Working on the rhythm initial stage learning.
Cherepanova N.I.
Rhythm is one of the main means musical expressiveness, and every musician should treat the rhythm very carefully. Irregular play is considered the worst mistake.
We begin to work on the rhythm already in the donot period - this is the slamming of simple children's poems, counting rhymes. When selecting poetic texts, it must be taken into account that poems must be with a stable rhythm, i.e. uniform distribution of stressed syllables in a stanza, consist of fairly short phrases where the metric pulse is clearly audible, for example:
ding dong
ding dong
The cat's house caught fire.
It is necessary to achieve clarity in the pronunciation of the poem, this makes it possible to achieve evenness in performance and contributes to the development of rhythmic feeling. We play on one key such, for example, verses:
Where was?
- Long away!
cooked porridge,
She fed the kids.
Children also like to move rhythmically to the music played by the teacher. Walking to the music of a march or dance, the child accurately highlights the metrical accent, shows alternating strong and weak beats. When pronouncing the text of the song, the child accurately identifies stressed and unstressed syllables:
Try to hide
Better, mouse, cat
You don't get caught.
The child gets acquainted at the lesson with the concept of pulse in music - the pulse in music is equal steps.
After getting acquainted with the keyboard, the child plays in the ensemble with the teacher alternately with the left and right hand. He learns the song "Bells" with both hands at once. We play it with wide, sweeping movements on notes Before through an octave. Then we move on to groups of black keys in the Kalinka ensemble - the right hand - 2 and 3 fingers, the left - 3, 2 fingers. The dissonant sound of seconds, wide octave moves, playing with both hands at once evokes a feeling of freedom and self-confidence in the child.
So, I play the child and sing the children's song "It's cold in the winter for a little Christmas tree." To feel the rhythm of this melody, ask the student to clap to the music. Please note that some claps are longer, stronger than others. Clapping a song, the child easily understands that the rhythm consists not only of the same evenly alternating steps - beats, but also of shorter sounds. Next, we clap our hands all the syllables of this song - short and long, that is, we clap the rhythmic pattern. Together with the student, we must note that claps, like sounds, can be long (long) and fast (short).
Now let's start recording the song we learned. Write down the rhythm in your notebook. We write down long sounds with vertical lines and pronounce TA, and short ones - vertical lines with crossbars - TI-TI. Looking at the record, we clap this rhythm again. Seeing this record in front of him, the child understands: what is a rhythmic pattern. This is how the first recording of a rhythmic pattern appears in the lesson. In the notebook we write down several examples of rhythmic patterns that we clap in the lesson, then we ask to clap at home on our own:
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When getting acquainted with a half note, I use the exercise “Walking with the whole family” from T. Smirnova’s Intensive Course, where the quarter notes are “mother’s steps”, the eighth notes are “a baby is walking side by side”, and the half notes are “so dad came home tired from work” -
TA-A. Children really like this exercise, in which you can use a variety of forms to develop a sense of rhythm: here we step, and clap, and write down the rhythm with dashes.
From lesson to lesson, the tasks gradually become more complicated, as the concept of “pause” is introduced - silence in music. The child should be taught that pauses are part of the music. They do not mean stopping in motion, but preparing for the next sound. For feeling and awareness of a pause, I also use famous songs. As an example, I take the familiar children's song "Bears rode":
Bears rode on a bicycle
And behind them is a cat ... backwards…
The child sings this song with pleasure and slams the rhythm, and during a pause, instead of clapping, he spreads his palms in different sides. Here I explain to the student that this silence means a pause.
