Ensemble music-making as a method of comprehensive development
Methodological report of the guitar teacher Pikulina G.B.
The ancient Romans believed that the root of the doctrine was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, strive for active, creative work, the root of the teaching changes its taste and arouses a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy..
The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens..
Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known, and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.
What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble music-making as a method of comprehensive development of students.
1. An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wideintroduction to musical literature.Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in particularly favorable conditions - along with the repertoire addressed to the guitar itself, he can use the repertoire for other instruments, transcriptions, arrangements. In other words, an ensemble game constant and rapid change of new perceptions, impressions, "discoveries", an intensive influx of rich and diverse musical information.
2. Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky "not for memorization, not for memorization, but from the need to think, learn, discover, comprehend, and finally, be amazed." That is why there is a special psychological attitude during classes in the ensemble. Musical thinking noticeably improves, perception becomes brighter, livelier, sharpened, tenacious.
3. Ensuring a continuous flow of fresh and varied impressions, experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional responsiveness to music.
4. The accumulation of a stock of bright numerous auditory representations stimulates the formation of an ear for music,artistic imagination.
5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increase musical thinking . On the crest of an emotional wave, there is a general rise in musical and intellectual actions. It follows from this that the lessons of ensemble playing are important not only as a way to expand the repertory horizons or to accumulate musical-theoretical and musical-historical information, these lessons contribute to a qualitative improvement in the processesmusical thinking.
This form of work as ensemble music making is very fruitful fordevelopment of creative thinking.The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parties, develops his harmonic, melodic ear, sense of rhythm.
So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble play that the basic principles of developmental education are revealed with all their completeness and distinctness:
a) an increase in the volume of the performed musical material.
b) accelerate the pace of its passage.
Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
Needless to say, how important is the creative contact between the teacher and the student. And it is precisely the joint ensemble music-making that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the fretboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only keep the love of music, but also develop an interest in music pursuits. And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays.
Group learning has both positives and negatives. It is more interesting for children to study in a group, they communicate with their peers, learn not only from the teacher, but also from each other, compare their game with the game of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, develop harmonic ear. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve the quality of performance, because students with different abilities are trained, who, moreover, are engaged in different ways. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a large number of students will practically stop. If you bet on professional quality games, giving it a lot of time, as is done in individual lessons, then the bulk will quickly get bored with it, and they will lose interest in learning. Therefore, the repertoire must be accessible, interesting, modern and useful, and the pace of progress must be vigorous enough,
you need to avoid monotony, constantly interest students. To test the knowledge gained before conducting control lessons, you can use the following form of work: after the work is memorized, in addition to performing by the group, it is useful to play it alternately by all students in small parts (for example, two measures) without stopping at the right pace, make sure that the game was clear and loud. Such a technique concentrates attention, develops inner hearing, and increases the responsibility of the student. You can also use such a form of work as patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who do not cope with tasks, when a positive result is achieved, the teacher encourages such an assistant with an excellent mark).
The purpose and specificity of teaching children in the guitar class is to educate literate music lovers, expand their horizons, develop creative abilities, musical and artistic taste, and in individual lessons - to acquire purely professional music playing skills: playing in an ensemble, selection by ear, sight reading.
"Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
In the guitar class, various forms of work are used. Among them, ensemble music playing has special developing possibilities. Collective instrumental music making is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these classes involves the active participation of children in educational process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities in this moment, which contributes to psychological looseness, freedom, friendly atmosphere.
Practicing teachers know that playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, and is indispensable in terms of developing the technical skills and abilities necessary for solo performance. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism. More importantly, ensemble music-making teaches you to listen to your partner, teaches you to think musically.
Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They were engaged in joint music-making on anylevel of instrument proficiency and at every opportunity. Many composers have written in this genre for home music making and concert performances. Bela Bartok, Hungarian composer, teacher, folklorist, believed that children should be introduced to ensemble music-making as early as possible, from the first steps in music.
Not always an ensemble like academic discipline given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, at present it is impossible to imagine musical life without the performances of ensembles. This is evidenced by the performances of duets, trios, ensembles larger membership on concert venues, festivals and competitions. Duets and trios of guitarists have long been established ensemble form, which has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, transcriptions. But these are professional teams. And for school ensembles there are problems. For example, the problem of repertoire. Lack of appropriate literature for ensembles of guitarists of music school slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like.
It is important to start working on the ensemble from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of.
Many teachers of a special instrument practice ensembles within the class. It can be either homogeneous or mixed ensembles. It is better to start work in an ensemble with students of the same class. In practice, we have seen that the ensemble work can be divided into three stages.
So stage I . The child acquires the skills of ensemble music-making already at the first lessons. Let it be pieces consisting of one or more sounds, rhythmically organized. The teacher at this time performs the melody and accompaniment. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop.Such a performance will arouse the student's interest in the new sound of music for him, interesting and colorful. At first, on the instrument (it all depends on the abilities of the student), the student plays simple melodies, accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try their hand at performing pieces with elements of polyphony. Pieces should be chosen varied in tempo, character, etc.
I know from experience that students like to play in an ensemble. Therefore, the above pieces can be played individually with each student, or students can be combined into duets, trios (at the discretion of the teacher, based on the capabilities of the instruments, their availability). For a duet (trio), it is important to select students who are equal in musical training and mastery of the instrument. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of the work, or part of it.
The initial and final chords or sounds must be performed in sync and cleanly, regardless of what and how sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to simultaneously take and remove the sound, pause together, move on to the next sound. The first chord contains two functions - a joint beginning and determining the subsequent tempo. Breathing will help. Inhalation is the most natural and understandable signal for the beginning of the game for any musician. As singers take a breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players indicate inhalation with the beginning of sound, violinists - with the movement of the bow, pianists - with the “sigh” of the hand and touching the key, for accordionists and accordionists - along with the movement of the hand, the bellows. All of the above is summarized in the conductor's initial wave - auftakte. An important point is to take the right pace. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one - a signal of a slow one. Therefore, it is important that the duet members not only hear each other, but also see, eye contact is needed. At the first stage, the ensemble members learn to listen to the melody and the second voice, accompaniment. Works should be with a bright, memorable, uncomplicated melody, the second voice - with a clear rhythm. The art of listening and hearing your partners is a very difficult thing. After all, most of the attention is directed to reading music. Another important detail is the ability to read a rhythmic pattern. If the student reads the rhythm without going beyond the size, then he is ready to play in the ensemble, because the loss of a strong beat leads to collapse and stop. When the team is ready, the first performances are possible, for example, at parent meeting or concert class.
At stage II we develop the knowledge, skills and abilities acquired at the first stage. We also comprehend the depths of ensemble music-making. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, unity of ensemble strokes, thoughtful performance and, most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. The repertoire is composed along with classical works, variety miniatures. Such a repertoire arouses interest, tunes in to new work, performances.
Stage III . This stage corresponds to the senior classes (6-7), when the curriculum does not provide hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble, they can do more complex, spectacular pieces. In this case, the duet (or trio) is able to solve more complex artistic problems.
For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by attracting additional tools. It can be a flute, a piano, a violin. Such extensions are able to “colorize” the work, make it bright. This method is suitable for concert performances and will make any, even the simplest piece, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet members hear all the nuances of the musical text.
For performances, you need to accumulate a repertoire of different genres. since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.
Municipal budgetary educational institution
additional education for children
"Children's School of Arts named after M.P. Mussorgsky
Fokino
ENSEMBLE IN GUITAR CLASS
guitar teacher
Children's art school, Fokino
REVIEW
for the ensemble work program (guitar class)
teacher of the children's school of arts. M.P. Mussorgsky, Fokino
Sysoeva L.E.
The program is designed with a deep understanding of working with children in an ensemble. I consider it right to select the repertoire and distribute the load on the children during the entire period of study at the Children's Music School.
The selection of works during the period of study corresponds to the program of children's music schools and studios of musical education. This work will help beginners to master this instrument in the scope of this program, without deviating from the established norms. Recommended for working with children in clubs, music education studios, children's music schools.
INTRODUCTION
The education system in the Russian Federation is a set of interacting successive educational standards of various levels and directions.
The education system includes a group of various institutions of additional education. Among them is a network of schools for "various types of art", including children's music schools (DMSH) and children's art schools (DSHI).
Musical upbringing and education is an integral part of the overall process aimed at the formation and development of the human personality.
The concept of musical education in the country involves the creation of a system of mass (general) musical education and education, which is divided into general artistic and professional. IN modern conditions the music school is one of the main bases for widespread musical culture. The goal of the school of general musical education is to make music the property of not only gifted children who choose it as their profession, but also of all who study at the school; after all, even middle-aged children should receive a serious musical education. Occupying a specific place in the education system, children's music schools and children's art schools also have specific features of the educational process.
Teaching and educational tasks, which are solved by teachers of children's music schools, are basically the same for all subjects. Unity and interrelationship are due to the peculiarity of music lessons, in which music acts both as an object of knowledge and as a means of education, as well as the norms of communication with it and rather wide possibilities for applying knowledge and skills of some subjects while mastering others.
Increasing the efficiency and quality of general music education poses complex and responsible tasks for music school teachers. The principles of developing training and education, which are increasingly penetrating into specialty classes and all forms of music school education, are designed to educate competent musicians - amateurs and professionals, give them the skills of a creative approach to music and instruments, eliminate or reduce to a minimum the psychological barrier "fear" of concert performances , develop the ability to practically re-creativity and self-expression needs.
Thus, being the initial element of elementary education, the Children's Music School does not set itself the task of preparing each student for professional activity. Its purpose is the musical and aesthetic education of a wide range of children and adolescents, but, in addition, the music school should identify the most capable students and prepare them for admission to special educational institutions. Musical education is one of the central components of aesthetic education, it plays a special role in the comprehensive development of the child's personality. The educational process of the music school should be organized in such a way that it contributes to the development of students' love for music and the expansion of their musical horizons.
The principle of unity of emotional and conscious
due to the specifics of musical art and the peculiarities of its perception, the development of which requires awareness of the emotional impressions caused by music, as well as its available means of expression.
The principle of unity of artistic and technical is based on the fact that the artistic, expressive performance of a work requires appropriate skills and abilities, the mastery of which is a means to achieve the goal - the artistic performance of a musical work, but subject to the development of the student's creative initiative.
The principle of unity of development of modal rhythmic feeling and feeling of form should underlie various types of musical activity. Thanks to the comprehensive and consistent development of musical abilities in children, ideas are formed about the principles of the development of music, the expressiveness of the elements of musical speech, the expressive possibilities of musical forms.
The objectives of the methodology include the improvement of various forms of the educational process, the music school: lessons in the specialty, theoretical classes, collective music making, a subject of choice, extracurricular and extracurricular activities.
The center of musical upbringing and education of children remains children's music school, children's art school. To give a general musical education, to form aesthetic tastes, to educate a trained listener, an active participant in amateur performances, to teach how to play musical instruments, to develop creative inclinations - these tasks still determine the direction of the work of children's music schools.
The construction of the educational process according to the principles of uniformity and averageness hinders the development of students. The ever-increasing role of developing learning models is obvious, ensuring the active activity of children in the field of art and contributing to the education of students' sustainable interest in learning. Children's Music School and Children's Art School are called upon to carry out the tasks of early vocational guidance students should create real conditions for the effective development and education of children with the ability to further receive professional education in the field of art. The basis of work in children's music schools and children's art schools is individual training in a class in a specialty.
The originality of the educational process in music schools is largely determined by a combination of various forms academic work. Any lessons of children's music schools and children's art schools (individual, group, collective) prepare students for independent musical activity.
A significant role in the process of mastering the material is played by reproductive activity: it can be the reproduction of what is heard in whole or in part, imitation or copying, but always in one's own active action. Only lessons on the performance instrument can prepare the student for the full perception and assimilation of theoretical knowledge. The task of the music school teacher is to be able to interest the child in the process of mastering the instrument, and then the labor necessary for this will gradually become a need. The possession of the instrument is based not on any technical technique, but on the musical consciousness (hearing) of the student.
Individual education and upbringing of students in the music school is carried out on the basis of an individual student's plan, in which his development is traced and planned for all the years of study at a music school.
When drawing up an individual program, the principle of pedagogical expediency is taken into account. The program of each student should be diverse in styles and genres.
The changed conditions for the activities of educational institutions in the field of art dictate new, special requirements for curricula and educational programs.
1. Teaching practical skills of owning a musical instrument;
2. Teaching the theoretical and practical foundations of musical literacy, the skills of singing from notes;
3. Artistic and aesthetic training and education within the framework of the course " musical literature in the Children's Music School";
4. Formation of forms and skills of collective learning (collective music making);
5. Practical implementation of students' creative abilities and self-expression needs (optional subject).
Ensemble- a group of performers performing together, this is a collective form of play, during which several musicians jointly reveal artistic content works. The unity of artistic intentions, the unity of the emotional response to the performance, the inspired play of all - this is what characterizes ensemble art.
Ensemble- school of perfection of the musician.
Will and self-control are qualities necessary for a musician. Without them it is impossible neither in daily independent work, nor on the stage. But to a greater extent, these qualities are needed by the player in the ensemble. The definition of "will" means "a person's conscious self-regulation of his behavior and activities, which regulates the functions of the brain, which consists in the ability to actively achieve the goal, overcoming external and internal obstacles."
For a performer, “will” is the most important, often decisive factor in artistic success: the outcome of a concert performance often depends on its presence or absence. It is known that the work of an ensemble player requires, in addition to general rehearsals, intense independent studies.
Will is an order with the processes taking place in our subconscious. I did not accidentally give so much great attention characteristics of volitional qualities. An ensemble is a collective form of creativity, so it cannot exist if each of its members does not learn to control themselves, their mood and emotions. Indeed, in the process of work, one has to solve creatively - complex issues. The education of volitional qualities is necessary, they are inseparable from the education of the personality in general.
