Musical dictation at the initial stage of education. Musical dictation

Musical dictation is one of the most important, responsible and complex shapes work in the 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 fast 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 internal hearing 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.

Development music 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. First initial stage learning is very important so that students simply learn well graphic image and the name of each duration. 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, music has enough a large number of standard turns, which are often repeated, are perfectly isolated from the context and are recognizable both by ear and in analysis music 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 mistakes.

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 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, hums 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. This form of dictation is more appropriate to use in lower 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 upper 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 cover and remember 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 must 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 lost, to concentrate the attention of students, perhaps to defuse tension before such hard 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”, at the appropriate pace and with 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 it is necessary to put 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 bar.

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 important point 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 conduct 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, at solfeggio lessons in the nursery 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.

At the numerous requests of our students, who are downright bombarding the site with this issue, we place several recommendations on such a burning topic.

(Thank you for not closing the text after the previous paragraph. Continue.)

Learning how to write dictations well quickly is something like “English in 2 weeks”, “enrichment in 2 days” or “losing weight in 2 hours”. Musical dictation (hereinafter - MD) is a wild beast, and it must be tamed gradually, with caress, sir, adapting to its habits and characteristics. And he has many habits, and everyone works against you. He has a melody that must not only be memorized, but also translated into notes. He has a rhythm, which also needs to be somehow remembered and put among the clock devils. And finally, these, not to be mentioned, ill-fated random signs, especially the vile seventh step of the harmonic minor, which you still have to remember to put in the form of a sharp or becar ... The teacher, in general, understands the state of collective insanity into which students fall when they say "Now it's a dictation." This condition is accompanied by partial atrophy of all sense organs. The ears do not hear, the head does not work, and only the hand with the pencil trembles convulsively during playback, leaving music paper some points: Have time! Scribble! While they play! Then I'll forget everything! As a result, on musical staff cryptography appears, in which the ascending row means descending, instead of moving along the chord, we see stepwise and vice versa, and the rhythm is completely taken from the ceiling or it is not known from what.

Choose among his melodies a few monophonic ones (the so-called polyphony will not work, not only because of the wrong stress in the word), which you know well, hear every day and already intend to replace with others. Don't rush to do it. The last thing you can do to annoy your boring melodies is to write them down on music paper.

The melody should not be too fast, long or jazzy in style (jazz melodies abound in unusual steps and require a trained ear).

First of all, sing the melody (do not pick it up on the instrument!). Pick a tone for her (unless, of course, you hear it when “performed” by the phone; but then you are the owner absolute pitch and you can handle MD without our help). For example, in a minor melody - A minor, in a major one - C major. The pitch may not correspond to reality, but this is not essential. What difference does it make if the phone beeps it in Mi, and you take it for the tonic Do? This is even more significant: having modeled a conditional tonality for yourself, you will perceive the sounds of the melody not as absolute and separate notes, but in connection with each other, as steps.

Having sung the melody, sing its first step separately. Try to find her voice. In the melody, she may not meet (!), But she is the one stove from which everything else must be sought. Now sing a scale with the name of the notes, and you can also signs. And now turn the melody on again and cut it down right after a few initial sounds. Did you feel what these steps are and what notes? Wonderful. More from memory. Complicated jumps need to be filled (mentally or aloud) with a gamma-like movement! With incomprehensible notes, you should stop and sing from this note to the tonic (or, conversely, from the tonic to the note).

Rhythm is more difficult. If you're trying to write a pop tune, it's usually riddled with syncopations and other things that don't lend themselves well to notation. In this case, try to arrange at least barlines (the task is also not an easy one).

When your ability to record a melody dries up, that is, you realize that you can’t record it more precisely anyway, play everything that happened on the instrument. Now (but not before!) you have full power to dispose of the instrument, beat on its keys or nut. You will be able to use the hearing-developing capabilities of your mobile phone especially fruitfully if you yourself type some familiar melody on it (having previously written it down with notes on paper).

There, too, there are melodies that spin non-stop. They can be heard at absolutely any arbitrarily chosen moment on one of the radio stations. Perform the above operations with them. To listen again, just turn the tuning. And the melody will reveal itself.