You can develop and strengthen the sense of rhythm with the help of other exercises, for example, we walk in even quarters, clap our knees with eighth durations, then clap our hands with half, and later sixteenth notes:
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Irina Alexandrovna Efremova
MBOU DOD "Children's School of Arts. ”, Megion
Work on tempo and rhythm
An important condition that gives confidence in the performance of a musical work is the accuracy and elaboration of the rhythm. Bad inaccurate rhythm, unjustified accelerations, underestimation of pauses, long notes - all these shortcomings during performance have the peculiarity that they themselves cause excitement, calmness and self-control disappear under the influence of these irregularities. this work in the form of methodological recommendations, it helps to develop the tempo-rhythmic abilities of students, master particular difficulties and implement them in work on works of varying complexity. Recommendations for cultivating a sense of rhythm, a sense of expressiveness, rhythmic intonation gravitations and, at the same time, the accuracy of reading a metro-rhythmic record form the basis of the work, which is based on traditional performing techniques, popular methodical literature and own author's experience. These recommendations can go through the entire process of musical and pianistic training of junior, middle and senior students. music school classes and DSHI. unity of pace. The area of work on tempo and metro rhythm is extremely extensive. The main means of maintaining the unity of tempo is for students in the first stages of learning a clear feeling unit of account . What can help young musician enter the desired tempo? In works with a pronounced meter-rhythmic beginning: it is useful from time to time to reinforce this feeling by counting aloud and inwardly or by "conducting". "The student is aware of the nature of the movement of music only from the time he can hear the beating rhythmic pulse of the work and be able to feel this sensation, he thought - to feel the pulse in music is the main thing." And he advised to lead creative work from the definition of the basic unit of motion. More mobile students should be given the concept of the rhythmic pulse, the awareness of which is important for the performance of many compositions. The unit of the pulse is the duration underlying the structure this work. The feeling of rhythmic pulse, along with the counting unit, is especially important in some constructions that present any difficulties in rhythmic terms. Errors encountered during performance are usually explained by the fact that students misunderstand expressiveness of pauses . You cannot shorten the length of a note or rest. One of the means of emotional fulfillment is saturation with their rhythmic pulse , helping the student to feel the organic connection of the pause with the previous and subsequent development of musical thoughts. The student can find involuntary accelerations and decelerations by himself with the help of a metronome, having heard the discrepancy between the pulses of the metronome and the sound of the piece being studied. It is very important here self-control when not a teacher or a metronome will indicate a change in tempo, but your own brain, own feeling student rhythm. If you're not sure, go back to the metronome. The work must be completely aligned, to achieve tempo unity . This is very difficult to achieve in large works: sonatas and sonatas, pieces of large volume. It is very important to regularly compare the tempo in a certain formation with the initial one, playing it immediately after the first phrase of the piece. On the final stage work on the work is needed finalize the tempo of the work . Although the tempo is indicated in the text, it, of course, cannot be the same for all performers; but general idea about the tempo of this work, however, remains more or less stable. The definition of the pace is facilitated by the author's indications, understanding the nature of the work, its style, technical and musical possibilities student. In each individual case, you should, together with the student, find a tempo that allows him to feel comfortable when performing the piece. Slow playback with respect for all details performance intention allows him to carry out his intentions with the utmost clarity and makes them especially clear to himself. It should be emphasized that such playback requires maximum attention. However, such work in slow motion can lead to a loss of understanding of the desired pace. Having found it, having felt it, the student must fix it in order to always be able to return to it again. The element of "loss" is often found in the lower and middle grades, often you have to work on it specially, but it is not excluded among high school students. writes that concept of "pianist" includes the concept of "conductor" ». This conductor, however, is hidden, but, nevertheless, he is the engine of everything. Neuhaus strongly recommends that students when studying a work and to master it the most important party, rhythmic structure, that is, the organization of the temporal process of putting notes and conducting a thing from beginning to end. This "conductor" inspires the pianist with his will, his tempos and, of course, all the details of the performance. This technique helps to “organize time”, it is also an excellent way of “division of labor”, which facilitates the process of mastering the work. In the beginning, when the student is playing in slow motion, smaller durations can be considered. As you study the work, you need to move on to those counting units in which the author conceived it. For example, in classical sonata W. Mozart With dur 1 hour in size FROM the counting unit changes from quarters to counting by measures. If the composition has already been learned enough, then in this way it is usually possible to achieve a natural acceleration of the tempo and a greater integrity of the performance. The pulse unit - the main compositional cell in the rhythmic structure of the composition should not be confused with the counting unit - performing (conducting) unit. They may be the same, but they may also be different. So the unit is the pulse in 1 hour of the sonata by W. Mozart With dur will be eighth , and the counting unit tact. In W. Mozart's sonata C major, which we wanted to play quickly, easily, playfully, we had to choose the tempo by sixteenth notes at the end of the final game. They did not turn out in any way, although the student and I did a good job here technically, came up with exercises. I had to take the pace a little more restrained, but so that the lightness, playfulness and expressive meaning of the work were not lost. In the pre-concert period, the student could already play exactly at the intended pace. Before the beginning of the work, she mentally played sixteenth notes, heard their pulsation, and only then began to play the sonata.
