Abstract open lesson majoring in button accordion on the topic “Work on the artistic image of a work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper.

Goleshchihina Marina Alexandrovna Bayan teacher, MBOU DOD "Taseevskaya Children's Music School"

Description of work: Development in the student artistic image while playing an instrument musical works- one of the most important tasks for the music teacher. When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his "enthusiasm" when playing. These include creative imagination and creative attention. Upbringing creative imagination aims to develop its clarity, flexibility, initiative. The ability to clearly, vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists. I bring to your attention a summary of the lesson in the specialty button accordion on the topic "Work on the artistic image of the work." This summary presents the forms and methods of work in the specialty lessons with students of the junior classes of the Children's Music School on the disclosure of the artistic image of the work on the example of diverse plays.

Purpose: This abstract the lesson can be useful for teachers of the specialty (button accordion, accordion) music schools and art schools. This material designed for students in grades 1-2 of the music school.

Lesson type: open
Work form: individual
Lesson topic
– Work on the artistic image of the work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
educational- define the concept of "artistic image of a work"; learn to reveal the intent of the work.
Educational- educate the performance culture.
Educational- Develop listening and understanding skills executable work, develop imagination, thinking, memory, sense of rhythm.

During the classes
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;
Part 5 - wording homework.

Part 1 - Organizational
Preparing the gaming machine:
playing scales in C, G Major with the right hand with different strokes: legato, staccato; arpeggio, right hand chords in slow pace;
playing the C major scale with the left hand;
playing the C major scale with two hands.
analysis homework- an oral report on the homework done: what tasks were assigned to the student, what was done, and what did not quite work out, why? What difficulties were encountered in the implementation; checking homework - holistic playing of pieces with two hands "Polyushko-field" by L. Knipper and B.N.P. "Quail" with the fulfillment of the tasks set earlier:
1. to make changes of fur in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical signs;
3.accurately withstand all durations;
4. keep a uniform pace of execution;
5. achieve non-stop playing with two hands, while accurately observing the musical text.

Part 2 - work on the disclosure of a work of art
Setting the goal of the lesson– In order to learn how to reveal the idea of ​​the work, i.e. artistic image, you need to understand what it is, and 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, using the means musical expressiveness, reveal it.
Methods of working on the play by L. Knipper "Polyushko-field"
holistic playing of the play by the teacher;
performance analysis: student's answers to teacher's questions:
1.what do you think this piece is about? During the dialogue, it is possible to use pictures, drawings that help to understand the meaning of the work.

2.Do you know the lyrics of the song?

3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the pace in this piece? Dynamics, strokes, the nature of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music?

6. Try to explain what is an "artistic image"?

After the student answers the questions, one should start working on the artistic image of the play "Polyushko-Field".
Working methods
1. detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3. work on phrasing: determining the climax in each phrase, graphic image dynamics in notes, singing a melody, showing a teacher on an instrument; method of the game-comparison (the game of the teacher and the student is compared, analysis)
4. work on the rhythm: playing with the score aloud, clapping the rhythm of each part, working on difficult rhythmic places;
5. work on the strokes - to achieve a coherent, smooth game in the right hand part, and to achieve clear accompaniment in the left hand part (playing by separate hands);
6. connection of two parts: in the first part, the artistic image is “a foot column is walking”, and in the second part – “cavalry” (the change in accompaniment contributes to the creation of such an image);
7. work on a single tempo of performance - playing under a metronome;
8. if you encounter difficulties when connecting, you should return to work with separate hands to clarify the musical text, fingering, change of fur.

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 plays by students with two hands 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 - Summary 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 musical 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 the work.

Part 5 - the wording of homework
Consolidation of the skills acquired in the lesson - a holistic playing of 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", "Quail" can be used when working in other works. Such methods of working on a work help students to independently work on the disclosure of the artistic image in the works.

MKOU DOD "Children's School of Arts" ACRMO RK

Public lesson

majoring in BAYAN

"Work on the artistic image of the work"

(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 the work being performed, develop imagination, thinking, memory, a 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 button accordions, 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 with the right hand in Moderato tempo;
• Analysis of 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 means of musical expression did the composer use? 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.

