Programs that help you learn how to write a musical dictation. How to learn to write musical dictations

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.

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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 work well. music 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 development 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)

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 the 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 educational process quite late.

Musical dictation is the most important and highly responsible form of work in solfeggio classes at all levels. musical training(starting with children's music school and ending with higher, professional education). In the process of recording the dictation, the most different sides hearing and various properties psychological activity:

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.

Preparation:

- 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 music text followed by 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.

Introducing all kinds of music into the learning process creative activity 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

composition

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. Most important point- improvisation should be carried out in specific modal system, and on early stages most acceptable anhemitonic frets- the basis of folklore (improvisational in nature) music:

Maltsev offers the following types improvisations 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 senior music school classes- 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).

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

3. Composition 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 earliest stages of musical and creative activity great importance has a choice of topic for composition or improvisation, 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 that concludes 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 whole process of development musical ability it is necessary to saturate 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.

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 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 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.

A solfeggio dictation is something that is listened to almost in the most attentive way, because a 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.

In the course of solfeggio training means not only practical exercises given and related disciplines, but all musical activity student, reinforcing his knowledge. Such a “fixing” moment is the recording of music, i.e. musical dictation. Indeed, in order to write down a fragment of a musical work being played at a given moment or to fix the music sounding in memory, one should have a good developed hearing and a sufficient stock of theoretical knowledge. In order to clearly and completely concretely analyze what you hear, it is not enough to realize the patterns of the musical speech of a given passage, you must be able to competently, on the basis of the theoretical knowledge gained, record this music. Here it is quite appropriate to draw an analogy with the skills in teaching reading and writing in English. mother tongue. A long way of acquiring literacy is necessary in order to create inseparable bond visible - audible, immediate and direct connection.

Most full form analysis of what is heard is a recording of music - a musical dictation. Dictation is the result of knowledge and skills, which determines the level of musical and auditory development of the student.

The main tasks that the teacher faces in working on the dictation are as follows:

• to create and consolidate the connection between the audible and the visible (musical signs), that is, to teach the audible to make visible;
• develop memory and inner hearing;
• use dictation as a means for consolidating and practical mastering knowledge and skills.

It is quite obvious that the complex process of recording a dictation (“I hear-understand-write down”) requires not only certain knowledge, the level of hearing development, but also special training, learning. This is one of the most important tasks of the solfeggio technique - to show how to teach how to write a dictation.

In the process of recording a dictation, various aspects of hearing and various properties of psychological activity are involved: 1) thinking, which ensures awareness of what is heard; 2) memory, which makes it possible, remembering, to clarify what was heard; 3) inner hearing, the ability to mentally hear and imagine sounds, rhythm and other elements. In addition, dictation assumes the presence of theoretical knowledge that helps to correctly write down what is heard.

Thus, before starting to record a dictation, the teacher must be sure that the students are prepared for this work, that all the above aspects of musical abilities and hearing (thinking, memory, inner hearing, knowledge) were clearly manifested in previous classes and were fixed in other forms of work - in intonational and rhythmic exercises, in sight reading and in listening analysis. This is especially important in classes with children: their general intellectual development, writing skills, the ability to conscious activity are brought up gradually. Therefore, it is most expedient to start work on recording music in the second grade of a music school, and in the first grade to write a big story. preparatory work. Otherwise, wrong skills and wrong methods of the recording process may be formed, which will remain for life.

Work on the dictation mainly takes place in the classroom, in the classroom. Therefore, the correct organization of the recording process is very important, as well as the atmosphere that the teacher creates in the classroom. The experience of many teachers makes it possible to recommend the following methodology for the recording process.

First of all, it is necessary to gather 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, direct perception of music. You can first name the author, the work, say what instruments perform it. The first performance of the dictation should be, if possible, beautiful, expressive, at a real pace. In order for the music to be remembered by the students, to become intonationally close, it is useful from the very beginning to play the example not once, but two or three times in a row.

After that, you can have a conversation in the class, find out the result of the first, most general impressions: determine the mode, size, structure, etc. Then the tuning is given, and the dictation is played again, and the students are invited to clarify the harmonic, structural, metro-rhythmic features of the music and start recording, mainly from memory.