Freedom of musical and rhythmic movement. The rhythm of a piece of music is often and not without reason compared to the pulse of a living organism. Not with the swing of a pendulum, not with the ticking of a clock or the pounding of a metronome (all this is a meter, not a rhythm), but with such a phenomenon as the pulse, breathing, waving of ears in the field. In music, rhythm and meter most of all become identical in marches, as the soldier's step approaches the mechanical, precise tapping of equal parts of time. Pulse healthy person beats evenly, but accelerates or slows down in connection with experiences. The same is true in music. Just as rhythmic uniformity is characteristic of any healthy organism, so in the performance of a piece of music, the rhythm in general should be closer to the meter than to arrhythmia, more like a healthy pulse than a seismograph recording during an earthquake. says: "It is painful to listen to a non-rhythmic performance, but it becomes completely unbearable when they play metronomically!" First, the text must be put on the exact "rhythmic rails", and then proceed to a free lively rhythm. Otherwise, chaos and anarchy are inevitable. Before you deviate from the scheme, you need to realize it. As for the novice performer - a child, then one should not talk to him at all about "free" rhythm: you need to make sure that he himself imperceptibly feels it, submits to this feeling. At the beginning of the study of the work, of course, it is necessary to work strictly metrically, in the grip of the "metric grid". In the process of work, this is possible and even accepted. Rhythm issues cannot be resolved immediately. There are too many noises in an unlearned piece. Drawbacks caused by ignorance of the text can become habitual. Only having mastered the material, you can start playing with the mood. When the text is well learned, it is necessary to look for the expressiveness of the rhythm, as it were, on a neutral rhythmic basis. This is very interesting advice, like most of Neuhaus's working advice, Turning off the rhythmic intonation by a conscious effort of will, we, in fact, "turn off" for a while and the emotional side of perception. After all, one can make purposeful decisions only knowing the text of the play well. So the unity of tempo does not contradict small deviations from it, due to certain artistic tasks (the so-called agogy ). Otherwise, the performance will be inexpressive, automatic. Small slowdowns and accelerations within phrases are necessary already for the relief of revealing the most significant intonations of the melody.
Agogics (from the musical encyclopedic dictionary): the deviation of the actual duration of sounds and pauses from the ratios indicated in the notes, used for the expressiveness of musical performance. In musical notation, as a rule, they are not fixed. These deviations do not change the value of the notes that form the rhythmic pattern, although they can be very large in magnitude, especially in the music of romanticism.
Tempo deviations are well known to everyone: fermato, ritenuto, accelerando. Fermato requires attention to itself and it is always associated with ritenuto. It is easiest to set the duration of the fermata after the ritenuto by mentally continuing to slow down on the sounds sustained under the fermata. The fermata is thus the logical conclusion of the ritenuto that leads to it. In addition to those indicated in the notes essayl. barely noticeable tempo accelerations are often appropriate in middle constructions, which are relatively less stable. When finishing the form, it is necessary to once again clarify the development of the main image, the nature of which is gradually changing. In this regard, it is important to finally think over the pace of execution.
One example of accelerando is the coda from Schubert's Impromptu Es-dur. musical image develops very fast. It combines great emotional growth and dynamic constant fortissimo, accents and repetitive motifs do not give vent to tension. A strongly pronounced accelerando helps to find a way out of it and establish a pronounced image.
Working with a student on A. Rubinstein's play "Melody", we thought of her as a vocal work. After all, it is impossible to imagine that the singer will perform cantilena strictly metrically. In each phrase, movement is felt due to expressiveness. musical language. It would be nice to hear the development of the phrase with its top and the breath taking by the singer at the end of the phrase, before the next one; Here you need to hear the striving of the metro-rhythmic movement, so that the student joins the ability to perform ... not “by the beats”, but “by the phrases”, that is, based on the musically meaningful articulation of the form. Here, not timing is more suitable, but conducting. Very often I let my child listen to a recording where "Virtuosi Moscow" perform "Melody» is very flexible, expressive, with a little more movement in the middle part than in the extreme ones. But it is better for the student to think for himself. I imagined that the singer could not perform all three verses in the same way, I felt the need not even to speed up, but to slightly add movement in the middle part after a deep breath and listen to the pause at the end of the first part, and for the reprise it was necessary to return the previous movement with the help of ritenuto, fermata, pauses and good breathing (caesuras). Pieces with a pronounced dance character also require freedom of rhythm. When performing them, it is important to feel the meter-rhythmic periodicity inherent in this dance, that is, a certain sequence of alternations of strong beats, and sometimes syncopation. The selection of these sounds is associated with rhythmic changes. Heinrich Gustavovich spoke about the need for small deviations from the rhythm in the most rhythmic things. For example, about freedom in dance rhythms: “rhythm and meter are different things. Even though this dance rhythm- all the same, there is some kind of small antimetric snag in it, slightly - slightly, one iota to move away ... ”and these deviations from evenness add charm to the dance. In some cases, for example in fast waltzes, they should be minimal and in practice usually do not require special attention of the student to them. However, often rhythmic "pulls" are quite significant. They are associated with jumps and subsequent squats or some other characteristic dance PA. For example: in S. Rachmaninoff's "Italian Polka" after the light, running, flying sixteenths one wants to play brighter brilliant draws on the accented eighths in bars 33 and 41. But the sixteenths in the last measures must be played clearly, evenly, without deviating from the meter. In the Allegro tempo, with a spasmodic accompaniment far behind: the bass is not easy to do. We