1. Detailed demonstration by the teacher on the instrument - playing each part separately;
2. Playing in an ensemble with a teacher;
3. Working on phrasing, determining the climax in each phrase, graphic representation of dynamics in notes (creshendo. diminuendo), singing main topic, showing by the teacher on the instrument, the method of playing - comparisons (the game of the teacher and the student is compared, analysis).
4. Working on the rhythm, playing with the count out loud, slapping the rhythm of each part, working on difficult rhythmic places;
5. 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);
6. 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);
7. Work on a single tempo of performance - work under a metronome;
8. If you encounter difficulties when connecting, you should return to work with 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 one's own performance, indicating the positive and negative sides 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, independent work of the student is also planned to reveal the artistic image of the 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.

PUBLIC LESSON

3rd grade student Mamaiko Nikita

Teacher Andriyanova Tatyana Vyacheslavovna

Lesson topic: " The main stages of work on a piece of music»

The purpose of the lesson: To systematize the methods and methods of work that are relevant in the analysis, learning and final decoration of the plays. To draw the student's attention to the importance of each stage of studying a piece of music.

Tasks:

Tutorial: Be able to independently make a competent analysis of musical text.

Developing: Correctly select methods of work for the implementation of technical and artistic tasks.

Educational: The development of an architectonic sense is the ability to grasp the composition of a work and determine the place and role of each element in a harmonious whole.

ACTIVITIES IN THE LESSON:

Musical and educational: Explanations of the main stages of work on the work.

Performing: Execution of works.

Perception: Showing the teacher, audio and video material.

Creation: The ability to independently analyze and select work methods to implement technical difficulties and convey artistic ideas (based on an easy play).

First stage : General view about the work.

Identification of the main difficulties.

Emotional perception of him as a whole.

A story about the composer, era, style, manner of performance, character, plot, basic tempo, form, structure, composition.

Second phase: A deeper study of the work, the selection of means of expression and mastery of them. detailed work over the play in parts, fragments, entirely.

Third stage: A holistic and complete performing embodiment of the idea of ​​the play, based on a deep and detailed preliminary study of it.

Fourth stage: Achievement of pop readiness of the play, i.е. masterful performance of it at a concert or exam (many times).

DURING THE CLASSES

C - Dur thirds (fingering with thumb)

| - 4 sounds per fur.

|| - octave on fur.

When playing the scale, we aim to speed up the tempo by increasing the lengths. Also playing the scale, we lead the sound toQ, i.e. through the tempo showing the movement of the sound oncrescendo and diminuendo.Here the teacher hears and sees how the student controls the movement of the bellows, how he changes the bellows. The student skillfully distributes the sound oncrescendo and diminuendo. shows brightlyQ point.

Gamma is executed with strokes legato, staccato, 2 legato, 2 staccato.

Performed by studentC- Durduols, triplets, quartoles (one bass left hand accounts forll , lll, llllin right hand, i.e. emphasis is placed after two, three and four sounds.)

Runs the game || in 2 octaves per fur. Here the goal for the student is to keep the force of the bellows on one nuance and distribute the power of sound 2 octaves to the bellows.

Next, the student performs a long arpeggio using thumb. He also tries to make phrasing (movement of sound towardsQ(T)). The student completed this task.

He performs chords in 3 octaves, performs > (jerk with fur) on a strong beat. The change of fur is made after three chords, i.e. through an octave.

Work on a work, first of all, introduces the student to the world of beauty and the disclosure of his creative individuality.

The purpose of the work is a bright, meaningful, technically perfect performance.

"Polka" is a lively, fast dance, size 2/4, Central European. genre of dance music. The polka appeared in the middleXIXcentury in Bohemia (modern Czech Republic), and has since become a well-known folk dance.

Polka was written by I. StraussIand his son I. StraussII. Many Poles are found in the works of Czech composers - B. Smetana, A. Dvorak.

Name from the Czech wordpuilka, meaning "half step", the polka rhythm requires quick stepping from foot to foot. Because of the consonance, the polka is confused with the Polish dance, but this is not the case.

The polka appeared in Russia in 1845. Then this dance was fashionable in France, it was brought from Paris by the dancer of the imperial group of St. Petersburg Nick Osipovich Goltz. Polka comes in different varieties.

