Musical dictation. Methods of musical dictation and various forms of its implementation

Musical dictation is one of the most important, responsible and complex forms of work in a solfeggio lesson. It develops the musical memory of students, contributes to the conscious perception of the melody and other elements of musical speech, and teaches to write down what they hear.

In the work on the musical dictation, all the knowledge and skills of students are synthesized, the level of their auditory development is determined. This is a kind of result of the entire learning process, because it is in dictation that the student must show, on the one hand, the level of development of musical memory, thinking, all types of musical ear, and on the other hand, certain theoretical knowledge that helps him correctly write down what he hears.

The purpose of the musical dictation is to cultivate the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.

The main tasks work on the dictation can be called the following:

• to create and consolidate the connection between the visible and the audible, that is, to teach the audible to make visible;
• develop musical memory and inner ear of students;
• serve as a means to consolidate the theoretical and practical skills of students.

The process of recording a dictation requires the development of special, special skills, and therefore, before starting this form of work, the teacher must be sure that the students are very well prepared for it. It is advisable to start recording full-fledged dictations only after a certain preparation, the duration of which depends on the age, degree of development and susceptibility of the group. The preparatory work, which lays down the fundamental base of skills and abilities for students, providing in the future the opportunity to competently and painlessly record musical dictations, should consist of several sections.

Mastering musical notation.

One of the most important tasks of the initial period of study in the solfeggio course is the formation and development of the skill of “quick recording” of sounds. From the first lessons, students should be taught the correct graphic notation of notes: in small circles, not very close to each other; monitor the correct spelling of calms, accidentals.

Mastering durations.

It is an absolutely indisputable fact that the correct meter-rhythmic design of a melody presents an even greater difficulty for students than its direct musical notation. Therefore, the “rhythmic component” of the dictation should be given special attention. At the initial stage of training, it is very important that students simply master the graphic image and the name of each duration well. In parallel with the assimilation of the graphic representation of durations and their names, one must also work on the direct awareness of long and short sounds. After the names and designations of durations are well learned, it is necessary to start mastering the concepts bar, beat, meter, rhythm, time signature. As soon as the children have realized and mastered these concepts, it is necessary to introduce the practice of conducting. And only after all this work should one begin to explain the splitting of shares. In the future, students will get acquainted with various rhythmic figures, and for their better mastery, these rhythmic figures must be introduced into musical dictations.

Rewriting notes.

In the first grade, a simple rewriting of notes seems to be very useful. The rules of musical calligraphy are simple and do not require such detailed study as the spelling of letters. Therefore, all exercises related to the correct recording of musical texts can be transferred to homework.

Mastering the order of notes.

At the first stage of learning, auditory assimilation of the order of notes is also very important. A clear understanding of the musical sequence up and down, awareness of a single note in relation to others, the ability to clearly and quickly calculate the notes in order, through one or two - this, in the future, is the key to a successful and competent recording of a full-fledged dictation. Practice shows that mere memorization of notes is not enough. It is necessary to bring this skill to the level of automatism, so that the child perceives and reproduces notes, almost without thinking. And this requires constant and painstaking work. Various teasing games, repeaters and all kinds of echoes help here. But sequences provide the most invaluable help in this work.

Working on comprehension and auditory perception steps seems to be one of the most important in developing the skill of recording musical dictation. Work on the steps should be carried out constantly, at each lesson, and be carried out in different directions. The first is the ability to think in steps. It is very important at first to develop the ability to quickly and accurately find any individual step in the key. Here again, sequences can help - chants that are memorized over several lessons to automatism. It is very helpful to sing the step sequences; also a good help in such a fast stepwise orientation is the singing of the steps according to the hand signs and the Bulgarian column.

melodic elements.

Despite the huge variety of melodic material, there is also a fairly large number of standard turns in music, which are often repeated, are perfectly isolated from the context and are recognized both by ear and by analyzing the musical text. Such revolutions include scales - trichord, tetrachord and pentachord, movement from introductory tones to tonic, singing, auxiliary notes, as well as various modifications of these revolutions. After getting acquainted with the basic melodic elements, it is necessary to develop in students a quick, literally automatic recognition of them both in the musical text in sight reading and in auditory analysis. Therefore, melodic turns by ear, and sight-reading exercises, and dictations of this period should contain as many of these elements as possible or simply consist of them.

Very often the melody moves along the sounds of chords. The ability to isolate a familiar chord from the context of a melody is a very important skill that students need to develop. Initial exercises should focus on purely visual and auditory perception of the chord. Invaluable help in memorizing the melody of chords is provided by small chants in which the desired chord is sung and called at the same time.

As you know, the biggest difficulty in recording a dictation is caused by jumps. Therefore, it is necessary to work them out as carefully as other melodic elements.

Form definition.

The work of defining, understanding the musical form is of great importance for the successful recording of a musical dictation. Students should be very well versed in the location of sentences, cadences, phrases, motives, as well as in their relationship. This work should also start from the first grade.

In addition to all this preparatory work, some forms of tasks are very useful, directly preparing the recording of a full-fledged dictation:

Recording from memory a previously learned song.

Mistake dictation. The melody “with an error” is written on the board. The teacher plays the correct version, and the students must find and correct the errors.

Dictation with passes. A fragment of the melody is written on the board. Students should hear and fill in the missing bars.

The melody is written on the board in the form of a step track. Students, listening to the melody, write it down with notes, correctly arranging rhythmically.

Recording of ordinary rhythmic dictations.

Note heads are written on the board. Students must correctly arrange the melody rhythmically.

So, summing up all of the above, we can conclude that in the first grade the main, basic skills of recording musical dictation are laid. It is the ability to “listen” correctly; memorize, analyze and understand musical text; the ability to comprehend it graphically and write it down correctly; the ability to correctly identify and realize the meter-rhythmic component of the melody, clearly conduct it, feeling the pulsation of the beats and being aware of each beat. All further work is reduced only to the development of these basic skills and the complication of theoretical material.

Forms of dictation may be different. When recording a dictation, it is important to choose the form of work that is most suitable for mastering this melody.

The dictation is exemplary.

Demonstrative dictation is conducted by the teacher. Its purpose and task is to show the recording process on the board. The teacher aloud, in front of the whole class, tells the students how he listens, conducts, sings a melody and thereby realizes it and fixes it in musical notation. Such a dictation is very useful before moving on, after preparatory exercises, to self-recording, as well as when mastering new difficulties or varieties of dictations.

Dictation with preliminary analysis.

With the help of a teacher, students determine the mode and tone of a given melody, its size, tempo, structural moments, features of a rhythmic pattern, analyze the pattern of development of a melody, and then proceed to recording. The preliminary analysis should take no more than 5 - 10 minutes. It is more expedient to use this form of dictation in elementary grades, as well as when recording melodies in which new elements of the musical language appear.

Dictation without preliminary analysis.

Such a dictation is recorded by students within a set time, with a certain number of plays. Such dictations are more appropriate in the middle and senior grades, i.e. only when students learn to analyze the melody on their own.

Oral dictation.

Oral dictation is a small melody built on melodic turns familiar to students, which the teacher plays two or three times. Students repeat the melody first on any syllable and only then sing the dictation with the name of the sounds. This form of dictation should be used as widely as possible, since it is oral dictation that helps students to consciously perceive individual difficulties of the melody and develops musical memory.

“Self-dictation”, a recording of familiar music.

For the development of inner hearing, students should be offered a “self-dictation”, a recording of a familiar melody from memory. Of course, this form will not replace a full-fledged musical dictation, since there is no need to embrace and memorize new music, that is, the student's musical memory is not trained. But for working on a record based on internal hearing, this is a very good technique. The form of "self-dictation" also helps to develop the creative initiative of students. This is a very convenient form for independent, homework, for training in the recording.

Control dictation.

Of course, in the learning process there should also be control dictations that students write without the help of a teacher. They can be used at the end of work on a specific topic, when all the difficulties of the dictation are familiar to the children and well learned. Usually this form of dictation is used in control lessons or exams.

Other forms of dictation are also possible, for example, harmonic (recording of the listened sequence of intervals, chords), rhythmic. It is useful to write down melodies previously read from a sheet. It is useful to learn the written dictations by heart, transpose them into the passed keys, select accompaniment for the dictations. It is also necessary to teach students how to write dictation in different registers, both in treble and bass clefs.

Choice of musical material.

