Methodological recommendations on the topic: “The use of creative methods in the lesson of the specialty guitar in the children's art school. Methodological development on the topic: Methodological development of an open lesson "Guitar in various types of ensemble of the Children's School of Art"

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. In recent 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 relevant. 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 advantages of this work are the provision of an unconventional practical guitar technique based on the awakening of the child's creativity, 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; are involved in the simplest ensemble Music-making - lesson 3. Important stages in the activation of 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.

In order 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 narrowing and deepening 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 of songs, is much faster than on the staff. 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.

An outstanding teacher Anton Semyonovich Makarenko in one of his works suggests: “There is an important method - the 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 relationships, according to A.D. Lazareva, underlie the personal approach, when the teacher is focused on the personality of the child as a whole, and not only on his function 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 the 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 figurativeness 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 a seven-string guitar. Further, O. Kiselev masters the six-string guitar on his own, playing in the school pop 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 “Classical Guitar Club”, whose president was Alexander Dolgikh. In 1991, Viktor Viktorovich Kozlova graduated from the correspondence department of the Chelyabinsk School of Music, guitar class. 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).

Oleksandr Vinnitsky created the collection "Children's Jazz Album" for children's musical education on the guitar with elements of 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”, “Song of the Rain”) to ragtime (“Acrobat”) and can be included in the 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. A positive aspect is the student's playing 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.

Classes should begin with works accessible to children, in the game of which technical difficulties are overcome relatively easily, and all attention is directed to artistic goals. 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.

The joint game differs from the solo game, first of all, in that both the general plan and all the details of the interpretation are the fruit of reflection and creative imagination of 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.

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 the 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 the experiment conducted by us is the characteristics of some results of 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 of students to the guitar and its capabilities, at the beginning of the lesson the children were asked the following system of questions:

Do you like the guitar instrument?

What do you think, the birthplace of the guitar is:

1. 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?

Analyzing the questionnaires, we found out that children have a great interest in the guitar, but most of them 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 supplants some primitive stringed instruments, masters its own repertoire, and 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: “In the middle of the 19th century, the piano became the main instrument of concert halls. 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. The main musical role is played by 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 a higher level of 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 makes it possible to ensure the formation of a holistic picture of the world in children, developing logical and imaginative 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 an effective means of creative development of the personality of students.

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.

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Nazarov L. Introduction to song folklore, magazine "Folk Art" No. 6, 1999, No. 1, 2000

Elementary School No. 2; 2000

Nemov R.S. Psychology. - M., Vladivostok; 1999

Puhol E. School of playing the six-string guitar. – M.; 1977

Development of creative activity of students. - M., Pedagogy; 1991

Slastenin V.A., Isaev I.F., Shiyanov E.G. General pedagogy. Part 1. - M .: Vlados; 2003

Smirnov S. Pedagogy. - Publishing Center, Academy; 1998

Sokolov V., Khitrov V Ancient Russia. - Bryansk, 1995

Starikova K.L. Folk rituals and ritual poetry. - Yekaterinburg, St. region. Department of ped. Society; 1994

Starikova K.L. At the origins of folk wisdom. - Yekaterinburg, St. region. Department of ped. Society; 1994

Stolyarenko L.D. Pedagogy. 100 exam answers. - M., 2003

Struve G.A. School choir. – M.; 1981

Fomina N.N. Folk holidays and programs with methodological recommendations for organizing lessons for grades 9-11; 1991

Khalabuzar P., Popov V., Dobrovolskaya N. Methods of musical education. - M.; 1990

Kharlamov I.F. Pedagogy: Proc. – 6th ed. - Mn.; 2000

Chelysheva T.V. Music teacher's companion. – M.; 1993

Shamina L. Work with an amateur collective. - M., Music; 1983

Shiryalin A. Poem about the guitar. – M.; 1994

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Attachment 1

Annex 2

Annex 3

Appendix 4

Appendix 5

Appendix 6

Appendix 7

Annex 8

Annex 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.

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 training is covered by modern 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 along 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, while 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 "p" 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 character, 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, goal 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 good" 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 volume 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.

There are two forms of learning: teacher-led classroom sessions and independent homework. A lot of methodological works have been written for the guitar, for students of music schools and colleges. These are the works of N.P. Mikhailenko “Methods of teaching playing the six-string guitar”. Yu.P. Kuzin "ABC guitarist". Ch. Duncan "The Art of Playing the Guitar". "Organization of homework at the piano" by M.E. Bessarabova. The general principles of teaching are also suitable for the system of additional education, so much can be taken into service and adapted in relation to additional education in the guitar class.
Learning to play the six-string guitar

The success of learning depends on how the classes conducted by the teacher in the classroom and the student's independent homework interact. Teach your child to understand music. Sounds should be not just physical, but also musical, convey beauty, and not just duration, pitch, timbre. Make it so that the performed musical work does not reflect the language of musical notation, but represents some artistic phenomenon. The guitar class has existed in the DDT of the Petrogradsky district of St. Petersburg for more than ten years. Over the years, many children have mastered the basics of guitar art, getting acquainted with the works of composers from different eras and countries, developing and improving their musical and creative abilities.

Classes at the instrument allow students to accelerate the practical development of the basics of musical literacy, which makes it possible to play in various types of ensembles in the future. Develop an inner ear for music, learn to select melodies by ear, accompany the voice.