The ensemble must live in a tense creative atmosphere, in constant striving for even more than what has already been achieved. The main thing is the goal. It is necessary to realize that even a small step forward brings us closer to the goal. Having understood the goal, it is necessary to determine the means by which it will be achieved.
Cognition is an eternal and endless process. The work of the ensemble is also affected by time. Taking into account the time factor, it is also necessary to develop a methodology for mastering the art of ensemble playing: it should be aimed at short term significant results have been achieved. Therefore, it is advisable for an ensemble working on a new work to plan time.
The role of the psychological climate in the ensemble.
The concept of "psychological climate" includes the level of cohesion of the ensemble members, mutual understanding, organization, discipline, exactingness towards oneself and others, mutual support and assistance, i.e. a number of factors that create what is commonly called the creative atmosphere of the ensemble.
All the tasks that the leader sets for the ensemble must be deeply realized by the partners and become an integral part of their own convictions.
Artistic education inseparable from the moral. Overestimation of oneself, one's capabilities, selfishness - have a negative impact on the growth of professional skills. The manifestation of this disease in one of the members of the ensemble can ruin the whole thing.
One of the necessary conditions for the existence of the ensemble is a clear delineation of the "rights and duties" of its members and the leader. This question, however, is complicated, and today there is no consensus: some believe that the ensemble needs a leader, since the work of the collective needs a unifying principle, others are convinced that, unlike the orchestra, this is a union of equal musicians, and therefore subordination to one of the participants is incompatible with the very concept of an ensemble.
To obey the conductor, to fulfill his instructions, will - in the order of things, but in the ensemble this is excluded. The leader has to bear additional personal responsibility, additional duties for the affairs of the ensemble. He is the initiator, the organizer in the creative process, in particular, more than others, he must take the initiative in the selection of the repertoire.
An ensemble is a form of collective creativity, where each of the participants must combine two qualities: depending on the circumstances, be both a leader and a subordinate.
The task of the leader is to unite the members of the ensemble into a cohesive artistic group, determine its immediate tasks, outline the prospects for work. The leader must remember that in each ensemble it is necessary to develop a creative individuality, to identify its "role". Much depends on the personal qualities of the leader. Knowing how to lead a team great art. The leader must have high demands on himself; The duties of the leader include:
1. Seek new repertoire;
2. Plan and conduct rehearsal work;
3. Compile programs for solo and team concerts, etc.
the main problem- this is the repertoire, the question of the life of the ensemble. In conclusion, the following can be said:
The ensemble player must:
To assist the ensemble in achieving the goal;
Systematically work to improve their performance skills;
Soberly assess the results of the work of the team, remembering that you can not stop there;
Be self-critical;
Carry out instructions from the manager;
Carefully prepare for rehearsals, etc.
Creative work of the ensemble
Rehearsal conditions.
The rehearsal should take place in a spacious room and even better directly on the stage. Great importance has room acoustics. Rehearsals must start on time and end on time. By its beginning, the performers should play out so that they can start rehearsing with a piece of any complexity. The rehearsal plan is determined in advance, it must be rich, but realistic for implementation.
The games must be very carefully spelled out.
An ensemble is a single organism, it is born only in consistency with each other, primarily in a semantic sense, which means - in dashed, dynamic, tempo, rhythm, etc.
At the first rehearsals, one should cover the works as a whole and then painstakingly work on the details, polishing them. As you master the individual parts - to connect, "mount" them, in order to ultimately try to play the piece from beginning to end. Playing the whole piece many times in a row at the initial stage is not advisable. This does more harm than good. At the next rehearsals, we must continue to work on improving the phrasing, dynamics, sound qualities, not for a moment, without forgetting the main artistic goal.
The leader must correct the overall sound, making the necessary comments during the game. By diverting the attention of the performers with his remarks, he puts them in a difficult position. Nevertheless, this is a useful form of work, among other things, to test the strength of the knowledge of the parties. During the game, there may be stops. In this case, the leader must explain the reason, make a specific comment, and argue it.
Forms of playing a new work may be different depending on the degree of its readiness, as well as volume. It is desirable to vary the pace and dynamics. At the same time, it is important to play meaningfully, observing the nuances and maintaining the correct ratio of parties in terms of dynamics. When playing a piece, each time you should set a specific task - consolidating what has been covered, improving communication between parts, working out difficult places, caesura, fermat, increasing the tempo, etc. You need to strive to ensure that each next repetition is better than the previous one.
In the future, you should seek to perform the party by heart. It is desirable: that at each rehearsal there should be works that set different tasks, for example: works for general acquaintance! based on sight reading!; works at the first stage of artistic work /analysis/; works for artistic development; works at the final stage of work /final polishing of details!; pieces to repeat.
The main stages of work on the musical
work.
The first stage is to get acquainted in general terms with the work, its author, the era in which the composer lived, with the history of the creation of the work.
The second - the performer must carefully work out the text, analyze its texture, strokes, dynamics, rhythm, determine the amplitude, the reception of the game, etc. Search and approval of performing means for the realization of the author's intention.
The third - on the basis of the established skills and techniques of the game to embody the author's intention; along with this, it is necessary to further improve and deepen the expressive means that contribute to the identification of the artistic image. As you can see, the tasks of the second and third stages have much in common.
The fourth one is playing with the work, getting used to its artistic image.
Stages of technical mastery of the work:
the formation of motor skills.
First of all, the focus of the work of the ensemble at this stage should be the study and development of all elements of the musical text, the development of texture, the formation of game movements. This stage is usually defined as a detailed analysis of the work.
Therefore, first of all, it is necessary to get a grasp of the text:
firstly, having understood the rhythm, paying special attention to the relationship and interaction of various rhythmic patterns found in parts;
secondly, to comprehend the touches in everything, their diversity, outlining executive techniques for their implementation;
thirdly, to feel the dynamics in general terms, so that later, when it is worked out in more detail, to feel it.
Particular attention should be paid to the definition of rational fingering, repeatedly checking it in technically difficult places. On the basis of fingering and mastered game movements, gradually form strong skills of orientation on the fretboard in order, figuratively speaking, “to see the frets through the eyes of the fingers”.
It should be remembered that the process of playing the guitar takes place outside the visual contact of the performer with the strings. Therefore, it is important to work through the text and especially the places associated with the change of position in order to gain absolute certainty. At the same time, the automatism of movements is an extremely necessary condition.
At this stage of work, it is necessary to read the musical text even more carefully, to eliminate all the ambiguities that may occur in the parties. It is advisable to play a tested and worked out part together with another, outlining the general contours of their sound, while joining those parts that complement each other or perform the same function, the worked out parts are connected to each other.
It is also necessary to remember and pay great attention to the entry of new voices, to coordinate each such entry with the thematic material /melody/, which is a guide.
If a work assumes a fast tempo, this does not mean at all that it is necessary to immediately play at the indicated tempo. You have to wait until the batches mature. Premature recourse to a fast pace can only hurt.
When analyzing a work, it is not always advisable to play it from beginning to end, bar by bar. Sometimes, depending on the complexity of the material, it is useful to play in fragments, selectively. Working in this way, we will get a number of learned or almost learned fragments, and it will be up to assembling them into one whole.
This is quite natural: it is one thing to focus on a small piece of music, and another thing on a number of pieces. If in the first case everything depends on the ability to tune in to the learned passage, then in this case it depends on the ability to rebuild from one passage to another, since technical problems have to be solved in a stream of various types of texture, in a stream of music that is diverse in sound. In further work, it is important to follow the ratio of voices from the point of view of dynamics: which voice should sound in the foreground in this fragment, and which in the second (and why).
Particular attention should be paid to places that require synchronous performance, rhythmic accuracy, stroke definition, etc.
In other words, it is necessary step by step to lay the foundation for technically flawless performance, behind which the contours of artistic performance are already visible. The work must be built in such a way that with each rehearsal we are getting closer and closer to the final goal.
Already during this period, it is necessary to gradually master the skills of playing by heart. The game by heart takes time, so this one should be formed as early as possible.
The stage of the performing realization of the musical image.
What does a performer need to embody a musical image? In short, to be able to enter the emotional world of the author of each performed composition, to be imbued with his thoughts, his experiences. After all, the program of one concert can include works by a variety of composers, different in style and character, reveal them, “provide” each of them with its inherent features - this is the complexity of the task.
Each part is part of a single image, created by the whole ensemble, a kind of "character" from the play, endowed with a certain character, which you need to get used to, deepen its characteristic features. It is in this direction that work on the game should proceed: it is necessary to deal not only with the external decoration, improving the technical side of the performance, but the main thing is to polish the game from the inside, penetrating deeper and deeper into its content.
When working on a work, one should read more not only into the text, but also into the subtext.
In close connection with the main task - the formation of a musical image - in this period, such issues as careful development of the necessary methods of sound production, search for sound colors, clarification of dynamic shades etc. In the search for colors, one should proceed from the timbre representations of vocal sound, or orchestral. Without working on the sound, it is unlikely that you will be able to “draw” a musical image. In this case, it is necessary to use the timbre capabilities of the instruments, achieving a relief reproduction of each melodic line.
Continuing work on the work, one must follow the interconnection of individual musical constructions: phrases, parts, pay attention to the culmination, “local” and central, evenness of tempo, rhythmic stability, agogic deviations, etc. Along with this - to analyze the structure of the work, its dramaturgy.
It is necessary to strive for a deeper and more meaningful performance of the parties, in order to play each of them perfectly and with full emotional return as a result. The completion of work on the study of a new work comes not when nothing can be added, but when nothing can be taken away from what has already been achieved.
Mastering a work, as we see, is a complex multi-act process. Here, undoubtedly, a difficult problem must be divided into a number of relatively simple ones, solving them sequentially according to the principle from simple to complex.
Timbre and the art of sound production.
Sound, as you know, has properties: pitch, loudness, timbre and duration.
A classic example of an ensemble, where related instruments have individual timbres, is the string-bow ensemble.
However, the task is not only to ensure that the ensemble has rich timbre possibilities, but also to skillfully use them. To a large extent, it depends on the art of owning the instrument. It should be borne in mind that the instrumentalist has at his disposal not only the timbres that this or that instrument has, but also those that can be obtained as a result of their combination.
For a performer playing in an ensemble, it is very important to have a subtle sense of sound coloring, which should change depending on the style and nature of the composition. Work on the culture of sound is work on the gradation of dynamics with the accuracy of nuances, the development of various strokes, work on the balance of the sound of individual voices of the ensemble, etc.
At the same time, special attention should be paid to the development of intonation skills, “meaningful pronunciation of sounds”.
The task of a musician - performer: to be able to express himself through sound. Without mastering the art of sound expression to perfection, it is impossible to create a full-fledged artistic image, to convey the necessary character of music.
Briefly about the methods of sound production.
Before talking about the method of extracting sound, it is necessary to say a few words about the features of each finger. The strongest is the big one; the most dexterous - (index); being the strongest, longest, dependent on the third; the fourth finger (ring finger) is weak and less mobile. Fifth (little finger) - he does not participate in the game.
There are two ways to extract sounds:
1. Apoyando - a way to produce sound with the fingers of the right hand, followed by stopping the fingertip on the next (adjacent) string.
2. Tirando - a way of sound extraction with the fingers of the right hand without subsequent stopping of the fingertip on adjacent strings.
Strokes - as a means of expression.
In ensemble performance, as well as in solo playing, strokes are an important means of expression. Therefore, all members of the ensemble must master the technique of performing various strokes to perfection. Without going into detail in the description of the strokes, we will only recall them.
Legato (1еgato - connected performance, when one sound smoothly passes into another, do not raise your fingers high from the strings and put it gently. In guitar technique, legato should be considered not only a connected performance, but also as a sound extraction technique, which is of paramount importance.
Legato is performed in three ways:
1. method: with an ascending order of sounds, the first sound is extracted by a blow
fingers of the right hand, and the second or subsequent fingers (right)
left hands, which fall with force on the same string, press it and
forced to sound without the participation of the right hand:
2nd method: used in the outgoing order of sounds. The first sound is extracted with the finger of the right hand, and the second and subsequent - from the removal towards the fingers of the left hand.
3. method: it is also used for the outgoing order of sounds, when two notes are sung, which are extracted on different strings, the first note is obtained from a blow with a finger of the right hand, and the second - from a blow with a finger of the left hand, which falls with force onto another string in right place and makes it sound without the participation of the right hand.
Staccato - indicated by dots above or below notes; sounds are performed abruptly, as if creating a pause after each note. Above which is a sign.
To perform staccato on the guitar, one must extract the sound with the finger of the right hand and immediately apply this finger to the string from which the sound was extracted, preventing the string from sounding.
Non legato - a stroke in which sounds have approximately the same duration as when performed legato. However, they are not related.
Rhythm as a factor of ensemble unity.
Among the components that unite musicians into a single harmonious ensemble, the metro rhythm occupies almost the main place. Feeling the rhythm. In essence, he performs the function of a conductor in the ensemble:
the feeling by each participant of a strong beat is that “hidden” conductor, whose “gesture” contributes to the unification of ensemble players.
Ensemble is the art of playing together. The unity, synchronism of its sound is the first among other important conditions. The metrorhythm is the foundation, the framework on which the whole building of the ensemble rests. Rhythmic certainty makes the game more confident, more technically reliable. On this basis, ultimately, the automatism of movements is strengthened, without which the performing technique is unthinkable. In addition, a performer who plays non-rhythmically is more prone to all sorts of accidents.
Let us point out one more feature of the metrorhythm; the sensation of even movement, movement at one particular pace has not been developed, it is sometimes difficult to determine artistic measure various agogic deviations. It is necessary that the ensemble includes rhythmic, stable performers, so that there are more of them.
How is rhythmic unity practically achieved in an ensemble? In each individual case, it is necessary to select the part that, in terms of its rhythmic structure, would best perform the leading function.