In working on a musical dictation, one of the most important conditions is the correct choice of musical material. The musical material for the dictation can be melodies from musical literature, special collections of dictations, and also, in some cases, melodies composed by a teacher. The teacher, selecting material for dictation, must first take care that the music of the example is bright, expressive, artistically convincing, meaningful and clear in form. The selection of just such musical material not only helps students to remember the melody of the dictation more easily, but also has a great educational value, broadens the horizons of students, enriches their musical erudition. It is extremely important to determine the difficulty of an example. Dictations should not be too difficult. If students do not have time to comprehend, remember and write the dictation or write it with a large number of errors, then they begin to be afraid of this form of work and avoid it. Therefore, it is preferable that dictations be simpler, but there should be a lot of them. The complication of dictations should be gradual, imperceptible to students, strictly thought out and justified. It should also be noted that when selecting dictations, the teacher must apply a differentiated approach. Since the composition of groups is usually “variegated”, difficult dictations should be alternated with easier ones so that weak students can also complete the recording, while in complex dictations this is not always available to them. When choosing musical material for a dictation, it is also very important that the material be distributed in detail by topic. The teacher must strictly think over and justify the sequence of dictations.

Dictation performance.

In order for the student to be able to fully and competently record on paper what he heard, it is necessary that the performance of the dictation be as perfect as possible. First of all, you should execute the example competently and accurately. No underlining or highlighting of individual difficult intonations or harmonies should be allowed. It is especially harmful to emphasize, artificially loudly tapping, a strong beat of the measure. First, you should perform the passage at the present tempo indicated by the author. In the future, with repeated playback, this initial tempo usually slows down. But it is important that the first impression is convincing and correct.

Fixation of musical text.

When recording music, the teacher should pay special attention to the accuracy and completeness of students' recording on paper of what they heard. In the process of recording the dictation, students should: write notes correctly and beautifully; arrange leagues; mark with caesuras phrases, breath; distinguish and designate legato and staccato, dynamics; determine the tempo and character of the musical example.

Basic principles of the dictation recording process.

Of great importance is the environment that the teacher creates before starting work on recording the dictation. Experience says that the best environment for working on a dictation recording is to create interest in what the students are about to hear. The teacher needs to arouse interest in what will be played, to concentrate the attention of students, and perhaps to defuse tension before such difficult work, which children always perceive as a kind of “control”, by analogy with dictation in a secondary school. Therefore, small “conversations” about the genre of the future dictation are appropriate (if this is not an obvious hint of the metro-rhythmic component), the composer who composed the melody, and the like. Depending on the class and level of the group, it is necessary to choose melodies for the dictation that are available according to the degree of difficulty; set recording time and number of playbacks. Usually a dictation is written with 8-10 plays. Fret tuning is required before starting recording.

The first play is introductory. It should be very expressive, “beautiful”, with an appropriate tempo and dynamic shades. After this playback, you can determine the genre, size, character of phrases.

The second playback must come immediately after the first. It can be done more slowly. After it, you can talk about specific harmonic, structural and metro-rhythmic features of music. Talk about cadences, phrases, etc. You can immediately invite students to complete the final cadenza, determine the location of the Tonic and how the melody approached the Tonic - scale-like, abruptly, with a familiar melodic turn, etc. Such a beginning of the dictation “in reverse” is justified by the fact that the final cadenza is precisely the most “remembered”, while the entire dictation has not yet been deposited in memory.

If the dictation is long and complex, if there are no repetitions in it, then the third playback is allowed to be divided in half. That is, to play the first half and analyze its features, determine the cadenza, etc.

Usually, after the fourth playback, the students are already quite oriented in the dictation, they remember it, if not in its entirety, then at least in some phrases. From this moment on, the children write the dictation practically from memory.

The break between plays can be made longer. After most of the children have written the first sentence, they can only play the second half of the dictation, which is left over from the unfinished third play.

It is very important not to allow the dictation to be “shorthand”, so each time you play it, you need to ask the students to put down their pencils and try to remember the melody. A prerequisite is conducting when playing and recording a dictation. If a student finds it difficult to determine the rhythmic turn, it is necessary to make him conduct and analyze each beat of the measure.

At the end of the allotted time, you need to check the dictation. The dictation also needs to be evaluated. You can even not put an assessment in a notebook, especially if the student did not cope with the work, but at least verbally voice it so that he can realistically assess his skills and abilities. When assessing, it is necessary to orient the student not to what he did not succeed, but to what he coped with, to encourage for each, albeit small, success, even if the student is completely weak and dictations are not given to him due to natural features.

Considering the psychological aspects of organizing the process of recording a dictation, one cannot ignore the important point of the location of the dictation in the solfeggio lesson. Along with such forms of work as the development of vocal-intonation skills, solfegging, determining by ear, writing a dictation is given more time, and it is usually attributed to the end of the lesson. Dictation, saturated with complex elements, leads to a deformation of the lesson, as it takes a lot of time. Students' lack of confidence in their abilities leads to a loss of interest in dictation, a state of boredom may occur. In order to optimize the work on musical dictation, it is better to do it not at the end of the lesson, but in the middle or closer to the beginning, when the students' attention is still fresh.

The time for recording the dictation is set by the teacher, as already mentioned, depending on the class and level of the group, as well as depending on its volume and the difficulty of the dictation. In the lower grades (grades 1, 2), where small and simple melodies are recorded, this is usually 5-10 minutes; in seniors, where the difficulty and volume of dictations increase - 20-25 minutes.

In the process of working on the dictation, the role of the teacher is very responsible: he is obliged, working in a group, to take into account the individual characteristics of each student, guide his work, and teach him how to write a dictation. Just sitting at the instrument, playing the dictation and waiting for the students to write it on their own, the teacher should not. It is necessary to periodically approach each child; point out errors. Of course, you cannot directly suggest, but you can do it in a "streamlined" form, saying: "Think about this place" or "Check this phrase again."

Summing up all of the above, we can conclude that dictation is the form of work in which all the existing knowledge and skills of students are applied and used.

Dictation is the result of knowledge and skills, which determines the level of musical and auditory development of students. Therefore, in solfeggio lessons at a children's music school, musical dictation should be a mandatory and constantly used form of work.

List of used literature

1. Davydova E. Methods of teaching solfeggio. - M .: Music, 1993.
2. Zhakovich V. Getting ready for the musical dictation. - Rostov-on-Don: Phoenix, 2013.
3. Kondratyeva I. One-voice dictation: Practical recommendations. - St. Petersburg: Composer, 2006.
4. Ostrovsky A. Methodology of music theory and solfeggio. - M.: Music, 1989.
5. Oskina S. Musical Ear: Theory and Methods of Development and Improvement. – M.: AST, 2005.
6. Fokina L. Methods of teaching musical dictation. - M .: Music, 1993.
7. Fridkin G. Musical dictations. - M.: Music, 1996.

M.: Muzyka, 1983. Textbook for students of children's, evening and secondary special schools from grades 1 to 11. Compiled by: I. A. Rusyaeva

This collection is the first part of a textbook on monophonic musical dictation, consisting of two issues and designed for use in the course of solfeggio in secondary specialized music schools from the first to the eleventh grade. This manual is based entirely on the methodology developed and tested in the practice of teachers of the Central Secondary Special Music School at the Moscow State Conservatory. P. I. Tchaikovsky. At its core, this is a traditional technique based on the tonal awareness of music, and this determines both the selection of material and its systematization, as well as the forms of work used in the manual and the types of difficulties studied (intonational, rhythmic, structural).

When working on a dictation according to our methodology, the main goal is to teach how to correctly determine modal intonations and confidently understand them. This requires long and painstaking work, not only in the classroom, but also at home. (The same applies to identifying intervals and chords by ear.)

The manual is compiled in accordance with the requirements for special music schools. During the first four years of being at school (the initial period of study), children should learn to freely navigate in keys up to four signs inclusive (although theoretically they are supposed to know all the keys): be able to quickly and accurately determine individual steps, as well as individual intervals and chords (in tonality and breakdown), be able to identify by ear or sing a small sequence of steps, as well as a small interval, chord or mixed chain (you need to be able to reproduce such a chain with your voice after listening and parsing or build it digitally); be able, after two (no more) listenings, to sing - with the names of sounds - a melody in the form of a four-bar sentence (and if such a melody ends unstable - with a "question" - then, repeating it, immediately sing the "response" construction).

It is absolutely necessary to achieve from each student the ability to correctly record a dictation of any kind (rhythmic, melodic or harmonic) and do this within a strictly limited period of time. Such baggage is developed in children only as a result of a certain set of carefully thought-out exercises. It is for this purpose that this collection includes various types of dictations, and special exercises for oral training in the classroom (in the Appendix) - the most important requirement of our methodology is a harmonious combination of different forms of work.