With all the accessibility and apparent simplicity, the guitar is a rather complex instrument. A child who sits down at an instrument must solve many problems at the same time. Competently perform the musical text, read the notes correctly, while observing accidentals, fingerings, nuances, solving the problems of metrorhythm, tempo. Consider the correct ratio of melody and accompaniment. Listen, intotone and sing musical phrases and sentences with the fingers of your right hand. Constantly monitor the coordination of both hands. It is obvious that there are many tasks when playing the guitar, and each of them represents a certain theoretical, coordination or technical complexity and requires a certain amount of time in learning and practical assimilation on the guitar fretboard.

Organization of guitar lessons.

Classes in an additional education institution in a class with a teacher make up a relatively small part of the time (45 minutes) per week. This is not enough for a confident, deep assimilation of educational material. It is very important to organize your homework properly. The task of classwork is to prepare the student for independent creative work. It is important for the student to understand that systematic guitar lessons are the main condition for mastering the performing arts. In this child, the help of parents is absolutely necessary, especially if the child is of primary school age. It is important to teach the student to work independently.
Initial period of study
It should be remembered that abstract thinking in a child of 7-8 years is not yet completely formed. Therefore, in homework with an instrument, one must first of all focus on imaginative thinking, development is one of the leading principles of musical education. All independent work should proceed in continuous auditory control. Periodically, you should conduct control lessons that imitate homework. The teacher should not interfere in the process, observe, occasionally making comments. It is important to establish contact with parents, to get acquainted with their living conditions, to help establish a firm order for the student. Since any piece of music always carries emotional and figurative content, it is considered appropriate to alternate school and musical homework, for example, Russian language-music, mathematics-music, etc. This principle of preparing homework allows you to evenly combine the load and rest in turn. With this schedule, the duration of classes between lessons can last 15-20 minutes. The proposed mode of work will save time and allow you to more rationally build homework.

Organization of the movements of the guitarist

In the first weeks of training, the student learns to walk his fingers along the strings and frets. This difficult activity requires a lot of patience and attention, both on the part of the student and on the part of parents, since children of 7-8 years old are physically unable to concentrate their attention on such work for more than a few minutes. Here the student needs the help of parents during the first lessons. First you need to master the arpeggio technique on the guitar. The fingers of the right hand should see and hear. The movement of the fingers of the right hand is easier to analyze when they are not associated with the left hand. The simplest arpeggio rising p.i.m.a. The thumb of the right hand plays with a support (apoyando), at this moment all three fingers of the index, middle, and ring fingers are simultaneously placed on 1.2.3. string, the strings are located between the tips of the fingers and nails, lightly pressing the strings, the fingers alternately extract the sound. Fixation of the string between the fingertip and the nail ensures the most efficient transmission of forces, minimal play in the nail joint. The fingers of the left hand provide minimal lift over the bar, creating a minimum of effort for their movement. The minimum pressure on the strings prevents them from being overloaded, slowing down the appearance of fatigue. The vertical position of the finger is achieved by touching the string on the fretboard closer to the nail. It is advisable to practice with a metronome, and in order to develop a sense of the pulse, you need to tune the metronome to the second beat. Exercises and scales require constant attention to controlled and uncontrolled articulation, when the ear controls and does not control the speed of execution at the fastest pace. It is very important to hear the upbeat rhythmically and melodically, mentally connect it with the next downbeat, consider it as a springboard to the downbeat. It is important that the student follow the movements of both hands during the game, articulation between the right and left hand is very important. The fingers of the right hand are prepared, placed in advance on the necessary strings, the fingers of the left hand find the note, the fingers of the right hand extract the sound. The thumb of the right hand rests on the 6th string when playing scales and exercises. The value of these exercises and activities is important as the pace increases or smaller durations appear, mind control gives way to acquired reflexes. It is very important to develop the technique of the right hand, the more time to prepare the sound, the deeper the control. What ultimately comes across as legato occurs with even intensity and rhythmic precision.

Working on the rhythm

Since music is an art that cannot exist outside of time, any performer needs a keen sense of metro rhythm as the basis of any piece of music. For expressive performance, in addition to timbre, accelerations and decelerations of the tempo, you need to learn how to draw sound and rhythm out of the guitar. This can be done with the help of hand movements, mentally focusing on such an exercise, the left hand, pressing the string on the fretboard, makes a hidden movement to the left side, and the right hand at this moment - to the right, stretching the sound like a spring, creating tension, and then relaxation , it must correspond to the internal pulsation. This is a very interesting moment in the performance technique of outstanding guitarists, on this topic I want to write my next work, dedicated to the analysis of the performance skills of leading guitarists. One of the methods of developing a sense of the metro rhythm is to work with the account by ear, especially at the initial stage of training, gradually the student develops an internal feeling of the metro rhythm. The account scheme that I use looks like this. A whole note is considered Ta-a-a-a, a half note is Ta - a, a quarter note is Ta,

Eighth Ta-ti, sixteenth Ta-ra-ti-ri. This scheme is simple, easy to remember, easy to say.

Methodological advice to teachers of the guitar class.

For successful learning, try to find psychological contact with the student from the first lessons. Don't try to only work with gifted children. Each child is an individuality, a personality, the art of a teacher is to make any student become an excellent performer, acquire a steady interest in music lessons, which can last a lifetime. To do this, it is necessary to draw up such a mode of homework for the student, in which the alternation of school and musical subjects is observed, to teach the child to practice the instrument every day. During the first months of training, if possible, parents should be present at the lesson so that they can then monitor homework. From the first steps of training, teach the student to work independently with the instrument. Strictly observe the hygienic and physiological conditions for the child's activities. Use a comfortable hard chair of the required height, a support for the left leg to avoid curvature of the spine. Maintain silence during class. Pay close attention to the physical and emotional state of the student. Attend annual concerts and competitions in a place with parents. To constantly form in the child the need to listen to classical music and analyze what he hears. To teach children how to behave on stage, exit, bow, departure. Work confidently, with respect and love for the student, the guitar, the music. Constantly review your lessons.

