ALL-RUSSIAN FESTIVAL
PEDAGOGICAL CREATIVITY
___________________________________________________________________________
Municipal budgetary educational institution
additional education"Urmar Children's Art School"
Urmar region Chuvash Republic
/429400, Chuvash Republic, Urmarsky district, village of Urmary,
st. Mira, d. 10, MBOUDO "Urmarskaya Children's Art School" /
Open lesson in guitar class
"Working on Sound in the Guitar Class"
Completed by: Mikhailova Margarita Pavlovna
Place of work: MBOUDO "Urmarskaya Children's Art School" Urmary settlement
Urmarsky district of the Chuvash Republic, st. Mira, 10
The purpose of the open lesson: the development and formation of performing skills in playing the guitar
Objectives of the open session.
Tutorials:
- improving and acquiring new guitar playing skills;
- pay attention to the sound quality of the instrument;
- teaching the student the skills of performing a work with careful auditory control;
- ability to use modern technical means and computer technologies.
Developing:
- development of musical and artistic thinking, creative activity;
- development of inner hearing;
- development of an emotional attitude to the performance of works;
- development of performing skills.
Educators:
- educate interest in the studied musical works;
- educate attention, the ability to listen to music;
- educate the skills of artistic, figurative perception and performance of works.
Lesson type: general
Lesson duration: 45 minutes.
Equipment and materials needed for the lesson:
- a computer;
- footrest;
- musical instruments: guitar;
- music material: 1. Scale G-major
2. "Meadow duck" arr. And Ivanov-Kramskoy
3. “Stitches-tracks have grown over” arr. A. Ivanov-Kramskoy
4. E. Shilin "Tarantella"
5. G. Cooper "Tarantella"
The course of the open session:
1. Organizing time. Greetings.
2. Communication of the topic and purpose of the lesson.
3. Scale G-major in 2 octaves
Follow the position of the hands. Position play.
Pay attention to sound production.
Homework: The E major scale is played with different strokes
Parse the E-minor scale in II position
.
4. "Meadow duck" R.N.P. in arr. And Ivanov-Kramskoy
Viewing a student's presentation on the work of A. Ivanov-Kramskoy
Playing a play. Working on difficult places.
Make sure that the melody sounds brighter, achieve a better sound.
Work on rhythm and tempo, dynamic shades
Homework: Learn by heart. Difficult places to work out
in slow pace
5. “Stitches-tracks have grown over” R.N.P. in arr. A. Ivanov-Kramskoy
Analysis of the work: get acquainted with the words of the song and musical text, find out the key, tempo, size
Pay attention to strokes, fingering
Sixteenth notes play softer and smoother
Analysis of the piece: a piece of a homophonic warehouse - melody and accompaniment with bass
Homework: Pay close attention to the fingering. Melody to play melodiously, separately, with a score
6. E. Shilin "Tarantella"
The concept of "tarantella" / musical dictionary /
Playing 1 movement at a slow tempo
Practice legato stroke in 2 parts
Pay attention to strengths and weaknesses
Homework: Play slowly, with correct fingering. Follow the sound.
7. G. Cooper "Tarantella"
Ensemble play.
Homework: repetition of the game.
8. Generalization.
Evaluation.
Methodical development of an open lesson
"Guitar in various types Ensemble DShI"
DSHI teacher Larisa Ivanovna Bogomolova
Inta
The purpose of the lesson: the formation and development of students' skills and techniques of ensemble playing.
Lesson objectives: learn to listen to each other and clearly follow the tempo and rhythm, observe dynamic shades, get acquainted with guitar techniques.
Lesson plan
1. Introduction.
2. Joint music-making of a teacher with a student.
3. Joint music-making with peers.
4. Accompaniment skills.
During the classes.
The ensemble is a collective form of play, during which several musicians, through performing means, together reveal the artistic content of the work. Classes in the ensemble class should contribute to the development of rhythmic, melodic, harmonic hearing, musical memory, the development of creative skills and, most importantly, to instill interest and love for music and your instrument, as well as contribute to the formation of the foundations of independent musical activity. We offer you a step-by-step experience of ensemble music making at the Children's Art School.
Stage 1. Joint music-making of a teacher with a student.
The main tasks at this stage: to get the initial skills of reading from a sheet and analyzing musical text, learn to listen to each other, observe dynamic shades.
Ensemble music-making skills should be cultivated throughout the entire period of study. If possible, introduce ensemble works into the repertoire as early as possible. Almost from the first lessons we begin to introduce ensemble playing. Getting Started with Sound Production open strings To make the child more interesting, we take songs with words. Example:
"The sky is blue, the grove is hoarfrost, the early morning is getting rosier." By this time, the student should already be familiar with the duration of the notes. We work out the rhythmic side of the song, clap. Then we move on to the nature of the song, we sing to the accompaniment of the teacher. The accompaniment is not only the harmonic and rhythmic support of the melody, but also reveals the emotional and figurative world of the song. In the initial two measures, the accompaniment creates a feeling of calmness, thoughtfulness, silence (piano). But already in the next two measures, the emerging chords saturate the sound of the approach. bright light and colors (smooth crescendo). From this, the student already plays the melody, respectively - the first phrase - affectionately and mysteriously, the second - brightly, crescendo. Let's take for example another song "Brave Pilot" here we need to focus on the features of sound production. A cheerful, perky melody requires a different approach to performance than the previous example. The sound is extracted more intensely, confidently, evenly (mf).