But you must have a cat! Cats, by the way, are very musical animals. Some of them cannot even endure a professionally trained voice: the singing sound, amplified by all the resonators, obviously resembles a feline danger signal, and the four-legged one flees.

Listen to her signals. Try to translate them into musical notation. And, who knows, maybe soon you will learn how to talk with your beloved animal in its own musical language...

If you don't even have a cat, go straight to the Internet. There (that is, here) you can find many interactive programs for developing musical ear, including for recording melodies of varying complexity.

Writing a dictation is not an instantaneous process. Every time you listen, remember the phrase from the movie: "The game won't fly away, it's fried." Dictation is not going anywhere from you. Within the next 15-25 minutes your whole life will flow in the closest contact with this melody. So no panic.

Do not try to frantically scribble while playing. Especially for the first one. You haven't understood anything yet: no time signature, no repetitions, no rhythm... When you hear MD for the first time, watch your hand (your hand). She will begin to count the beats, and in addition to consciousness. Don't disturb her. Better turn on your counting abilities and determine how many beats are in a measure.

One-two, one-two...

One-two-three, one-two-three...

That, in fact, is all. The 4/4 time signature is a double beat, but in music it is wide and drawn out. The size 6/8 (students often forget about it!) is also two-part, in which division into 3 smaller units is heard inside each share.

And the notes? From the first time they can not be remembered. They will remember themselves.

The second time you can already turn to them special attention. It is very important to correctly hear the first note (or the first major note after the small durations of the lead-in). It hurts to see a student at the beginning of a melody with the I step, when in reality there is a V. After all, the teacher has just reproduced the triad for you! And not to use this tuning hint to your advantage is simply stupid.

Melody, as you know, consists of phrases. Remember which ones are repeated. Repetition makes it easier to write MDs, and we are lucky that music almost cannot exist without repetition. Again, it's unwise not to use them. If two absolutely identical phrases (copies of each other both in melody and in rhythm) become different in a student's notebook, this indicates an absolute absence of brain work at the moment.

Having understood how many phrases are in the melody, try to roughly determine how many measures are in it. Most often, of course, there are 8, but there are other numbers. Try to outline which of the recorded notes fall on strong beats, to understand the rhythm of each measure. And please remember: if there was an overbeat in the first phrase, then in the rest it will (in 99% of cases) remain. So don't put a bar line before the start new phrase: you probably only need it after the beginning of a phrase.

During the next playing, refine the movement (by scale, by chord, chanting), intervals, steps, jumps ... A lot of things need to be clarified. But there are a lot of losses ahead!

And please don't forget the random signs! Already in the first year of study, harmonic and melodic steps appear in minor, a little later - they are in major, and there are other altered steps. They are easy to hear if you have a good idea of ​​the sound of the usual natural range and the ratio of its simple steps.

So sing scales, sing chords, sing intervals in and out of key. This can be done at home as well.

And in the classroom - no panic!

Good luck!

© Sergey Bogomolov,

Ph.D. in History of Arts,

teacher at the Children's Music School named after ON THE. Rimsky-Korsakov

(especially for our site, 2015)

S o l F a is a project of Vladimir Gromadin, Ph.D. in art history, a teacher with over 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 theory music and analysis of forms 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 website S o l F a (sol + fa = solfeggio), which presents samples of dictations and sequences ("chains") different levels 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. 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.

An indispensable condition for listening to a dictation is to catch strong beats in dictation and conducting in the meter of the dictation. Conducting contributes to the memorization of the dictation.

The order of recording a dictation is different for everyone, it depends on your personal skills - on how you are used to writing it. This may be initially writing down the first notes in each measure - strong beats, or writing down the beginnings and ends of phrases, or writing down the entire first measure.

A lot depends on the development of your ear for music (how you developed it) and on your memory.

How to develop an ear for music?

Very simple. Learn to mentally imagine the sound of music and at the same time have at least a sense of harmony (remember the sound of the tonic, be able to sing the steps to the tonic, distinguish between the stability and instability of the steps).

How to achieve a high level of development of melodic hearing?

Try to imagine the sound of a melody that you like.