It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about the early development of the child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services.

And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of the latest All-Russian and international competitions. And of course, in this case, as a rule, standard training schemes do not work.

Of course, each teacher decides for himself “what” and “how” to teach his pupils. A lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation. And it is the teacher, having created his own original system of education and upbringing, who will be able to take into account and develop the individual abilities of the student, give the child the opportunity to realize his creative abilities most widely, and teach him to think outside the box in the future.

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MUNICIPAL EDUCATIONAL INSTITUTION

ADDITIONAL EDUCATION FOR CHILDREN

"GUARDS CHILDREN'S MUSIC SCHOOL"

Report

The beginning of learning to play the guitar

Children of early age.

Prepared

Music school teacher

Gvardeyska

Kozitskaya E.M.

Gvardeysk

2011

1 .Introduction………………………………………………………………1

2.1. Coordination of movements, landing and setting………………………….3

2.2. Music notation or I draw music………………………………………..6

2.2.Metro - rhythmic pulsation…………………………………………..7

2.4. Miscellaneous little things or “wind playing in the strings”…………………………8

3. Conclusion………………………………………………………………...8

4 References ……………………………………………………………10

It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about the early development of the child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services. And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of recent all-Russian and international competitions.

And of course, in this case, as a rule, standard training schemes do not work. But how to determine the degree of a child's learning ability and should everyone be admitted to a music school? At the entrance exams, which in itself is stressful, the child can simply withdraw. And for someone - the ability does not appear because of their lack of development. In a few minutes it is impossible to determine the true depth of a given child's possibilities.

Working with children at an early age is very interesting and it is impossible to refuse it. Violinists and especially pianists, whose schools have gone through a less thorny path of development than the guitar school in Russia, have a wealth of experience in this regard and can boast of having already created and tested methods for teaching to play the instrument, their development of even three-year-old children, not to mention preschool or primary school age.

This is the age when the child is not only spontaneously and freely active, but also an important period, during which children acquire skills that allow them to further master the world of adults. At the age of 7-9 years, the active development of the brain takes place. Music, on the other hand, promotes the integration of the hemispheres of the brain, and improves its activity - for example, those associated with linguistics, mathematics, creative thinking, since the movement of the hand accelerates the maturation of not only the sensorimotor zones of the brain, but also the center of speech. During this period, the child actively comprehends his actions through feelings. The teacher needs to think outside the box, because only in a state of increased interest, emotional upsurge, the child is able to focus his attention on a specific task, piece of music, object, remember the event with all the details and nuances. The desire to relive a pleasant state for him (contact with the instrument, communication with the teacher) can serve as the strongest motive for his activity, an incentive for musical studies.
Another condition that speaks "for" learning to play the guitar at an earlier age than 10-12 years is the indicator that the ligaments and muscles of the child are the softest and most pliable, despite the fact that by the age of 5-6 the musculoskeletal the system is already fully formed, this process is completely completed by the age of 11-12 and muscle mobility decreases.
Again, I would like to repeat - the guitar is a specific instrument, and despite the apparent ease in mastering playing the instrument, a number of problems immediately arise, especially for young children. This is the impossibility of covering the fretboard, pain when pressing the strings, and therefore not a high-quality sound. Of course, all this can cause nervousness in a child, and here the main task of the teacher is to help the student overcome difficulties so that the first sensations do not become the child’s last desire. Much depends on the personal qualities of the baby, on the level of his musical perception, intellectual development and physical data, but a reasonable careful attitude towards the child, an unforced learning process, a creative approach will help the teacher to fully reveal the student's personal potential and his creative individuality.
Today I am not talking about a certain age, my achievements can be applied at an early age, and in primary school, depending on the data of the student, his age, techniques will change taking into account age psychology. You can agree or disagree with psychologists, but it is noted that during his life a person overcomes several stages of development, and each new stage necessarily begins with a crisis. "Critical periods" are characterized by a high degree of susceptibility and plasticity of the brain. If the meeting with music falls on such a period, then as a bright flash, the event is “imprinted” or “impressed”, as the Russian geneticist V.P. Efroimson called it. This is the most active influence of the environment on the most sensitive period of development and sometimes determining the entire subsequent life of a person. Such periods occur at 1 year, then very powerfully at 3-4 years and at 7 years, as far as early childhood is concerned. If you fall into this period, your happiness, if not, you just need to work competently despite the impressing. But that's my personal opinion.

When I first took a kid to my class at the age of 6.5 years, I faced the first difficulties. The child could read, but the usual musical terminology simply did not work in this case. Two more 7-year-old students entered the school here. And I began to look for new, as it seemed to me then, solutions. But as life suggests, "Everything is new, it's a well-forgotten old!". I turned to the literature on rhythm, found a lot of interesting developments from pianists, borrowed something from Kalinin's solfeggio textbooks, and, of course, looked for material from fellow guitarists. The most important thing remained - to adapt all the material in relation to the guitar. And here I want to say the words of the brilliant pianist I. Hoffmann: “No rule or advice given to one person can suit anyone else if these rules and advice do not pass through the sieve of his own mind and are not subjected to such changes that will make them suitable for this occasion."

So here are some of my work. I want to make a reservation right away that the creative process, the search for interesting forms of presenting material is not over yet.

and I think that something new will appear constantly, since every childcarries its own questions, problems and interests.

The main thing is that you would be interested in doing it. You don’t have to expect quick results, but there will be a lot of pleasure from communicating with kids, positive from their non-standard thinking, from common victories and finds.