Thus, the concept of "leader" and "slave" in the ensemble and on the scope of rhythm.
"Polka" I. Kuffner.
Dynamics as a means of expression
Different elements of the musical texture should sound at different dynamic levels. It must be remembered that the dynamics of the work is perceived not by itself, but in comparison (contrast) of various dynamic levels.
F. Durante "Galliard".
Having an auditory idea of the even strength of the sonority, you can then practice the skills associated with a gradual increase or gradual decrease in the strength of the sound. At the same time, it should be taken into account that creschendo is impressive when the increase in strength is especially noticeable at the very end of the ascent, at the final stage at the finish line. Therefore, following the gradual rise, it is necessary to have a reserve of strength to use at the moment of completion of the line to the creschendo. The same applies to the diminuendo, with the difference that imperceptibly reducing the volume of a sound is a more difficult task than increasing it. Meanwhile, not only this condition is often violated, but also the very process of gradual increase or decrease in the strength of sound.
arr. Y. Solovyov "Under the green apple tree"
Tempo as a means of expression
Determining the tempo of a piece is an important moment in the performing arts. A correctly chosen tempo contributes to the correct transfer of the nature of the music, an incorrect tempo to some extent distorts the nature of the work. Although there are author's indications of the tempo, up to the definition of the speed of the music itself, in the content of its artistic images.
For many works there is a so-called tempo zone, within which the tempo can vary without changing the meaning of the music itself.
As for the fast tempo, it should not be an end in itself: the tempo is always determined by the nature of the music of the piece being performed. The fast tempo is a test of the ensemble for strength, for meter-rhythmic stability. The ensemble should be frightened not by the speed of movement in itself, but by the lack of harmony, order, technical freedom and coherence in it.
When determining the boundaries of the tempo, it is necessary to take into account the texture of the work, and of course, the technical capabilities of the ensemble members. The boundaries of a fast pace also depend on the qualitative composition of the team. And finally, the tempo depends on the personality of the performer.
A piece that has been learned cannot be played at a fast pace all the time; at rehearsals, it is necessary, as a preventative measure, to periodically turn to a more restrained pace. Having “cleaned up” the text, one can return to a faster pace again, with new, higher requirements, in terms of the quality of performance.
Techniques for achieving synchronicity
ensemble sound
The synchronicity of ensemble sounding should be understood as the accuracy of the coincidence in time of the strong and weak parts of each bar, the utmost accuracy in the performance of the smallest durations by all members of the ensemble.
It should give the impression that one person is playing with a single “center” of control, playing in sync means playing absolutely together, exactly, even the slightest discrepancies in the performance of the part do not go unnoticed by an attentive listener.
How is it possible to achieve such unity so that everyone can join at the same time as one person, play together (regardless of the duration of the piece), change the tempo at the same time, if necessary, "take" or "remove" a chord together, etc. This task is further complicated by the fact that the well-known meter-rhythmic, and hence tempo, freedom must be inherent in the ensemble.
In order to play together, first of all, you need to learn to understand your partner, to cultivate a quality in yourself, which is called the sense of the ensemble. This is the main thing.
Achieving synchronism at the moment of START
The ensemble must have a performer who performs some of the functions of a conductor - he must sometimes show introductions, withdrawals, slowdowns, etc.
The entry signal is a small nod of the head, consisting of two moments: a barely noticeable movement up and then - clearly, quite sudden movement down. The latter serves as a signal to join.
A nod is not always done in the same way: it all depends on the nature and pace of the piece being performed. When the work begins due to a beat, the signal is essentially the same, with the difference that if in the first version, when the head was raised, there was a pause, in this case it is filled with the sound of the beat.
"I met you".
Achieving synchronicity in the execution process.
Keeping the sound in sync during the performance itself is an even more difficult task than the simultaneous introduction at the beginning of the piece. It all depends on how stable each of the ensemble players is in metrorhythm, how rhythmically he plays.
Playing eighths together is a difficult task, the opportunity to “disperse” lies in wait for the ensemble players at every turn. You can strengthen the metro-rhythmic basis here by making a slight emphasis at the beginning, on the strong beat. Accents are the organizing and unifying principle, thanks to which the synchronicity of sound is achieved.
Synchronicity at the end of the work.
There is hardly any need to emphasize how important it is to finish the work all together at the same time. In this regard, we note two possible options:
1. the last chord (or note) has a certain duration;
2. there is a fermata above the chord. In the first case, synchronicity is achieved on the basis of precisely sustained duration.
Each of the ensemble players counts out the meter-rhythmic beats “to himself” and removes the chord just in time.
Synchronicity in the performance of agogics.
Preserving the unity of the ensemble while performing agogics, i.e. small deviations from the tempo and meter (deceleration, acceleration) - a task that requires close attention from the performers. When the tempo is determined and the movement follows evenly, the unity of the ensemble is easier to maintain. In the event of a deviation from the tempo and subsequent restoration, certain difficulties may arise, since each of the members of the ensemble may feel this or that deviation from the tempo in his own way.
Individual work on the ensemble part
Ensemble part - in order to ensure its performance at a high level, it is necessary to work on the ensemble part in the same way as on the solo part. The part of the ensemble player should sound just as expressive in artistic terms and irreproachable in technical terms as the part of the soloist. Particular attention should be paid to fingering, and when analyzing it, one should pay attention not only to complex technical places, but also to those that at first glance seem simple. It should be assumed that the ensemble player has a significant part of his attention directed to listening to other parts, so control over technical side the performance of his part is partially taken over by the fingering. On its basis, the automaticity of movements is developed, which ensures the accuracy (in technical terms) of the performance of the party.
When working on a game, you need to know it so well that you can play it from anywhere, not just from the beginning. For an ensemble player, this is very important, because. in a critical situation helps to quickly navigate.
When memorizing a part by heart, it is necessary to imagine its function in the general complex of ensemble sounding.
The most important condition for memorizing an ensemble part is a developed memory, and all its types: auditory, visual, tactile or tactile, motor or muscular.
Let's consider each type separately.
Auditory memory for a musician is one of the main types of memory. Whatever the performer plays, he must, first of all, hear and try to remember what he is playing. At the same time, one must not only listen, but listen to what sounds.
Visual memory is the fixation of visual images. Working with a musical text for a certain time, we manage to take a picture of it in our minds. As a result, not only the text itself is often remembered, but also its location on the music sheet. Therefore, you should not part with the notes, you need to give time to work visual memory.
Tactile or tactile - memory based on the sensation of touch (tactile sense). In playing the guitar, pay attention to the left hand, to the neck of the guitar.
Motor (muscular) memory - in the automaticity of movements: fingers "remember". Therefore, when learning a part, one should not look at the left hand all the time, this can only hinder the development of muscle memory, which will not only lengthen the learning time, but also affect the strength of knowing the part by heart. With this method of memorization, the fingers move as if on their own, only the reference sounds of this texture are fixed in the mind, all the rest become the achievement of muscle memory, the subconscious.
5. Increasing musical literacy.
6. Help students to participate in the social life of the school.
At the same time, it should be emphasized that all educational work should be carried out by a teacher at a high professional level. An individual work plan should be drawn up with the students who are part of the ensemble.
The proposed educational program takes into account: cumulative experience, wishes and comments of teachers - practitioners, as well as existing methodological programs.
1st year of study
I semester (grade 2)
The student should study 3-4 diverse works. Each student, having analyzed the musical text of his part, gets acquainted with the features of ensemble music making. The initial skills of playing in an ensemble are being worked out: simultaneously taking and removing sound, the ability to observe not only one's own part, but also the part of a partner in a musical text.
To avoid frequent hesitation and interruptions when playing together, you first need to choose a slow pace. Both players analyze every consonance, every structural particle.
The teacher introduces the student to the characteristics of the ensemble, carefully monitors the psychological state of the partners. It is important to convince the student of their collective responsibility for the sound of the work and to develop a friendly attitude of the ensemble members.
At the end of the first quarter, a control audition of the ensemble is held, and at the end of the first half of the year, a test is held, where the ensemble performs two diverse works.
II half a year
The student must study 4-5 diverse works. Works are selected for various strokes of performance (staccato, legato, non legato). The unity of the execution of these strokes in the ensemble is being worked out.
In parallel, work is underway on the phrasing of the work and the development of a single phrasing among the members of the ensemble.
It should be remembered that it is difficult for children of primary school age to engage in one method of playing, therefore, in a lesson, you need to work on several pieces of music. And of course, here you can figuratively compare the execution of strokes:
"staccato" - prick with a needle;
"legato" - smooth singing (depending on the desired sound).
The learned work should be performed in class, school concerts. To do this, the student gets acquainted with stage behavior. Developing stage performance skills.
In the IV quarter - offset, where the ensemble performs two diverse works.
2nd year of study
I by land (grade 3)
4-5 works with bright musical images are selected, where initial knowledge about the form of the work is used. Starting from the program, there is a conversation about the expressive means of a particular work (strokes, dynamics, rhythm, tempo, etc.). And in order to improve performers properly, artistic thinking is appropriate.
The teacher should remember that the student's psyche is characterized by fragmentary perception, i.e. adherence to a single attribute (tempo, dynamics, timbre, phrasing). Therefore, one should not “overload” the student with too voluminous a task. But the choice of the available repertoire is extremely important.
II half a year
Work continues on improving the acquired skills, the form of works, expressive means is analyzed.
A conversation about historical, biographical, theoretical facts significantly activates the thinking and perception of the student. Helps to understand, and therefore perform the work.
3rd year of study
1 semester (grade 4)
Attention is paid to the figurative sound of the work. Reading from a sheet. In the first quarter - control listening.
II half year
The student must learn 4-5 pieces.
4th year of study
I semester (grade 5)
The student must learn 4-5 pieces. Acquaintance with larger forms of rondo, sonata. With stronger students, it is possible to get acquainted with the form of the concerto. Work continues on developing a single tempo, rhythmic coherence, and dynamic balance of parts.
Attention is paid to the figurative sound of the work. Reading from a sheet. In the 1st quarter - control listening.
In the second quarter - an offset, where two diverse works or one work of a large form are performed.
II half a year
The student must learn 4-5 pieces.
The complication of technical tasks in works requires work on the development of a phrasing line, as well as the development of common strokes of performance, consistency in the student's game movements. To cultivate independence and self-control, the student is invited to learn one piece on their own.
In the III quarter - control listening.
In the fourth quarter - an offset, where two diverse works are performed. Reading from a sheet.
Bibliography
1. "Young guitarist", V Kalinin;
2. "School of playing the six-string guitar", P. Agafoshin;
Z. "School of playing the six-string guitar", A. Ivanov-Kramekoy;
4. "0 musical pedagogy", B.Ya. Zemlyansky;
5. "06 the art of piano playing. Notes of a teacher”, G. Neuhaus;
6. "The work of a pianist on technique", S. Savtinsky; "Creative work of a pianist with the author's text", E. Liberman.
"First steps on a six-string guitar"
· Introduction.
· Main part.
· Chapter I. Donotny period of study.
· Chapter II. Introduction to notes.
Chapter III. Note application.
Chapter IV. Formation of bases of selection by hearing.
· Conclusion.
Introduction.
This work presents methodological material and musical examples used by the author in learning to play the six-string guitar with students of preschool and primary school age. Classical guitar schools - M. Karkassy, E. Puhol, P. Agafoshin, A. Ivanov-Kramskoy are designed for older students and at the initial stage are difficult for kids 6-7 years old, who sometimes cannot read and write, but play on the instrument wish from the first lessons. There are more contemporary collections for beginners, as, for example, “A Primer of the Guitarist. A guide for beginners. (six-string guitar)" edited or "Master's Lessons for Beginners" by Dmitry Ageev. But they are intended more for adult "lovers" of playing the guitar than for kids. Cover the period from the first steps to the game musical groups ah, they have voluminous source material of various educational nature, they mainly use guitar tablature and other symbols for teaching, which is unacceptable for a music school. Education at school is based on musical notation and students from the first lessons should be taught the culture of handling musical material. Proceeding from this, that is, the shortage of teaching musical examples of a lightweight nature, there was a need to create this kind of methodological manual. First, the pre-notation period of learning is considered, then, as the notes are gradually studied, the material becomes more complicated with the addition of more and more new elements. In training, the main didactic method is used - from simple to complex through repetition of the past. In the process of learning, one should constantly demand from students the exact and correct implementation of all the instructions placed in the notes, as well as develop self-control in every possible way, which is necessary for successful homework.
Musical material, exercises - everything has a name, as it helps the baby in the development of figurative thinking.
The work does not consider the issues of landing, staging, methods of sound extraction on the guitar, as this takes place in vocational training every teacher. In detail, in an accessible form given
instructions ", in the collection of A. Gitman "Basic training on the six-string
guitar" - "Section I".
Of great importance in the development of any musical instrument is the ability of the student to select the melody he likes by ear. This skill is an additional incentive to study music. The chapter "Formation of the basics of selection by ear" presents an attempt to somehow systematize this process in training, so that it is formed from the studied material and becomes the basis for the selection of accompaniment to songs and other types of guitar playing.
The author believes that this methodological development, a manual, will be useful to young beginners in the initial training of young guitarists and the creation of their own methods, and will also help practitioners of other specialties, who in our time often teach a “guitar class”.
Main part.
ChapterI.
Donotny period of study.
This period in the training of a young guitarist in no way implies "playing by hand". It is assumed that the teacher writes the musical material to the student in music book, and the student plays according to these records and performs tasks for observing the fingers in the right and left hands, the frets on the fretboard, and the like.
When you first get acquainted with the instrument - a six-string guitar - you should explain the name of the fingers of the right hand:
P - thumb
i - index finger
m - middle finger
a - ring finger
pinky in right hand- does not participate in sound production, and there is a rule for the right hand - mandatory alternation of fingers: "We have no right to play with one finger!". For comparison, you can invite the student to walk on one leg and ask him about the sensations: is it convenient, how much can you jump like that?