A. Devardieu "Polka" - tonality D- dursimple three-part form (part 3 - repetition of the first).

Technical difficulties - triplet performance, clear performanceStaccato, grouping durations ||| . Performing accents and slowing down the tempo.

Whole, emotional and artistic perception - light, cheerful character, fast pace.

This work is onIstage of work. Having made an oral analysis, having identified technical difficulties, we transgressIIstage. The teacher plays the whole piece, paying attention to the main expressive abilities. Together with the student, we analyze the instrument. Competent, musically meaningful analysis is the basis for further work. Special attention requires metrorhythmic subtlety of performance. First, the teacher plays the melody by notes, then the student listens to the rhythmic pattern of the melody. Further, looking at the notes, the student names the durations, slams the rhythmic pattern. The student creates a connection: I hear-see-feel-transmit.

When parsing, the sound "if possible" should be meaningful, musical. The student must listen to the music, understand it at least in general terms.

Immediately you need to pay attention to the phrasing, otherwise the game will be devoid of any meaning.

To the extent possible, perform strokes. At this stage, there is no need to talk about tempo, about dynamic nuances, agogics. But the exact reading of the musical text, that is, the pitch accuracy and metro-rhythmic reading of musical signs, the use of strokes, the elementary meaningfulness of phrasing, listening to the harmonious basis, are mandatory when parsing any work.

Analysis of the author's text should be carried out using the following methodological techniques: counting out loud, tapping the rhythmic pattern of each voice, solfegging with playing the instrument. Playing out of rhythm with the name of each finger, Playing a melody with one finger of the left hand, out of rhythm. The technical means of musical performance are strokes, dynamics, sound, fur and tempo.

"Along the river" - Russian folk song. Folk words and music. Period consisting of 2 sentences. Variation of the second sentence based on the theme. Folk traits - variation. Each phrase begins in a new way (a nuance is added, the character changes, strokes).

This play has passed to the 2nd stage of work, i.е. technical finishing. Refinement of fingering (where necessary). Sound is the main means of expression. N. Medtner said: “Everything should come out and be born from silence ... Listen, listen and listen. To draw in sounds by hearing from silence.

Having done the analysis, having studied the fingering, we proceeded to work on the sound.

Working on the play, the student took it apart in phases, determinedQin every sentence andQthe whole play. When performing work on sound production and changing the bellows, the student does not interrupt the melodic line and does not lose the power of leading the bellows when changing it. Performs strokes: 1 phraseportamento and staccato, 2 phrase legato. In sentence 2, there were slight technical difficulties in the variation (the variation is built on the sounds of the arpeggio). The teacher invites the student to play this phrase changing the rhythmic pattern and strokes ||||. Hatchlegato changed to 2 legato 2 staccato.

Working on phrasing, the student tried to correctly distributecrescendo and diminuendoon the this segment melodies, longed forQ and showed it.

The student performs this piece at the required tempo. Learned well by heart.

V. Benyaminov Etude a mall . Size 4/4. A simple 2-part form (in the 2nd part, the motive of the theme of the 1st part is repeated).

Etude - from the French wordetude- "Study of". An instrumental piece, of small length, based on the frequent use of some difficult reception performance and designed to improve the technique of the performer.

Etudes are not only technical exercises, but they are of great artistic value. The etude as a genre was brought to this level by F. Chopin.

While working on the etude, the student made a thorough oral analysis (meter, key, form, fingering, phrasing leagues, phrases, tempo deviations, strokes, etc.) - stage 1.

At the second stage, the student and I worked out phrasing, i.e. movement of sound toQand showing it. All this is inextricably linked with mechanization. At the same time, the student listened and followed the displacement of the fur, did not lose the power of leading the fur beforeQin every phrase. Correctly selected fingering gave a positive result, because. child's hand with strokeLegatowent smoothly, softly, as if caressing the buttons of the instrument. There were minor difficulties in the executionstaccato. But after playing these bars at a slow pace (observing the nuances), the student got this passage. The child constantly listens to himself and understands what to do.