All dictations in the manual are arranged according to the principle of increasing difficulties - in accordance with the program. The teacher can change some topics (for example, you can first go through a rhythmic topic, and then intonation and vice versa; this is not essential for passing the program). Most of the dictations were composed by the author, which made it possible to build a collection of clothes in detail in a methodological plan, to reflect all the subtleties of the difficulties being worked out and to make all sections equivalent in volume. All author's dictations have been repeatedly tested in practice in groups of different composition and level. The rest of the dictations are taken from the works of composers from different eras, from folk music and from children's songs. Relatively abundant material on each topic will enable the teacher to choose those dictations that are more suitable for him at the moment.

The exercises given in the Appendices, according to the author, should be the same for children involved in solfeggio, as scales and etudes are for instrumentalists, allowing them to develop the necessary technique. The exercises of the first two sections of the Appendix were compiled by the author. As for the last section, all of its material is specially selected from folk songs and children's songs, among which there may be melodies familiar to children in kindergarten or from choir classes - and this will make the lessons livelier and more interesting (besides, always you can compare the phrases composed by the children with the original source and analyze all the options).

Wishing to fully reflect the work on the dictation in the manual, the author includes in the collection all its known forms: oral (two types), written rhythmic and written melodic.

Oral dictation is especially often used at the initial stage of education. He has an important place, since it is in this type of dictation that the development of such qualities necessary for a musician as a quick memorization of a melody played two or three times, speed of reaction, concentration of attention, free orientation in harmony is practiced (in most cases, the melody must be sung with the names of sounds) ; the skill of memorizing a melody is developed by comprehending the details of its components (sequences, repetitions - accurate or varied, familiar intonation turns). Of course, all this does not come at once and long and hard training is necessary to achieve the desired effect.

Oral dictation is also convenient because it takes little time and allows you to interview all or most of the group in a short time. The emphasis on this type of dictation is made in the first grade (in the first half of the year this is the only type), in the next three classes, work on it is carried out in parallel with other equally important types of dictation. (In middle and high school, there is no need for oral dictation, since it no longer brings the desired effect.)

Oral dictation can be done in different ways. It is presented in the manual in two forms. The first (in the main part of the collection) is the repetition by voice (usually with conducting and with the name of sounds) of the melody, after the teacher plays it. The second form (to which we attach great importance) is the same repetition of the melody, played partially and ending unstable (“question”), and its completion by the student, with the condition of bringing it to the tonic. Such exercises (included in the Applications) are widely practiced in solfeggio lessons and are useful in that they develop an active and independent attitude towards music in each child. In addition, the creative process enriches the student as a person.

Any oral dictation is played no more than two or three times.

Rhythmic dictation is useful not only for developing a sense of rhythm, but also for developing the necessary recording skills (at different stages of learning). Unlike oral, rhythmic dictation is not an exercise that is constantly in the arsenal of a teacher; it is advisable to use it in cases where a new rhythmic pattern is introduced into the melody.

Rhythmic dictation is the most important type of work in the first grade: it allows the student to master the initial technique of recording notes, to acquire a clear understanding of the difference between durations, to get used to their specific combination - that is, it serves as a good preparation for written melodic dictation. Therefore, this collection begins precisely with rhythmic dictations, which are singled out here as an independent section: after practicing the recording technique on this material, it will be much easier for students to get used to recording a melodic dictation. In the remaining three classes, rhythmic dictation accompanies the study of each new rhythmic difficulty. (It does not lose its relevance in middle and high school, where successive exercises in this type of dictation allow you to take melodies for dictation, more and more difficult in rhythmic terms.) Rhythmic dictation should never be played on one sound or tapped with a pencil on the table ; like any other dictation, it must have a melodious melody. Such a dictation is played 8-9 times; the students are given the task of writing down only the rhythmic structure of the melody (on any note).

A written melodic dictation should accompany the student throughout all the years of his education at school and at the college. This dictation concentrates certain meter-rhythmic, modal and intonation difficulties, cultivates auditory memory, collects attention, trains an important skill of capturing and understanding all aspects of the melody. In addition, the theoretical knowledge of the student, the degree of development of his inner ear, the level of musical thinking are inevitably and obviously manifested here. Thus, a written melodic dictation in a compact form incorporates almost everything that is being worked on in solfeggio lessons. Therefore, an indispensable condition for the course is dictation at each lesson with a gradual increase in difficulties. In each class, a generalizing section is given, in which all the topics covered during the year are used. It is better to give the dictations of this section in the fourth quarter, when there is a repetition of what has been passed.

Playing a melody can not be stretched for 30-35 minutes. According to the generally accepted methodology, the dictation is played 8-9 times (depending on the complexity) at short intervals. The first two times you need to play in a row, since the first listening is a general acquaintance with the melody, and from the second time the students must remember the most striking moments: the strong beat, the step from which the melody began; or the initial intonation, size, repetitions, sequence, etc. It is quite clear that only a few can remember all this the first time, but the majority of students should master this analysis the second time. After the second playback, a longer break is made, and each subsequent time the teacher plays the dictation when he is convinced that all the students have written down everything they remember. It usually takes one and a half to two minutes. It should be recalled that when recording a dictation, the student is not required to have a formal, mechanical attitude, but a complete understanding of the intonation structure, structure and rhythmic pattern of the recorded melody. Therefore, it is necessary to fight in every possible way with the still widespread recording of the dictation with dots after it is played by the teacher.

The recording of both melodic and rhythmic dictation begins in the second half of the first grade, when the students have already received basic information on musical literacy and have learned to repeat small songs orally. By the end of the fourth grade, which ends with an exam, little musicians should be able to record a period of repeated or single structure in 2/4, 3/4, or 4/4 time signatures, with upbeats, pauses, various jumps, with sixteenths and dotted rhythms.

First grade

The oral dictation in the first grade precedes the melodic one and then accompanies it. Both types of dictation are given in keys without signs and with one sign (minor only in natural form); rhythmically they are elementary: they consist of quarters, eighths and halves. The rhythmic side of the melody is worked out first of all - in rhythmic dictation. At first, it can be given in different ways: a recording of the rhythm of a melody sung by a teacher (with text or the name of sounds), or the design of the rhythm of a song written by a teacher on a blackboard without bar lines and durations. After memorizing the melody, you can invite students to sing a melody in syllables: “don”, “di-li”, “do-he” (“don” - a quarter, “di-li” - eighths, “do-he” - half). In terms of volume, dictations do not exceed four or six measures.

Second class

Dictations of this class are more diverse in subject matter; they introduce out-of-beats, new rhythmic figures, meters and intonations. Important is the introduction of a period of repeated structure (recorded necessarily with volts) and a period with a varied second sentence. It is very important here that the student’s conscious attitude to questions of form formation (for example, in oral dictations from the Appendix, when composing an “answer” to a given “question”, you can set an additional task - either so that the second sentence of the period has an exact repetition, or so that it is varied) .

Initial examples for any difficulty and in rhythmic and melodic dictation can be subjected to a preliminary analysis, and the object of analysis should be new elements of the musical language - intonational, tonal or rhythmic. When passing through a new interval or chord, you can also use the beginnings of a harmonic dictation, that is, a small sequence. In the second grade, this kind of dictation should still be used in small doses, since harmonic hearing in children of this age is just beginning to be developed.

Third class

In this class, all forms of dictation are used, including the beginnings of harmonic, since the stock of well-studied intervals and chords is already quite large: all diatonic intervals, except for tritones, tonic triad with inversions, triads of IV and V degrees. Examples of such a dictation are given in Section I of the Applications. The teacher plays this or that chain, the students analyze it and write it down in notes from memory; or they record it over two or three plays indiscriminately. Gradually, the dictation can be lengthened, reaching the scale of the schemes given in Section II of the Appendix. Each teacher himself is able to compose such a dictation, depending on what topic is being studied at the moment.

In the third grade, a period of unified structure is introduced. Students should not only know this term, but also confidently distinguish this structure from the varieties of the period of repeated structure studied in the second grade. The difficulty in recording a dictation of such a structure lies in the fact that the memory must retain a rather large piece of music that is continuously developing, so that these dictations themselves - so that the task is not overwhelming - are not overloaded with intonational and rhythmic complexities (especially since they are not played by the teacher more than 8-9 times).

fourth grade

The fourth grade is final, as it completes the initial period of education. New forms of dictation are not introduced here, but all previously mastered ones are given at a higher level. The intonation side of the melody becomes more diverse, new melodic moves, rhythmic groups, and tonalities are included in the work. A significant difficulty is the emergence of intra-bar and inter-bar syncopation (the competent design of ligated durations through a bar line in the sense of graphics is a new element, and therefore the teacher must first carefully work out the recording technique in rhythmic dictation).