Where is written on the musical staff,
Where is the guitar played?
Then I show a series of exercises for alternating the fingers of the right hand, write it down graphically - we play:
exercise number 1
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It is also advisable to immediately give the concept of durations and from the first lessons teach the student to count aloud - this will help to avoid problems with rhythm in the future:
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We complicate the task:
1) chromatic scale from the note "fa" throughout the fretboard along the 1st string,
left hand - 1-2 fingers, right hand - alternating i-m
2) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3 fingers, right hand - i-m-a alternation
3) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3-4 fingers, right hand - alternating i-m, and when moving upwards, reaching the 12th fret, we shift the 4th finger to the 13th fret, and when moving down, reaching the 2- th fret with the first finger of the left hand, move this finger to the 1st fret:
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A play on chromatism, where four fingers of the left hand are played in ascending
downward movement, three times in a row, the finger of the left hand corresponds to the fret on the fretboard. Along the way, explain: the concept of "crescendo-diminuendo" - amplification-decay of sound, the concept of "reprise" - repetition
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in the right hand - put the thumb "r" on the 6th string, and the rest of the fingers play under it.
"Singing"
In this example, compared to the previous one, there is an alternation of long notes - half, and short notes - quarter notes, that is, a complication of the rhythmic pattern. Pay attention to the student.
"Downhill"
So far, the student has played melodies similar to each other, only new notes have been added. And in this example, the melody does not begin with an open string, and the notes do not play two identical ones, but sequentially from the “sol” down. Draw the student's attention to these nuances and also emphasize - on the alternation - i-m - in the right hand.
"Two cats"
The 4th finger of the left hand, the little finger, began to take part in the work. From this moment on, all the fingers of the left hand participate in the game, the student’s attention should be drawn to the exact observance of the fingering, since before the note “la”, the fingers of the left hand coincided with the frets on the fretboard:
note "fa" - 1st fret - 1st finger
F-sharp note - 2nd fret - 2nd finger
note "salt" - 3rd fret - 3rd finger
note "sol sharp" - 4th fret - 4th finger,
and now such a coincidence is not necessary.
"There was a birch in the field"
The first lessons are to play simple (rhythmically) pieces, exercises on one string to consolidate the basic skills and techniques of playing the instrument, such as “apoyando”, alternation - i-m -. As you master it, add the 2nd string and study the notes on it.
"Locomotive"
From the children's song "Steam Engine" we begin to actively play on the 2nd strings. Here you need to pay attention to the child that the notes “do” and “re” are played
on the 2nd string on the same frets as the notes "fa" and "salt" on the 1st string.
The difficulty is the stepwise movement of the fingers of the left hand, and not 2 identical notes, as was the case in the examples earlier. We are working on a gamma-like upward movement. In the chorus: alternation of long notes
- halves and relatively short notes - quarter notes.
You can simultaneously play and sing with words, which is also very useful for the development of speech motor skills, hearing, coordination of hands with the voice:
The locomotive rides,
Two pipes and a hundred wheels
Two pipes, one hundred wheels
The machinist is a red dog!
Two pipes, one hundred wheels
The machinist is a red dog!
"Bunny"
Piece on the 3rd finger of the left hand. Here there are jumps from the 2nd string to the 1st. In this case, the 3rd finger must be removed from one string and put on another. The 3rd finger always plays in this piece - m -.
"Lullaby"
Reception of the game in the right hand - a-m-i - is played with a "pinch" sequentially on three strings, starting from the 1st string, "p" - stands on the 6th string, when performing, we listen to the melody that lines up on the 1st string and select the note under "a", we achieve legato in the upper voice.
"Prelude #1"
Playing on 3 strings in turn in a certain sequence of fingers of the right hand - i-m-a-m -, with a pinch. Pay attention to the position of the thumb of the right hand: "p" is on the 6th string, and the rest of the fingers play under it.
Explain the duration of the "eighth" -, the concept of volts
"Bear with a doll"
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We start playing in the I-th position, from the 2nd string, from the note “la” on the 1st string we move to the V-th position and put the 1st finger, that is, we start positional playing in the left hand.
"A song about a grasshopper."
The concept - "zatakt" - to explain. In the 2nd part - the refrain - the fingering is similar to the C major scale, starting with the note "A" - a change in the position of the left hand.
We calculate the pause "quarter" and duration = "eighth".
Playing with basses: pay attention - "r" - always on the support, "apoyando", the rest with a pinch.
"Etude No. 1"
Playing with the bass - gotta play different options alternating sequences of fingers of the right hand, the so-called "brute force":
p-i-m-a-m-i and the like.
"Etude No. 2"
Appears before-# . Usually children play this exercise easily and freely, here the fingers of the left hand are freed from some stiffness that occurs when playing “apoyando”, we work out the “pinch”.
"Etude No. 3"
In “Etude No. 3”, notes appear on the 3rd string ‑‑‑ la, sol-# ‑‑. The note - la -, that is, the 2nd finger, must be left on the 2nd fret, do not raise it while the fingers of the right hand extract other notes (1st - 2nd measures, 4th - 5th - 6- oh beats). This is difficult, but this must be achieved, as several technical problems are solved:
Strengthens the fingers of the left hand
trains the independent movement of the fingers of the left hand
Coordination of movements of both hands is trained
Economical movements are developed for the fingers of the left hand.
Prelude No. 2"
Here you need to draw the student's attention to the fact that each subsequent measure repeats the previous one, there is, as it were, a consolidation of each measure - this develops the student's attention. And then he tries to find similar things when studying other works.
"Rehearsals"
From this piece we start playing on two strings at the same time - i-m -,
"r" stands on the 6th string. Task: listen so that the fingers play together, and two notes resonate under the fingers of the left hand. From playing two strings at the same time, the “tirando” technique is easily assimilated - a pinch with the fingers of the left hand.
"Oriental Melody"
Here and playing with basses, and two notes in the left hand, as in "Rehearsals".
"Street organ"
After mastering this piece, the student has some freedom and with musical notation, and with possession of the tool. You can start studying the proposed repertoire from the "Music Application".
ChapterIII.
Note application.
The sheet music supplement is an addition to the development of any topic from the chapter "Introduction to sheet music". Here are "Etudes" and "Pieces" that expand and deepen the currently studied element of learning to play the guitar.
Etudes for the development of various types of right-hand technique are offered. At the first stages of playing the guitar, it is difficult for a child to navigate the instrument:
the neck is not in front of the eyes (as, for example, the keyboard on the piano)
6 strings are in one plane, and the right and left hands are in another
fingers in each hand have their own name, different from each other
· It is not immediately clear when the right hand plays - "apoyando" - on the support of the lower string, and when - "tirando" - with a pinch.
The right and left hands play apoyando. There is a pause - the eighth, which must be maintained, a strict alternation of fingers in the left hand - i-m
Here, on the bass strings, “r” plays on the “apoyando” support, and after sound extraction it remains in place, on the lower string. Point out the peculiarity of the second bar: the thumb "r" after playing the bass goes up, and does not remain on the string, since the 4th string and the 3rd string are located next to each other.
Fingers - i-m - play with a pinch - "tirando" - on the 1st and 2nd strings.
In this type of exercise, the capture of two strings is practiced at the same time, we can say that preparations are underway for chord technique. For pupils of primary school age, the number of works performed. The pieces, as a rule, are very similar to each other, but have slight differences, complications, which in general develops the technique of playing the instrument.
This exercise has a multifunctional value:
reinforces knowledge of music
melodic line built in octaves
develops freedom of movement of the hands in the 1st position.
Draw the student's attention to the fingering of the right hand:
finger plays on the 3rd string - i
finger plays on the 2nd string - m
finger plays on the 1st string - a
This rule is (in some way) important because it promotes logical thinking little guitarist.
Right hand sound extraction method:
thumb "r" plays on the support - "apoyando"
i-m-a play with a pinch - "tirando"
Work on the development of the 3rd finger of the left hand. The student after this "Etude" correlates well the 3rd fret on the guitar with the bass strings. The first three-sound chords appeared. Pay attention: the thumb of the right hand - "r" - plays on the support, "apoyando", must move agile, easily and freely.
Develops the skills of the play "Bunny" from the previous chapter. The melody is monophonic. They play on two strings, the sound extraction of the right hand is “apoyando”, the alternation is i-m. Make sure that after a long note - half - the finger in the right hand changes. The peculiarity of this piece is that the frets on the fretboard and the fingers in the left hand are the same, but the strings are different.
Puppet waltz.
Playing with bass open strings. We fix in the student's memory their location on the stave and on the instrument. Sound production of the right hand: "r" plays "apoyando", i-m is played with a pinch. The name of the piece implies certain artistic tasks: “puppet” means “not real”, so you need to perform it as if mechanically, but easily and freely. Simple musical material allows you to cope with such tasks.
A kind of polyphonic piece. Symbolically, it can be divided into two parts: I - th part - the top line and II - th part - the bottom line.
I-th part - a melodic line of a scale-like character, for two measures, is repeated at different pitches. First, in the 1st octave on the top three strings, then an octave lower - on the three bass strings. All play apoyando.
Part II - as if we imitate the voice of the cuckoo "cuckoo" and listen to the echo in response. "Ku-ku" to extract with a pinch, and "r" - relying on the lower string. The play is quite figurative and when a student gets acquainted with it, one can present the play in the form musical riddle by performing on the instrument. Children, as a rule, easily guess the name and then play with pleasure themselves.
Evening song.
All strings are involved in the game. In the right hand, you can offer 2 options for fingering:
I- two notes are simultaneously played by fingers - i-m
II- first they simultaneously play - i-m, then - a-m - and the like.
The second variant of sound extraction should be used with more advanced students.
New level of education:
The rhythmic pattern in the right hand becomes more complicated.
· For the first time, we begin to use a small "barre" on two strings in the left hand.
The play is quite large.
The sound production of the fingers of the right hand is already familiar and does not raise questions.
Sketch.
A play on the development of the technique of the thumb of the right hand - "p". The melody is built on bass strings. Here, the fingers of the left hand correspond to the frets on the fingerboard, so the student can play this piece without learning the notes on the 6th, 5th, 4th strings. It is enough to indicate which string to play and which finger in the left hand.
Bike.
Product of two-part form. Recurring motifs.
In the first part - an element of the chromatic scale, rehearsals for the four fingers of the left hand. In the right hand - i-m - "apoyando".
In the second part - playing with bass strings, you need to count aloud, alternation - i-m - it is more expedient to perform with a pinch, "tirando".
This piece should be given to the student in the second half of the year, when the skill of reading music from a sheet is formed. Here the melody is traced on the bass strings, and the two-tone chords that support the harmony change with each bass. The child must know the notes on the guitar in the 1st position well enough to accurately follow the fingering indicated in the musical text.
ChapterIV .
Formation of bases of selection by hearing.
One of the auxiliary elements in learning the classical six-string guitar is the ability of the student to perform a melody by ear. Choose an accompaniment for her. Such skills help the teacher to achieve certain pedagogical tasks:
instill a love for the instrument
・Cultivate hard work and perseverance
Expand your musical horizons
develop musical taste
This chapter, musical exercises and musical examples on popular, everyday music, in my opinion, will help the teacher to cultivate interest in learning and mastering the instrument. Although, in my opinion, it is quite difficult to teach a student to “pick up” an instrument on his own, if he does not have musical data (ear, rhythm, musical memory), the student should have a desire to select a melody he likes, an ear for music to sing and accompany himself .
Training, the formation of a base for selection by ear (fluency in the instrument, hand coordination, theoretical construction of chords, chord technique) - give certain results. You can show the student examples, learn with him the simplest methods of selection by ear, learn by heart specific musical turns and accompaniments. With a competent approach to the subject of music-making, the student, even if he is not able to “pick up” by ear on his own musical material, then perform a well-known melody according to the notes, “give it out to the public” - it is quite capable, this can be taught.
In this situation, the incentive will be
and comments from parents: “What a familiar song, how well you play it!”,
and others: “I heard how your child plays the guitar, and classmates sing along with him” - all this stimulates interest and develops the freedom to play the instrument.
So , target this work - improving the skills of playing the guitar.
Tasks:
mastering simple 3-sound arpeggiated chords in the 1st position
application of chords, use in exercises
mastering the skills of the simplest accompaniment
So, from what, from what moment of learning the guitar can you start playing chords and accompaniment skills?
1) when they more or less mastered the musical staff, neck;
2) when the tasks of the first stage of training are completed:
hand positioning
Started work on technique, fluency
basic durations learned
Acquaintance on the guitar with the simplest cadence turns in keys began
The ability to select by ear in general and to play music in particular was revealed.
Approximate plan of approach to the subject "selection by hearing»
1) homework for the student:
Pick up on the guitar the melody of M. Krasev "Little Christmas Tree"
2) work on the selected melody:
help pick up
fix fingering
3) homework - write down a melody, arrange it graphically, play according to your own music notation with an account.
Stage II - exercise 1), 2), and "Gypsy":
1) I write down the 1st version of the performance, we learn
2) homework - on this musical material - various rhythmic patterns.
concept of letter designation of notes
recording of chords on the musical staff and at the top - their letter designation
the concept of "minor - moll", "major -dur", graphic representation
· d-moll, D-dur.
study of step notation of chords.
Learning simple forms in various rhythms.
I propose to study this on the simplest song repertoire of the "bard", popular plan, which is "on hearing" both among students and their parents. It is most convenient to start accompaniment on the guitar in the keys of A-minor, E-minor - where you do not need to use the "barre" technique, the fingers are located in the 1st position, familiar to beginner guitarists.
Istage
M. Krasev "Little Christmas Tree"
The melody is monophonic. Usually, when choosing, children do not listen to the end and, naturally, do not count half the duration. In the melodic line of the "Chorus" it is necessary to observe the fingering of the scale "C major" monophonic. Then you can perform a song in the ensemble "teacher-student", where the student plays his monophonic melody, and the teacher plays the accompaniment.