Now let's move on to the performance of songs on closed strings. The first task of the student is to carefully, without playing, look at the musical text and determine the rhythmic pattern, dynamic shades. Let's take for example "How our girlfriends went", determine how the melody goes, what dynamic tone to play it (make a crescendo). Before the start of the game, you can offer the student examples of different perceptions of the girls' walk - cheerfully, joyfully and sadly, sadly, and now the performance turns into an interesting, imaginative musical picture. Another example: "Do not fly nightingale at the window." Having analyzed the rhythmic pattern, the lead, the performance of the first beat, which is stronger in relation to the lead, we begin to play it with accompaniment and almost all children say, “Oh, what a sad melody”, that is, the accompaniment here becomes the determining character of the piece. The main thing in this work is to learn to listen to each other. In the process of learning, we continue to play the same songs from a sheet in older grades, gradually complicating the task, changing parties. In the process of such work, the student acquires the skills of "soloing" - when you need to play your part brighter, and "accompaniment" - the ability to fade into the background.
In the play "How Our Girlfriends Went" it is very important to teach how to play accompaniment - bass, chord, to explain the difference in sound. The bass is deep but not harsh and the chord is softer. “Do not fly nightingale” here it is important to find such a sound extraction of chords so that the figurative content of the song is conveyed.
Stage 2. Joint music-making with peers (guitar duet, trio, etc.).
At this stage, the following tasks are set: learn how to use the timbre palette, work on the dynamics in each part separately, as well as build a dynamic balance, master specific guitar techniques (rasgueado, pizzicato, harmonics, vibrato).
We will show the performance of a duo playing in an ensemble. At the beginning of the lesson, we play the C-dur scale in unison, try to play together, listen carefully, it doesn’t work right away, but we try. Here we learn to play evenly within one dynamic shade. It can also be done on the same note to hear the difference in the sound of the dynamics. Then we move on to the works.
Let's take for example E. Larichev "Polka" arr. O. Zubchenko. Polka is a fast, lively Central European dance, as well as a genre of dance music. Polka time signature - 2/4 . The polka appeared in the middle19th century in Bohemia(modern Czech Republic), and has since become a well-known folk dance.
We analyze who has the melody, who has the accompaniment, explaining that the melody should sound brighter.
Accompaniment - the bass is deep and the chords are very soft, light, so as not to drown out the melody. The bass serves as the rhythmic basis.
The second play "Mazurka". The rhythm of the mazurka is sharp and clear, it combines light grace, sometimes dreaminess. Sound production should be clearer, sharper, lighter.
Then there is work on the dynamics. Having cultivated a subtle sense of dynamics, the ensemble player will accurately determine the strength of the sound of his part, relative to others. In the event that the performer in whose part the main voice sounds played a little louder or a little quieter, his partner will immediately react and perform his part a little quieter or louder.
When working on a work, the teacher needs to pay attention to 3 points: how to start together, how to play together and how to finish the work together.
The ensemble must have a performer who performs the function of a conductor, he must show the introduction, withdrawals, slowdowns. The signal to enter is a small nod of the head, consisting of two moments: a barely noticeable movement up and then a clear, rather sharp movement down. At the rehearsal, you can count an empty measure, and there can also be words (attention, they started¸ three or four). It is very important to finish the work together, at the same time.
The last chord has a certain duration - each of the ensemble players counts to himself and shoots exactly on time. It can also be a nod of the head.
We also include in the work the playing of pieces in unison. Indeed, in unison, the parties do not add each other, but duplicate, so the shortcomings of the ensemble in it are even more noticeable. Performing in unison requires absolute unity - in meter rhythm, dynamics, strokes, phrasing. Unfortunately, little attention is paid to this form of ensemble playing, meanwhile, strong ensemble skills are formed in unison, and besides, unison is interesting visually and stagewise. The duet (trio) will perform "Gypsy".
Stage 3. Accompaniment skills. Tasks: mastering the arpeggio technique, studying the main chords and their letter designations, working out the entire texture - melody, accompaniment and bass.
The guitar is independent tool and at the same time a rich accompanying instrument. She can successfully accompany the violin, flute, domra - forming successful timbre combinations with these instruments. By its nature, the guitar is especially suitable for accompanying the voice, creating a soft pleasant background for it. Acquaintance with the accompaniment occurs by the end of the first year of study, when the student begins to play chords in the first position. Consider the performance of the accompaniment - arpeggio and bass - chord. When performing an arpeggio, draw the student's attention to the harmonic superposition of sounds that create a continuous sound. The first sound is played F, the second - mf, the third - mp, the fourth - p. This means that the next sound is taken with such a sounding power, which is obtained as a result of the attenuation of the previous one. This performance can be called "singing on the guitar."
The student will perform the song "Grasshopper" by V. Shainsky. In the first case, he sings and accompanies himself, in the second - domra. AT this example we use letter symbols for chords. Also on this example, we get acquainted with different textures of accompaniment: arpeggio, bass - chord, fight.
The second example is A. Petrov's romance "Love - Wonderland”, receiving the arpeggio playing, middle part- guitar solo. On the example of these pieces, work on accompaniment, the ratio of the sound of the melody and accompaniment, and sound production is shown. The accompanist must play expressively, respond to any dynamic, tempo changes in the soloist's performance.