Little Secrets of Senorita Guitar

Education of young children has its own characteristics, the main of which is the widespread use of game forms. Due to its psychological characteristics, a child cannot work for the future, for a long-term result. He embodies the impression of reality in the game, as the most understandable activity for him. The game makes the learning process more exciting, understandable, helps to reveal the abilities of children more fully and identify problems.

Coordination of movements, landing, staging.

If we compare the burden on children in primary school and preschool age at the present time and at least in the past decade, and preferably two decades ago, then the comparison will not be in favor of today. The desire of parents to develop their children is sometimes "tragic" in nature, since the child attends several circles, sections at once, and at the same time goes to kindergarten. Of course, there is nothing wrong with this, but you should not overload the children's body beyond measure. As a result of long classes and the lack of mobility necessary for the child's body, many children by the age of 7 already have problems with the musculoskeletal system, hypo or vice versa hyper muscle tone. And even in adulthood, our life, overloaded with mental and physical stress, usually leads to enslavement in the neck and shoulders, and problems with the spine.

The guitar is one of the most “uncomfortable” musical instruments in terms of seating. Unlike the harp, piano, trumpet, violin and a number of other instruments, where the performer sits upright and his back is in a symmetrical position, the guitar dooms the guitarist to a landing that bends the upper body. Another cause of tension is a static position. In contact with our body, the guitar fetters us, the guitarist, as it were, “flows around” the guitar with his body, the body is tilted forward, which leads to an increase in the load on the spine. The constant inclination of the upper part of the body forward, the stooped stooped shoulders are a manifestation of poor posture, while the chest is compressed, the fulcrum of the body is shifted. As a result, the back is in a constantly tense state. Children usually immediately sit down incorrectly, and even if you constantly make comments to the student, he will react for a short time and change the landing to the usual one, the child cannot control the landing process on his own at first, since he has not yet developed the correct sensations. Therefore, the teacher must work out the correct fit as vital and comfortable for the student.

A talented teacher, violinist V. Mazel, paid great attention to these issues in his works, for example, in the work “The Musician and His Hands”, where you can learn a lot of useful things.

In order to help the child to master the instrument more easily, to feel his body, I also began to do some exercises with the children to develop the freedom of the hands, flexibility of the joints, strengthen the muscles of the fingers, and also relieve tension from the back muscles that often occurs during the lesson. These exercises can be called anything, the main thing is that the basic game form is preserved, and you can come up with an image yourself.

Usually any motor process consists of three phases: 1. action preparation (concentration of attention on certain muscle groups); 2.concrete action (muscle work itself); 3.relaxation after action. It is believed that the last phase is the most difficult to regulate. All exercises carried out with children are aimed at enabling the child to feel tension and relaxation, i.e. to develop "motor intuition" as V. Mazel calls it.

Today I will give a small number of examples of exercises that I do in class. In reality, the range is much more varied. At the moment, there is a lot of literature and it is not difficult to replenish your stock with new exercises.

"A new and broken doll» 1. Sit like a doll in a shop window (from 2-20 seconds) as in a shop window with a straight back, then relax for 5-10 seconds. Run several times.

2. The “doll” swings back and forth with a straight tense back, then the winding is over the doll stops - the back relaxes.

"Robot" or "Living Tree"- the body is relaxed and bent in half - the tree is sleeping, but small leaves are stirring (only fingers work), then larger branches are swaying (hands are working), then it connects the elbow, forearm and completely arms. We raise the torso up - the tree woke up and, raising our hands up, we do full circular movements, while breathing correctly. Up - inhale, down - exhale. When the “tree” falls asleep, we do everything in the reverse order”, “Robot” is similar to the “tree”, in terms of mood. Boys like to do the exercise about the robot more, and the girl about the magic tree. The child perceives his entire hand from the hand to the shoulder, this exercise gives him the opportunity to understand and feel all parts of the hand separately. At first it is difficult, but skills gradually come.

"Boxing" - with a full arm from the shoulder we strike in the air.

"Birds"- full hand depict the wingspan.

Now exercises for the development of motor abilities of the fingers. The hand of a musician is a creator, an instrument for expressing creative thought. But the hand, the area of ​​the hand-fingers, is the most unprotected in the system of hands and is most susceptible to overstrain. A teacher working with young children should pay special attention to the organization of the actions of the hand and fingers, since it is this part of the hand that forms the most subtle and precise movements, performing a huge amount of work to extract sound.

"Puppy" ("Kitten")- with soft movements with a round brush we depict how the puppy buries the bone. Very often, during the game, the child does not control the setting of the hand, or rather the hand, most often the muscles are clamped. I immediately remind you what a soft paw the kitten has, the reaction is immediate - the position of the hand is corrected, since the emotional background is close to the child.

"Binoculars" or "Glasses"- each finger in turn steps with a pad on the thumb. We can say that this binoculars removes the image according to the degree of transition of the fingers from the index to the little finger, and brings it closer in the transition from the little finger to the index.

"pipe" - like "Points" only simultaneously playing with both hands, as if on a pipe. Both exercises again help with setting the right hand.

"Octopus" - first he learns to walk with each leg (finger in turn), they march, then in pairs. Options can vary, from simple to complex: 1-2, 2-3, 3-4. 4-5; 1-4, 2-3; 1-3, 2-4. The exercise is very difficult, it doesn’t work right away, and you don’t need to demand its exact execution, it will get better and better with time.

"Hanger" - the child puts his fingers on the table, but with such a feeling that he hung his hands on them. Now you can freely shake your elbows. Compare: a hanger is a hand, fingers are a hook.