It is important for the teacher to make sure that the students really remember the melody of the dictation and, therefore, can start recording. Practice shows that the bad habit of waiting for the next playback in order to record a few more sounds is born precisely when students tend to start writing as soon as possible without checking their memory. Only a strict and constant check by the teacher of the degree of memorization of the dictation brings up the correct skill in students - to write from memory, and also contributes to the development of memory and inner hearing.

The role of the teacher in the process of class work on the dictation is very responsible - he must, taking into account the individual characteristics of each student, guide his work, teach him to write. Unfortunately, we often have to meet with the fact that the teacher "dictates" and then waits for capable students they will write quickly and correctly, while the weaker ones will write poorly, with errors or not be able to finish at all.

Leading the work of the class, the teacher must know the individual characteristics of each student and take them into account. In addition to general class comments, advice and explanations of recording techniques, individual advice, tasks, and techniques necessary at this stage for lagging students should also be given.

It is very important to educate students in the ability of self-control, to develop the ability to find their mistake. Walking through the rows in the classroom and checking the recording process, the teacher should not himself sing the incorrectly recorded (as, unfortunately, many do). He must find ways to get the student's attention, get him to sing the wrong note himself, or ask him to find and correct mistakes by playing an instrument.

As a rule, students should write the dictation silently, based on their inner hearing. But for those whose inner ear is still poorly developed and musical performances are unclear, fragile, you can allow them to quietly hum aloud while recording, in order to accustom them to the accuracy of intonation, to a clearer distinction between the pitch relationships of sounds. Only gradually, by accustoming students to hum less and less often, can, by developing their inner hearing, bring up the accuracy of auditory representations and thereby make singing aloud unnecessary.

This is especially true for vocalists. Due to the specifics of the singing reflex, the movements of the vocal cords will help them in the perception and awareness of the melody. Internal representations are developed in them slowly, and even with mental singing they are to a large extent connected with the movements of the vocal cords and larynx. With this in mind, you can at first allow everyone to hum while recording, gradually transferring external, sounding control over auditory representations into mental.

In the early stages, all students should be required to conduct when recording. But in the future, more developed students usually stop conducting themselves, replacing external gestures with a clear internal 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.

As already mentioned, the first two or three playbacks of the example must be at the right pace so that students correctly perceive and remember the expressive nature of the example. In the future, when during the recording process the dictation is played several more times for clarification and verification with the recording, the tempo can be somewhat slowed down.

The number of plays depends on musical material, on how developed the memory of students. Many teachers play the dictation in parts to speed up the recording. In some cases, for example, when recording polyphonic examples of a large volume (10-16 measures), such a division is possible. But ordinary dictations (in 6-8 measures) should not be divided so as not to violate the logic and integrity of the music. It is better to allow a slightly larger number of plays at the beginning.

At the end of the time allotted for recording, the dictation is checked. For verification, you can use both collective and individual forms:

• singing with the whole class;
• collective analysis of the example by the teacher in front of the whole class (notes, chords, rhythm, strokes, etc. are called);
• individual check by the teacher of students' notebooks;
• each student playing his own record in a notebook and self-checking and correcting errors;
• comparison by the student of the record with original text at home (if possible).

It is important that the organization of the recording process of the dictation correctly educates the attention and perception of students, so that the principle of moving from the general to the particular, from perception and memorization is respected. artistic image works for analysis means of expression musical language and as a result to the recording, the fixation of the audible.

Since the development of the skill of recording music is one of the responsible and difficult tasks for a teacher, it is necessary to teach the student how to record music. Some practical approaches for this purpose are suggested below.

monophony

1. Structure . In order for the student not to perceive the melody as a sum of different sounds, not to write down separately note by note, it is necessary that before recording he understands the structure of the melody, the number of constructions, phrases, the nature of the final revolutions. Memorizing and writing down a melody by phrases, sometimes even by individual turns, one should not lose the perspective of the whole, that is, modal relationships, the feeling of relying on stable sounds of tonality and individual steps of the mode.
2. Lad . Determination of modal functional value separate parts and revolutions should be the basis for recording the dictation, one of the means of self-checking what is written. In doing so, the student should be able to:

• identify (and record) sounds at the beginning and end of each phrase;
• compare a number of sounds of a phrase (building) with a modal tuning (with reference sounds) or among themselves;
• start each new construction based on the general fret tuning. Never rely on the interval between two phrases separated by a caesura;
• find and use while recording previously realized form-building elements: repetitions, sequences, imitations, variation, expansion and others;
• when recording more complex melodies, with alterations and chromatisms, be able to isolate the basic, core sounds of the melody, and use them to find the desired sound or a whole melodic turn.