In order to play together, you need to feel, understand, listen to each other. The ensemble as a form of collective creativity brings up in each of its members such a quality as the ability to live and create in a team, to find mutual language together.
Municipal educational institution of additional education for children "Unecha children's art school"
Public lesson
Subject:"Working on arpeggio technique in the guitar class"
Conducted by the teacher: Malyukova I.I.
with a 2nd grade student Mikhail Karpekin
Lesson topic:"Working on arpeggio technique in the guitar class".
The purpose of the lesson: Developing the skill of playing arpeggios on the guitar in lower grades DSHI.
Tasks:
To teach the student the skills and ability to work with arpeggiated texture;
Teach auditory perception of music;
Develop technique right hand and;
Develop performance skills
Develop thinking, ability to analyze and compare;
To cultivate interest in the studied musical works, the desire for self-improvement.
Equipment:
Footrest
Musical literature
Didactic material
A computer
Video material
Lesson plan
Organizing time
Lesson topic message
consolidation of primary knowledge
definition of musical terms used in the work
Work on guidance material
exercises for independence and mobility of the fingers of the right hand
L. Panayotov Etude C - dur
Working on Arpeggio Technique with Examples
R.N.P. arr. In Tokarev "In the damp forest of the path"
V. Kozlov "Little harpist"
Repetition of the passed musical material
Lesson summary
During the classes
Organizing time
Greetings.
The lesson is conducted with a student of the second grade, specialization guitar Karpekin Mikhail (10 years old)
Lesson topic message
Lesson topic:"Working on arpeggio technique in the gatar class"
Conversation. You have seen the guitarist play, how easily and deftly the performer's hands work. Do you want to know how to achieve such ease of execution? Student - Yes.
Then we need to learn the basic methods of working on performing technique. Of course, it is not possible to show all the work in one lesson, so today we will show only part of it.
Sound extraction- one of the most difficult and important components of playing the guitar. The objective difficulty of obtaining a clean, beautiful, and richly overtone-colored sound requires special attention to work on it, especially in the early stages of learning.
What are the main methods of sound production? The student is apoyando and tirando. Correctly.
Apoyando(strike) - this technique consists in sliding the finger along the string with support or stopping on the next string:
Display on instrument
Cards
The sound obtained with apoyando is deep, voluminous, strong. Used when you need to highlight the melody.
Tirando(pinch) - the reception consists in pulling the string with an arched finger. If you continue to move your finger, it will touch the palm. It does not have a stop on the string.
Display on instrument
Playing on open strings
Cards
Tirando is used when performing double notes, chords, arpeggios, and when conducting echoes in accompaniment.
What is a chord? A student is a consonance of three or more sounds taken at the same time.
If the sounds of a chord are played alternately, then such a performance is called an arpeggio.
The word arpeggio comes from the Italian arpeggio, which means to play like a harp.
Do you know such a tool? Student - Yes, it has a triangular shape and many strings.
A conversation about the harp
Show video material
Arpeggio in guitar technique is very widespread and therefore can be considered one of the leading playing techniques. Arpeggio finger combinations are very diverse. Arpeggio work should begin with simpler figurations at a slower pace.
Work on instructional material.
Work with exercises on open strings according to the collection of A. Gitman " Primary education on a six-string guitar"
Exercise according to the collection of M. Alexandrov "The ABC of the Guitarist" (No. 9,10,11,12)
Children's songs: M. Alexandrova "Little boat", "Sea waves"
Lesson work:
Monitored sound quality;
Proper operation of the fingers of the right hand;
The mobility and independence of the fingers of the right hand were practiced in various sequences.
L. Ponaiotov Etude C - dur
Conversation: The etude is written in the key C-dur, size 3/4 melody with accompaniment.
What technique was being processed? The Apprentice is a triad descending arpeggio. What is the fingering of the right hand? Student - a m i.
Checking d\z- checking knowledge of the text, fingering.
Lesson work: they tried to achieve maximum clarity, frequency and evenness of sound, while highlighting the upper melodic sound using the apoyando method with the ring finger of the right hand, and the accompanying sounds using the tirando method. Controlled the order of movement of the fingers of the right hand.
D / s- monitor the correct sound production and fingering.
Work on the technique of arpeggios in pieces.
R.N.P arr. In Tokarev "In the damp forest of the path."
Conversation. The play is written in variational form (theme and variation). Key a - moll, in variation harmonic view.
Today we will show the work on the variation. The leading role in its execution is played by the right hand. It is presented by a four-sound arpeggio in the fingering p i m i , the melodic line is thumb.
Checking d / z– performance exact text, correct fingering.
Lesson work: listened, analyzed, worked on the sound, worked out the exact hit of the third finger on the G sharp note of a small octave.
D / s- play slowly, evenly, listen to the bass.
V. Kozlov "Little harpist"
Performance of the work by the teacher;
A story about the composer, acquaintance with his work;
Analysis of the work.
D / s – independent analysis text.
Repetition of the passed musical material.