In the period without musical training, I still practice the following exercises:

When playing on open strings when fingering p-i-m-a, pronouncing the words of the song being performed, we alternately connect the fingers of the right and left hands, as if they were greeting.

The same can be done when playing on open strings when fingering

p-i-m-a-m-i. Thus, we concentrate the child's attention on the sequence of playing the finger. The main thing is that the verses should not be complicated, well-remembered, interesting to the child and suitable for the size of the play, that is, two or three quarters.

Fortunately, there are quite a lot of collections for classes on this topic now. Having tried many exercises in training, I select those that are acceptable to me. Recently I came across the most, in my opinion, the most convenient to use - "Musical gymnastics for fingers" St. Petersburg, 2008. Thanks to the compilers for the useful and interesting educational material.

Musical notation or I draw music.

I use a magnetic board in my practice. Insulating tape

I represent the musical staff. Multi-colored magnets serve as notes. We get acquainted with the strings and each string has its own color. At first, I let each child draw his own string with his own color, but then I became convinced that it was more convenient to help with his choice. Choosing a certain color, we immediately stipulate the pitch of the string. So the first string "mi" is yellow - bright as the sun, which is above all and the notes on it are the highest. The second string "si" is the blue sky, where the sun shines. The third string "salt" is green grass, it is lower than the sun and sky. The “re” string is a red fox, “la” is a purple or white puddle from which the fox drinks and all this is on black earth, the “mi” note is the sixth string, which is the lowest. And of course, draw a picture on this topic. We draw a lot at the initial stage. We transfer all impressions, new concepts, plays from the still obscure musical world to the more understandable world of drawing.

At first, in the donot period, the same colored magnets will help you play the simplest melodies when mastering the bass - 4, 5, 6 strings. For example, we take the well-known children's song “Rides, a steam locomotive rides”, the child plays bass (rhythm or pulse), lay out a sequence of strikes on the strings with colored magnets, and the teacher plays a melody. Practicing, not boring by the way, hitting the “r” finger on the strings. Songs are best performed in A - major, since the main functions T, D, S, fall on the open strings of the guitar. There are many verses in the song and the child will play it several times, in each verse an image of different animals is created that rides on a steam locomotive - bunnies that are without a ticket, a brave machinist puppy, ducklings. So the song includes not only a game moment, but the first acquaintance with the tempo, character and dynamics of the music being performed. At this time, it is still too early to demand phrasing, flexible nuances from the student, but he can express the general character, if not by playing, then in his usual way - by his voice. It is important that he himself chooses how to perform music and this is his artistic intention. Somehow, in a music store, I came across an author's collection by Vera Donskoy “I draw music” and “Draw music with a picture”, which also used a system of colored notes. This saved me the trouble of transcribing notes in my students' notebooks. The collections turned out to be interesting, bright and understandable for children. Now we take a piece for study, we analyze what string is played on and the child paints the notes in certain colors, which he reacts very well to during the game. In order not to get used to color and not to become helpless when writing in black and white, I also use simple songs from collections when playing the instrument, when the notes have already been learned. Very convenient in this sense is the author's collection of L. Ivanova "Plays for Beginners", as well as V. Kalinin "young guitarist".

If there are any difficulties with the musical text, we can lay out a separate difficult element of the piece on the board, visually the child learns the information better.

Also, when you first get acquainted with the guitar, on the back of the board, and they are usually double-sided, you can also make tablature with an insulating tape. And while playing on open strings, put magnets according to the string and its color, you can make the tablature color.

The magnetic board helps in solving many issues. Studying the scale, you can lay it out with notes of two colors, for example, red and green. There can be many options for determining the color, for example:

1. red-green in turn, we sing a scale, the red notes are sung by the teacher - the green student, and vice versa;

2. we lay out the scale of two identical notes at once green, green - red, red: we sing two notes in turn by color or up the teacher sings one color, down they change colors;

3. we build a scale from “do” to “do” - sing it, then move one note up and sing already from “re” to “re”, from “mi” to “mi” and so on.

Also, when introducing the concepts of pitch, you can put two notes per octave on the board, for example, “to” the first octave and next to “to” the second octave, we sing up to the word “E-ho”, reaching out with your voice from the bottom up and to the word “ U-pal" from top to bottom. Usually "Echo" from top to bottom is not very good for children.

There will be as many options as your imagination tells you.

Metro - rhythmic pulsation.

Of course, this important work, the development of the metro - rhythmic feeling, must be started from the first lessons. I mostly follow standard patterns. I will not rewrite well-known dogmas for everyone. Exercises for reading poetry, clapping the rhythm are simply a must. I explain what a pulse is, how it differs from a rhythm. Of course, a comparison from life helps - the mother walks smoothly, her steps are large, and the baby next to her, in order to keep up, takes two steps.
Once, while clapping the rhythm of a poem about soldiers, my student and I decided to march, but it turned out that it was difficult for a child to control his legs and arms at once. So, along with clapping, I began to use the stomping of verses.

When preparing the solution of one problem, it is necessary to think over how it will work on the solution of subsequent ones. Only in this case it can be considered that the time of the initial stage of training was fully used.

Miscellaneous little things in or "the wind playing in the strings."

I thought for a long time how to designate the next series of questions - fingering, the words that I use in the lesson in the conversation of children, in general, all those little things, without which it is sometimes impossible to explain to the child, things that are elementary for us and not entirely clear to him. You be the judge, but we are very comfortable with our little secrets and new magic words. Of course, this is not my “know-how”, and every teacher, if he wants to achieve results, comes up with his own little tricks. Here are ours:

for a small child, finger markings, that is, fingerings, are just dead sounds. In the left hand there are numbers and everything is somehow clear with them, but what is “p-i-m-a”, especially if you don’t learn a foreign language ?! For a little man, mom and dad are the main people and he perceives their social roles very well. That's why:

"p" - dad

"I" - and

"m" - mother

"a" -a me?