The examination dictation of the fourth grade should contain the maximum of the passed difficulties. In form, this is most often a period of a single structure with various jumps, moves along chord sounds, dotted rhythm and sixteenths. Only a written melodic dictation is submitted for the exam. (In addition to solfegging melodies memorized and sight-reading, during the exam, each student must sing a scale in any key, freely navigate the signs and raised steps in minor, determine any of the intervals and chords passed, determine and sing a chain of any kind by numbering and sing diatonic sequence.)

Applications

The material given in the Appendices should accompany the work on the dictation and help in it. There are three sections in the Appendices, which include different types of exercises. The oral dictation of a question-answer structure (with the completion of the second half), which is the content of Section III, has already been discussed; These exercises are introduced from the second grade. The exercises given in Section I are also of great benefit: the identification of chains of intervals and chords in the key by ear contributes to a better orientation in the steps of the mode, in their relationship; in addition, such exercises are extremely effective for the formation of harmonic hearing, as well as for memory training. It is advisable to pay special attention to mixed interval-chord chains, which make it possible to achieve greater concentration of attention and the ability to switch it, since the student does not know in advance where the chain will begin and where one element will change to another.

The exercises in this section are designed to be used starting in the third grade. Each chain should be played no more than two times, in order for the students to memorize a small harmonic turn. Students who do not cope with this should receive an additional task at home, which consists in singing a certain number of chains, as well as playing them on the piano in different keys (in addition, it is advisable, if possible, to use records or tapes on which interval and chord chains). For such additional tasks, you can also use the material contained in the second part II of section of the Appendix - schemes for singing (also designed for study in the third and fourth grades).

Singing according to the pattern of interval and chord, as well as mixed chains is an extremely useful auxiliary exercise. (Among other things, this teaches children from elementary grades to correctly read digital numbers.) The first examples of tasks of this type must be made extremely easy. In interval diagrams, under each name, a step is indicated (by a Roman numeral), on which the base of the interval should be located. The teacher indicates the key, plays the tonic triad, and the student consistently builds what is offered to him. Such exercises can be performed by voice or at the piano.

The Appendices offer another type of voice intoning exercises - singing diatonic sequences (recommended motives for them are given in the first part of Section II). The importance of this type of exercise can hardly be overestimated: with the help of sequences, any difficulties are more easily worked out - intonation and rhythm, the studied tonalities are mastered more firmly, etc. You can start singing sequences from the second grade. As a rule, the step of the sequence used in the lower grades is in seconds. After tuning in the key and playing the motive of the sequence by the teacher, the student must sing it with the name of the sounds and, without distorting the rhythm, move up or down (as directed by the teacher), gradually reaching the initial link. The initial sequences should be built in such a way that the end of one link smoothly passes into the beginning of another.

The author hopes that this collection of dictations will find application in solfeggio lessons both in special secondary music schools and in children's general music schools and will help teachers in their work with elementary school students.

Musical dictation

Literature:

Alekseev B. To the question of the method of recording music. dictation // Education of music. hearing. M., 1985. Issue. 2.

Blum D. The role of dictation in the development of professional music. hearing. M., 1977.

Vakhromeev V. Musical dictation // Music. encyclopedia. M., 1974.T. 2.

Davydova E. Methods of teaching music. dictation. M., 1962.

Muller T. On the meaning of music. dictation in the course of solfeggio // Education of muses. hearing. M., 1985. Issue. 2.

Response plan

1. What is musical dictation

2. Goals and objectives of the dictation

3. Dictation material and dictation recording algorithm

4. Forms of dictation

1.Musical dictation- audio recording one-, two-, three- and four-part musical constructions. The recording of the dictation can take place from memory (recording of a well-known familiar melody), while listening and in the conditions of special classes in the solfeggio course.

(According to E. Ioffe, dictation is the “culmination” in assessing the level of development of a full-fledged musical ear.

Leading theorist - solfegist E. V. Davydova noted that dictation, like auditory analysis, is the result of knowledge and skills that determine the level of musical and auditory development of a student.

(Sladkov) is a recording of music by ear, revealing the individual level and quality of musical perception.)

For a long time in the history of the development of solfeggio, the only, and then the leading, forms of work were singing from notes and intonation exercises. Dictation and special analytical exercises and (as ways of implementing the skills acquired in the aggregate) began to be introduced into the educational process rather late.

Musical dictation is the most important and highly responsible form of work in solfeggio classes at all levels of musical education (starting with music school and ending with higher, professional education). In the process of recording a dictation, a variety of aspects of hearing and different properties of psychological activity are involved:

thinking, providing awareness of what is heard;

memory, which makes it possible to recall, to clarify what is heard;

inner ear,

the ability to mentally hear and imagine sounds,

rhythm and other elements.

Recording music brings up a sense of style, forms the necessary stock of musical elements, turns (musical lexicon).

2. Goals and objectives of musical dictation

aim musical dictation is the development of the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.

Main tasks musical dictation are:

Formation and consolidation of the connection between the visible and the audible

Development and training of musical memory and inner ear

A way to test the individual abilities of each student

Serve as a means of consolidating theoretical and practical skills

3. Material of musical dictation

Dictation material has a significant impact on its memorization. As examples for dictations, both artistic samples of music and examples of an instructive plan are used.

predominance instructive, non-fiction material dramatically reduces the efficiency of memorization. Its stylistic monotony impoverishes the student's auditory experience, and can lead to standard (template) thinking (especially if the examples are often composed by the teacher). As exercises, the instructive material is quite appropriate, but within moderate limits.

When perceiving the same sample art music auditory consciousness is supported by a powerful factor - artistic emotion. Positive emotions generate students' interest in working on the dictation, activate the memorization process.

Dictation recording algorithm (Ostrovsky):

general impression

analysis-detail

solid, but already clearly conscious image

When recording a dictation, the main and auxiliary forms of work can be applied.

Training:

- transcribing musical notation

- auto-dictation (selection of a familiar melody - recording it)

– written transposition of selected melodies

– graphic fixation of the melody line

- oral dictation

- rhythmic arrangement of notes written on the board

- variation dictations (the teacher's game of the melody written on the board in a modified version)

- dictation "with errors" (students look for errors on the board)

4. Forms of dictations:

1. demonstrative (the goal is to show the recording process)

2. dictation with preliminary analysis

3. sketch (for example, first recording only cadences)

4. from memory

5. dictation - shorthand (not addressed to the inner ear, musical memory, which means that it cannot be made the main type of work)

6. with tuning in an arbitrary key (or without key detection)

8. auto-dictation or self-dictation (recording familiar melodies from memory, possible as homework)

9. rhythmic.

oral dictation contributes to the training of memory, the development of the ability to recreate the "graphic", intonational and rhythmic appearance of the melody. Memorization is facilitated by analysis aimed at understanding the form, characteristic intonational, modal, rhythmic, register and genre features of music. Checking - playing an instrument, solfegging this melody; transposition to another key, homework to record a well-developed melody or return to it at the next lesson.

A variant of this task is memorizing music by looking at the musical text with subsequent recording (based on internal hearing, and not on visual memory). Then - solfeggio, transposition. Homework: composing similar melodies with subsequent collective analysis and criticism in the lesson.

The most important during the oral dictation is the process of dismembering what is heard, clarifying the compositional logic; during recording, if possible, it is necessary to keep in memory all the phases of the musical structure, comparing them in terms of repetition, modification, contrast. In this regard, the most essential condition is the use of adapted material.

stands out 4 stages in the process of oral dictation :

– formation of an idea of ​​the stylistic affiliation of a musical passage (with an orientation to certain expressive means)

– syntactic division of the fragment

– analysis of musical construction in relation to intonation turns

– comparison and comparison of constructions.

According to texture 1-voice, 2-voice and polyphonic dictations are distinguished.

1. understand the structure of the melody, the number of constructions, phrases, the nature of the final turns, the feeling of relying on stable sounds of tonality

2. determine the modal functional value of individual revolutions and parts

3. the ability to record individual intonation turns, realizing the line of movement of the melody. By adjusting the distance between the individual steps, one must not lose the perspective of the whole; interval orientation when checking large jumps, hidden 2-voice lines and when recording melodies with deviations and modulations

4. It is impossible to separate pitch and metro-rhythmic ratios: in the process of recording, both pitch and rhythm should be recorded simultaneously. It is necessary to teach, having determined the size and tempo, to conduct the melody, then, mentally remembering, lightly tap the rhythm.

write with consonances, relying on vertical hearing

The first method was developed by Ladukhin in the manual "1000 examples of musical dictation" (however, this method does not contribute to the development of students' harmonic hearing).