B. Kovac Etude C – dur
O. Maksimov "Dreams"
Lesson summary
Musical analysis - practical activities student in class
Providing a motivated assessment
Generalizations d / s
Introspection of the lesson
Lesson topic: "Working on the technique of arpeggios in the guitar class"
The arpeggio is the most natural way to play the guitar. The performance of harmonic figurations contributes to the development of the technique of the fingers of the right hand. A solid foundation for playing technique is laid in preparatory exercises and etudes. Calculated to develop stable right skills, natural movements fingers of the right hand. The development of technology depends to a large extent on natural abilities student. Students with average performance data can achieve high technical mastery, provided that systematic work is properly organized.
Mikhail Karpekin, a student, has average musical data, is efficient, and works conscientiously. The condition of the device is satisfactory.
The purpose of the lesson: performance skill development technical reception arpeggio on the guitar in the junior classes of the Children's School of Art.
Tasks:
Educational:
To introduce the necessary exercises for the development of independent movements of the fingers of the right hand;
Learning how to work with arpeggiated texture;
Developing:
To promote the development of strength and independence of the fingers of the right hand;
Contribute to the development of basic game movements in arpeggiated texture;
Contribute to the development of the skill of performing complex fingering options for the fingers of the right hand based on the available musical material
Educational:
Cultivate a love for playing the guitar;
Foster a culture of performance;
To educate a competent musician through meaningful performance of technical musical material.
Lesson type: combined.
Methods and techniques: conscientious, visual, explanatory - illustrative, accumulation of knowledge, self-control, partially - search methods, video material, creating a situation of success.
Stages of the lesson of observance.
The time allotted for all stages of the lesson is distributed rationally. Summing up, we can say that the tasks were solved, as well as to maintain and develop productive motivation for learning, mood and well-being.
Lesson effective.
- Development of musical and aesthetic taste;
- Development of musical thinking, memory, attention and imagination;
- Activation of observation and independence;
- Development of skills in working with encyclopedias, reference books (printed publications), and with computer technology;
- Development of cognitive interest, increasing motivation for learning;
- Development of skills of search and research cognitive activity;
- Developing skills to act independently: learning to know how to act, plan activities, how to implement them and maintain self-control without outside help.
Educational:
- Expanding the circle of information from the field of musical art, the formation of aesthetic views, artistic taste, the awakening of interest in guitar art;
- Formation of moral, behavioral and other general personality traits of students: responsibility, sense of collectivism, initiative, purposefulness.
Forms of work:group, individual.
Teaching methods:partially exploratory, research.
Methods for the implementation of the tasks:
- Search
- Creative
- Game
Teaching methods:
- Verbal
- Visual (presentation material)
- Practical
Equipment:
Musical instruments (2 guitars), stands, mixing console, screen, projector.
The orientation of modern art and aesthetic education towards the humanization of the process of education and diversified development the personality of the child implies the need for a harmonious combination of the actual learning activities, within which basic knowledge, skills and abilities, with creative activities associated with the development of the individual inclinations of students, their cognitive activity.
It is quite clear that in the lesson of a special instrument, in more, we master the skills of playing the instrument, give the child knowledge within the framework of the program. The problem is that there is simply not enough time for more detailed and complete additional material from the history of the instrument, the life and work of composers, performers on the instrument, to watch video performances of leading virtuoso guitarists.
In order to expand the scope of knowledge, increase cognitive interest students, to form in them aesthetic views and artistic taste, to motivate them to independent search ways and options for solving the set educational task, teachers need to use non-standard (non-traditional) lessons in their pedagogical activities.
The success of non-traditional lessons depends on a number of actions of the teacher and students:
Careful preparation is carried out: for example, a topic and preliminary tasks to it, explains the construction of the lesson, the role and tasks everyone class student;
The main condition is the preparation and work on the repertoire (on the topic);
Particular attention is paid to the activation of the activities of all students, including the weak, "indifferent", "difficult", so that everyone is interested and included in one or another type of active work.
In the process of work, all knowledge, students extract independently, depending on the tasks. These tasks are solved with the help of search and research teaching methods. During six months of work on this topic, students (all of them) “shoveled” a huge amount reference literature, encyclopedias, materials on the Internet. We reviewed video recordings of leading performers, classical guitar virtuosos, learned to generalize and systematize the information received, choose the most important and interesting, compare and find the features of the performance of certain works of various eras and genres, and perform the works of certain composers in the theme.
Non-traditional lessons are interesting, unusual shape providing material, because all the material was obtained and comprehended by the students. The teacher only directs, systematizes, helps to select the most important and valuable from a huge amount of information, prepares a repertoire and creates a Presentation (this can also be entrusted to high school students) and, of course, learns new things himself (some facts came as a surprise).
The result of the lesson can be found at the end of the questionnaire, or a survey of students (preferably using a reward system), etc. everything will depend on the creative imagination of the teacher.
Of course, constantly non-standard lessons in the specialty is impractical, they can be used as introductory, generalizing, control once, twice a year. With their help, it is necessary to make students with different musical abilities feel the situation of success, since all students of the class are involved in the work.
Non-traditional lessons are well remembered, they are interesting for students, activate cognitive activity, creative activity of students and can be recommended for use in the pedagogical activities of teachers of instrumental classes, to update the content of art and aesthetic education and improve their own pedagogical activities in modern music education.