So we marked the fingers on the right hand. It becomes very clear why the thumb of the right hand is always in front - because "Dad" is the strongest and most important. The first experiments with taking two sounds at the same time are also simplified with this terminology. For example: if we take the sound with the fingers "p" and "m" - this is dad-mom, etc. Moreover, when taking two sounds (and more - a chord) it is immediately violated, the already well-built setting of the right hand when playing one sound in turn. Usually, the movement of the brush goes to the side - not right. In order to draw the student's attention to this moment, I usually say that we are playing "Zhadina",

that is, we take the whole sound into the palm of our hand, towards ourselves, “we are greedy”, and not “throw out” it to the side.

Often there are problems in the left hand - in putting the finger on the fret. Children, as a rule, put it on the beginning of the fret, and not to the nut. I explain that the neck is a ladder, in order to jump from step to step, you need to stand closer to the edge. At first, of course, we often remember about the “song on the ladder”, but gradually the student gets used to it and the hand is in the correct position, close to the position of the position.

Conclusion.

In conclusion, I would like to say that when working with children of preschool or primary school age, one often has to invent new forms of education. But this is what is interesting - the search and solution of problematic issues. After all, the main task is to make learning on the instrument alive, interesting, exciting and useful. And the emotionality, enthusiasm and openness of the child will make you true gratitude. Not yet spoiled by the thought of “what others will think”, children, as a rule, communicate very directly with you in the lesson, sometimes striking with the novelty of their thought, the impression of the lesson, or simply confusing you with their question. Of course, each teacher decides for himself "what" and "how" to teach his pupils, but you need to remember that a lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation, where the teacher plays a dominant role. And it is the teacher who, having created his own original system of education and upbringing, will be able to take into account and develop individual capabilities. student will give the child the opportunity to most widely realize his creative abilities, teach him to think outside the box in the future.

And the last thing……Having thought to put my little findings on paper, I realized that it is much more difficult than just working from lesson to lesson. In the course of preparation, I read so much literature of a musical and pedagogical orientation, much forgotten was resurrected in my memory, new knowledge appeared, that now I say: “It’s not in vain!” How much experience has been accumulated over the centuries, how much we still do not know. If my work is useful to someone, I will be very happy. I do not pretend to originality, because “everything new is well forgotten old” and of course, “No rule or advice given to one can suit anyone else if these rules and advice do not pass through the sieve of his own mind and are not subjected to this such modifications as will make them suitable for the occasion." With these words of the brilliant pianist of the 20th century I. Hoffmann, I will finish my work.

Bibliography:

1. Donskikh V. "I draw music", "Composer", S-P, 2006.
2. Zhukov G. N. Fundamentals of general professional pedagogy. Tutorial. Moscow, 2005.
3. Intelson LB Lectures on General Psychology. "AST Publishing House", M. 2000
4. "How to teach to play the guitar" Publishing house "Classics XX1", M. 2006
5. Kogan G. "At the gates of mastery" Soviet composer, Moscow, 1977
6. Kozlov V. "Little secrets of the Senorita Guitar", CJSC "Typography Avtograf", Chelyabinsk, 1998
7. Mazel V. "Musician and his hands" book one, "Composer" S-P.2003.
8. Mazel V. "Musician and his hands", book two, "Composer" S-P.2006.
9. "Musical gymnastics for fingers" St. Petersburg, 2008.
10. Pedagogy of creativity. issue 2, "Union of Artists", S-P. 2004
11. Smirnova G.I. Guidelines. Intensive piano course. "Allegro", M., 2003
12. Urshalmi I. "The Way to Freedom", Musical magazine "Guitar" No. 1, 1991.
13. Shipovalenko I.N. "Age-related psychology", "Gardariki", 2005
14. Yudovina-Golperina T.B. "At the piano without tears, or I am a children's teacher" "Union of Artists" St.P., 2002.
15. Yanevich S.A. "Let's play" The development of musical abilities in children 4-6 years old. "Union of Artists", S-P., 2007.

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1 Department of Culture of the Administration of the Stary Oskol City District Municipal Budgetary Educational Institution of Additional Education for Children "Children's Music School 5" Methodological report on the topic: "Development of basic technical skills and abilities among students in the lower grades of the guitar" Guitar teacher Novikova Irina Viktorovna Stary Oskol 2013

2 Education, training, musical development of students is based on reasonable, time-tested methods. In different periods, they are changed, supplemented, corrected. Only the ultimate goal of education remains unchanged - the education of competent music lovers. At the same time, it is necessary to educate all children professionally, regardless of whether music becomes his profession or musical education ends with the receipt of a school leaving certificate. Musical education should be put on a professional basis. It should also be noted that modern children differ from those that we taught before, not only in their musical abilities, but also in their character, behavior, attitude to work, as well as a large workload in a comprehensive school and all kinds of additional classes. Among these children there are also musically gifted, but the bulk are children with average musical abilities. This does not mean that such children should not be taught music. In my opinion, everyone should be taught. Music lessons, whether they are successful or not, bring great benefits not only to the child who is learning, but also to the adults around him. First of all, classes discipline everyone, accustom them to patience, work, and the ability to plan their time. Over time, musical abilities develop: hearing, rhythm, memory. But the most important thing is that the child learns to love and understand the language of music. The questions of mastering the technique by students is part of the complex education of the guitarist. Technical work does not oppose general musical development. Techne - translated from ancient Greek, means craft, art, skill. The necessary technical skills - finger fluency, coordination of movements, the ability to choose a rational fingering, a variety of sound production techniques, etc. - are acquired through careful,