Ostrovsky suggests first recording the dictation by digitizing intervals (without notes), but in this case attention is not directed to hearing the melody and the integrity of the impression is violated.

In groups of vocalists, wind players, populists, a schematic recording of polyphony is possible:

a) tonal plan, functions and rhythm;

Polyphonic examples can be written as follows:

Recording only the subject and reply in pre-scheduled measures

Recording only counterpositions to the theme implementations pre-written by the teacher.

Dictation - an interesting and fruitful form of training for the development of musical ear. Therefore, a solfeggio teacher needs to approach work with knowledge of the psychology of students, take into account their age and individual characteristics and interests, plan a lesson so that the closest attention is constantly paid to the musical dictation.

Development of creative skills in the solfeggio lesson

Literature:

Davydova E. Methods of teaching solfeggio. M., 1975.

Kalugina M., Khalabuzar P. Education of creativity. Skills in solfeggio lessons. L., 1978.

Maklygin A. Improvising on the piano. M., 1994.

Maltsev S. On the psychology of musical improvisation. M., 1990.

Sladkov P. Fundamentals of solfeggio. M., 1997.

Shatkovsky G. Composition and improvisation of a melody. M., 1989.

Shelomov B. Improvisation at solfeggio lessons.

The role of creative skills in solfeggio lessons

The main forms of work aimed at developing creative skills

Systems of Kartavtseva (for the school), Shatkovsky (for the music school)

An indispensable attribute of solfeggio lessons should be creative exercises that stimulate interest in classes and increase their effectiveness.

Creative skills are an important means of educating an ear for music, developing musical memory, developing skills in mastering the components of the musical language and musical speech, artistic and figurative thinking.

An important component of the development of musical and creative activity is imagination. In the field of musical education, the imagination becomes a working one, that is, an ability associated with a specific musical activity. In the process of long training, it acquires the property of a special ability. creative musical imagination is the ability to create new, original music. It grows out of the simplest ability to combine, improvise and compose small intonation themes.

The introduction of all kinds of creative activities into the process of teaching music has a deep internal relationship with all musical abilities - ear for music, memory, susceptibility to music. Creativity enriches the student's musical and auditory baggage, as in the process of composing or improvisation, memorization and practical mastering of musical elements takes place. Productive creativity develops the ability to analyze, synthesize, and think.

Already elementary creativity develops the ability of imagination, creates an atmosphere of creative enthusiasm and competition in the classroom, causes positive emotions and interest. Therefore, modern methods of teaching solfeggio put the problem of developing creative skills at the center (Shatkovsky, Maltsev, Maklygin, etc.). The authors of most methods offer forms of creative activity on the instrument. Solfeggio can make up for the lack of vocal forms of composition and improvisation.

Thus, work on the formation of creative skills is an important component both for the education of music lovers (amateur music-making) and for musicians of certain professions (composers, improvisers, accompanists).

Forms of work .

Forms of music-making aimed at musical and creative development:

selection of accompaniment to a melody

improvisation

essay

1. Accompaniment selection it is advisable to start after the students have acquired some auditory experience, certain skills in playing the piano with two hands. Before that, you should limit yourself to a set of familiar melodies with one hand. This form of work develops auditory memory, introduces the keyboard.

2. Training improvisation is associated with the development of an auditory-visual and dynamic stereotype (the ability to competently, instantly translate musical fantasies into real sound). At first, when improvising, it is necessary to record the rhythm of the future melody, analyze its intended intonational relief and modal features. At an early stage of training, improvisation according to the “model” is also widely used.

In solfeggio lessons, improvisation should be organized into a logical system of exercises directly related to the sections of the course, to consolidate theoretical knowledge. The most important point - improvisation should be carried out in specific modal system, and in the early stages are most acceptable anhemitonic frets- the basis of folklore (improvisational in nature) music:

Maltsev offers the following types of improvisation in solfeggio lessons:

1. Sing the song to the end (first the last syllable, then the phrase and sentence)

2.Improvise a song for a poem (in high school music school - with the name of the notes)

3. The game "rondo" (children perform refrains, the teacher - episodes, then vice versa)

4. Variations: a theme is proposed, analyzed, learned by heart, reference tones are distinguished and remembered (they should not disappear), a variation is improvised.

5.Improvisation of a melody for a harmonic turn

6. Further development of the harmonic formula to a period (then - in a simple 2-x, 3-part form).

An interesting form of creative work in the music school is improvisation with the use of K. Orff's orchestra.

3. The writing is a convenient form of homework, but the foundations of this form of creative activity are laid in the classroom. Shatkovsky gives a trace. tips for composing a melody at the beginning. stage:

1. Minimum means, maximum expressiveness (it is necessary that each sound or combination of sounds carries a semantic load).

2. Unity of rhythm (the ability to combine repetition and contrast)

3. Intonational unity (the ability to combine repetition and contrast)

4. Try to achieve originality of the melody or theme

From the very early stages of musical and creative activity, the choice of a theme for composition or improvisation is of great importance, giving a certain direction to the imagination. Creative forms of tasks should be based on the preparatory stage, based on the theoretical analysis of music, the identification of common intonational, rhythmic patterns.

Based on these principles, Shatkovsky also builds a system for developing writing skills, based on the gradual complication of tasks:

1. Composing a melody to a neutral (emotionally inexpressive) text using all kinds of interval melodic moves and analyzing the acquired effect (m2 sounds plaintively, ch4 - resolutely, etc.).

2. An essay on a poetic text containing a vivid image or mood. The composition itself should be preceded by an analysis of the text, then the selection of appropriate musical and expressive means (orally) for it - mode, key, intervals in the melody, leading intonation, rhythmic features, genre, then - the composition.

3. Composing a composition for a certain state (I have fun, Spring). Students need to explain that they have to express a certain feeling in their music.

4. Mastering the skills of developing a melody

5. Composing in a certain form (from a period to a sonata), a certain style.

System of Margarita Tikhonovna Kartavtseva (for school)

She sets up an experiment on students of the school: creative exercises are introduced in different courses, in different volumes. As a result, Kartavtseva comes to the conclusion that the entire process of developing musical abilities must be saturated with creative forms of work.

He distinguishes three stages: creative exercises in monophony, two-voice, three- and four-voice.

Methods and forms of work:

2. Double voice: the second voice using the opposite movement; undertone with a constant rhythm; second voice using direct movement; the second voice with the use of sustained pedal sounds, as well as tertovye second; the second voice using all the passed types of subvoices; vocal and instrumental. echo; two-part canon

3. Three- and four-parts: singing otd. voices in three parts; improvisation (composition) of the third voice in homophonic or polyph. warehouse; chanting the lower (or upper) voice of a given harmonica. turnover; improvisation of two (three) sub-voices to the same song; composing two sub-voices before the formation of a three-voice; composing imitations, canons, fuguettes

Boris Ivanovich Shelomov's system (for music school)

Shelomov believes that at first any means should simply be listened to, reproduced, then studied in theory (he notices that it is impossible to overload with theory, this scares off, reduces figurative and emotional perception: he comes up with an interesting game name for each task). Considers possible forms of creative work in the study of various means of musical expression (4 sections), then offers additional lessons in melodic improvisation :

1. Improvisation and the formation of a sense of rhythm

Forms: improvisation of rhythm on a text (with subsequent analysis of rhythmic improvisation), composing melodies on one text with different rhythms and meters, variations on a given rhythmic pattern, composing a rhythm in a certain genre, etc.

2. Work on the education of conscious intonation-modal representations

Forms: “Magic Ladder” (direction of movement), singing to the tonic, completing the last phrase, “Singing Board” (ending melodies at different steps, with their emotional characteristics), playing questions and answers, using certain steps, melodic turns in improvisations and intervals

3. Mastering some techniques of melodic development and the structure of the song period

Forms: improvisation of melodic variants, playing "verses with variations", sequential development, violation of the square constructions, etc.

5. Improvisation with a purely artistic attitude

Forms: the game “Echo in the Forest”, the game of “concert” (the plot, images and children improvise), solo improvisations with accompaniment, ensemble improvisations (for example, composing phrases to one poem in turn), collective composition of an opera.