had to work hard technically. And even learn the whole passage with both hands eyes closed, seeking accurate hits. But such an ending gives the polka brightness and shine. Instrumental pedagogy, at the dawn of its existence, prescribed rhythmically free and unconstrained, soulful manner of music-making to the players. The connection between sound and rhythm becomes especially clear in cases " rubato " . The art of playing rubato reached its true heyday in the era of romanticism. The best representatives artists and teachers of this trend cultivate plastic, improvisational in its style, fanned by quivering rhythmic breath performing "skaz". F. Liszt, one of the unsurpassed magicians of the piano rubato, describes it as "the tempo is evasive, intermittent, the time signature is flexible, together clear and shaky, oscillating like a flame, like the tops of trees swaying in different directions with gusts strong wind". The main fundamental installations of rubato should be called naturalness rhythmic movement, stylistic authenticity , which should be "consonant" creative individuality the author of the work, the aesthetic color of the era, the features of the genre. Rubare means "steal" in Italian - if you steal time and do not return it soon, you will be a thief; if you speed up the pace first, then slow it down later; stay honest man- restore balance and harmony. This is how G. Nygauz taught. Music, devoid of a rhythmic core, can only be perceived as musical noise, where musical speech is distorted beyond recognition. The stringing of inconsistent "instants" resembles the convulsiveness of movement, catastrophicity, and not the majestic waves of a calm sea swayed by the wind. Constant decelerations and accelerations, rubato in quotation marks, give the impression of even more monotony and boredom than too metrical performance. In skillful rubato, musical pedagogy teaches, there must be logic, harmony, artistic balance of all accelerations and decelerations in the course of performance. "How much you borrowed, give back so much" - Igumnov liked to repeat. Finally, many pianist authorities recommend that you precede the playing of rubato with a rhythmically aligned performance. Good rubato is achieved only through precise rhythm. Work on tempo rubato already found in school curriculum. AT nocturne by J. Field B - dur rhythm and sound work hand in hand. They help each other and only jointly solve the problem of artistic and expressive performance. The expressiveness of rhythm in it must be sought consciously and it is music that justifies one or another rhythmic nuance. Even the nature of touching the keys depends on the character artistic image. From the first note in the nocturne, the keys must be "caressed, touched, and not beaten." And the position of the hand is not etude at all. My student did not get a soft, gentle touch until she put her fingers, feeling well "touch"; not "hit". Listening to ourselves, singing the nocturne, my student and I came to the conclusion that it is impossible to perform it strictly metrically. Although there are no exact instructions in the text, such as: here - speed up, there - slow down, violations of regularity are caused by the need to listen carefully and have time to experience the intonation in the melody. Sometimes the deviations are not obvious, but subtle, barely discernible. But in the phrase it is simply necessary to hear the hidden inner movement. But sometimes the delays are well audible, they help to listen to not even a phrase, but a whole period, and flexibly, through breathing, move on to the next flow of the melody. Accents help here (measure 8.17), widely spaced arpeggiated chords (measure 22.43). But it is desirable to make decorations subtly, beautifully, without separating them from the general rhythmic and melodic line. To play them, how to weave thin, delicate silk lace. When learning a piece, you can conduct, sing, play, talk about character, mentally imagine a picture or only its color, tone (for example, soft pink in 1 part, thick, burgundy in 2 hours). The teacher's goal is to help the child find that very rhythmic harmony, to feel the movement, not to turn the nocturne into a "too sweet" piece. One of the difficulties of fully mastering the rhythm is polyrhythm . The "arithmetic" approach allows only the simplest cases (combination of duoles and triplets). On execution complex type polyrhythms must first be played many times, separately with each hand, mentally calculating. Then teach for a long time with both hands, skipping notes in polyrhythm from the part of the right, then the left hand. Only when the ear gets used to the sound of each part separately, they can be connected, regularly controlling the evenness of the rhythm with the ear by playing separately. Again, you can play with two hands, focusing your auditory attention on the part of the right hand, then the left. The flexible execution of any polyrhythm takes time to get used to. For example, when working on "Nocturne" cis-moll by F. Chopin, the complete unsuitability of the "arithmetic method" is obvious. Here the student encounters a typical example of the tempo gubato so characteristic of Chopin. Making smooth expansion is not easy here. The accompaniment rhythm breaks especially. Here it is important to pay attention to the fact; so that the slowdown and subsequent return to the tempo of the eighths in the left-hand part was smooth and unnatural. For a more organic combination of parts of the right and left hand, it is useful to outline the sounds of the passage that coincide (or almost coincide) with the eighth notes of the accompaniment. Helping the student to understand the author's intention of a musical work, working on various particular tasks, achieving diversity and colorfulness of the sound, one must ensure that there is no deliberateness in the performance, so that the expressive techniques used by the student organically merge with the music. From the first years of training, it is necessary to cultivate the conviction that any expressive colors, nuances are inseparable from the music itself, from its content. It is impossible to formally follow the author's instructions. There are also cases when students strive to make a work as expressive and interesting as possible, without taking into account that good intentions, being exaggerated and turning into an end in itself, lead to a distortion of the idea, make the performance artificial. The performance can only be good, artistic, when all the infinitely diverse means of performing we agree completely with essay, meaning , content, composition, with that real organized sound material that we have to process performatively. You can add something of your own to the essay, but not take away the author's. All rethinking is vicious they distort the content.