3. Linearity. Be able to record series of sounds or individual intonation turns, being aware of the line of movement of the melody (smooth, abrupt, singing sounds, auxiliary, etc.) Excessive and harmful checking of each interval in such common types of movement leads to the fact that students between steps of the mode (even between adjacent sounds), they lose the perspective of the whole.

4. intervals. The importance of intervals when recording a melody is undeniably very large, knowledge of them should not be the beginning, not the basis of the methodology, but the result of understanding the structural, modal and graphic (linear) features of the melody. Interval orientation is possible in the following cases:

a) with large, wide jumps in melody;

c) when recording melodies with deviations and modulations (since the recording of sounds at the moment of shift, exit from the main key and transition to a new one requires the definition of exactly the interval).

At the same time, it is very important (and usually difficult) to be able to generalize a group of sounds into one intonation, into a chord that occurs in an unfolded form in a melody, and not write it down in separate intervals.

5. Metrorhythm. Methods for understanding the metrorhythmic organization of sounds while recording them are closely related to a specific area of ​​perception and often require special tricks for development. In the methodology of dictation, one should proceed from the very beginning from the fact that pitch and metro-rhythmic ratios are inseparable from each other, and only in their unity is the logic and meaning of the melody formed. Indeed, in the process pedagogical work over recording a dictation, this is one of the most difficult methodological tasks. There is still no consensus on the question of the significance of pitch and metrorhythmic connections for understanding the melody.

Some teachers believe that you should first master the rhythmic side and offer to write out a rhythmic scheme above the staff, by measures. Others, on the contrary, suggest first marking all the sounds of the melody with dots, and then arranging them rhythmically.

It seems that both methods are methodologically incorrect, since they force students, while listening to a melody, to artificially focus their attention on one side, abstracting the other.

It is more correct from the very beginning in the preliminary conversation to pay attention to the expressive side of the rhythm, as well as to the mode, tonality, structure.

In the process of recording, one should simultaneously draw up in each construction, in each phrase, both the pitch and the rhythm. It is important to teach students to:

• having determined the tempo, size, conduct the melody;
• mentally recalling the melody, lightly tap the rhythmic pattern;
• having memorized the construction, immediately realize its rhythmic organization, the grouping of sounds around the strong beat;
• in the process of recording, first of all, fix the strong beats of the bar, then the sounds that make up the beat; this is especially important when recording melodies with a large number of small durations. After determining the initial sounds of each beat, rhythmic groups are more clearly identified, and their further awareness can already be done purely arithmetically (logically);
• realizing any rhythmic group, you need to conduct in such a way as not to break the motive or phrase. Under no circumstances should you stop strong beat or try to conduct one beat, because a rhythmic group is a ratio of durations within a time signature.

double voice

In the work on the development of polyphony, the first stage is the recording of two-voice music. You can start two-voice dictations when the skills of recording a monophonic melody have already been developed, which will form the basis for further work on polyphony. But since the perception of two - and polyphony is a new quality of musical hearing, new methodological techniques, new systematics are required to master it. In teaching practice, various methods of initial work on a two-voice dictation are used.

Some teachers practice the recording system “by voice”, that is, fixing the line of each voice separately, horizontally. Such a system is very fully and consistently developed by N. Ladukhin in his manual "A Thousand Examples of Musical Dictation". At the same time, the union of two melodies is carried out only by the temporal, rhythmic side. Although this technique is practically useful and in some cases can be applied in the future, at the first stage it is not capable of developing students' harmonic hearing, it does not rely on awareness of the phonic side of harmonic intervals and modal functional connections.

Another, opposite method, proposed by Ostrovsky, consists in the fact that at first, students are asked, when listening to a two-voice of a strictly harmonic warehouse (that is, a number of intervals), to write down digitally, without notes, only the name of the interval; the purpose of this method is to achieve a definition of the harmonic complex by ear. With all the usefulness of this method, it cannot be recommended, since it abstracts the students' consciousness from hearing the melodic beginning of music and violates the integrity of the musical impression.