This type of melodies, children's songs need to be selected "by ear" more in quantity in order to consolidate the simplest skill. By the way, it has been observed from practice that modern children do not know Russian folk songs and melodies at all, therefore it is best to select familiar songs “by ear”, for example, from cartoons:
V. Shainsky "A song about a grasshopper" from the film "The Adventures of Dunno"
G. Gladkov "Song of the Turtle" from the film "The Lion and the Turtle"
E Krylatov "Lullaby of the Bear" from the film "Umka"
B Savelyev "If you are kind" from the film "Leopold's Birthday"
And Ostrovsky "Tired toys are sleeping"
Y. Chichkov "Chunga-changa"
IIstage
Exercise #1:
Exercises for the development of "chord" technique.
An exercise based on "arpeggiated" (decomposed) chords.
It is necessary to indicate the letter designation of the harmonic function above each chord - this allows the student to visually cover the chord in musical notation and its letter designation:
Gypsy girl.
· This piece can initially be offered to the student to try to pick up on their own, if he is familiar with it.
· Correct mistakes.
Write down number 1 in your notebook, memorize it.
· And in parts for No. 2 and No. 3, indicate only the rhythm and the student will independently complete the entire piece on the learned musical material of part No. 1.
Write down parts for No. 2 and No. 3 in your notebook.
Exercise number 2:
This exercise is more difficult than exercise #1. The sequence of functions is changed, A7 is added.
Exercise number 3:
Let's start extracting 3 sonorous chords. The fingering is studied in the arpeggio exercises. Difficulty for a student to take three notes
simultaneously. It is necessary to draw the student's attention to the fact that only the bass changes in a measure, and the chord is one.
Exercise number 4:
The musical material has become more complicated:
Every time the bass and the chord change,
Exercise number 5:
Functions, chords are known to the student from the previous exercise, the rhythmic pattern has changed.
Exercise number 6:
Exercise number 7
Exercise number 8:
We complicate the task - we change the tonality, the rhythmic pattern.
All exercises must be counted out loud, played according to notes, so that the motor, visual, auditory memory of the child develops simultaneously, coordination of movements is trained, and various rhythmic patterns are brought to automatism. In the future, as you master it, you can combine rhythms from different exercises in the same key: there is already scope for the imagination of any teacher. All this is done for a deeper study of the possibilities of the guitar, strengthening the playing apparatus, so that lightness and freedom in playing the instrument are developed.
Conclusion.
The stated technique of the first steps on the guitar has been tested in practice. Kids like to play the instrument from the first lesson, the selected material is accessible to the understanding of students of 6-7 years old, it is easy to play the guitar. Positive emotions develop in the specialty lessons, the student has a feeling of lightness and freedom, which must be skillfully maintained and developed throughout the entire period of study. If earlier a music school had to train future professional musicians, a strict selection was carried out by admissions committees, there was a competition among those who wanted to “learn music”, then in our time a music school works with everyone who comes, without selection for the presence of musical data. And this is right, a person must develop and improve in many areas, despite the fact that nature has not endowed him with abilities and supertalents. All interested children can be taught to play any musical instrument in the scope of the music school, the teacher needs to be patient and help in achieving some results.
Along the way, the teacher solves the problems of sound extraction, the quality of the performed musical material. The names of the exercises give scope to children's imagination. This will prepare students for the development of repertoire collections and pieces by already famous classical guitarists and contemporary composers. To work with kids, you can use the collection of V. Yarmolenko “Guitar reader for students 1-7 music school classes". A lot of folk melodies and the most frequently performed repertoire for guitar from many well-known collections are collected here.
References:
Ageev D. Guitar. Master's lessons for beginners. - St. Petersburg: Peter, 2009.
Bocharov guitarist. A guide for beginners. - M.: Accord, 2002.
Gitman A. Initial training on a six-string guitar. - M.: Presto, 1999.
Ivanova. Development of music-making skills in work with beginners in the piano class. (DShI No. 1, Chelyabinsk). - Chelyabinsk, 2000.
Ivanov-Kramskoy playing the six-string guitar. - M.: Music, 1979.
Koloturskaya. Accompaniment. (DSHI No. 5, Chelyabinsk).
- Chelyabinsk, 2000.
Mikhailus. Development of music-making skills (selection by ear, arrangement, improvisation) in grades 1-7 of the Children's School of Art. (DSHI No. 12, Chelyabinsk).
- Chelyabinsk, 2000.
Fetisov steps of the guitarist. Notebook number 1. - M.: V. Katansky Publishing House, 2005.
Yarmolenko V. Reader of a guitarist for students of grades 1-7 of music school. - M., 2010.
Methodical manual Shishkina Lyudmila Viktorovna
MOU "Gymnasium No. 10", Zheleznogorsk, Kursk region
"First steps on a six-string guitar"
Content.
Introduction.
Main part.
Chapter I. Donotny period of study.
Chapter II. Introduction to notes.
Chapter III. Note application.
Chapter IV. Formation of bases of selection by hearing.
Conclusion.
Introduction.This work presents methodological material and musical examples used by the author in learning to play the six-string guitar with students of preschool and primary school age. Classical guitar playing schools - M. Karkassy, E. Pukhol, P. Agafoshin, A. Ivanov-Kramskoy are designed for older students and at the initial stage are difficult for kids 6-7 years old, who sometimes cannot read and write, but play on the instrument wish from the first lessons. There are more modern collections for beginners, such as the Guitar Primer. A guide for beginners. (six-string guitar)" edited by Bocharov O.A. or "Lessons of the Master for Beginners" by Dmitry Ageev. But they are intended more for adult "lovers" of playing the guitar than for kids. They cover the period from the first steps to playing in musical groups, they have voluminous source material of a different educational nature, they use mainly guitar tablature and other symbols for learning, which is unacceptable for a music school. Education at school is based on musical notation and students from the first lessons should be taught the culture of handling musical material. Proceeding from this, that is, the shortage of teaching musical examples of a lightweight nature, there was a need to create this kind of methodological manual. First, the pre-notation period of learning is considered, then, as the notes are gradually studied, the material becomes more complicated with the addition of more and more new elements. In training, the main didactic method is used - from simple to complex through repetition of the past. In the process of learning, one should constantly demand from students the exact and correct implementation of all the instructions placed in the notes, as well as develop self-control in every possible way, which is necessary for successful homework.
Musical material, exercises - everything has a name, as it helps the baby in the development of figurative thinking.
The work does not consider the issues of landing, staging, methods of sound extraction on the guitar, as this takes place in the professional training of each teacher. In detail, in an accessible form given
aspect in learning highlighted contemporary authors: in the collection of G.A. Fetisov “The first steps of a guitarist”, notebook No. 1 in the section “Methodological
instructions ", in the collection of A. Gitman "Basic training on the six-string
guitar" "Section I".
Of great importance in the development of any musical instrument is the ability of the student to select the melody he likes by ear. This skill is an additional incentive to study music. The chapter "Formation of the basics of selection by ear" presents an attempt to somehow systematize this process in training, so that it is formed from the studied material and becomes the basis for the selection of accompaniment to songs and other types of guitar playing.
The author believes that this methodological development, a manual, will be useful to young beginners in the initial training of young guitarists and the creation of their own methods, and will also help practitioners of other specialties, who in our time often teach a “guitar class”.Main part.
Chapter I.
Donotny period of study. This period in the training of a young guitarist in no way implies "playing by hand". It is assumed that the teacher writes the musical material to the student in a music book, and the student plays and performs tasks on observing the fingers in the right and left hands, the frets on the fretboard, and the like.
When you first get acquainted with the instrument - a six-string guitar - you should explain the name of the fingers of the right hand:
P thumb
i index finger
m middle finger
a - ring finger
the little finger in the right hand does not participate in sound extraction, and there is a rule for the right hand - the obligatory alternation of fingers: “We have no right to play with one finger!”. For comparison, you can invite the student to walk on one leg and ask him about the sensations: is it convenient, how much can you jump like that?
Where is written on the musical staff,
Where is the guitar played?
Then I show a series of exercises for alternating the fingers of the right hand, write it down graphically - we play:
exercise number 1
exercise number 2
It is also advisable to immediately give the concept of durations and from the first lessons teach the student to count aloud - this will help to avoid problems with rhythm in the future:
Another guitar rule:
Exercise "Swing".
First, I show the child the alternation of the fingers of the left and right hands at the same time, the same fingers work - without playing. The motive is like on a swing - up and down, up and down. Then we record graphically and execute on the instrument:
"Swing".
We complicate the task:
chromatic scale from the note "fa" throughout the fretboard on the 1st string,
left hand - 1-2 fingers, right hand - alternating i-m
2) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3 fingers, right hand - i-m-a alternation
3) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3-4 fingers, right hand - alternating i-m, and when moving upwards, reaching the 12th fret, we shift the 4th finger to the 13th fret, and when moving down, reaching the 2- th fret with the first finger of the left hand, move this finger to the 1st fret:
"Breeze"A play on chromatism, where four fingers of the left hand are played in ascending
downward movement, three times in a row, the finger of the left hand corresponds to the fret on the fretboard. Along the way, explain: the concept of "crescendo-diminuendo" amplification-decay of sound, the concept of "reprise" repetition
. Repetition is a very important element in performing practice, as it forces the student to mobilize to play the same moment several times, which does not always work out.
Chapter II.
Introduction to notes. As you master the exercises of the “bottom” period, you need to start studying the notes on the 1st string in the I-th position, with the further fixing of each new note in the musical material in the form of various chants:
"Top Top"Count aloud, when playing, pay attention to the setting of the left hand - put all fingers round, hold over the neck,
in the right hand - put the thumb "r" on the 6th string, and the rest of the fingers play under it."Singing"In this example, compared to the previous one, there is an alternation of long notes - half, and short notes - quarter notes, that is, a complication of the rhythmic pattern. Pay attention to the student.
"Steps"The note “sol” was added for study, which is located on the 3rd fret on the 1st string."Downhill"So far, the student has played melodies similar to each other, only new notes have been added. And in this example, the melody does not begin with an open string, and the notes are played not two identical ones, but sequentially from the “sol” down. Draw the student's attention to these nuances and also emphasize - on the alternation - i-m - in the right hand."Two cats"
The 4th finger of the left hand, the little finger, began to take part in the work. From this moment on, all the fingers of the left hand participate in the game, the student’s attention should be drawn to the exact observance of the fingering, since before the note “la”, the fingers of the left hand coincided with the frets on the fretboard:
note "fa" 1st fret - 1st finger
note "F-sharp" 2nd fret - 2nd finger
note "salt" 3rd fret - 3rd finger
note "sol sharp" 4th fret - 4th finger,
and now such a coincidence is not necessary."There was a birch in the field"
The first lessons are to play simple (rhythmically) pieces, exercises on one string to consolidate the basic skills and techniques of playing the instrument, such as “apoyando”, alternation - i-m. As you master it, add the 2nd string and study the notes on it."Locomotive"
From the children's song "Steam Engine" we begin to actively play on the 2nd strings. Here you need to pay attention to the child that the notes “do” and “re” are played
on the 2nd string on the same frets as the notes "fa" and "salt" on the 1st string.
The difficulty is the stepwise movement of the fingers of the left hand, and not 2 identical notes, as was the case in the examples earlier. We are working on a gamma-like upward movement. In the chorus: alternation of long notes
Halves and relatively short notes - quarter notes.
You can simultaneously play and sing with words, which is also very useful for the development of speech motor skills, hearing, coordination of hands with the voice:
The locomotive rides,
Two pipes and a hundred wheels
Two pipes, one hundred wheels
The machinist is a red dog!
Two pipes, one hundred wheels
The machinist is a red dog!"Bunny"
Piece on the 3rd finger of the left hand. Here there are jumps from the 2nd string to the 1st. In this case, the 3rd finger must be removed from one string and put on another. The 3rd finger always plays in this piece - m."Lullaby"
The technique of playing in the right hand - a-m-i - is played with a “pinch” sequentially on three strings, starting from the 1st string, “r” is on the 6th string, when performing, we listen to the melody that lines up on the 1st string and select the note under "a", we achieve legato in the upper voice.
"Prelude #1"
Playing on 3 strings in turn in a certain sequence of fingers of the right hand - i-m-a-m, with a pinch. Pay attention to the position of the thumb of the right hand: "p" is on the 6th string, and the rest of the fingers play under it.
Explain the duration of the "eighth", the concept of volts"Bear with a doll"
Educational moments of this children's song:
playing on two strings
a combination of different durations - quarter-eighth-half
there are repetitions that need to be correctly performed
fingering compliance
there is a text of a song that you can sing to your accompaniment.
Gamma "C major" in one octave.
We start playing in the I-th position, from the 2nd string, from the note “la” on the 1st string we move to the V-th position and put the 1st finger, that is, we start positional playing in the left hand."A song about a grasshopper."
The concept - "zatakt" to explain. In the 2nd part - the chorus - the fingering is similar to the "C major" scale, starting from the note "A" a change in the position of the left hand.
We calculate the pause "quarter" and duration = "eighth".Playing with basses: pay attention - "p" is always on the support, "apoyando", the rest are pinched."Etude No. 1"
Playing with basses - you need to play with different options for alternating the sequences of the fingers of the right hand, the so-called "brute force":
p-i-m-a
p-i-m-a-i-m
p-i-m-i-m
p-i-m-a-m-i and the like.
"Etude No. 2"
Appears before-# . Usually children play this exercise easily and freely, here the fingers of the left hand are freed from some stiffness that occurs when playing “apoyando”, we work out the “pinch”."Etude No. 3"
In "Etude No. 3" notes appear on the 3rd string la, sol-#. The note - la, that is, the 2nd finger, must be left on the 2nd fret, not raised until the fingers of the right hand extract other notes (1st - 2nd bars, 4th - 5th - 6th so you). This is difficult, but this must be achieved, as several technical problems are solved:
strengthening the fingers of the left hand
trains the independent movement of the fingers of the left hand
training coordination of movements of both hands
economical movements are developed for the fingers of the left hand.