As a result, I would like to write some REGULATIONS "healthy rhythm":
1. Ambulance and quick game- it's not the same thing.
2. Cresch - not always accompanied by acceleration, but dimin by deceleration.
3. The change of tempo should start on a weak beat so as not to turn the accel into piu mosso and the ritard into meno mosso.
4. The triplet rhythm should never turn into a dotted rhythm.
5. One of the requirements of a "healthy" rhythm is that the sum of accelerations and decelerations is equal to a certain constant, so that the arithmetic mean of the rhythm is constant and equal to one metric duration.
We must never forget that the musician's bible begins with the words:
IN THE BEGINNING WAS RHYTHM
This methodological development is a generalization of many years of experience in solfeggio lessons in junior and senior music school classes No. 15 and Children's Art School "The Lark".
The author has developed seven rhythmic tables with different sizes and rhythmic groups studied in the solfeggio course. The tables are distributed to each student as manuals for the entire course of study. Work with them is carried out every lesson for five or ten minutes. Sometimes, in order to consolidate the material being studied - a rhythmic group, size, work out the grouping, a rhythmic dictation is given.
Work begins in the preparatory class with tables I degree 2/4 and II degree 3/4 after acquaintance with durations, rhythmic pulse and rhythmic pattern. Several lessons are devoted to working with rhythmic syllables, so that the children feel the intonation of the rhythm, and then there is a transition to performance with a score and intralobar pulsation. Forms of performing rhythmic exercises can be varied (see Recommendations, paragraphs 1–8).
In addition to rhythmic tables in elementary grades, it is advisable to use rhythmic blocks - double-sided cards with a single-bar rhythmic pattern for 2/4 and 3/4. Rhythm blocks help you practice variable time signatures in a playful way. Oral rhythmic riddle dictations and rhythmic cubes are used to add and subtract durations (see G. Kalinina's tasks in workbooks).
Further, in the 2nd and 3rd grades, rhythmic tables of the V degree of complexity, size 6/8, are added. Here is an introduction to the new pulsation, size, grouping and counting. The performance of rhythmic exercises with different movements of the arms and legs is added, the rhythmic ostinato and the rhythmic canon (2 and 3 voices) are included.
Starting from the 4th, and in the senior grades, rhythmic tables of III and IV degrees of complexity are given. New rhythmic groups are being worked out: dotted rhythm, syncopation, triplet and interbar syncopation. Exercises with acceleration and deceleration of the tempo, exercises with a metronome, two-handed performance and grouping tasks using the rhythmic pattern of any number are recommended. All numbers can be performed out loud, clapping or tapping, with different movements, with noise instruments. Pauses are noted by spreading the arms to the sides, continuing to count. The account must be necessarily with intralobar pulsation.
Rhythmic aids help to make the lesson more lively, interesting, varied. Often children improvise, offering their own forms of work on tables. The guys are engaged with enthusiasm and practically do not get tired in the lesson, which leads to the successful assimilation of the material and gives a good final result.
Preparatory class., 1 class. (Rhythmic tables I-II st. 2/4, II st. 3/4)
1. Performing rhythmic exercises with rhythmic syllables and counting.
2. Clap rhythmic exercises with a score at an average pace without stops (further with dynamic shades and climax).
3. Inclusion of pauses in rhythmic exercises
4. Performing rhythmic exercises on different instruments(spoons, drum, triangle, whistles). Rhythmic Orchestra.
6. Rhythm reading with musical accompaniment teacher.
7. Performing rhythmic exercises with creative tasks(Nature of performance: cheerful, sad, playful, gentle, cheerful, etc. in phrases).