Examples of a sub-voice warehouse are a methodically convenient form for the transition from monophony to two-voice. Here, the ability to record monophony, the leading melody is used to the maximum, and at the same time, listening to the vertical and the moment the two-voice appears is well organized. The possibility of recording each of the voices separately is almost impossible, since the voices either merge or split into two. Students are encouraged to write down the melody, and in places where two-voice appears, sign the resulting interval.

At first, these dictations are written on one line in an instrumental grouping. As the interval composition of the melody becomes more complicated, when recording examples of continuous two-voice, the rhythm in the voices should not become more complicated.

Taking this third method as the basis of the methodology, we recommend that students gradually develop the following skills:

1. When recording a melody, immediately fix in some places (mainly at strong, pivotal moments) the resulting interval, paying attention primarily to its harmonic sound.
2. In those examples where both voices are mobile - to be able to identify the line of each voice, especially the lower one.
3. In polyphonic examples, where horizontal recording is used, do not forget about the necessary check of harmonic sounding vertically, especially on the support beats and at the moments of completion of certain parts of the form (in cadence revolutions).
4. When recording examples where the lower voice is the basis of harmony (harmonic bass), be able to direct your attention to the awareness of modal functional connections, to the correct understanding of the structure of the example.

Further complication of musical material through the use of piano texture, where the bass is based on harmonic figuration, will require students to be able to combine a group of sounds into a chord, not write a line of voice horizontally, but express the heard harmony, that is, vertical, in the corresponding figuration. This type of dictation will be a transition to recording four- and three-part dictations.

There are many different forms of dictations, different methods of work, using which the teacher must remember that the main task- teach to write.

One of the most used forms - control dictation - is a test of student progress. But you should not give control dictations too often, it is better to use other forms and techniques for work. In children's music schools, the ratio of different forms of dictation to the control should be 3:1, that is, children learn to write for three lessons and only for the fourth - control. In a school and university, the number of control tests can be increased - this ratio will depend on the topic or task set by the teacher.

Mastering new difficulties in dictation should always be preceded by working through them in other forms of work: intonation exercises, analysis by ear, reading from a sheet.

One-voice dictations

1. preparatory forms.

The purpose of this section is to nurture a correct recording process, containing the following techniques:

a) Rewriting of musical text. The task of students at this stage is very simple: to develop musical handwriting, learn to write neatly, cleanly, observing all the rules of calms, grouping, etc.

The material is melodies recorded in the classroom, rewritten from solfeggio collections. Gradually complicating the tasks, you can rewrite one part from a two-voice choir, one melody from piano piece or the part of your instrument in an ensemble. At the same time, it is necessary to strictly observe an important methodological rule: to rewrite only what is familiar to the ear and is clearly represented by the inner ear in the process of writing. This from the very beginning will help to consolidate the connection between the visible and the audible.

b) Picking up a familiar melody on the piano and then independently recording it on the musical staff.

c) Written transposition of selected familiar melodies.

d) Oral dictations. After the melody is learned by ear (with text or into syllables) and is purely performed by the choir, the whole class under the guidance of the teacher determines the name of the notes, the melody is solfegged with conducting and then recorded in a rhythmically designed notebook.

e) The rhythmic arrangement of notes written on the board that make up a familiar melody.

g) Dictation with "mistakes". After the students have solfegged the melody orally, the teacher writes it down on the board, deliberately making mistakes both in rhythm and in individual sounds. Students are encouraged to find and correct errors without resorting to a tool. Practice shows that this fun exercise helps a lot when checking your record, teaches you to self-control, which helps a lot at all stages of learning.

2. Various forms dictations.

All of the above preparatory forms, when students do not write down the melody on their own and in full, aim to develop the right skills and prepare them for independent recording of dictations.

Demonstrative dictation. The purpose and purpose of this form of work is to show students the recording process. The dictation is conducted by the teacher himself or can be entrusted to one of the students. The record is kept on the board, along the way, the whole path of understanding what is heard is explained. This form is convenient and useful in mastering new difficulties, when the teacher is introduced to a new group of students, as it makes it possible to establish a common methodology for the recording process for all.

Dictation with preliminary oral analysis. Analyzing the example, the teacher can analyze not only the pace, size, structure,

But also some intonation turns, rhythmic figures, play or sing them. This form is convenient when learning new difficulties or before a difficult dictation.