Alexander Lvovich Maklygin believes that there are two main purposes of improvisation. The first is improvisation as a form of practical comprehension of music theory. The second is improvisation as a form of stage creativity of a performing musician.

Municipal budgetary educational institution
additional education for children
"Kuleshov Children's Art School"
Methodical development:
Musical dictation
as one of the forms of work at solfeggio lessons in children's music schools and children's art schools.
Prepared by:
teacher
theoretical disciplines,
piano, accompanist
Stultseva L.A.
2014
The main task of the solfeggio subject is the development of ear for music. Among the various forms of work in the classroom, a special place is occupied by musical dictation.
Musical dictation is the most complete form of auditory analysis. This is the result of skills and knowledge that determine the level of musical and auditory development of the student. When working on a dictation, the teacher must:
- to teach what is heard to be seen;
- develop the memory and inner hearing of the student;
- use dictation as a means to consolidate and master the knowledge and skills acquired in music theory.
The importance of musical dictation has often been pointed out since the middle of the 19th century. Methodological principles and techniques in working on musical dictation are described in the theoretical literature quite widely: the works of E. V. Davydova, A. L. Ostrovsky, V. A. Vakhromeev, V. Seredinskaya and other researchers.
According to E. Ioffe, dictation is the "climax" in assessing the level of development of a full-fledged musical ear.
Leading solfegist theorist E. V. Davydova noted that dictation, like auditory analysis, is the result of knowledge and skills that determine the level of musical and auditory development of a student.
A. L. Ostrovsky in the manual “Methodology of Music Theory and Solfeggio” defined the goal of musical dictation to develop the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.
E. V. Davydova in her work “Methods of teaching musical dictation” outlined the main tasks of working on a dictation:
- create and consolidate the connection between the visible and the audible.
- develop musical memory and inner ear.
- serve as a means to consolidate theoretical and practical skills. To successfully solve these problems, the teacher must be ready for this work.
However, not always solfeggio teachers, especially beginners (due to inexperience or lack of necessary literature at hand), can put into practice the knowledge of the methodology of teaching the subject, taking into account the psychophysiology of school age. But often students do not cope with the dictation for purely psychological reasons.
It's no secret that dictations at a music school are difficult for most students. The fear of writing a dictation incorrectly, getting a bad mark can discourage such children from this form of work, and sometimes “turn away” from the solfeggio lesson itself.
A solfeggio teacher needs a deeper knowledge of the laws of child psychology, in particular, the psychology of musical perception.
The complex process of recording a dictation (I hear, understand, write down) requires not only knowledge, but also special training and education. Teaching how to write dictation is one of the most important tasks of the solfeggio subject.
In the process of recording a dictation, thinking, memory, inner hearing are involved. In addition, it is necessary to have theoretical knowledge that helps to correctly record the heard melody. Thus, before starting to record a dictation, the teacher must be sure that the students are prepared for this work. Therefore, it is more expedient to start work on recording music in the second grade, and in the first grade to do a lot of preparatory work.
When working with the 1st and even the 2nd grade, she refrains from the word “dictation”, replacing it with musical “riddles”, “tasks”, “tasks”, etc. E. V. Davydova emphasized how responsible the role of the teacher in the process class work on the dictation, because he (the teacher) must take into account the individual characteristics of each student, guide his work, teach him to write. The very process of recording a dictation requires not only certain knowledge, the level of hearing development, but also special training and education. Therefore, one should not rush to introduce musical dictations at the initial stage of training, but engage in preparatory exercises. Before starting to record a dictation, the teacher must be sure that the students are prepared for this work. Therefore, a lot of preparatory work needs to be done in the first grade.
A serious preparation and introduction to the dictation is writing down a comprehensively worked out solfeggio number or some intonation exercise with notes. For example, in the first grade, a large role is given to memorizing the melodic movement along the steps of the major scale: I-II-III, III-II-I, III-IV-V, V-IV-III, V-IV-III-II-I, V-IV-V-IV-III-II-I, as well as melodic turns built on second combinations of stable steps of the fret unstable. First comes intonation, i.e. "external" development of these revolutions while singing the steps. However, we are not limited only to singing them, but, “looking ahead”, we are building a whole range of various forms of work based on the construction of steps, exercises. As a result of such work, the skill is acquired fundamentally, from the “external” state it passes to the level of internal hearing and is firmly deposited in the musical memory.
Preparation for written dictations should be:
1) small but constant assignments for copying notes (control copying), and only what is familiar is rewritten in order to consolidate the connection between the visible and the audible, and this form develops inner hearing;
2) work on musical handwriting (transcribed notes must correspond to their location);
3) recording previously learned melodies from memory (for example, from the previous lesson or from homework);
4) written transposition of familiar melodies or melodies selected on the piano;
5) selection of a melody on the piano, followed by its recording;
6) small oral dictations are held. A small melody is played, sung by the students, on some syllable, they try to sing to themselves with the name of the sounds, and then sing out loud;
7) rhythmic design of notes written on the board that make up a familiar melody;
8) the teacher writes down on the blackboard a melody with errors in rhythm, and the students must find the errors;
9) in the 1st grade, while they have not yet learned how to write quickly, on a lined stave, chants are laid out with buttons: black - short notes, white - long;
10) the teacher plays an unfamiliar melody with errors, and the students follow the notes and determine where the mistake was made;
11) work with the column: everyone sings the played melody for a syllable, and one student shows the steps on the common table-column;
12) melody, singing is recorded in the form of steps;
13) laying out cards with the names of notes or steps. They should be laid out in a scale in front of each student. After hearing a short phrase played by the teacher, the children repeat it in their “mind” and set aside the corresponding cards. At the same time, inner hearing is better activated, conditions are created for focusing the attention of students and the technical difficulties of writing notes disappear. In addition, the use of cards gives the teacher the opportunity to easily control the work of all students at the same time, immediately correct the mistake of any of them.
In the first lessons, children should acquire the skills of musical notation, develop the dexterity of fingers and hands, remember the names of the notes of the first octave. To do this, it is necessary to introduce exercises consisting of individual notes, first in whole, then in half, later in quarter and eighth durations. Such exercises should take no more than five to seven minutes in each lesson. Using this form of work in the lesson, ensure that children learn to determine the names of notes not by counting from the initial note, but by memorizing the position of each note on the staff. It is advisable to start writing notes between the rulers (they are easier to write), and then on the rulers. Each note must be written many times, while pronouncing its name aloud, and later - “in the mind”. From the very beginning, it is necessary to teach children to write neatly and cleanly, i.e. develop beautiful musical handwriting in children.
The teacher writes an exercise or a simple joke on the board, the students sing it two or three times, then it is erased, and the children are invited to write it down from memory. Children learn the song on their own (by notes), the teacher checks how it has been learned, offers to learn it by heart and sing, naming the notes, then write it down from memory. In the class, a song with words is learned by ear, then the song is sung without words on the syllable “ta”, after which it is performed with doubled notes and recorded from memory. Students at home select a learned song and record it in class. When recording, children should not hum melodies. Tasks are performed in complete silence.
As many melodies as possible should be learned by heart, since first grade students can sing any musical phrase meaningfully and expressively only if they know it by heart. It is advisable to include the melodies learned in the lesson in homework assignments and return to them in the next lessons, writing them down from memory. You need to start singing from notes with simple melodies using only two fret steps, then gradually expand the scale, gradually introduce the remaining steps of the mode. In order to create a distinct auditory representation of each modal step in students, it is necessary to select musical material with intonations characteristic of this step. When learning melodies, it is imperative to monitor the purity of intonation, to ensure that students learn to hear even minor inaccuracies of intonation in their own singing and their classmates.
In working with the first class, much attention is paid to oral dictations. You should start with the recognition of separate, unrelated stable steps. Such exercises are the most common and they consist in the fact that students determine by ear and sing the sound played by the teacher on the instrument after preliminary tuning. However, students should not be required to name sounds without singing - this often leads to “guessing” sounds and does not bring any benefit, does not contribute to the development of hearing. The first oral dictations are motifs and phrases consisting of two, three, four steps in a uniform rhythmic movement. The main task now is to dictate not sound after sound, but motives as a whole. Students must memorize the dictation from the first or from the minimum number of repetitions, sing it in their “mind” and only then sing it or arrange it with cards.
Now that children have the simplest skills in writing notes, quickly memorize and retain short motives in memory, you can move on to written dictations.
The first written dictations are useful to work in two directions:
1) rhythm recording, without indicating the pitch of sounds;
2.) by one integer durations.
The next step is to record the melody in quarter and half durations in 2/4 time for four measures. Turning to dictations, including eighth durations, it is necessary to exclude at first half durations. The volume of the first dictations with eighth durations should not exceed two bars, while the number of sounds will be no less, but the same as in four-bar dictations with quarter and half durations. It is advisable to use the same phrases as dictations in an accelerated movement twice. Then you can give completely new two-stroke, later - four-stroke dictations.
With further complication of dictations, it is necessary to pay attention to the following points:
1) only one new element should appear in the dictation at a time;
2) if the dictation contains any new element, then otherwise it should be simple and familiar.
Thus, dictations at the initial stage of learning should most often be very short so that children can remember them in two or three, maximum four playing. Dictations of eight measures should be given only at the end of the first class. It is necessary to choose dictations such that children can write them down quickly, without much difficulty, and then they will have confidence in their abilities, and they will write dictations willingly.
Only after working out such exercises, you can proceed to record a musical dictation. Students should immediately be accustomed to a certain order when recording a dictation. Before the beginning of the dictation, its tonality is determined: the first one, two times the dictation is played in its entirety, expressively, at the right pace, with strokes. After the first playback, the size, structure are determined, whether or not there are repetitions, with what note the dictation begins and ends. After the second play, everything is specified; the number of phrases, whether or not there are sequences, rhythmic features, etc. The last plays are usually given at a more relaxed pace, with emphasized phrasing. After the fourth play, a longer pause can be made so that the students make the most of their musical memory reserves, because the guys must remember that the number of plays is limited. After making sure that the students wrote everything they could, you can play the next time. When playing 5-6, it is sometimes useful to change the tempo, dynamics or manner of performance so that students hear the melody in a new sound, this activates their attention.
Work on the dictation takes place in the classroom, in the classroom. Therefore, it is important to properly organize the recording process. The environment that the teacher creates in the classroom is also important. We can recommend the following technique for recording a dictation: to collect attention, to arouse interest in what will be played. Before the first playback, you should not give a setting so as not to interfere with the first perception of music. You can name the author, the name of the work, what instruments perform it.
In addition to general comments, advice, the teacher should also give individual advice, tasks, techniques to lagging students. It is also important to cultivate the ability of self-control, the ability to find one's mistake.
As a rule, students should write the dictation silently, based on their inner hearing. But those whose inner hearing is poorly developed can be allowed to hum softly aloud. Only gradually, by accustoming students to hum less and less often, can one cultivate the accuracy of auditory representations and, thereby, unnecessary humming aloud.
Early on, it should be required that all students conduct when recording. But in the future, more developed students usually stop conducting themselves, replacing gestures with a clear inner feeling of the pulsation of the melody. In no case should a teacher single out, “tap out” a strong share when performing a dictation - this is a kind of prompting.