8. Composition of melodies for a given rhythmic pattern. Change the rhythm pattern at any measure.
P-Sh class (rhythmic tables V st. 6 / 8.1 st. 2/4, II st. 3/4 )
1. Using the previous techniques. Improving the quality of performance.
2. Performing rhythmic exercises with different movements.
3. The inclusion of rhythmic ostinato, rhythmic canon (2 - 3 voices).
IV, V, VI, VII class(rhythm. table III st. 2/4, 3/4, V st. 6/8, IV st. 2/4, 3/4 )
To the previous forms of work are added:
1. Rhythmic exercises with intra- and inter-bar syncopations.
2. Execution of rhythmic exercises with acceleration and deceleration.
3. Perform grouping using the rhythmic pattern of any number.
4. Rhythmic exercises with a metronome.
5. Game-improvisation:
variable time signature (including rhythm blocks);
two groups of students using different rhythm, tables (2/4 and 3/4).
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN
CHILDREN'S ART SCHOOL
CITY DISTRICT STRAZHEVOI
TOMSK REGION
Open lesson on the topic:
Prepared and hosted:
teacher of special piano - Uraltsev K.N.
year 2014
Lesson type: complex.
The purpose of the lesson:
general: work on developing a sense of rhythm
according to the principles of developmental education in music pedagogy.
educational : to teach the student the game and theoretical knowledge, skills and abilities necessary to work on the rhythm; broaden his musical horizons.
developing : develop the student's existing playing skills, his reaction, attention, thinking and imagination, as well as independence and self-control.
nurturing : to arouse interest in the correct rhythmic play of musical pieces.
Lesson equipment:
piano, 2 chairs;
musical material: A. Artobolevskaya "First meeting with music", N. Vetlugina "Musical primer", L. Barenboim, N. Perunova "The path to music";
didactic material: mugs, 4 cm in diameter (4 red, 12 pink), rhythmic sticks (length - 10 cm, width - 1 cm - 10 pieces, length - 5 cm, width - 1 cm - 10 pieces);
noise instruments (drum, tambourine, rattles).
Forms and methods used in the lesson:
Individual form of work with the student; visual method, explanation, conversation, survey, joint study of rhythmic exercises, consolidation.
During the classes:
- methodical message on the topic of the lesson;
Direct work with the student:
1. Work on the meter:
1.1. The definition of a pulsation by ear is the alternation of strong and weak beats on intuitive basis when the teacher plays noise instruments in - 2-, 3-, 4-longitudinal meters;
1.2. Repetition by the student on noise instruments after the teacher of the meters he heard;
1.3. Working with didactic material: laying out a meter on the table in circles: red - strong beat, pink - weak share;
1.4. Definition by ear of a meter (pulse, shares) in the plays "March" by S. Prokofiev, "The Bear" by G. Galynin, "Waltz" by F. Schubert;
1.5. Playing an instrument with a student: teacher - work, student - shares. (according to the collection of L. Barenboim "The Way to Music").
2. Work on the rhythm.
2.1. Repetition of note durations.
2.2. rhythm games:
“Rhythmic echo” (the teacher claps, the student repeats, clapping his hands or (option 1) playing an instrument on one note, or (option 2) playing some kind of noise instrument);
slapping rhythmic patterns according to N. Vetlugina's "Musical Primer";
Working with didactic material:
laying out rhythm on the table with rhythm sticks.
3. Rhythmic exercises.
3.1. Clapping rhythmic formulas, playing an instrument, together with a teacher.
3.2. Collection of A. Nikolaev "School of playing the piano". Work on the rhythm based on light songs No. 15,16,17,18,23,24.
Clap the rhythm of the tune;
Clap the rhythm on your knees with each hand your line;
Playing songs on an instrument with a score (shares), without a score, feeling the pulsation of the meter.
At the end of the lesson, give a homework assignment: consolidate and continue working onthe skills and techniques of working on the rhythm acquired in the lesson, to use the acquired skills of work in other musical examples and rhythmic exercises, to practice thoughtfully with good feedback and auditory control.
Lesson conclusions.
The set goals and objectives of the lesson were fully achieved. This was facilitated by fruitful work and a creative atmosphere in the lesson, as well as ximproving the student's receptivity, his ability to listen and think. The lesson was focused on the formation of independent activitystudent when doing homework.
The following psychological and didactic aspects took place in the lesson:
orientation to the formation of activity;
organization of developing space;
implementation of an individual approach;
actualization and enrichment of the student's subjective experience;
development of student activity in educational activities;
manifestation of a value attitude to the personality of the student;
creating a favorable psychological climate in the classroom, the atmosphere of goodwill and comfort, as well as the style of communication between the teacher and the student, made it possible to achieve positive results and encourage interest in further work on the rhythmic performance of works.