Sketch dictation, in parts. The teacher suggests writing down not the entire dictation from the beginning, but its individual parts. For example, only the second sentence or the motif of a sequence, or only the cadenzas of the first and second sentences, etc.

This kind of dictation should be used at any stage of learning until students get used to using sketch recording on their own, without reminders from the teacher. This form is especially appropriate for polyphonic dictations.

Dictation with tuning and in any key. Usually, after the first listening, tuning is given and the key is set. At the same time, it is useful to involve students in the definition of tonality, based on the feeling of tonal paint. If at the first stage the tuning should be long, firmly fixing the tonality, then in the future it is reduced and as a result, students should be able to tune themselves to a given sound or chord.

Sometimes you should give dictations without determining the key. The tuning is played or sung without note names.

This form of dictation is useful for working on "self-dictation", that is, recording familiar melodies from memory.

Dictations for the development of memory. Although all work on the dictation is based on inner hearing and is aimed at developing memory, it is still useful to use special forms for developing memory:

a) The example is played two or three times. After listening, each student writes down what he managed to remember;

b) The example is played three or four times, its memorization is checked, and then the students start recording;

You can change the task: do not write down, but play an example on the piano.

It is very important, consistently increasing the amount of memory, to skillfully select examples. It must be remembered that the clarity of the structure helps memorization, and therefore it is best to start with short chants-themes consisting of one motive. Then complicate them, including repetition, variation, more complex structures, bringing the dictated material to a period.

Self-dictation, or recording of familiar music. You can record familiar melodies, as well as themes or excerpts of those works that were passed by students in the class in their specialty, in the course of musical literature. You can record melodies own composition or compose, add a second sentence to this first etc. Before asking a "self-dictation" at home for self-training, it is necessary to conduct this form of dictation several times in the classroom, in the lesson.

By alternating different forms of dictations in the process of work, the teacher ensures that the students learn the correct methodology of work.

Two-part dictations

d) recording features in the examples where the lower voice is the harmonic bass.

a) dictations in the form of harmonic circuits like the above examples;

b) dictations with incomplete recording, that is, with recording only extreme voices (upper and lower) and putting down harmonic functions.

Polyphonic examples can be written as follows examples:

• only the theme and response are recorded in pre-marked measures;
• one of the voices is recorded horizontally from beginning to end;
• only oppositions are written to the presentations of the theme pre-written by the teacher.

There are also dictations with the use of various types of textures, especially piano, dictations of different timbres. Full record musical works. Designed for various kinds performances, various compositions, ensembles.

Dictation classes should not only contribute to the development of students' hearing, but also teach them how to practically record audible music. Therefore, one should take material for dictations from artistic musical literature: songs, romances, excerpts from instrumental choral and even symphonic music.

The teacher should not forget that recording a dictation is not only special exercise for the development of hearing, memory. The practical ability to record music, but also a means to educate general musicality.

Bibliography

1. Bagadurov V. Vocal education of children. M., 1953
2. Baraboshkina A. Methods of teaching solfeggio in children's music school. L., 1963
3. Birkenhof A. Intonated exercises in solfeggio classes. M., 1979
4. Vakhromeev V. Questions of methods of teaching solfeggio in children's music school. M., 1966
5. Davydova E. Methods of teaching solfeggio. M., 1986
6. Nezvanov B. Intonation at solfeggio lessons. L., 1985
7. Ostrovsky A. Methods of music theory and solfeggio. L., 1970

This manual is a collection of author's melodic dictations aimed at students lower grades music department (8-year term of study).

The main purpose of creating the manual is to find new creative approaches to the implementation of fruitful work with elementary school students in solfeggio lessons.

Working with students on dictation is one of the most complex types activities in teaching solfeggio. As a rule, both theoretical knowledge and practical skills are summarized in dictation. All this is a whole complex aimed at performing several tasks at once, combined into one - writing a melody that is complete in meaning.

Where to start, how to build work on a dictation? Developments in solving this issue are given in the proposed manual.

Undoubtedly, before a small first-grader musician can record a melody on his own, he must master musical notation, meter and rhythm, accumulate auditory experience in the ratio of steps in a fret, and much more. In the process of learning the basics musical literacy, we begin to write the first dictations, analyze musical fragments by ear and fix them using graphic images(Here the teacher can show imagination). In such dictations, the teacher performs easy-to-understand pieces on the piano. After listening to them, students should, for example, hear and fix the mood of the music, how the melody moves (after talking about it beforehand, of course), slap the pulse, you can count the beats, determine the strong one, etc.