A little longer work it was with fur, distributing forceson R and C while respecting the phrasing. It was important that the student understand that beforeQthe strength of the movement of the fur does not change. He succeeded by listening to the piece played by the teacher. By tactile touches of the teacher to the button accordion of the student. The teacher helped guide the student's instrument.

Tempo deviationsritenuto, atempothe student to perform skillfully, listening to his performance

In general, the etude is learned by heart and we proceed to the 3rd stage - polishing the entire work, i.e. a synthesis of what has been done before. Performance by heart, meaningful holistic performance - feeling common line development of the work.

The melody in the phrase goes to the reference sound, and the large construction goes to its semantic peak, the purposeful development of the whole work. The student knows and feels it.

Now the student will play the piece in order to freely perform it at concerts, to understand, feel and feel what he is performing.

Play not soullessly, but with soul.

To learn by heart you need:

Visual perception of music

Mark the strong points of the work

Brainwork and thoughtful play is the key to successful memorization of a work by heart.

“What is well remembered is what is well understood.”

Relevance.

Repeated playing of pieces from beginning to end, without understanding the artistic and technical aspects of the work and the skillful use of the necessary performing tools for this, does not lead to the desired results. You can not engage in mere mechanical memorization of fingering. Such work is a waste of time and only tires the student. All work on memorizing musical works should be divided into three stages.

Target: musical and emotional moral education children.

We suppose that rote learning of fingering is not effective work Therefore, it is required to diversify the methods and techniques used in the course of the lesson.

Tasks:

Learn to play, expressively conveying the nature of the work;

Develop ear for music, sense of rhythm;

To form an aesthetic taste and emotional perception of music;

Create a joyful atmosphere in class.

"Working with a work"

Preliminary acquaintance with the work

The work at this stage is as follows:

1. Accurately read the musical text with all the terms indicating the tempo and shades of performance. It is especially important to clarify the name and pitch of the notes, and their place on the keyboard.
2. Learn the duration of the notes of the excerpt being studied or part of the musical work.
3. Clarify fingering-arrangement of fingers on the keyboard. Playing one place with one or the other finger is harmful for further learning, because. this may result in a breakdown and a stop.
4. Follow with your eyes the path of movement of the fingers and hand in order to refine the location of the desired keys and the distance between them. It should be noted that visual representation is of great importance when learning.

Work on technique

This stage of the work consists of playing the piece and its individual passages with exact duration. Analysis of plays without taking into account the ratio of duration is harmful and unacceptable.

Basic working methods:

1. During this period, the student's attention is focused on each individual sound or chord with non-stop playing and exact observance of the indicated note durations in order to perform each sound or chord clearly in duration and character of the sound. We must try to extract melodious sounds, and not noisy ones, movements that are even in tempo from beginning to end and equal in strength to each other.
2. All initial playbacks should be carried out without errors, disruptions and stops, at a slow pace. A slow pace is necessary for the auditory development of the work, because. errors and breakdowns often appear due to the fact that many elements of the text, especially chords, at the beginning lie in auditory perception the student and only in the future are assimilated by ear. It may be recommended, whenever possible, to listen to the play in good performance knowing in advance what he should achieve when learning a piece at a slow pace, he will be able to study more meaningfully and more purposefully.
3. The work should be played in phrases or other relatively enclosed fragments, achieving an error-free performance first with each hand separately, and later with both hands together. All playing should be carried out at the same pace, because. the difference in tempo may interfere with further playing with both hands.

Difficult places should be identified and addressed in the work. great attention. The connection of two passages can begin from the moment when two adjacent passages are memorized flawlessly. This stage of work ends with the performance of the entire work at a slow pace, without errors and stops; a feeling of fatigue and difficulty will signal that work on this stage not finished yet.

The student's further attention should be paid to mastering the speed of musical movement, i.e. tempo:

• a) while maintaining the faultlessness of the performance, one should start accelerating and bring the performance to a normal pace with great care, without violating the correctness of the game. Acceleration must go gradually and be almost invisible;
• b) it should be remembered that, in principle, fast paces are mainly the result of the general growth of the player’s technique, and not the development given task the fast pace that will be available to the student tomorrow may not be available today; not understanding this circumstance and the student's desire for excessive acceleration leads to a chaotic game and disrupts the process of the performer's normal growth;
• c) each new accelerated tempo should be reinforced by repeated plays before moving on to the next ones.