Application
to open lesson: "Formation
students' sense of rhythm
METHODOLOGICAL MESSAGE
"FORMING A SENSE OF RHYTHM IN STUDENTS"
Musician's Bible
begins with the words:
"In the beginning there was rhythm."
G.G.Neigauz.
Rhythm is the most essential element of music, characterizing the life of sounds, the movement of sounds in time.
Rhythm as an organization of sounds in time penetrates into various elements of the musical fabric of the work. Auditory perception of rhythm patterns in musical composition- one of essential conditions its full performance interpretation.
Rhythm like means of expression music is perceived by children with special spontaneity. This is most noticeable when they perform song, dance, play pieces.
In the best piano literature for children, the rhythmic life of a piece of music is felt so vividly that most often it is through rhythm that children perceive its figurative content as a whole. This is especially true for the works of motor genres, in which expressive possibilities rhythm are manifested with the greatest force.
What should form the basis for the development of feeling musical rhythm from the first steps of a child's education? The disclosure of the figurative and emotional essence of rhythm is the main guiding principle in educating children in the skills of auditory perception of rhythm.
How is the sense of musical rhythm formed in children?
Already in the study of monophonic melodies, the initial skills of metric accuracy and rhythmic expressiveness of performance are instilled. In the first song fragments, children come into contact with various durations. Often they are explained purely arithmetically what a whole note is, and then they are told about its splitting into halves and quarters. Such a schematic explanation is in no way consistent with the main aspect of the knowledge of rhythm - the hearing of various durations in their connection with each other. After all, the perception of the rhythm of children's works, starting with monophonic songs, is associated primarily with hearing the natural rhythmic movement during the alternation of the simplest durations - quarters, eighths, half notes.
A quarter note is not a part of a whole note for the ear, but an independent rhythmic unit, from which the auditory distinction of durations begins. The sound of durations in time can be associated in a child with such visual time representations: a quarter - a step, eighths - an easy run, half - a stop.
It will become close to the perception of the student if we subtext it like this: “step, step, step; po-be-zha-li, po-be-zha-li, stop-stop.
How to harmonize the hearing of the rhythm with existing system counting durations?
Counting, in the form in which it is most often used (that is, counting literally all, including small durations), does not always help children control the accuracy of sounding in time of various metric groupings. Often in practice there are cases when the score does not provide the rhythm of performance, and, following the rhythmic and technical irregularities of the student's game, he himself is not rhythmic.
Actually early stage learning, for some time the students of my class consider only shares, developing and consolidating the skill of pulsation. Gradually, in this pulse, they learn to listen to half and whole notes, and then slap (as if to “impose”) 2 eighths on one count.
It is very useful to write down and clap with the student various metric exercises in 4-8 measures, where the bottom line is the meter and the top line is the rhythm. The students and I call them"rhythmic scores". There are countless options for working on such exercises, from joint clapping with the teacher to independent execution by the student himself, where left hand the meter will be tapping, the right one will be the rhythm.
Based on the fact that hearing a quarter note as the main time unit is the most natural way to measure durations, therefore, already with primary education The score itself should be kept in quarter notes.
Almost all kids have difficulty counting.if they count on "one-and-two-and." This is very inconvenient and, in addition, this account makes it difficult to be able to "cover" the piece of music as a whole. This feature of creating form, composition, G. Neuhaus called "long, horizontal thinking" and, admiring the rhythm of S. Richter, wrote: "Clearly feels Xia, that the whole work - even if it is gigantic in size,lies in front of him like a huge landscape, visible at once in its entirety.and in every detail from the flight of an eagle, from an extraordinary height and fromincredible clarity." To develop this ability,need to conduct musical composition from beginning to end, in order to "know yourself", your creative intentions without adjustment for performance, which, due to various circumstancesevidence may not be perfect enough.
Same way working on the rhythm initial period learning, you can apply the account of rhythmic syllables to "ti-ti-ta" which will more convenient for a beginner musician.
In addition to counting, it is useful to use other methods of working on the rhythm, firmly fixing the accuracy of the pulsation of quarters. For example, a teacher plays monophonic melodies with alternating quarter, eighth and half notes in them, and the student notes the pulse of quarter notes by clapping his hands or counting; Even before the performance of the melody on the instrument, the student, having previously looked at the rhythmic pattern of the melody, counts the quarter notes with claps and at the same time reproduces all the durations in full with rhythmic syllables.
The rhythmically stable performance of melodies, and then of simple pieces, is facilitated by such a texture of the works, in which the rhythmically uniform movement of repetitive metric groupings predominates.