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"Summary of the non-traditional lesson "My guitar island""
ABSTRACT
open lesson
majoring in guitar
teacher MBU DO "DSHI p. Star"
Dyatkovsky district Bryansk region
Cherkesova Elena Yurievna
The form:non-traditional LESSON-TRAVEL
Subject:"MY ISLAND GUITAR"
Hello dear children and guests of our event. Today we will go with you to an amusing trip to Guitar Island. On it, we will learn a lot of interesting things about our favorite instrument, visit great composers and performers, and also perform the works of these composers yourself and demonstrate your knowledge and skills acquired over the years of training on the beautiful instrument that you have chosen for training.
You searched for all the material of this trip on your own, in different sources information. A long way has been traveled along the “Guitar” skeleton, you have learned a lot of new and interesting things, and since you did all this yourself, you have acquired new knowledge, new spiritual and cultural values for the rest of your life, which will help you to independently perceive and evaluate them in the future.
Slide number 2 - Student: The guitar is a stringed plucked musical instrument, one of the most widespread in the world. It is used as an accompanying instrument in many musical styles. It is the main instrument in such styles of music as classical, blues, country, flamenco, rock music. Invented in the 20th century, the electric guitar had strong impact on the popular culture.
The guitar performer is called guitar player. A person who makes and repairs guitars is called guitar master or luthier.
Slide number 3 - Student: The tar is one of the forerunners of the guitar.
The earliest surviving evidence of stringed instruments with a resonating body and neck, the ancestors of the modern guitar, dates back to the 3rd millennium BC. e. Images of kinnor (Sumero-Babylonian stringed instrument, mentioned in biblical stories) were found on clay bas-reliefs at archaeological excavations in Mesopotamia. In ancient Egypt, India, similar instruments were also known: nabla, nefer, zither in Egypt, wine and sitar in India. AT ancient greece and Rome, the cithara instrument was popular.
Slide #4 - Student: Spanish guitar
In the Middle Ages, the main center for the development of the guitar was Spain, where the guitar came from ancient rome(Latin guitar) and together with the Arab conquerors (Moorish guitar). In the 15th century, a guitar invented in Spain with five double strings (the first string could be single) becomes widespread. These guitars are called Spanish guitars. By the end of the 18th century, the Spanish guitar in the process of evolution acquires 6 single strings and a considerable repertoire of works, the formation of which was significantly influenced by the Italian virtuoso composer who lived in the late 18th and early 19th centuries Mauro Giuliani.
Slide #5 - Student:guitar device
Slide number 6 - Student:Russian guitar
The guitar came to Russia relatively late, when it had been known in Europe for five centuries. But all western music began to penetrate widely into Russia only at the end of the 17th - beginning of the 18th centuries. The guitar received a solid place thanks to the Italian composers and musicians who arrived in Russia at the end of the 17th century, primarily Giuseppe Sarti and Carlo Canobbio. Some time later, at the beginning of the 18th century, the guitar strengthened its position in Russia thanks to Marcus Aurelius Zani de Ferranti, who arrived in St. Petersburg in 1821, then Mauro Giuliani and Fernando Sor toured. Sor, having left his ballerina wife in Moscow, who became the first Russian woman choreographer, dedicated a piece of music for guitar called “Memories of Russia” to the trip to Russia. This piece is still being performed. The first significant Russian guitarist who played a six-string instrument was Nikolai Petrovich Makarov. In Russia in late XVIII - early XIX For centuries, the seven-string version of the Spanish guitar has become popular, largely due to the activities of the talented composer and virtuoso guitarist Andrei Sikhra who lived at that time, who wrote more than a thousand works for this instrument, called the “Russian guitar”.
Slide #7 - Student: GIULIANI Mauro
Giuliani - (1781-1829) - an outstanding Italian virtuoso guitarist, composer, recognized by such authorities as J. Haydn and L. Beethoven. Born July 27, 1781 near Naples. As a child, he learned to play the violin and flute, at the same time he self-taught the guitar: by the age of twenty he had already achieved such brilliant results that he gained fame in Italy as the best guitarist.
In 1816 Giuliani toured Germany with great success. In 1819 he performed in Rome in concerts with D. Rossini and N. Paganini.
Giuliani's guitar compositions make it possible to consider him as the most prominent representative of the Italian school, which was headed by virtuosity. creative legacy Giuliani has over 200 plays. These are works for guitar solo (etudes, variations, sonatas, sonatinas, "Big Overture"), as well as chamber ensembles with the participation of a guitar (in particular, duets), a concerto for guitar with an orchestra, he is also the author of the School of Guitar Playing ".
Mauro Giuliani's son, Mikhail Giuliani, is a guitarist, singer, composer and teacher. Since the beginning of the 1820s. lived in Russia. He gave concerts as a guitarist, taught guitar and singing in St. Petersburg. Since 1850 he was a professor at the Paris Conservatory in the vocal class.
Giuliani "Allegro" performs student.
Student: Mateo Carcassi
Matteo Carcassi (1792 - 1853) - Italian classical guitarist and composer.
With early childhood he learned to play the piano, then the guitar, and by the age of twenty had already earned a reputation as a good performer.
In 1820 he settled in Paris, where he was engaged in concert and teaching activities.
His performance, marked by brilliant virtuosity and elegance, was very popular with the French public. Carcassi often performed his own compositions, mostly fantasies and variations on opera themes. The guitarist has successfully given concerts in London, as well as in various German cities. Carcassi is one of the representatives (along with Ferdinando Carulli and Mauro Giuliani) of the classical Italian guitar school. Numerous of his compositions (sonatas, rondos, capriccios, waltzes, etc.) are included in the repertoire of contemporary performers.