Prelude No. 2"
Here you need to draw the student's attention to the fact that each subsequent measure repeats the previous one, there is, as it were, a consolidation of each measure - this develops the student's attention. And then he tries to find similar things when studying other works."Rehearsals"
From this piece we start playing on two strings at the same time - i-m,
"r" is on the 6th string. Task: listen so that the fingers play together, and two notes resonate under the fingers of the left hand. From playing on two strings at the same time, the “tirando” technique, a pinch with the fingers of the left hand, is easily assimilated.
"Oriental Melody"
Here and playing with basses, and two notes in the left hand, as in "Rehearsals"."Street organ"
After mastering this piece, the student has some freedom both with the musical text and with the possession of the instrument. You can start studying the proposed repertoire from the "Music Application".Chapter III.
Note application.
The sheet music supplement is an addition to the development of any topic from the chapter "Introduction to sheet music". Here are "Etudes" and "Pieces" that expand and deepen the currently studied element of learning to play the guitar.Sketches.
Etudes for the development of various types of right-hand technique are offered. At the first stages of playing the guitar, it is difficult for a child to navigate the instrument:
the neck is not in front of the eyes (as, for example, the keyboard on the piano)
6 strings are in one plane, and the right and left hands are in another
fingers in each hand have their own name, different from each other
it’s not immediately clear when the right hand plays “apoyando” on the bottom string, and when it plays “tirando” with a pinch.
Etude №1
The right and left hands play apoyando. There is a pause - the eighth, which must be maintained, a strict alternation of fingers in the left hand i-m
Etude №2
Here, on the bass strings, “r” plays on the “apoyando” support, and after sound extraction it remains in place, on the lower string. Point out the peculiarity of the second bar: the thumb "r" after playing the bass goes up, and does not remain on the string, since the 4th string and the 3rd string are located next to each other.
Fingers - i-m - play with a pinch - "tirando" on the 1st and 2nd strings.
Etude №3
In this type of exercise, the capture of two strings is practiced at the same time, we can say that preparations are underway for chord technique. For pupils of primary school age, the number of works performed is very important. The pieces, as a rule, are very similar to each other, but have slight differences, complications, which in general develops the technique of playing the instrument.
Etude №4
This exercise has a multifunctional value:
reinforces knowledge of music
melodic line built in octaves
develops freedom of movement of the hands in the 1st position.
Draw the student's attention to the fingering of the right hand:
finger plays on the 3rd string - i
finger plays on the 2nd string - m
finger plays on the 1st string - a
This rule is (in a way) important, as it helps develop the logical thinking of the little guitarist.
Right hand sound extraction method:
thumb "r" plays on the support - "apoyando"
i-m-a play with a pinch - "tirando"
Etude No. 5
Work on the development of the 3rd finger of the left hand. The student after this "Etude" correlates well the 3rd fret on the guitar with the bass strings. The first three-sound chords appeared. Pay attention: the thumb of the right hand - "p" plays on the support, "apoyando", should move movably, easily and freely.
Plays.
Polechka.
Develops the skills of the play "Bunny" from the previous chapter. The melody is monophonic. They play on two strings, the sound extraction of the right hand is “apoyando”, the alternation is i-m. Make sure that after a long note - half - the finger in the right hand changes. The peculiarity of this piece is that the frets on the fretboard and the fingers in the left hand are the same, but the strings are different.
Puppet waltz.
Playing with bass open strings. We fix in the student's memory their location on the stave and on the instrument. Sound production of the right hand: "r" plays "apoyando", i-m is played with a pinch. The name of the play suggests certain artistic tasks: "puppet" means "fake", so you need to perform as if mechanically, but easily and freely. Simple musical material allows you to cope with such tasks.
Cuckoo.
A kind of polyphonic piece. Symbolically, it can be divided into two parts: the I-th part is the top line and the II-th part is the bottom line.
The second part is a melodic line of a scale-like nature, for two measures, repeated at different pitches. First, in the 1st octave on the top three strings, then an octave lower - on the three bass strings. All play apoyando.
The second part - as if imitating the voice of the cuckoo "cuckoo" and listening to the echo in response. "Ku-ku" to extract with a pinch, and "p" based on the lower string. The play is quite figurative and when a student gets acquainted with it, it is possible to present the play in the form of a musical riddle by performing it on an instrument. Children, as a rule, easily guess the name and then play with pleasure themselves.
Evening song.
All strings are involved in the game. In the right hand, you can offer 2 options for fingering:
two notes simultaneously played by fingers - i-m
first play i-m at the same time, then - a-m - and the like.
The second variant of sound extraction should be used with more advanced students.
Dance.
New level of education:
The rhythmic pattern in the right hand becomes more complicated.
For the first time, we begin to use a small "barre" on two strings in the left hand.
The play is quite large.
The sound production of the fingers of the right hand is already familiar and does not raise questions.
Sketch.
A play on the development of the technique of the thumb of the right hand - "p". The melody is built on bass strings. Here, the fingers of the left hand correspond to the frets on the fingerboard, so the student can play this piece without learning the notes on the 6th, 5th, 4th strings. It is enough to indicate which string to play and which finger in the left hand.
Bike.
Product of two-part form. Recurring motifs.
In the first part - an element of the chromatic scale, rehearsals for the four fingers of the left hand. In the right hand - i-m - "apoyando".
In the second part - playing with bass strings, you need to count aloud, alternation - i-m - it is more expedient to perform with a pinch, "tirando".
Round dance.
This piece should be given to the student in the second half of the year, when the skill of reading music from a sheet is formed. Here the melody is traced on the bass strings, and the two-tone chords that support the harmony change with each bass. The child must know the notes on the guitar in the 1st position well enough to accurately follow the fingering indicated in the musical text.
Chapter IV.
Formation of bases of selection by hearing.
One of the auxiliary elements in learning the classical six-string guitar is the ability of the student to perform a melody by ear. Choose an accompaniment for her. Such skills help the teacher to achieve certain pedagogical tasks:
instill a love for the instrument
cultivate hard work and perseverance
expand your musical horizons
develop musical taste
This chapter, musical exercises and musical examples on popular, everyday music, in my opinion, will help the teacher to cultivate interest in learning and mastering the instrument. Although, in my opinion, it is quite difficult to teach a student to “pick up” an instrument on his own, if he does not have musical data (ear, rhythm, musical memory), the student should have a desire to select a melody he likes, an ear for music to sing and accompany himself .
Training, the formation of a base for selection by ear (fluency in the instrument, hand coordination, theoretical construction of chords, chord technique) - give certain results. You can show the student examples, learn with him the simplest methods of selection by ear, learn by heart specific musical turns and accompaniments. With a competent approach to the subject of music-making, a student, even if he is not able to “select” musical material by ear on his own, then perform a well-known melody from notes, “give it out to the public” - is quite capable, this can be taught.
In this situation, the incentive will be
and comments from parents: “What a familiar song, how well you play it!”,
and others: “I heard how your child plays the guitar, and classmates sing along with him” - all this stimulates interest and develops the freedom to play the instrument.
So, target this work - improving the skills of playing the guitar.
Tasks:
mastering simple 3-sound arpeggiated chords in 1st position
application of chords, use in exercises
mastering the skills of the simplest accompaniment
So, from what, from what moment of learning the guitar can you start playing chords and accompaniment skills?
1) when they more or less mastered the musical staff, neck;
2) when the tasks of the first stage of training are completed:
setting of hands
work began on technique, fluency
basic durations learned
Acquaintance on the guitar with the simplest cadence turns in keys began
the ability to select by ear in general and to play music in particular was revealed.
Approximate plan of approach to the subject "selection by hearing
»
Stage I:
1) homework for the student:
Pick up on the guitar the melody of M. Krasev "Little Christmas Tree"
2) work on the selected melody:
help pick up
fix fingering
3) homework - write down a melody, draw it graphically, play according to your musical notations with a score.
Stage II - exercise 1), 2), and "Gypsy":
I write down the 1st version of the performance, learn
homework - on this musical material - various rhythmic patterns.
Stage III:
the concept of lettering notes
writing chords on the stave and at the top - their letter designation
the concept of "minor - moll", "major -dur", graphic image
d-moll, D-dur.
study of step notation of chords.
Stage IV:
Learning simple forms in various rhythms.
I propose to study this on the simplest song repertoire of the "bard", popular plan, which is "on hearing" both among students and their parents. It is most convenient to start accompaniment on the guitar in the keys of A-minor, E-minor - where you do not need to use the "barre" technique, the fingers are located in the 1st position, familiar to beginner guitarists.
I stage
M. Krasev "Little Christmas Tree"
The melody is monophonic. Usually, when choosing, children do not listen to the end and, naturally, do not count half the duration. In the melodic line of the "Chorus" it is necessary to observe the fingering of the scale "C major" monophonic. Then you can perform a song in the ensemble "teacher-student", where the student plays his monophonic melody, and the teacher plays the accompaniment.
This type of melodies, children's songs need to be selected "by ear" more in quantity in order to consolidate the simplest skill. By the way, it has been observed from practice that modern children do not know Russian folk songs and melodies at all, therefore it is best to select familiar songs “by ear”, for example, from cartoons:
V. Shainsky "A song about a grasshopper" from the film "The Adventures of Dunno"
G. Gladkov "Song of the Turtle" from the film "The Lion and the Turtle"
E Krylatov "Lullaby of the Bear" from the film "Umka"
B Savelyev "If you are kind" from the film "Leopold's Birthday"
And Ostrovsky "Tired toys are sleeping"
Y. Chichkov "Chunga-changa"
II stage
Exercise #1:
Exercises for the development of "chord" technique.
An exercise based on "arpeggiated" (decomposed) chords.
It is necessary to indicate the letter designation of the harmonic function above each chord - this allows the student to visually cover the chord in musical notation and its letter designation:
Gypsy girl.
This piece can initially be offered to the student to try to pick it up on his own, if he is familiar with it.
Correct mistakes.
Write number 1 in your notebook, memorize it.
And in parts No. 2 and No. 3, indicate only the rhythm and the student will independently complete the entire piece on the learned musical material of part No. 1.
Write in the notebook parts for No. 2 and No. 3.
Exercise number 2:
This exercise is more difficult than exercise #1. The sequence of functions is changed, A7 is added.
Stage III
The following are examples of harmonic functions in A minor (a moll), most used in song variants. The a moll key is comfortable and easy for guitarists.
Exercise number 3:
Let's start extracting 3 sonorous chords. The fingering is studied in the arpeggio exercises. Difficulty for a student to take three notes
simultaneously. It is necessary to draw the student's attention to the fact that only the bass changes in a measure, and the chord is one.
Exercise number 4:
The musical material has become more complicated:
Every time the bass and the chord change,
New ones have been added to the already known chords - С-dur - G-dur, but the fingering can not be put down everywhere, but only where unfamiliar chords appear - in the form of signal fingers.
Exercise number 5:
Functions, chords are known to the student from the previous exercise, the rhythmic pattern has changed.
Exercise number 6:
Exercise number 7
Exercise number 8:
We complicate the task - we change the tonality, the rhythmic pattern.
All exercises must be counted out loud, played according to notes, so that the motor, visual, auditory memory of the child develops simultaneously, coordination of movements is trained, and various rhythmic patterns are brought to automatism. In the future, as you master it, you can combine rhythms from different exercises in the same key: there is already scope for the imagination of any teacher. All this is done for a deeper study of the possibilities of the guitar, strengthening the playing apparatus, so that lightness and freedom in playing the instrument are developed.
Conclusion.
The stated technique of the first steps on the guitar has been tested in practice. Kids like to play the instrument from the first lesson, the selected material is accessible to the understanding of students of 6-7 years old, it is easy to play the guitar. Positive emotions develop in the specialty lessons, the student has a feeling of lightness and freedom, which must be skillfully maintained and developed throughout the entire period of study. If earlier a music school had to train future professional musicians, a strict selection was carried out by admissions committees, there was a competition among those who wanted to “learn music”, then in our time a music school works with everyone who comes, without selection for the presence of musical data. And this is right, a person must develop and improve in many areas, despite the fact that nature has not endowed him with abilities and supertalents. All interested children can be taught to play any musical instrument in the scope of the music school, the teacher needs to be patient and help in achieving some results.
The author recommends that each student go through all the musical examples of this manual.
Along the way, the teacher solves the problems of sound extraction, the quality of the performed musical material. The names of the exercises give scope to children's imagination. This will prepare students for the development of repertoire collections and pieces by already famous classical guitarists and contemporary composers. To work with kids, you can use the collection of V. Yarmolenko "Anthology of the guitarist for students in grades 1-7 of the music school." A lot of folk melodies and the most frequently performed repertoire for guitar from many well-known collections are collected here.
References:
Ageev D. Guitar. Master's lessons for beginners. - St. Petersburg: Peter, 2009.
Bocharov O.A. Guitarist's primer. A guide for beginners. M.: Akkord, 2002.
Gitman A. Initial training on a six-string guitar. M.: Presto, 1999.
Ivanova S.V. Program. Development of music-making skills in work with beginners in the piano class. (DShI No. 1, Chelyabinsk). Chelyabinsk, 2000.
Ivanov-Kramskoy A.M. School of playing the six-string guitar. Moscow: Music, 1979.
Koloturskaya E.P. Program. Accompaniment. (DSHI No. 5, Chelyabinsk).
Chelyabinsk, 2000.
Mikhailus M. I. Program. Development of music-making skills (selection by ear, arrangement, improvisation) in grades 1-7 of the Children's School of Art. (DSHI No. 12, Chelyabinsk).
Chelyabinsk, 2000.