Overcoming rhythmic difficulties in children piano pieces promotes the use of verbal subtext. In the collection of A. Artobolevskaya "First meeting with music" there are many pieces to which subtexts are written, words that help to remember the rhythm of the work. These are “Minuet” by L. Mozart, “Sparrow” by A. Rubbach, “Lullaby” by I. Philipp, “Chicken” by N. Lyubarsky and many others.
Already in the pre-note period of learning, the child must feel and perceive the rhythm of the musical examples offered to him. Then you should explain what the images of note durations, pauses, dots near notes, etc. mean. for a child, the outline of these signs should be associated with a certain length of sound or silence. Captured in musical notation the teacher should always illustrate images of rhythmic parts with examples interesting to the child songs and melodies.
Information from the area of rhythm must pass into the mind of the child inseparably with the sense of time.
The first assistants in the study of rhythm are hearing and musical memory, the physical sensation of movement. Already in infancy, children involuntarily get acquainted with the rhythm. We amuse the child with humming, we play “patties” with him, the child falls asleep in the cradle to the rhythmic swaying. In the future, the swinging of a children's swing, the “ticking” of a clock, the even pressing of the bicycle pedals - all this helps the child to feel the pulse of a clear, divided into rhythmic parts, time.
In this period great help in the work will be from didactic material:
circles of a contrasting color for laying out a meter (pulse);
rhythm sticks for determining long and short sounds;
rhythm cards with written durations to determine the rhythm and consolidate knowledge of note durations (i.e. a kind of "rhythmic dictation").
This type of work must be done constantly in the classroom, developing and consolidating auditory skills in determining meter and rhythm.
Melodies, with their various rhythmic divisions, can also be better perceived by the child, based on life impressions.
There are dozens of ways to explain the rhythm. Here is how A. Artobolevskaya tells about her student:
Today I understood how you explained the bill to me. When we walked home after the walk and climbed the stairs, grandmother sighed four times on each step. Mom walked and sighed twice, and dad walked in quarters - one sigh per step. I ran two steps for each step of dad, and we had a dog with us, she minced twice as fast, running four steps for each step of dad. So I went up in eighths, and the dog in sixteenths!
From the very beginning, when explaining the duration of sounds, one must also talk about pauses. The main thing is that children should understand that a pause is a sign of silence, a break in sound, but not in movement! It is like breathing in musical speech. A. Artobolevskaya compares pauses with lace curtains, saying that pauses are like holes in a lace pattern. The musical "pattern" also consists of sound-filled and sound-free segments of time. The alternation of silence, silence with sound, in fact, creates the very fabric of music.
Students often miss long notes and pauses. What should be the reasons? Most often, the meaning of stopping on a long note or pause is not clear to the child. He perceives the stop as a formal requirement on the part of the teacher and in his presence will continue " empty place". And without a teacher, he will again play as "his understanding" of music tells him. The teacher's task is to teach him not to formally calculate a pause, but to feel the pulsation even in the absence of sound, melody.
Playing in an ensemble with a teacher has a significant impact on the development of a sense of musical rhythm. The first stage of such an ensemble game is the student's performanceIparty, and the teacher -IIparties. At the same time, the student should actively listen to different manifestations of rhythm in the part of the teacher. For example, "Our Land" by D. Kabalevsky is a characteristic waltz pulsation of the accompaniment, in the play "Sleep, child" by K. Orff - the figurative rhythm of the half-bar "swing"; in the Ukrainian dance "Rain" - easily, on eighths, falling "droplets".
The student's auditory sensation of quarter pauses in the melody of "an excerpt from the first part of the symphony in G minor" by W. Mozart is well controlled by hearing eighth notes of accompaniment (in the part of the teacher), as if filling the length of the pauses. At further stages of learning, it is useful to apply a different form of ensemble playing - playing a melody in a partprimoteacher, and accompaniment in the partseWithondo- a student. Here, the already active guidance of the rhythm will largely pass to the student.
In cultivating a sense of musical rhythm and developing the skills of rhythmically expressive playing, one should proceed from the student's sensitive auditory perception of the patterns of rhythm in a work and their natural performing embodiment in pianistic techniques accessible to children. All work, fiction should come from an intuitive feeling of the child's developmental psychology and his individual reaction to music.
REFERENCES
Artobolevskaya A.D. "First Encounter with Music"
Barenboim L., N. Perunova "The Way to Music".
How to teach to play the piano. First steps. - M .: Publishing house "Classics-XXI”, 2009. Compiled by S.V. Gorokhov.
Milic B. Education of a student pianist. M, "Kifara" 2002.
Nikolaev A. "School of playing the piano".