Of great importance are his educational and pedagogical works, including sketches and " Guitar school”, published in Paris in 1836 and became one of the most popular teaching aids for this instrument.
Performed by a student - Carcassi "Andantino"
Pupil: Fernando Sor (1778 - 1839)
Sor Fernando s early years studied guitar, violin and cello, musical education received at the choir school at the monastery of Montserrat, then studied at the military academy in Barcelona.
He showed early composing skills: at the age of thirteen he composed the Solemn Mass for soloists, choir and organ, and in 1796 he wrote the opera Telemachus, staged at the Santa Cruz Theater.
In 1813, Sor left for Paris, where he began to conduct active concert and teaching activities. Two years later, the composer moved to London, where eleven collections of his Italian ariettas for voice and piano, as well as works for piano and guitar, were published.
In 1823, Sor settled in Russia with his wife, the ballerina Felicite Jullin, who danced the main part in the Moscow production of Cinderella (the ballet was composed by Fernand Sor and staged at the Bolshoi Theater in Moscow). Three years later, the composer returns to Paris, where he publishes a number of his new compositions, including Memories of Russia, in which he uses Russian folk melodies.
Sora's creativity played huge role in the development of guitar art.
Giving a lot of concerts in Europe, he won the fame of an outstanding virtuoso, on a par with famous contemporary guitarists ( Mauro Giuliani, Matteo Carcassi, Ferdinando Carulli). As a composer, Sor is best known for his compositions for guitar (more than 60), included in the repertoire of the world's leading performers. The composer treats the guitar as a serious musical instrument with rich polyphonic possibilities.
Sor also has great importance as a teacher - his " Guitar school”, published in 1830, was very popular. Among Sora's students are a number of later famous guitarists, including Napoleon Coast, who edited and published many of his compositions after the composer's death.
Duet of students - F. Sor "Old Spanish dance"
Slide number 9 -Pupil: Andres Segovia (1894 - 1987)
Andrés Segovia began learning guitar from childhood with his relatives, inspired as a model by the virtuoso technique of flamenco guitarists. In his adolescence, Segovia moved to the city of Granada, where he took guitar lessons, and at the age of 16 he gave his first concert in Madrid, performing transcriptions of various works made for the guitar by Francisco Tarrega, and his own adaptations of Johann Sebastian Bach.
Segovia's early performances were lukewarm, partly due to the fact that his playing technique was markedly different from that of Tarrega and most of his students: he played using not only the pads of his fingers, but also his nails, which makes the sound stronger and sharper (there is a point of view that this difference is due to Segovia's desire to move the guitar from living rooms and salons to large concert halls). Constantly expanding the guitar repertoire (this was one of the main merits of this musician), Segovia transcribed for the guitar wide circle essays different authors- including such prominent and complex works, like "Legend" by Isaac Albéniz and Chacon Bach. The creative collaboration between Segovia and Heitor Villa-Lobos, who wrote for the famous guitarist whole line works, starting with the famous "Twelve Etudes".
Since the mid 1950s. Segovia taught a lot. Among his students are many outstanding modern guitarists (D. Williams, D. Brim, A. Diaz, etc.)
In 1958, Segovia won the Grammy Award for Best Recording of Solo Academic Music.
Before old age Andres Segovia continued his concert and teaching activities. Lasted over seventy years creative way this great artist!
Slide number 10- Video material: performed by Andres Segovia (Albeniz "Asturio").
Slide number 11 - Student: Viktor Kozlov
(born January 10, 1958, Chelyabinsk) is a Russian guitarist, composer and music teacher. Lives and works in Chelyabinsk (Russia).
Honored Artist of the Russian Federation (1997), professor.
Laureate of the 1st Prize of the First Regional Competition of Performers in Russian folk instruments in Chelyabinsk (1988), laureate of the International Competition of Composers (Esztergom - Hungary, 1989), diploma winner of the All-Russian Competition of Performers on Folk Instruments (Nizhny Novgorod, 1990). He began to study music from the age of 8 (Chelyabinsk Children's School of Music No. 2, teacher Sh. Kh. Mukhatdinov).
In 1979-92. studied at the Chelyabinsk College of Music in the guitar class, at the same time studied composition in the class of Yu. E. Galperin.
In 1988 he graduated from the Ural State Conservatory (class of V.M. Derun). He took part in many guitar competitions and festivals in Russia and abroad.
As a composer and author of original compositions for classical guitar, Viktor Kozlov also won 1st degree diplomas in Donetsk (1982) and Moscow (1988). In the summer of 1989, his name became known abroad: at the 9th International Guitar Festival in Esztergom (Hungary), V. Kozlov won the third prize as a composer.
He started composing music at the age of 12. The first significant opuses were written at the music school: a string quartet; trio for flute, viola and guitar; variations for piano, "Round dance and dance" for solo guitar.
In the future, Viktor Kozlov prefers composing miniatures for solo guitar and trio guitars. Kozlov's humorous plays are popular: Oriental dance, "March of the Soldiers", "Little Detective", "Hunter's Dance", "Kiskino Grief". Special place in his work are numerous works for children. He released a collection musical works for young guitarists "Little Secrets of Senorita Guitar / Children's Album of a Young Guitarist", which in 1999 was recognized by the Russian Guitar Center (Moscow) as the best in Russia.