3 systematic work. Therefore, from the very beginning, the child must be taught to realize that music lessons are not fun, but hard work. Work on the technical development of a student begins from the very first lessons, starting with landing, organizing a gaming machine and educating a motor culture. One of the main shortcomings in the technical development of the student is the tightness and stiffness of the apparatus. It is necessary to proceed from the natural, i.e. comfortable hand position. Hands should be free, but not lethargic and weak-willed, and freedom of hands has nothing to do with laxity. A small child, not knowing how to use the weight of the hand, overcomes the weakness of the fingers by pinching the hand, while shaking occurs and unnecessary movements appear. Fingers require daily exercise. The development of technology is carried out not only on the basis of works of art, but also on special instructive material. At the initial stage of training, exercises can provide significant assistance in the development of various motor skills by students. There are a lot of exercises. They are convenient in that both the teacher and the student can fantasize, change them, leaving only the ultimate goal of the exercise unchanged, for the sake of which this exercise is given. It is very valuable when a student shows his imagination. For example: changes the mode, the ending of the exercise, the rhythmic pattern, the dynamics, and so on. Recently, especially often children come with very weak, undeveloped finger muscles, who are not able to hold the finger of the required shape. In this case, to avoid overload, you need to give up deep sound for a while. Attention should be paid to external and internal tension - muscular and mental. Many famous guitarists and guitar teachers (for example: N.A.

4 Komoliatov E. Puhol, A. Segovia, R. Evers and others) have developed their own systems of exercises for the development of impeccable playing technique. The training programs for the guitar class provide for technical tests, which are held throughout the course of study twice a year in the I and IV quarters. As a rule, the technical examination consists of listening to one etude and one scale. Preparation for passing technical tests and exams takes place in the classroom at the school, where students individually, together with the teacher, study the repertoire and solve the technical difficulties that have arisen within it. The knowledge gained at school students consolidate at home on their own. According to the curriculum, two academic hours per week for each student are allotted for classes on a special instrument in children's music schools and children's art schools. This is how the educational process for learning to play the guitar is organized in a modern music school. Work on the technical development of students takes place almost entirely within the framework of the repertoire they study. The exception is scales, the development of which is extremely important in the musical and technical development of schoolchildren. But they are studied separately from musical works, and guitar students themselves, as a rule, do not take this type of activity very seriously. do not see a positive result in it in the short term. The teacher should pay attention to the fact that classes aimed at the development of performing technique are of a developmental nature and are not solely for the sake of one technique. Here, a creative and individual approach is especially important. The time spent by students on working on performing techniques should be planned in advance, covering all its main types. But in general, it should not exceed 20-30% of the total time spent playing the instrument. Otherwise, technique may begin to take precedence over

5 artistic content of a musical work and cease to contribute to the disclosure of its image. The technical improvement of student guitarists should include work on the performance of: 1. arpeggio; 2. intervals and chords; 3. scale passages; 4. tremolo; 5. technical legato and melismatics. At each lesson, it is advisable to consider in detail one of the specific performing techniques, and then, in order to acquire a stable skill, students should work it out on their own at home until at least the next lesson, i.e. one week. It is very useful from time to time to return to the material covered. But work on the technique of performance should always be cyclical, like a spiral, when the return to previously learned techniques occurs with constant complication. All exercises should be played at different tempos, loudly and clearly. Mechanical uncontrolled repetitions should be avoided. According to internal sensations, one should strive to ensure that in the process of sound production all energy or force is directed to the last phalanx (very tip) of the finger (this is especially true for the right hand, in the case of the left hand, the barre technique is an exception), provided that all muscles are relaxed body. If in the process of training in any part of the body (muscle or muscle group) there is a clamp, then further technical growth will be slowed down or even stopped. The specifics of technically developing exercises for primary and secondary school students have significant differences. Let's briefly consider them: 1. Arpeggio alternately extracting sounds. All work on the development of the technique of novice guitar players should be aimed at forming the foundations of a performing "school". This is facilitated by the study and performance of various arpeggios. On the

At the initial stage, it is better to use arpeggios on open strings from A. Gitman's collection “Initial training on a six-string guitar”. The "School of Playing the Six-String Guitar" by Matteo Carcassi offers 22 exercises for different types of arpeggios. Emilio Pujol offers a number of exercises for ascending and descending arpeggios in his "School of Playing the Six-String Guitar": - from three sounds 29-32; - out of four sounds 85-90; - of six sounds In the above-mentioned collections, in addition to exercises, there are a large number of Etudes and Preludes for this type of technique: - M. Carcassi Preludes (e), (C); - M. Giuliani Etude 5, op. 48, "Brook"; - E. Puhol Etude "Bumblebee"; 2. Intervals and Chords The study of the technique of playing intervals and chords is recommended to be introduced at the initial stage of learning. A number of exercises by A. Gitman, M. Karkassy, ​​P. Agafoshin are proposed in the collection "Initial training on the six-string guitar" by A. Gitman. In the "School of playing the six-string guitar" by Emilio Pujol, these are exercises with This type of technique is widely used in Andantino, Allegretto, Preludes and Waltzes by F. Carulli, M. Carcassi. 3. Scales Further, as the positioning of hands stabilizes and the musical and technical development of elementary school guitarists, you can start working on scales, starting conveniently with chromatic sequences on different strings. It is best to play the scales using the “apoyando” technique and use the typical fingering of A. Segovia, but try not to allow “crossing” in the fingering. Gamma follows