There are two signs that determine the limits of acceleration:

• a) the appearance of breakdowns, wrong notes, entwined fingers, general distortion of sonority and other external defects;
• b) the student has a feeling of difficulty in performing and some uncertainty.

AT similar cases pupils must all sorts of accelerations stop, not trying to renew them earlier than two or three days later. Work on acceleration in general has a limit that the student must cross at this stage.

Further increase in pace this work will occur together with the general technical growth and musical development student, and not at the expense of further work on the piece being learned.

Artistic finish execution

The main elements of artistic performance are as follows:

• a) Exact fulfillment of the indication of the volume of the sound, its amplification and attenuation (quiet-loud; amplifying-weakening), i.e. dynamic shades;
• b) exact observance of the speed of movement, instructions for accelerating and decelerating the pace, i.e. agogic shades;
• c) expressive performance of musical works, dividing it into small, meaningful parts (phrases), i.e. phrasing. Phrasing contributes to the clear transmission of the content of the music.

One of the frequent shortcomings in the performance of students is the lack of a real "pianissimo" (very quiet-pp), on the one hand, and the lack of a real "fortissimo" (very loud-ff) - on the other. Usually in the performance there is a slight deviation from the average sonority. Therefore, the student must diligently work on developing "pianissimo", without fear of either the cessation of the transmission sound or the loss of legato. All of these skills must be developed individual sounds, chords, scales, and in pieces, according to the instructions in the notes.

You should especially carefully work on phrasing, which on the accordion is associated with the technique of owning fur, because. each phrase must be entirely contained in one specific movement of the bellows - compress or unclench.

Achieving artistry and musicality of performance, one should first work on the phrasing and shades of performance (nuances) of the melody itself, and then only gradually, without deviating from results achieved, add the accompaniment part.

In practice, work on artistic decoration, the work is in close connection with technical work. Technical excellence is an integral part of artistic performance, its necessary condition. Artistic performance is impossible without understanding the given work; this understanding sometimes does not appear immediately, in the process of working on a work, and depends mainly on the musical growth of the student and on musical culture. Those wishing to acquire good skills in the field of artistic performance should remember that attentive and systematic listening to music (in opera house, at concerts, on the radio) is one of the most better ways develop a subtle understanding of music and artistic taste.

The disdainful attitude of students to the very technique of the case, exercises and everything that creates technical perfection leads to inferior results of the student's work.

First of all, you need to play scales. It is scales that are a convenient, light and calm form, which makes it easier to initial period knowledge work related to the correct fit, positioning of hands, possession of fur, comfortable fingering, etc.

The performance of scales in the first period of training should not be considered as technical means to develop mere fluency or fine technique.

Playing scales matters:

• a) for the development of a melodious, beautiful sound;
• b) to develop legato and staccato;
• c) to master the keys.

In addition, scales make it possible to achieve a game of equal durations in different paces. To this end, it is necessary to play the scale in even fourths, at the slowest pace; keeping the unit of account and tempo, play the same scale in even eighths, triplets from eighths to sixteenths; as all these skills are developed, keeping the same ratio of duration, the speed of movement (tempo) should also be increased. the following should be taken into account here.

Hours of uninterrupted playing on the accordion is harmful to health, reduces the quality of work and dulls the process of mastering and learning musical material. It is better to study little by little, with breaks, limiting each lesson to a specific task, it is more productive to work in the morning or afternoon than in the evening.

Students of professional music schools should be given to playing the accordion in total at least 3-4 hours daily.

Approximate distribution of time by type of work:

• a) work on technique (scales, double notes, chords) - 15 minutes.
• b) work on mastering the ratio of duration (rhythm) -15 minutes
• c) work on sound - 15 minutes
• d) work on the technical learning of the piece - 45 minutes
• e) work on the artistic learning of the play - 45 minutes
• f) repetition and consolidation of previously learned pieces - 45 minutes

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 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 bayan games.

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. Student introduction and range of tasks standing in front of 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. 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.

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". This is 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.