Most good advice- select as much music as you like on the piano, and select not only the melody, but also the accompaniment, write notes if possible.

When you hear a new melody, try to hear it with notes in any key convenient for you, test yourself by playing it on the piano.

The most important thing is to learn to mentally imagine sounding music. To do this, learn as many melodies as possible by heart, write them down not only in the original key, but also in others.

Listen to music by looking at the musical text.

Try to write dictations at home, having previously recorded them on a tape recorder or other recording device.

Over time, after about three years, a solid supply of musical impressions will accumulate in your musical baggage, and you will be able to record dictations.

No teacher will teach you how to write dictations if you yourself do not develop your ear.

How to achieve a high level of development of harmonic hearing?

Play as much music as possible on the piano.

Solve harmonic problems in the following way. Play the melody of the problem several times, check if you know it by heart, sing it. Try to imagine how the melody sounds if you played it on the piano, how it sounds if you sang it.

Did not work out? It's OK. You are doing it for the first time. Play or sing the melody as many times as needed to get you sick of the melody, so that it is firmly "settled" in your head. Solve the problem as if you were picking up an accompaniment. Try to think (hear) the functions of chords (root, dominant, subdominant), as well as imagine the sound of specific notes of the chord. Naturally, to record a solution to a problem, you will use harmonic rules, such as determining the form of a problem, determining and arranging caesuras, cadences, correct doubling of tones in chords, connecting chords, the logic of harmonic development in harmony, you will follow the beauty and logic of the bass line, check pairs of voices for the presence of parallel fifths and octaves, as well as to monitor many other nuances related to the topic of the problem.

The last and most important step in solving a problem should be playing it on the piano in the correct rhythm and at a tempo suitable for the genre of the problem - here you will hear if the problem solved in this way sounds good, if other options for its harmonization are needed. At the same time, there is a high probability of errors in the game, which means that you will never determine whether everything sounds good. Therefore, my advice to you is to solve the problem in music editor. By pressing the "play" button, you will hear all the strong and weak sides your task.

Here are tips on how to learn to imagine the sound of the whole problem.

1) Learn to represent the melody of the task (this has already been said)

2) Learn to visualize the bass line

3) Sing or play each chord of your task from bottom to top

4) Play the first chord of the problem from the bottom up very quickly, like an arpeggio, rely on bass and melody

5) Imagine this chord mentally just as fast

6) Play all chord sounds at the same time

7) Imagine mentally its sound. Happened?

8) Do the same exercises with the second chord

9) Play both chords from bottom to top one after the other slowly at first, mentally imagine, play arpeggio, mentally imagine, play both chords with simultaneous sounds of each, mentally imagine.

If you succeeded, congratulations, but you must learn to imagine the sound of the whole task.

10) Play and present the first 4-5 chords of the problem slowly, arpeggiato and finally in harmonic sound (4-sound chords).

11) Break the whole task into several passages of 4-5 chords each. Learn to play and imagine any of the passages.

12) Check how well you know the sound of the passages by trying to imagine their sound out of order.

13) Play the entire task from start to finish. Try to imagine its sound.

14) Do not stop trying until you know all the notes in it and until you can clearly imagine the sound of the problem.

At first, you will spend about one and a half to two hours on such exercises, but it's worth it. Your ear for music will differ markedly from the hearing of your classmates in sharpness and subtlety.

15) If you ride in transport or you have any unoccupied time, you can remember the sound of a task or any piece of music that you have learned every day. In this case, your ear will always be active and capable of composing music or writing musical dictation.

Musical dictations are one of the most interesting and useful exercises for the development of hearing, it is a pity that many do not like this form of work in the classroom. When asked “why?”, the answer is usually “we can’t”. Well then, it's time to learn. Let's learn this wisdom. Here are two rules for you.

Rule one. Trite, of course, but in order to learn how to write solfeggio dictations, you just need to write them! Often and a lot. From this follows the first and most important rule: do not skip lessons, since each of them is written musical dictation.

