. Pay attention to the student's landing, the position of the arms, legs, and the installation of the instrument.
2. Playing the scale in C major in whole, half, quarter, eighth durations with aloud counting with various strokes, arpeggios.
3. Playing previously learned pieces, pointing out the disadvantages and advantages: R.N.P. "Cornflower", R.N.P. "Don't fly nightingale."
4. The successful development of technology is impossible without work on sketches. S. Skvortsov "Etude". Work on the accuracy of fingering, change of fur.
5. Conducting a physical education session.
"Humpty Dumpty". The exercise is performed while standing. Raise both arms up and down through the sides, slightly tilting the torso forward. Hands sway by inertia, at the same time the words are pronounced: “humpty dumpty”.
"Soldier and Teddy Bear" is performed while sitting on a chair. At the command "Soldier", straighten your back and sit motionless, like a tin soldier. At the command “Bear cub”, relax, round your back, like a soft plump teddy bear.
Lesson analysis:
The result of the lesson showed that the tasks set by the teacher were comprehensively disclosed:
- clearness and clarity of tasks.
- various musical material, contributing to the development of the creative abilities of the child.
- creating a figurative row ( figurative comparisons, associations).
- activation of auditory control.
- development of thinking (playing in an ensemble).
- submission theoretical concepts in the context of the musical image.
- self-analysis by students of performed works.
7. Homework.
8. Mark.
Used Books:
1. G.I. Krylov. "The ABC of the Little Bayanist", part 1, part 2.
2. D. Samoilov. "Accordion Reader, Grades 1-3"
3. V. Semenov. " modern school bayan games.
4. D. Samoilov. "15 lessons of playing the button accordion".
5. P. Serotyuk. "I want to be an accordionist."
Methodical development of an open lesson
majoring in button accordion with a 1st grade student.
Performed:Maslennikova T.V.,
teacher in bayan, accordion MOU DOD "Kozmodemyansk children's art school named after. AND I. Eshpay”, Kozmodemyansk, Republic of Mari El.
Theme of the lesson: Development of technical skills of accordion students in the children's art school.
Lesson type: combined.
Goals and objectives of the lesson:
Educational: to form, generalize and deepen the knowledge of the student with the basics of working on performing techniques.
Developing: development of aesthetic taste, development figurative thinking, musical-performing and ideological-artistic development.
Educational: education student attention, purposefulness and perseverance in mastering the techniques and skills of playing the instrument, the ability to analyze your performance.
Health-saving: proper fit, hand position, tool installation.
Lesson form: individual.
Methods: playing an instrument, conversation, observation, demonstration of video material, game methods.
Implemented pedagogical technologies: artistic, information and computer.
Equipment: musical instrument (bayan), musical literature, didactic material (cards), computer.
Used Books:
1. V. Semenov "Modern school of playing the button accordion".
2. D. Samoilov "Accordion reader 1-3 cells."
3. Yu.Akimov, V.Grachev "Accordion reader 1-2kl."
4. Compilation and performing edition of F. Bushuev, S Pavin “Accordion reader 1-2 cells. for children's music schools.
Repertoire lesson plan:
1. Positional exercises.
2. Scale in C major, arpeggios, chords.
3. R.n.p. "Vasilek", r.s.p. “Do not fly, nightingale”, M. Krasev “Little Christmas tree”.
4. K. Czerny "Etude".
5. L. Knipper "Polyushko-field".
6. Grade for the lesson, homework.
Lesson structure.
Organizing time. Presentation of the student and the range of tasks facing him.
Main part:
Introductory speech of the teacher: “Technique, in the broad sense of the word, is a means of conveying the artistic content of works. AT narrow sense this is the utmost accuracy, speed of fingers, coordination of movements. At the initial stage of training, in order to develop the student's primary motor skills, special exercises are needed that prepare him to perform technical tasks.
2.1 Game of positional exercises. Pay attention to the student's landing, the position of the arms, legs, and the installation of the instrument.
Teacher: "Bayan technique is based on typical formulas: scales, arpeggios, chords."
Gamma play C major in whole, half, quarter, eighth durations with various strokes counting aloud, arpeggios, chords.
Checking homework .
Playing previously learned pieces, pointing out the disadvantages and advantages: r.n.p. "Vasilek", r.s.p. “Do not fly, nightingale”, M. Krasev “Little Christmas tree”.
Teacher: "Successful development of technology is impossible without work on etudes."
2.4. K. Czerny "Etude". Overcoming a technically difficult place, precise fingering, change of fur.
2.5. Conducting a physical activity. Game "Parsley". Starting position: arms lowered, relaxed. At the same time, by shaking the arms and legs, achieve muscle relaxation to a feeling of warmth. Rhythm card game. Clapping the rhythm shown on the cards.
2.5. L. Knipper "Polyushko - field". Conversation about the life and work of the composer . View photos of the composer on the computer. Conversation about the song "Polyushko-field". it soviet song about the heroes of the Red Army, which, due to its popularity, is considered popular. Meanwhile, the song has authors: muses. L. Knipper, the author of the words is the poet V.M. Gusev. It was written in 1933. The melody formed the basis of the 4th symphony by L. Knipper "The Poem about a Komsomol Soldier", was the leitmotif of this work. The history of the creation of the song.
2.6 Work on the text, character and fingering.
First, the work is performed in its entirety in order to understand which of the tasks developed by the teacher have been realized. After playing, it becomes clear that due to an incorrect change of fur, the musical phrase is interrupted, as a result of which there is no expressive intonation.
Working on fur management. In the process of training, it is important to learn to consciously and competently determine the moments of change in the direction of the fur. At the initial stage of training, the change in the movement of fur should be done after removing the fingers, in the music books in the text there are corresponding signs that determine the exact change of fur, they must be followed. The teacher asks each phrase to lead to the moment of climax. To facilitate the task, the student plays separately with each hand, pays attention to changing the fur. After successfully done work, we will complicate the task by playing the piece with both hands together. The teacher asks the student to determine the level of his performance and analyze it. The student is given the task: "let's imagine that we are on stage, try to play like at a concert." The teacher praises the student for the effort that was made to solve the tasks.
Summing up, analysis.
Homework.
Mark.