Currently, Viktor Kozlov teaches at the Chelyabinsk Higher School of Music. P.I. Tchaikovsky. Among his students are laureates of international and all-Russian competitions, scholarship holders International program"New names": I. Kulikova, N. Fedorenko, E. Pushkarenko, O. Kiselev, M. Baklanova, D. Ivanchenko.
V.V. Kozlov is the founder of the South Ural guitar school (the author of programs for all levels of education). For several years he has been a member and artistic director of the Trio of Ural Guitarists, which, in addition to Viktor Kozlov himself, includes Sharif Mukhatdinov and Viktor Kovba. Being the chairman of the Chelyabinsk Regional Association of Classical Guitarists, he initiated the holding in Chelyabinsk international festivals"Classical guitar in the Urals" (since 1991).
Slide #12 - Video material: Viktor Kozlov "Oriental dance"
Slide number 13 - Student: Oleg Kopenkov
KOPENKOVOLEG- guitarist, composer, arranger, concert host, radio program host, DJ, chairman of the Belarus Guitar Club, writer, teacher, producer.
Born on September 01, 1962 in Minsk. Studied at Children's Music School No. 2 in accordion class with teacher Alexander Dinin, high school No. 102 with a musical bias in the guitar class by Georgy Stankevich. At the music school he studied in the class of Vladimir Belyshev, Benigna Matskevich and Anatoly Poberezhny.
Vladimir Ugolnik was a teacher at the University of Culture. Since 1990 plays in a duet with Sergei Kabanov (Copacabana duet).
Since 2005, he began to write music for the guitar. 10 author's collections were published: “I sometimes feel sad”, “Kopenkov in the style ... No. 2”, “Kopenkov in the style ... No. 3”, “The land of my charm”, “Carnival”, “Let's sing!”, “Only large forms”, “Miniatures”, “With the world by note” and “Only for you”.
Tour: Belarus, Latvia, Lithuania, Poland, Ukraine, Estonia.
Festivals:"Crystal Strings" (Zhdanov 1986, 1988), "Silver Strings" (Simferopol 1987, 1989), All-Union Festivals of Guitarists (Minsk 1987-1991), (Frunze 1989), (Dnepropetrovsk 1987, 1989), (Leningrad 1989), ( Kyiv 1990), "Guitar Renaissance" (Gomel-Minsk 1995-2009).
Awards: diplomas International competitions composers (2007, 2008, 2009 and 2010).
Duet of students - Oleg Kopenkov “Maybe”
Video found and liked by the students of the class:
Video material: Duet of guitarists “Argentine Melody” and “Corrida”
Video material: Chinese children play guitars
Conclusion: So we finished our journey around the island “Guitar”
You learned a lot of new things, heard works performed by professionals and students who are just starting their journey in the world of music and art. And of course, at the end of the lesson, I want to ask the travelers if we had a fruitful time on the Guitar Island:
QUESTIONS:
1. What were the predecessors of the guitar called? (tar, kinnora, nabla, zither, cithara, wine, sitar….);
2. What is the top of the neck called? (head or head);
3. How many strings does the Spanish guitar have? (there were 5, later, 6 strings);
4. What do we call the resonator hole on the cabinet? (socket)
5. When did the guitar become widespread in Russia? (at the end of the 17th century);
6. What composers did you meet today? (F. Sor, M. Carcassi, M. Giuliani, V. Kozlov, O. Kopenkov, A. Segovia);
7. Which classical composer lived and worked for some time in Russia? (Fernando Sor);
8. Is Viktor Kozlov a classical or contemporary composer and performer? (Modern);
9. Whose creative path lasted more than 70 years? (A. Segovia);
10. Is Giuliani an Italian or Spanish guitar virtuoso? (Italian).
11. Is Mateo Carcassi a Russian composer? (Italian).
12. Where does Oleg Kopenkov live and work? (Belarus).
14. Who composed the work "Kiskino grief"? (Victor Kozlov).
Acquaintance with guitar art
(outline of the lesson)
At present, the problem of versatile education of the child is very relevant.which contributes to his creative self-realization. Music is the most universal remedy aesthetic and moral education.
A special place is occupied by the guitar in the leisure of young people.. The musical creativity of adolescents is a kind of sphere of their spiritual life, their self-expression and self-affirmation, which clearly reveals the individual identity of each. The ability to perform songs with a guitar has always been highly valued among the youth. Those who know how to play this magnificent musical instrument acquire an additional opportunity to reveal and explain many situations that have to young man personal meaning.
Purpose: to introduce the basics of the world musical culture guitar games.
Tasks:
Tutorials:
to acquaint students with the history of the guitar, with the Spanish school of playing Matteo Carcassi;
introduce the rules of landing during the game, the main positions of the hands and fingers;
familiarity with the culture of the game, compliance with the rules of hygiene.
Developing:
to form the skills of training hands and fingers, performing exercises;
to promote the development of skills and expressive skills of playing the six-string guitar.
Educational:
broaden your musical horizons;
nurture stage culture.
Material and technical base: guitars (for students, for the teacher - for display), footrests, printed lyrics.