7 play in various rhythmic arrangements (duols, triplets, quartoles, dotted rhythm). The purpose of scales is to align the fingers, and this requires constant auditory control. When playing scales, you need to learn how to produce sounds of even strength, carefully controlling the sound in terms of rhythm and dynamics. Work on scales plays an important role in the development of hand coordination, which is the key to motor-technical freedom. Exercises to prepare the fingers for playing scales are offered in the "School of Playing the Six-String Guitar" by Emilio Pujol. Scale passages are widely used in the works of both classical guitarists and modern authors. 4. Tremolo The most striking technique of playing the classical guitar. It sounds very impressive, because in addition to the main melody on the first strings, bass accompaniment also sounds at the same time - this is the main difficulty when working on it. Not many people can play tremolo in such a way that two-voice sounds clearly - two instruments (duet). The tremolo technique is best practiced with short drills to get the fingers started. In the 2nd part of the collection "The Artistic Technique of the Guitarist" by E. Shilin, twelve special exercises are offered. You need to work on them for at least 15 minutes daily. The exercises are arranged in ascending order, from easy to difficult, and therefore tremolo, if you work on it daily, will gradually improve. You need to take each subsequent exercise only when the previous one is well worked out. The fingers of the right hand must learn to make sounds in very economical, short movements. The thumb of the right hand has a very important and subtle role. On the one hand, he is a member of the tremolo melodic line and extracts the first sound in a grouping of 4 notes, and on the other hand, he is the main and only performer

8 accompaniments. Therefore, it must adapt very harmoniously to both the melody and the accompaniment. When you play tremolo, you need to pay attention to both the soloist, who "sings" a beautiful melody (these are p-a-m-i fingers), and the accompanist - the finger (p), which not only helps with chord sounds, but also keeps the rhythm of the piece. List of pieces with tremolo technique: - M. Carcassi - Etude (Am) -M. Vysotsky - Russian melody (Am or Gm) - H. Vinyas - Fantasy (E) -Fr. Tarrega - Remembrance of the Alhambra (Am) - Fr. Tarrega - Dreams (E) - A. Ivanov-Kramskoy - Dreams (D). 5. Technical legato and melismatic Legato exercises develop the strength of the fingers of the left hand, but it should be remembered that legato is still a specific technique. Finger movements with legato are sharper than with normal playing. Legato can sometimes be used to facilitate the actions of the right hand in scale passages, in some arpeggios, but its main purpose is coloristic. Legato playing gives the performance a unique sound coloring. With regard to the study of technical legato and melisma in the lower grades, the teacher should especially carefully control the execution of the ascending legato, and when working on melismas, one should limit himself to the performance of various grace notes and short trills on one string in a standard position without chord accompaniment. Exercises for different types of legato are developed in great detail in the “School” by E. Pujol. This type of technique is found in Andantino, Allegretto, M. Carcassi., Etude 13 op. 100 M. Giuliani, Etude (exercise 99) E. Pujol.

9 The foundation of technology is laid at school. The acquisition of movement technique is associated not only with the development of physical and mental properties, but also with auditory development, with the ability to feel the living pulse of the movement of the musical fabric, with the brightness of figurative representations. Etudes for the development of technique activate the fingers, bring up their lightness, clarity, and mobility. It should be said that not only etudes, but also any piece is an exercise and can be of great benefit if the student shows interest and love for it. It is necessary to achieve flexibility and plasticity of movements with minimal effort and energy saving, make sure that unnecessary muscles are not connected and there is no shaking. Prepare a convenient position in advance, and not at the last moment. Insufficient attention to sound, tenacity and support of the fingertips does great harm not only to musical expression, but also to technical clarity. The technical development of the student must be inextricably linked with the musical and sound. At various stages of training, one or the other tasks are put forward in the foreground. Musically - aesthetic tasks in relation to etudes relate to the quality of sound, evenness of sound, timbre, tempo. It is necessary to accustom the child to constant auditory control. It is impossible to be busy only with technical problems, to play mechanically without activating the hearing, but to a small child. it is hard enough to hear small irregularities in the passages. It is necessary to instill taste even in the most mediocre students, to develop a sense of proportion in performance, to instill a "culture of sound", a careful attitude towards it. The timbre of the sound, its coloring depends on the particular work. He will also determine the articulation, respectively, and the reception of the game. It is also necessary to avoid variegated articulation. The main goal of technical development is to provide conditions for the best realization of musical tasks. The propulsion system must

10 to be subordinate to the performing will, and the technical apparatus - to the musical embodiment of the image. The work of a guitarist requires both physical and mental stress, the development of sonic imagination. The convenience of movements, their accuracy, free fit, mastery of a good sound, musical performance, as a rule, instill in the student a love for playing the guitar, which in itself is a very important condition for his further success. The creative development of the child is one of the most important tasks of pedagogy. It is closely connected with art and, in particular, with specialty lessons at a music school. These lessons help develop various creative skills of children in perception, composition, performance, improvisation, thinking not only about music, but also about life. Optimization of imagination, fantasies, selection of bright, emotional and colorful musical material are the basic guidelines in the formation of a creative personality. A specialty lesson is an art lesson addressed to the inner world of a child, and creativity is a guide to the accumulation of rich personal potential. Bibliography. 1. V.G. Borisevich “Optimization of the musical and technical development of guitar students at the initial stage of musical education (article). 2. Gitman A. Initial training on a six-string guitar. M., Ivanov-Kramskoy A. School of playing the six-string guitar. M., Carcassi M. School of playing the guitar. M., Puhol E. School of playing the guitar. M., Shilin E. School of playing the guitar. Part 2 "Artistic technique of the guitarist" M., 2001.

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