Rule two. Act independently and boldly! After each playing, you need to strive to write down as much as possible in your notebook - not one note in the first measure, but a lot of everything in different places(at the end, in the middle, in the penultimate measure, in the fifth measure, in the third, etc.). Don't be afraid to write something wrong! A mistake can always be corrected, but getting stuck somewhere at the beginning and leaving a sheet of music blank for a long time is very unpleasant.

How to write musical dictations?

First of all, before the start of playback, we determine the key, immediately set key signs and imagine this tonality (well, scale there, tonic triad, introductory steps, etc.). Before starting the dictation, the teacher usually tunes the class to the key of the dictation. Be sure, if you sang steps in A major for half of the lesson, then with a probability of 90% the dictation will be in the same key. Hence the new rule: if you were told that the tonality is with five flats, then do not pull the cat by the tail, and immediately put these flats in the right place - it’s better right on two lines.

The first playing of a musical dictation.

Usually, after the first playing, the dictation is discussed in the following way: how many bars? what size? are there any repeats? Which note does it start with and which one does it end with? Are there any unusual rhythmic patterns (dotted rhythm, syncopation, sixteenth notes, triplets, rests, etc.)? All these questions you should ask yourself, they should serve as a setting for you before listening, and after playing, you should naturally answer them.

Ideally, after playing it for the first time in your notebook, you should have:

• key signs,
• size,
• all beats are marked,
• written first and last note.

About the number of cycles. There are usually eight strokes. How should they be marked? Either all eight measures on one line, or four measures on one line and four on the other- just like that, and nothing more! If you do it differently (5 + 3 or 6 + 2, in especially difficult cases 7 + 1), then, sorry, you suck! Sometimes there are 16 bars, in this case we mark either 4 bars per line, or 8 bars each. Very rarely there are 9 (3 + 3 + 3) or 12 (6 + 6) bars, even less often, but sometimes there are dictations of 10 bars ( 4+6).

Solfeggio dictation - playing the second

We listen to the second playback with the following settings: with what motives the melody begins and how it develops further: does it have repetitions which ones and in what places. For example, repetition in sentences- the beginning of sentences is often repeated in music - 1-2 measures and 5-6; in the melody can also be sequences- this is when the same motive is repeated from different steps, usually all repetitions are clearly audible.

After the second playback, you also need to remember and write down what is in the first measure and in the penultimate, well, in the fourth, if you remember. If the second sentence begins with a repetition of the first, then it is also better to write out this repetition immediately.

Very important! If, after the second playing, the time signature, the first and last notes, the measures are not yet written in your notebook, then you need to “activate”. You can’t get stuck on this, you need to ask insolently: “Listen, teacher, how many bars and what size?”. If the teacher does not answer, then someone from the class will surely react, and if not, then we ask the neighbor loudly. In general, we act as we want, arrange arbitrariness, but we find out everything that is needed.

Writing a solfeggio dictation - the third and subsequent playbacks

Third and subsequent plays. First, it is imperative conduct , memorize and record the rhythm. Secondly, if you can’t immediately hear the notes, then you need to actively analyze the melody , for example, according to such parameters: direction of movement (up or down), smoothness (in succession in steps or jumps - at what intervals), movement according to the sounds of chords, etc. Thirdly, you need listen to clues , which the teacher says to other children during the “bypass” during the solfeggio dictation, and correct what is written in his notebook.

The last two plays are designed to check the already finished musical dictation. It is necessary to check not only the height of the notes, but the correctness of the spelling of stems, leagues, the placement of accidentals (for example, after a backer, the restoration of a sharp or flat).

Today we talked about how to learn how to write solfeggio dictations. As you can see, writing musical dictations is not at all difficult if you approach it wisely. In conclusion, get a couple more recommendations for developing skills that help in musical dictation.

1. Listen home works that are traversed by musical literature, following the notes (you take music in contact, you also find notes on the Internet).
2. sing the notes those pieces that you play in your specialty. For example, when you work out at home.
3. Sometimes transcribe notes by hand . You can use the same plays that you study in your specialty, it will be especially useful to rewrite polyphonic work. This method also helps to quickly learn by heart.

These are proven ways to develop the skill of recording solfeggio dictations, so do it at your leisure - you yourself will be surprised at what the result will be: you will write musical dictations with a bang!