When writing a musical dictation, most students are hindered not by weak musical data, but by fear. The task of the teacher is to save students from fear. You don't have to be a great psychologist to understand: when a child is not in control of the situation, he, voluntarily or involuntarily, begins to be afraid. Minute after minute flows, dictation plays one after another, and he has only 1-2 bars in his music book. And the panic begins: “I won’t have time!”. What to do? First: a clear and competent design of the record.
The recording time of the dictation depended on its difficulty. An important point in the lesson was checking the dictation. After all, it was in the correctness of the recording that the level of development of the student, the degree of assimilation of new material by him, was manifested. The check included the following elements:
singing the dictation by the whole class;
individual check of notebooks;
collective analysis of the most difficult places where mistakes were made;
students playing their recording is a self-test.
As a rule, students leave the lesson with correctly recorded dictations. Only in rare cases was the student given the task at home to correct the text on his own.
Choice of musical material.
Since musical dictation is "recording music by ear", the first condition is the correct choice of musical material for the dictation.
The pre-revolutionary methodology drew material for dictation from specially designed exercises. They were based on one or another theme from the field of music theory. Most often these were metro-rhythmic or interval difficulties. Depending on the creative talent of the authors, the musical quality of these exercise examples was better or worse, but always subordinated to the main idea.
At present, the method of compiling collections is different - samples from genuine musical literature serve as material for recording. The more vivid and artistically convincing these examples are, the more they will help to achieve the goal of musical dictation.
The teacher or compiler of the collection, selecting the material, must first of all take care that the passage is meaningful and clear in form. An example should not be allowed to be too short, otherwise it will lose its meaning and artistic value. Distortions with the aim of facilitating it are also unacceptable, as this violates the integrity of the artistic image.
It is extremely important to determine the difficulty of an example. Usually, the modal, tonal, metro-rhythmic sides of the example serve as a criterion. These are undoubtedly the main features. But besides them, the style and genre of the passage is also of great importance.
Even more important in determining the difficulty of the dictation are the intonational features of the style of the work. When choosing an example for a dictation, one should strive to ensure that the music of the example is bright, expressive, then it is easier to remember.
From all of the above, we can conclude that in working on a musical dictation, one of the most important conditions is the correct choice of musical material.
Usually, songs with melodic turns familiar to children's hearing are remembered. In the material chosen for the dictation, examples with familiar tonal turns should be in the first place, and only later, as the ear develops, it is possible to attract songs with a more difficult to perceive intonation system (songs of different nationalities, different styles). The easiest to remember are square-shaped songs (8-12 bars) with a clear distinction between short phrases and a clear direction of the melody, as well as songs that are contrasting in the direction of the melody, in rhythmic pattern.
It is difficult to remember melodies with phrases of wide breathing, melodies in which the end of one phrase is the beginning of another.
Such melodies should be approached gradually. One of them should be offered to sing from notes from a sheet, others should be learned by ear with the text, picked up on an instrument, then the third one should be learned by ear by heart, offered to sing with the name of the sounds and write it down. After hearing get used to them, they can be given as an independent dictation. Melodies are very poorly remembered if they are not the beginning of a song or an instrumental theme, but a continuation. Insist that children memorize the melody in such cases is not worth it. In dictation, it is better to always give a musical theme from its beginning.
Various forms of dictation.
1. Dictation is indicative.
Demonstrative dictation is conducted by the teacher. Its purpose and task is to show the writing process on the board. The teacher aloud, in front of the whole class, tells the students how he listens, conducts, sings a melody and thereby realizes it and fixes it in musical notation. Such a dictation is very useful before moving on from the preparatory exercises to self-recording, as well as when mastering new difficulties or varieties of dictations. It is also very convenient to use it in those cases when the teacher, starting work with a new group of students, wants to immediately give the whole group the correct methodological direction he needs.
It is sometimes useful to conduct such a dictation not for the teacher, but for one of the students. This will help to clarify the correct process and techniques for recording the student.
2. Dictation with preliminary analysis.
After the first two plays, the teacher analyzes the proposed example in detail with the students, finding out:
1.) the structure of musical construction: motives, phrases, sentences;
2.) fret-tonal development;
3.) formative elements: repetition, its nature, the presence of sequences and their features, cadences, etc.;
4.) metro-rhythmic features;
5.) linear structure of the melody: reference sounds, bright memorable jumps, separate intonation turns;
6.) the basis of harmonic development: the presence of hidden chords, etc.
Having set the tempo, size, key, structure of the melody, the teacher draws the students' attention to certain features of the example: he explains some intonation turns, rhythmic figures, plays or sings them.
After such an analysis, the dictation is played again, and students begin to record independently. This form of dictation is very convenient when mastering any new difficulties in dictation: a new rhythmic figure or the appearance of altered sounds, etc.
In some cases, when it is necessary to draw the attention of students to one particular detail, the teacher can not do a general analysis, but make out only one detail that is difficult for the class.
3. Sketch dictation, in parts.
After playing the example and establishing its structure with the class, the teacher invites students to write it down not from the beginning, but only from the second sentence. You can also suggest writing down individual elements of the form, for example, the motif of the sequence, the cadenzas of both sentences, etc. In this case, it is not necessary to finish the entire example later, you can limit yourself to recording fragments of the example.
When using this technique, students can be advised to divide the staff into the appropriate number of measures and then enter individual parts of the example into them. In this case, the teacher must first indicate in what order to write down the fragments: first, cadenzas, then, the beginning of the first and second phrases, etc.
In the future, having mastered this technique, the student himself must first of all write down those fragments that he remembered better, and then fill in the missing ones.
This form of dictation work should be used at any stage of learning until students are accustomed to using sketch notation. Independently, without reminding the teacher. The material can be any example from the musical literature, clear and complete in form.
4. Dictations for the development of memory.
Despite the fact that all work on the dictation is based on musical memory and inner hearing, and in any form contributes to their further development, nevertheless, special forms of dictations should be used in the process of classes. In them, the main task of students will be precisely memorization, retention in memory of the executable example, and the recording itself will be a secondary task. The teacher plays the example two or three times. Students sit and listen. Then, at the sign of the teacher, or rather, when the teacher conducts, the whole class tries to mentally repeat the melody from memory. The teacher asks: “Did everyone manage to remember it to the end?” If some have ambiguities, gaps, the teacher plays the example again. After that, the key is called and the students begin to write down what they remember. During recording, the dictation is no longer played. As the students finish recording, the teacher checks the notebooks of each of them, but only without playing or singing. There must be complete silence in the classroom. When the allotted time runs out, the dictation is played again and checked by the whole class.
The material for such dictations should be bright, melodious melodies. At first very short (2, 4 measures) with a small number of sounds, then more complex ones. At first, the examples should be one phrase, like a topic. When students have mastered their attention, they should move on to memorizing small sentences and, further, periods.
Their structure should also become more complex gradually. During exercises for the development of memory, it is often used for verification not to record an example, but to perform it on the piano by a student, that is, picking up. In this case, it is important for students with average musical data, who do not have accurate and clear sound representations when memorizing, and therefore the sound of the piano when picking up helps them clarify them.
5. "Self-dictation" or recording of familiar music.
As a test of the student's independence in recording music, as well as a form of homework for students, recording from memory of music familiar to the ear is used. Of course, this form will not replace dictation, since there is no need to embrace and memorize new music, that is, the student's musical memory is not trained. But for working on a record based on internal hearing, this is a very good technique.
Self-dictation can also be used in class conditions in solfeggio with different options:
1) A song or piece of music familiar to the whole class is called, its key and size are set, and then students start recording from memory, without listening.
2) The teacher invites each student to write down what he wants, what he remembers better. A necessary condition for this is complete silence and silence in the classroom. This form is more difficult, since the teacher cannot help everyone either in finding the key and the first sound, or in determining the size. Therefore, it is used after the first form. When reviewing notes, it is best to have each student sing what they have written. Then it will be clear to the teacher what is a mistake, and what is not an accurately learned melody or its variant.
3) When determining the availability of musical material for this form of work, it should be taken into account that it is easiest to record songs in a couplet form, then vocal works such as a romance song, etc.
4) The form of "self-dictation" also helps to develop the creative initiative of students. You can offer to write down the melody of your composition or add a second sentence. And, of course, this is a very convenient form for independent, homework, for training in the recording.
6. Oral dictation.
Well develops speed of reaction, concentration of attention, the ability to quickly "grab" and remember small fragments, which include the most important intonation difficulties.
7. Rhythmic dictation.
Rhythmic dictation enables the teacher to successfully develop and consolidate the "rhythmic component" of the student's musical ear. It is advisable to use rhythmic dictations when it is necessary to master a new rhythmic pattern or a more thorough study of the connection of complex rhythmic figures is required. Good results are obtained by the systematic writing of such dictations in the lower grades.
8. Dictation using multimedia and Internet technologies (on-line recording of a dictation, home dictations on CDs, etc.).
Recording a musical dictation is the most difficult of all forms of ear training. The complexity of all forms of work on the education of hearing. The difficulty is caused by the fact that the dictation melody is perceived only by ear. It must be remembered that dictation examples should be easier than sight-reading examples. Observations show that in those cases when students were given overwhelming tasks as a dictation several times in a row, they began to write poorly even those melodies that they coped with very easily. Obviously, overwhelming tasks inhibited perception, and the students stopped even trying to comprehend the proposed material. After the difficult dictations were stopped, some time passed until the students began to cope with feasible tasks.
Musical dictation plays a huge role in the comprehensive development of the musical ear of students in solfeggio lessons. Learning how to write dictations, gaining the skills to record what you hear cannot be isolated from the whole complex of solfeggio classes: work on dictation should be carried out in close connection with solfegging and identifying certain musical elements by ear.
Musical dictation is also very important because it allows you to more clearly identify the individual qualities of hearing and the success of each student, which is generally not easy to do in a group study. Of particular importance when recording dictations are musical memory and harmonic ear, which, as you know, are most difficult to develop.
Musical dictation is the most important and responsible form of work in solfeggio classes at all levels of education, from music school to higher, professional education. The result of knowledge and skills, which determines the level of musical and auditory development of the student.
The most important properties of hearing are focused in dictation: internal auditory representations, the ability to meaningfully memorize, the sharpness and speed of the auditory reaction, the ability to correctly write down what is heard. In 20-25 minutes, the student, after listening to the melody 8-10 times, must determine the time signature, write down the melody with notes in the correct rhythm, arrange barlines and correctly write down random characters. Successful writing of a dictation largely depends on the innate musical abilities of the student and at the same time requires a set of highly specialized skills and abilities. It is not surprising that musical dictation is always stressful for students.
The ability to correctly record a melody by ear is a necessary skill for a student of a music school, but it is especially important for those who decide to become a professional musician.