Fetisov G.A. The first steps of the guitarist. Notebook number 1. M.: V. Katansky Publishing House, 2005.
Yarmolenko V. Reader of a guitarist for students of grades 1-7 of the music school. - M., 2010.
RUSSIAN FEDERATION
DEPARTMENT OF CULTURE OF THE BRYANSK CITY ADMINISTRATION
MUNICIPAL BUDGET INSTITUTION OF ADDITIONAL EDUCATION "CHILDREN'S SCHOOL OF ARTS No. P.I. Tchaikovsky"
(MBU DO "DSHI No. 2 named after P.I. Tchaikovsky")
"Using creative methods
at a guitar specialty lesson
at the Children's Art School
Performed:
teacher
by guitar class
Terekhina O.V.
B r i n s k 2017
1.Introductory part- explanatory note. ................................................... 3
2. The use of creative methods in the lesson of the specialty guitar in the children's art school………………...……………………………………….....5
3.Conclusion……………………………………………………………………….22
4. Literature…………………………………………………………………….….23
5.Appendices……………………………………………………......................25
Introductory part - explanatory note
The relevance of the work. Behind last years Changes have taken place in our country that have seriously changed the purpose and functions of education. reality.
The current generation of guitar teachers working with children pay attention to the fact that modern parents pay more attention to the mental and intellectual development of the child. Thus, often the intellectual development is ahead of the emotional and aesthetic, disrupting the process of harmonious development of the individual. Numerous examples show that one of the most important means of human emotional development is music. Guitar art, like any other, can serve as a powerful tool for the aesthetic education of students, despite the existing erroneous opinions about the guitar as an artistically inferior instrument. The emergence in the process of conducting specialty lessons at the Children's School of Art of such issues as: increasing the creative activity of students, emotional responsiveness to musical images, enriching students with knowledge about music, replenishing auditory experience - all this gives rise to the problem of optimizing the use of creative methods in music lessons in a modern children's art school. The important points are:
types of work of the teacher and students using the guitar instrument in music lessons;
methods used by the teacher to achieve the effect of student interest.
All this emphasizes the relevance of the topic "The use of creative methods in the lessons of a specialty in a children's art school"
Object of work is the process of creative development of the personality of the student in the classroom.
subject of work are ways to use creative methods as a developmental factor in teaching children.
The purpose of the work is to identify a system of ways to use creative methods as a developing factor in teaching children.
Job hypothesis: The development of the personality of students in the school of arts will be more effective if a system of creative methods, methods and techniques using the guitar instrument is used in the learning process.
Tasks:
Analyze the formation and development of the guitar in the history of musical culture.
Explore the attitude of students to the guitar and its capabilities.
Reveal a system of methods, methods, techniques using the guitar in educational musical activities.
2. The use of creative methods in the guitar specialty lesson at the children's art school.
In specialty lessons at Children's School of Art, the problem of turning a music lesson into an art lesson is becoming more and more urgent. One of their most important tasks is "to be a reliable assistant to the general education school in fulfilling the main requirement: to significantly improve art education and aesthetic education of students." It is important for a teacher to be able to express himself in a variety of forms of work, as well as to know what opportunities he can use when organizing and planning his work with the category of students with whom he is currently engaged in musical education and education. The wider the teacher will imagine the entire system of musical education, the more and better he will master the methodology of its individual components, the more effective the result of his work will be, the more satisfaction he will receive from his practical activities as an educator. Participation in this work opens up opportunities for both students and the teacher to get more involved in music, to do what attracts them. L.G. Dmitrieva and N.M. Chernoivanenko draw the attention of teachers to the following when organizing work:
all types of music lessons should be aimed at the moral and aesthetic education of students, the formation of their musical tastes and interests;
the wide use of various methods should contribute to the awakening of artistic interests, the development of musical, creative abilities of students;
it is necessary to instill in students an interest in educational work, the desire to promote musical culture.
The teacher also needs to take into account that the formation of the tastes and interests of students is greatly influenced by the family, the media, and peers. Considering all of the above, it is obvious that the words of the humanist teacher V.A. Sukhomlinsky: “Musical education is not the education of a musician, first of all, the education of a person.”
In our opinion, the most productive additions to the organization of work using the guitar are:
A creative approach to learning to play the instrument.
guitar ensembles.
Visiting guitar concerts, festivals.
Let us dwell in more detail on each of the above forms of work.
At the core learning to play the instrument is based on an individual form of work with the student, which creates favorable conditions for mastering the skills of playing the instrument, actively developing musical abilities, cultivating musical interests and tastes. Naturally, the teacher builds the learning process, focusing on the student's capabilities, on his personal qualities, established interests. However, unfortunately, these conditions are not always used to solve the problems of musical education. Sometimes the purpose of the classes is reduced only to the technical mastering of a certain repertoire and mastering the sum of the skills necessary for its performance. At the same time, insufficient attention is paid to methods that activate creative imagination. Their place is taken by the “sample” of performance given by the teacher. As a result, the guys lose interest in such work, and they prefer to look for a more exciting activity.
Taking into account all the above conclusions, we decided in our work of learning to play the guitar to rely on the development of A.D. Lazareva "Learning by playing." HELL. Lazareva is a guitar teacher at the Kharkiv Music School, organizer and host of the club of guitar music lovers, member of the Association of Guitarists of Ukraine. She pursues a steady line of more and more intensive involvement of children in the process of making music. The main virtues of this work are the provision of an unconventional practical guitar technique based on awakening. creativity in the child, the liveliness and fascination of the emotional tone of the narration. Forty lessons are presented in the course of the methodology, with the help of which the author seeks to awaken the artistic imagination of children, their desire to manifest creative initiative, to express their creative potential.
The material of the lessons is built on several types of work. All of them can be used in parallel and combined as needed, as they are learned. Already from the first lessons, children are encouraged to sing familiar songs and identify their rhythmic pattern - lesson 1; get involved in the simplest Ensemble Music- Lesson 3. The important stages of activating creative skills are:
compose the melody of songs according to their initial melodic segments - lesson 17;
tasks for developing variation skills, inventing melodies for the proposed verses - lesson 28;
composing melodies according to their rhythmic basis - lesson 39.
In this manual, children are invited to compose a story based on the piece of music they listened to - lesson 6, and other methods that are important for activating the cognitive interest of children.
To achieve the best results in teaching a novice student A.D. Lazareva recommends the following techniques:
to interest in the work, to follow the sequence in the study of each new stage, to achieve meaningful assimilation;
in each individual case, the nature of the child must be taken into account;
it is advisable to limit the duration of the lesson itself to 20-30 minutes, and increase the number of lessons per week to three or four times a week, we offer the option of twice a week;
the learning process as a whole should go from general ideas to the narrowing and deepening of work on particulars;
the study of notes on the guitar fretboard and the stave must first be carried out independently of each other. Practice has confirmed that memorizing notes on the fretboard, mainly due to learning a large number songs, goes much faster than on the stave. To speed up this process, in parallel, you can read music from a sheet without an instrument;
it is imperative to introduce elements of the game into classes with younger students.
The outstanding teacher Anton Semyonovich Makarenko in one of his works suggests: “There are important method- a game. I think it's somewhat misleading to consider play as one of the child's activities. In childhood, play is the norm, and a child should always play, even when he is doing a serious job ... In every good game there is, first of all, an effort of working and an effort of thought ... a game without effort, without active activity is always a bad game. The game brings joy to the child. It will be either the joy of creativity, or the joy of victory, or aesthetic joy - the joy of quality. Good work brings the same joy, and here there is a complete resemblance. The game builds a relationship between an adult and a child. These relations, according to A.D. Lazareva, underlie personal approach when the teacher is focused on the personality of the child as a whole, and not only on his functions as a student. Today, more and more often at pedagogical conferences, the call is heard: “Bring the game back to school!” “People who went through role-playing games in childhood are more prepared for creative activity". The manual by A.D. Lazareva “Learning while playing” is a valuable innovative manual. It can make an important contribution to improving the methodology and practical pedagogy of elementary guitar teaching.
Learning to play the instrument is available to all children, regardless of ability, and the task of the teacher is to pay special attention to their musical creative development, which can be successfully carried out through the skillful use of various types of work: sight reading, improvisation, selection by ear. For example, novice students often show a desire to play by ear the melodies they like. As a rule, these are melodies of popular hit songs, which are quite far from the best examples of light music. Realizing the negative impact of many fashionable novelties on the formation of taste, the teacher, however, should not impose his opinion, but, using the entire arsenal of means, bring the student to the understanding that the melody he likes is stereotyped and of no interest. With the accumulation of experience, the attention of students is drawn to the search for the best option for harmonizing the melody using various types of texture.
The development of creative abilities from the very beginning should be carried out along the path of forming independence in interpreting works, performing creative tasks. For example, the student is asked to fill in the missing bars of a melody, compose the end of a simple piece, play a given motive depending on the idea with various changes, and compose variations on a particular theme. Of course, at first, students are constrained and tend to imitate well-known models in many ways, but it is important that they develop interest and the very need for creativity, which can always be improved.
When teaching students to play the guitar, many teachers are faced with the problem of selecting a pedagogical repertoire at the initial stage of familiarization with the instrument. The task of the repertoire should be to combine the development of children's technical abilities with getting positive emotions from communicating with music. Therefore, at the initial stage of learning to play the guitar, we suggest using the compositions of the following composers-guitarists:
Lyudmila Ivanova (composer and teacher from St. Petersburg) plays "Dense Forest", "Rain", "Yula";
Viktor Kozlov collection of works for children;
Victor Yerzunov "Guitarist's Album" (5 releases);
Oleg Kiselyov's collection of pieces for guitar "Clouds";
Alexander Vinnitsky "Children's jazz album", six duets for guitar
Viktor Viktorovich Kozlov (b. 1958) is a Russian guitarist, composer and music teacher. Founder of the South Ural guitar school. Composer's preferences of V. Kozlov belong to the sphere of miniatures for guitar solo and trio guitars. Popular are such humorous plays as "Oriental Dance", "Dance of the Hunter", "Mach of Soldiers", "Little Detective", etc.
V. Kozlov's works are published in Russia, Germany, Italy, England, Poland, Finland. The world's leading performers of guitar music - N.Komolyatov, S.Dinigan, T.Volskaya, the duets "Capriccioso" and "Concertino", the Trio of Ural Guitarists - include plays by this author in their repertoire. As a professor at the Chelyabinsk Institute of Music, V. Kozlova, as the author of educational programs, attaches special importance to music for children. Here the author manages to combine the original repertoire with vivid imagery of a specific methodological orientation. Thus, the album "Little Secrets of Senorita Guitar" (1999) became a unique teaching aid, where colorful techniques that appeared at the end of the 20th century were used to fully reveal the image. "Echoes of the Brazilian Carnival" is a new, attention-grabbing album for a duet of guitars. The pieces included in the album can be used in the educational process of music schools and colleges, as well as for home music.
Viktor Alekseevich Erzunov - guitar teacher at the State Medical University. Gnesins since 1971. For this, many of his students became laureates of All-Russian and International competitions, as well as teachers in music schools and colleges in Moscow and Russia. On the basis of his own pedagogical and performing experience, he created six author's "Guitarist's Albums", a release of his compositions was published, intended for students of children's music schools and guitar lovers.
Oleg Kiselev - guitarist, composer, teacher was born in 1964 in the town of Ashe, Chelyabinsk region, in a family of metallurgical engineers. He started playing guitar at the age of 11. The first teacher was his father, who, remembering his youth, taught his son the accompaniment to several songs on seven-string guitar. Further, O. Kiselev masters the six-string guitar on his own, playing in a school variety ensemble. I first got acquainted with the classical guitar and musical notation at the age of 17, having entered the Chelyabinsk Polytechnic Institute in 1981 at the metallurgical faculty, where in those years there was a "Club classical guitar”, whose president was Alexander Dolgikh. In 1991 he graduated from the correspondence department of the Chelyabinsk School of Music guitar class Viktor Viktorovich Kozlova. Since 1990 he has been working as a guitar teacher at the Ashina School of Arts. He is the author of more than 250 guitar pieces published in Poland, Russia, Italy, Belgium, Sweden, reviews of which were published in international guitar magazines, he has recorded 7 (seven) CDs.
Most of the works of Oleg Kiselyov are addressed to children and youth. O. Kiselev uses in his work the whole palette of musical styles (classical, romantic, jazz, modern, Latino, folk, rock and roll).
Alexander Vinnitsky created the collection "Children's Jazz Album" for children's musical education on the guitar with elements jazz styles. The collection contains exercises, studies, pieces, and duets for guitar and melodic instrument. It also serves as material for the author's seminars "Classical Guitar in Jazz".
Using the exercises from this collection, you can learn rhythm and arrangement techniques on the guitar. The exercise "Jazz Sequences" is an example of arranging a given harmonic sequence by adding and altering chords, as well as changing rhythmic figures. His etudes are for small technique and for broken arpeggios, diminished chords.
Alexander Vinnitsky's collection "Children's Jazz Album" also includes pieces in the "Straight" style with detailed commentary and examples of theme arrangements. One play is written in the style of "Rock and Roll".
Six duets for guitar and melodic instrument were written by Alexander Vinnitsky in different styles from ballad (“Doll for Natalie”, “Rain Song”) to ragtime (“Acrobat”) and can be included in concert repertoire.
From the first lessons, the teacher needs to introduce playing in an ensemble, with skillful guidance, this contributes to the revitalization of children's activities, arouses their interest and enthusiasm. The best way to do this is to play in a teacher-student ensemble. Excerpts from music for films, radio and television programs already familiar to children can serve as material for the ensemble. Even playing one note, the child masters the rhythm, dynamics, initial game movements. Also, children develop sound imagination. As an example, we will cite the Russian folk song “There was a birch in the field”, which can be learned by the “teacher-student” ensemble. At first, the student can be asked to tap out the first beats of the measure (along with claps, you can use a tambourine, a triangle), singing the melody with your voice. Then the teacher plays a melody, and the student continues to tap out the rhythm. Then - a duet game: the student plays the first string in a given rhythm, the teacher plays the melody of the song. The positive point is the student's play without learning musical notation. G. Neuhaus wrote about this method of work: “From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays. Children immediately feel the joy of direct perception, although grains, but art. The fact that students play music that they have heard aloud will undoubtedly encourage them to perform their first musical duties to the best of their ability.