Lesson progress
Acquaintance with a musical instrument - a six-string guitar.
Teacher: Hello guys. Today we will get acquainted with such a famous musical instrument as a six-string guitar. Answer the question: what musical instruments were born in Russia?
Children: balalaika, psaltery, accordion, wooden spoons.
Teacher: Right. What country do you think the guitar was born in?
Children: Spain, Italy.
Teacher: Spain in the Middle Ages was the main center for the development of the guitar, where it was brought by the Arabs. The five-string guitar, invented in Spain, became popular in the 15th century. She received title - Spanish guitar. With the advent of the sixth string and the replacement of double strings by single strings, the triumphal procession of the guitar across countries and continents begins; in this form it still exists. The musical possibilities of the six-string guitar turned out to be so great that it becomes one of the most beloved instruments. The "golden age" of the guitar begins. It is associated with the names of the Spanish guitar virtuosos and composers F. Sora (1778-1839), D. Aguado (1784-1849) and Italian - M. Giuliani (1781 - 1829), F. Carulli (1770 - 1841), M. Carcassy (1792 - 1853).The Spanish school is all about skills and traditions folk art, developed over many centuries and developed and enriched by classical guitarists. Improving the technique of playing, the guitarist sought to develop, above all, fluency. It is this goal that the author of the “School of Playing the Six-String Guitar” M. Carcassi sets for himself. M. Carcassi offers nine keys for study: Do, Sol, Re, La, Mi, F major, la, mi, d minor. In each of these keys, he gives a scale; cadence; a prelude containing a chord progression, and two or three pieces (as a rule, Waltz, Allegretto and March, less often Andantino and Andante). All these pieces are very melodic, easy to perform. Gradually, their volume increases, and the text becomes more complicated.
Components of a guitar.
Teacher: The main parts are the body, neck with neck, head and strings.Guitar six-string has two decks, upper and lower, connected by two walls on the sides - shells.Top wooden deck important factor responsible for the sound of the instrument.Slightly above the very center of the top deck is a round resonant hole framed by a rosette. A little lower is a plate called a stand. In the middle of its elevation, in which there is a slot, a rectangular bone plate, not large in width, is installed, called the nut. The nut is needed to fix the strings raised above the top deck, and transmit vibration. Necksix-string guitarwith neck glued into upper part corps. At the top of the neck is a nut with slots in which the strings are located. The final part of a six-string guitar is the head. The head of the guitar has a peg mechanism. By rotating them, you can change the tension of the strings, respectively, and the sound. The guitar has six strings - three thin and three thicker, called bass.
Landing. The position of the hands during the game.
Teacher: Sit on the edge of a chair with a hard seat and without armrests, put your left foot on a stand, 10-15 cm high, depending on the height of the seat and the length of the legs. The left knee should be above the level of the chair. Sit up straight without leaning back in the chair.
When you are comfortably seated, take the guitar, place it with the notch on the side of your left leg, about the middle of your thigh. The right foot should be set back from the left by the distance necessary for the lower part of the guitar, providing support for it. Or put the right foot on the left, and the guitar on the right foot (this option is most suitable for girls).
When properly seated, the headstock should be at or slightly above your left shoulder, with your chest lightly touching the bottom, but don't tilt the guitar toward you.
Place the forearm of your right hand with all your weight on the body of the guitar at its widest point and dangle your hand. In this case, the brush should be rounded and be above the strings at the socket. All fingers, except for the thumb, are folded together and parallel to the frets, and the lines of the joints of the first phalanges are parallel to the strings. Make sure that the tips of the index, middle and ring fingers are in line and at a certain distance from the strings. The thumb of the right hand should be against the bass strings, and the rest against the first, second and third. Make sure that the elbow does not extend beyond the body of the guitar on the right side, and that the wrist does not get too close to the top of the guitar. The forearm of the left hand should be raised, the wrist bent. The hand should be rounded and positioned so that the thumb touches the middle of the back of the neck, and the remaining fingers should be rounded, not bend at the joints and rest with the middle of the pad on the string.
Game culture (hygiene).
Practical work.
Performing exercises on the formation of guitar playing skills.
Exercise on the right hand - apoyando, tirando;
exercise on left hand;
Exercises for the left and right hands for coordination of movements;
Pulgar finger exercise (p) - right hand.
The role of accompaniment in guitar art.
Teacher: Accompaniment is a musical term denoting the accompaniment of melodies, aimed primarily at its harmonic decoration, as well as supporting vocal parts with instruments. The guitar, as an accompanying instrument, is of great importance. So, for example, a guitar can accompany solo, vocal or instrumental parts, be a background. Also important role guitar accompaniment also plays in the rallying of the team, the family, when songs are performed with a guitar around the fire, in the country, in warm cozy home evenings. joint creative activity children and parents in this regard contributes to the discovery of such abilities in students as creating their own poems, lyrics and chords.
Practical part.
1) Showing, learning and performing the work of Bulat Okudzhava “Wishes to Friends”;
2) Singing to the guitar accompaniment of the work of M. Dunaevsky "Bad weather"
Summing up the lesson.
Bibliography:
M. Carcassy. School of playing the six-string guitar. M.: 2001.
V. Kalinin. Tutorial for playing the six-string guitar. N.: 1998.
F. Noad. Step by step: Tutorial for playing the guitar. - M.: 2004.