Bibliography:
Musical dictations with application CD MP-3. Compiled by T. Vakhromeeva I - IV classes of children's music school., M. "Music" 2005.
Entertaining dictations for students in grades 4-7 of children's music schools and children's art schools. Compiled by G. F. Kalinina., M. 2004.
DI. Shaikhutdinova Methodology of innovative teaching in the subject "Solfeggio". Ufa - 2000
Z. Glyadeshkina, T. Yenko "S.F. Zaporozhets - a teacher." Moscow "Music" 1986.
How to teach solfeggio in the XXI century. Comp. O. Berak, M. Karaseva. - M .: Publishing House "Classics-XXI", 2009.
Development of musical ear / G.I. Shatkovsky.–M.: Amrita, 2010.
Dolmatov N. Musical dictation. - M .: "Music", 1972.
Lezhneva O.Yu. Practical work at solfeggio lessons: Dictation. Auditory analysis: Proc. Manual for students 1-8 cells. children's music. schools and children's art schools. - M.: Humanit. Ed. Center VLADOS, 2003.
Davydova E.V. Methods of teaching solfeggio. - M., 1986.
G. Fridkin Musical dictations Izd. 4th M.: Music publishing house, 1973.
http://www.lafamire.ru/index.php?option=com_content&view=section&layout=blog&id=11&Itemid=77http://konsa.kharkov.ua/download.php?view.77http://www.4fish.ru/ books/book_147577.html

S o l F a is a project of Vladimir Gromadin, Ph.D. in Art History, a teacher with more than ten years of experience gained in the best Russian musical educational institutions - the Central Music School at the Moscow Conservatory and the Academic College of Music (College) at the Moscow Conservatory. He teaches solfeggio, harmony, elementary music theory and form analysis in the performing and theoretical departments. Its graduates have been freely entering universities in Russia and around the world for more than ten years.

His experience and methodological developments are reflected in the site S o l F a (sol + f = solfeggio), which presents samples of dictations and sequences ("chains") of different levels of complexity, designed primarily for young musicians involved in music professionally at the level of a specialized school (SSMSh), college or university.

All dictations are divided into difficulty levels. Of course, complexity is a rather arbitrary concept. Taking into account the different styles, different rhythms, harmony and melodic features, it is impossible to designate the complexity of the musical example as “absolutely correct for everyone”. Therefore, the distribution is based on the idea that dictations of the same level are those dictations that should be written in one month. This does not negate the fact that someone can freely write dictations of the 11th level of difficulty with an unusual melody, but at the same time “get stuck” on the rhythmic delights of the dictation of the 9th or 10th level.

The purpose of the site is to promote the harmonious development of musical ear. The materials are regularly updated, the emphasis is on musical examples - that is, not specially written dictations (with all due respect to their authors and their contribution to the methodology of teaching solfeggio), but samples from music. Of course, this is a serious methodological complication: it is practically impossible to select a fragment from a “live” work so that it meets all the norms of the program in terms of complexity at the same time (melody, harmony, rhythm, polyphony, and so on). It is easier to cultivate the ear on specially written dictations. But on the other hand, solfeggio brings up not only hearing, but musical hearing, and from this side, the use of exclusively instructive material is quite harmful.

The solfeggio dictation is what is listened to almost in the most attentive way, because the musician must understand it thoroughly in order to write it. And to understand in such detail is only good music. Of course, instructive examples should also be used to control the development of the material, but still this is only auxiliary material not from a good life: something like a standard test that indirectly helps to assess the hearing development of one person relative to another.