It is advisable not to limit yourself to playing with the teacher, although it is useful and necessary, but to organize ensembles consisting of students. They can include guys with different backgrounds and playing different instruments. Feeling like members of a musical group, they are more responsible for the performance of assigned parts, and joint activities aimed at solving common artistic problems encourage everyone to show creative initiative and independence.
One of the important tasks is the selection of members of the ensemble. It is necessary to take into account the interpersonal relations of the ensemble members. A favorable psychological climate in the ensemble is the key to successful work.
It is necessary to start classes with works accessible to children, in the game of which technical difficulties are overcome relatively easily, and all attention is directed to artistic purposes. Unfortunately, quite often one has to observe the opposite picture, when ensemble musicians, not having a sufficient base, submit works that are too difficult for them for tests and exams. The student shows an increased interest in classes when he does not feel his own helplessness, but enjoys the results of his work. It is better to learn a few easy pieces and play them at a high artistic level than to play one difficult piece without getting to creative interpretation.
Part of the lesson should be devoted to reading from a sheet of simple works. Often an older student who comes to a lesson accompanies the younger one, reading his part from a sheet.
Joint play differs from solo play, primarily in that overall plan and all the details of the interpretation are the product of thought and creative imagination not one, but several performers and are realized by their joint efforts. The synchronicity of ensemble sounding is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers.
Synchronicity is the result of the most important qualities of the ensemble - a common understanding and feeling of tempo and rhythmic pulse by partners.
In the field of tempo and rhythm, the individualities of the performers are very pronounced.
A slight change in tempo that is imperceptible in a solo performance or a slight deviation from the rhythm when playing together can drastically disrupt synchrony. The ensemble player in such cases "leaves" the partner, ahead of him or behind him. The slightest violation of synchrony when playing together is captured by the listener. The musical fabric is torn, the voice leading of the harmony is distorted.
Playing in an ensemble helps the musician overcome his inherent shortcomings: inability to keep pace, sluggish or excessively hard rhythm; helps to make his performance more confident, bright, diverse.
Synchronicity is the first technical requirement of the game. We need to take and remove the sound together, pause together, move on to the next sound together.
Dynamics is one of the most effective means of expression. Skillful use of dynamics helps to reveal the general character of music, its emotional content and show the design features of the form of the work. Of particular importance is the dynamics in the field of phrasing. Differently placed logical accents radically change the meaning of a piece of music.
While recognizing the essential role of dynamics in the performing arts, one should not forget about other means of expression, as the texture compaction, similar to an increase in volume, produces new registers and timbres. A peculiar rhythmic pattern or a characteristic stroke can distinguish any voice from the general sound no less than a speaker.
It is important for the teacher to take care about student performances, encourage their participation in school holidays, themed evenings.
Visiting guitar concerts, festivals is also an important part of the teacher's work. This form of acquaintance of children with musical (guitar) art is productive in that it helps to expand and enrich the knowledge gained about the capabilities of the instrument, to join creativity. These forms of extracurricular activities are planned in advance; in the conditions of a concert, many students notice shortcomings in their behavior and begin to engage in self-education.
Formed in this way, musical and educational activities always contribute to the education of positive personal qualities of students, stimulates interest in classes.
Thus, expanding the scope of the lesson, great opportunities are created for the manifestation of inclinations, the development of musical, creative abilities of students.
The problem of monitoring the development of children in their contact with music has always been relevant. At present, in modern schools, teachers cannot refuse questions: what is a modern child, what worries him, what does he hear around him? That is, it is necessary to try to draw a musical and pedagogical portrait of a modern child.
The basis of our experiment is the characterization of some results experimental work, the form of the lesson is a lecture-concert.
The main goal that we pursued was to introduce children to the history of the guitar, the capabilities of the instrument, composers-guitarists in an accessible form. In this regard, we used the following methods:
a story about the creation of the instrument, the history of its development;
listening to guitar music;
own demonstration by the teacher of guitar works.
In our opinion, the form of the lesson - a lecture-concert - is the most productive in achieving our goal, since:
like other forms of music lessons, the form of the lesson - a lecture-concert - is aimed at the moral and aesthetic education of students;
the use of a non-standard lesson plan contributes to the awakening of the artistic interest and thinking of children, as well as the development of their creative abilities;
the alternation of activities in the lesson (a fascinating story by the teacher, accompanied by listening to musical pieces, talking with children, own playing the teacher's instrument) contributes to a more successful
Since one of the main tasks is to explore the attitude towards the guitar and its capabilities of students, at the beginning of the lesson the children were offered next system questions:
Can you play the guitar? (simple chords, pieces - explain)
What do you hear most often on the guitar?
How many strings are on a classical guitar?
What types of guitar do you know?
Do you like the guitar instrument?
What do you think, the birthplace of the guitar is:
Analyzing the questionnaires, we found out that children are dominated by big interest to the guitar, but most are familiar with the guitar as a simple, mass instrument, there is absolutely no perception of the guitar as a classical instrument.
Let's analyze the answers in more detail.
To the question "Can you play the guitar?" 11% of the class responded positively. The good news is that 99% of the class call Spain the birthplace of the guitar. To the question "What do you most often hear on the guitar?" 100% of the class responded: "Hiking songs, songs in children's holiday camps, travel songs, campfire songs, songs of modern bands." 20% of respondents added that they hear military songs, serenades, romances. The question "How many strings are on a classical guitar?" did not cause difficulties in the answer of the guys, 100% of the class know that there are six strings. To the question, "What types of guitar do you know?" 90% of the students surveyed answered: "Rock guitar, bass guitar", and 10% of the class put a "dash" in the answer to the question.
From this we concluded that most modern children lack knowledge about classical guitar, about a complex and varied guitar repertoire, about different types of guitar. Therefore, the practical significance of the work lies in the fact that the conclusions and results that we have received will contribute to the development of the personality of students, and also be a material that music teachers can use.
After the survey, the lesson proceeded according to the following plan:
1. The teacher's story about the history of the guitar, about guitarists who have made a huge contribution to the development of the instrument. At the same time, musical material was used - a recording of guitar music of the 7th, 9th centuries; illustrated material - portraits of composers-guitarists M. Giuliani, F. Sor, A. Segovia, A. Ivanov-Kramskoy.
2. Musical recordings that reveal the possibilities of the guitar:
Folk music - arrangements by S. Rudnev of Russian folk songs "Steppe, yes steppe all around ...", "Oh you, canopy"
Flamenco guitar - album "Friday Evening", "Sunny Dance", other fragments
Suite of the modern composer-guitarist N. Koshkin "Prince's Toys: Clockwork Monkey, Playing Soldiers"
Own demonstration of a teacher of diverse pieces for guitar: E. Vila Lobos "Prelude No. 1", N. Koshkin "Elves" IV part
Singing a song from the repertoire of the Lube group to the accompaniment of a guitar.
Let's take a closer look at each step of the lesson:
the teacher talks about the history of the guitar:
“The origin of the guitar is lost in the mists of time. We do not know when she was born. We only know that already in the XIII century the guitar was widely known in Spain.
Five distinct periods can be traced in its history. Let's conditionally call them this way: formation, stagnation, revival, decline, flourishing. The formation lasted until about the middle of the XIY century. At this time, the guitar displaces some primitive stringed instruments, masters its own repertoire, becomes one of the favorite folk instruments in Spain. But before the guitar had time to get stronger and gain strength, the lute appeared in Europe. The Arabs brought it here. The overseas alien very soon pushed the guitar aside. This was the period of stagnation.
But gradually the guitar learned to play the richest repertoire of the lute. Having displaced the lute, the guitar has not forgotten its teacher: even today the guitar often performs ancient lute music from the concert stage.
Thus began the period of rebirth. This required its enthusiasts. The most outstanding of them are the Italian performer and teacher M.Giuliani, guitarist M.Carcassi”. (Children were offered illustrative material - portraits of the above-named composers-guitarists, as well as musical material - M. Carcassi "Big Sonata" Part I)
The teacher continues his story: mid-nineteenth century the main instrument concert halls becomes a piano. The violin also firmly holds its place. And the guitar is in decline.
Fortunately, the period of decline lasted only a few decades. And then the rapid growth began. The beginning of the heyday is primarily associated with the name of the Spanish guitarist Fr. Tarrega. The work begun by Fr. Tarrega was brilliantly continued by the Spanish guitarist A. Segovia.
Andres Segovia was born in 1893 in the small Spanish town of Linares. His uncle, who loved music, wanted to teach Andres how to play the violin. A teacher was invited, an instrument was bought. And soon a wandering guitarist stopped at his uncle's house for a month and a half. Such a short time was enough for a talented six-year-old boy to master an unfamiliar instrument. Then he studied himself, listening to folk guitarists and adopting their playing techniques.
The skill of Andres Segovia has been recognized all over the world. Feeling that the possibilities of the guitar were not fully disclosed, he searched for and found new techniques that allowed him to convey the finest nuances of the piece. In the repertoire of A. Segovia appeared the works of composers: J.S. Bach, G. Handel, W. Mozart, L. Beethoven” (Children are invited to listen to “Gavotte” by J.S. Bach)
Further, the teacher's story is built as follows: “It would seem that what has already been said before is enough to answer the question “what can a guitar do?”. It is difficult to define the boundaries of the guitar's possibilities - it seems that it can do everything. (For listening to music, material is offered - arrangements by S. Rudnev of Russian folk songs “Steppe, yes steppe all around ...”, “Oh, canopy”)
Then the teacher tells the children about the history of the emergence and development of flamenco: “The main elements of flamenco are the elements of singing and dancing. home musical role given to the guitar." (Listening material - album "Friday Evening", "Sunny Dance", other fragments)
Further, the teacher introduces the students to the original suite of the modern composer-guitarist N. Koshkin "Prince's Toys: Clockwork Monkey, Playing Soldiers" (Musical images aroused the keen interest of children)
The teacher's own show of diverse pieces for the guitar: E. Vila Lobos "Prelude No. 1", N. Koshkin "Elves" IV part, as well as singing a song from the repertoire of the "Lube" group to the accompaniment of the guitar were the culminating elements of the lesson. The display of these elements provides for the interconnection of the activities of the lesson, as well as an integrated approach to its organization and dramaturgy.
Since observation is one of the main research methods in psychology and pedagogy, we included it in the final analysis of our experiment, as well as in the process of identifying students' emotional response to listening to guitar music. In the process of conducting the lesson, we also took into account the psychological atmosphere.
Analyzing the results, we came to the conclusion that the Flamenco music and the special effects of N. Koshkin's suite left the brightest impression on the students; folk music interested only 20% of students; the music of the classics, unfortunately, has taken the last place among modern children. From this we drew conclusions about the interests of children, the inclinations of the modern thinking of students. Flamenco music and special effects of N. Koshkin's suite are vivid examples of guitar music, but do not require much concentration of thinking, memory when perceiving musical images. Folk music is more meaningful, requires more attention from listeners - we see that children are practically not interested. Children are not ready for the perception of classical guitar music.
After analyzing the obtained facts, we came to the conclusion that the teacher needs to solve such problems as
formation of more high level culture of perception of classical music;
development of understanding of folk ethics, folk music and its role;
promotion of the best examples of guitar music, fostering a sense of respect for it.
The general impression of the lesson among the children was positive, which emphasizes the need to introduce new, unusual material for students in the classroom. Thus, the proposed system of ways to use creative methods is a developmental factor in teaching children, and if a system of creative methods, methods and techniques using the guitar is used in the learning process, then the development of the personality of students in an art school will be more effective.
Conclusion.
Musical education has always been and remains an integral part of the aesthetic education of the younger generation. In modern practice, there is a tendency to carry out education in the unity of the principles and methods of teaching the foundations of science and art. This trend allows for the formation in children complete picture world, developing logical and figurative thinking. The methodology of musical education, based on pedagogy, considers education as a process that depends on many factors. Maintaining the cognitive interest of children in the learning process is one of the most difficult pedagogical tasks. Based on this, the teacher should strive to form and maintain the cognitive interest of students, while using various methods of work. Analyzing the literature, we concluded that guitar art is one of the most powerful means of aesthetic education. The results of the experimental work showed that the cognitive interest in the guitar among younger students is quite large, and the presence of interest is the first of the conditions for successful education. In addition, the material we have selected has a great emotional potential. It is the power of emotional impact that is the way of penetration into the children's consciousness, and the means of forming the aesthetic qualities of the individual.
Thus, the system of creative methods, methods and techniques in the lessons of the specialty is effective tool creative development of students' personality.
Summing up all that has been said, we conclude that the teacher should strive to find a solution to such a complex pedagogical problem as maintaining a cognitive interest in a creative attitude towards students, in what can be called artistic pedagogy.
LITERATURE
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Annex 1
Annex 2
Appendix 3
Appendix 4
Annex 5
Appendix 6
Annex 7
Annex 8
Appendix 9
a set of proposals and instructions that contribute to the introduction of the most effective methods and forms of work to solve any problem of pedagogy
The purpose of the guidelines is to assist teaching staff in developing solutions based on the achievements of science and best practices, taking into account the specific conditions and characteristics of the activity. When working on methodological recommendations, the author needs to clearly define the purpose of the work, subordinating all contents to it; be sure to indicate to whom the recommendations are addressed; give recommendations on what advanced pedagogical technologies should be used.
If we are talking about the generalization of best practices, it is necessary to reveal what methodological techniques and methods are used to achieve success in the educational process.