Approximately from the second grade onwards, the level of difficulty increases in accordance with curriculum. Here the child should already be able to read music, know certain keys, the principles of gravity in harmony, duration, and be able to group them.

Working with rhythm deserves special attention. An excellent training is rhythmic dictations aimed at recording a rhythmic pattern. In melodic dictations, I find it convenient to record the rhythm separately from the melody (to a greater extent this is true for elementary school students).

The process of writing a dictation is based on following a plan. After each playback, you need to determine and fix:

• key;
• musical size, dictation form, structure features;
• Start dictation (first measure) - tonic, middle cadence(4 cycle) - the presence of the V stage, final cadenza(bar 7–8) -

V step tonic;

• rhythm;
• melodic intonations using graphic symbols;
• musical notation;

During the performance of a melody, a certain task must be set before the students. At the same time, I consider it important not to focus on hearing something specific, on the contrary, to note the maximum possible (based on the plan). It is not so important in what order to start writing down what you hear - from the first note or from the end, it all depends on the specific melody. It is important to choose a “reference point”: it can be the tonic at the end, “what is before the tonic?” and the V step in bar 4, “how did we “come to it?” etc. It is also important to orient children not to the ratio of two adjacent notes, but to a motive of 5-6 sounds, perceiving it “as one word”, then the children will quickly learn the whole melody. It is this skill that will subsequently help to generalize the musical text when reading from a sheet in a specialty.

For the most part, the collection presents dictations in the form of a period, consisting of two sentences of repeated structure. We also write dictations of a similar structure in the classroom. Based on the classical tradition, we discuss with students that Start dictation - from the tonic or another steady level, in measure 4 - middle cadence- the presence of the V stage, 7–8 cycle - final cadenza- V degree of tonic;

After writing the rhythm (above the bars), we analyze the melody, the intonations of which it consists. To do this, we determined the main elements of the melody and assigned each its own symbol. (Here the imagination of the teacher is boundless).

Essential elements musical intonations:

An example of a dictation with graphic symbols:

The "key" to the successful writing of a dictation is in the ability to analyze, think logically. In practical activities, I had to meet students with good musical memory, with a pure "by nature" intonation, who had difficulty in writing a dictation. On the contrary, a student who has a weak intonation and memorizes a melody for a long time, with the ability to think logically, copes well with the dictation. Hence the conclusion that in order to successfully write a dictation, children should be taught not so much to memorize as analyze heard .

Musical dictation is an interesting and fruitful form of work in the solfeggio course. It contains modal, intonational, metrorhythmic difficulties. Work on the dictation organizes the attention of students, develops auditory memory and the ability to analyze what they hear. The development of all these foundations equally occurs in all disciplines studied in music schools, art schools, especially in the specialty and solfeggio. These items are definitely complementary. However, the approach to studying a new work in the specialty and dictation in solfeggio is noticeably different: reproducing the musical text according to the notes in the specialty, in the mind of the student, the finished work is gradually formed from the details. This is reflected in the diagram:

When creating a musical notation of a listened work on solfeggio, the process of working with new material takes place in the opposite direction: first, the students are offered the sound of the finished work, then the teacher helps to analyze, then the learned turns into a musical text:

At the stage of analysis of the dictation, it is important to follow from the general (features of structure and phrasing) to the particular (the direction of movement of the melody, for example), without disturbing the natural course of the process.

Recording a dictation is not creating a whole from separate elements (melody + rhythm + time signature + shape = result), but the ability to analyze the whole as a complex of its constituent elements.

In order for students to get used to actively perceiving musical text, it is very useful to different shape dictation work. For example:

• Stepped dictation - the teacher plays a melody, which the students write down as a step sequence. This type of dictation contributes to the expansion of orientation in harmony and develops a useful ability to think in steps.
• Dictation with errors - a dictation is written on the board, but with errors. The task of the children is to correct them, write down the correct version.
• Dictation with options - useful for expanding musical horizons and understanding the possibilities of developing musical material. In such dictations, both rhythmic variation and melodic variation can be used.
• Dictation from memory - it is analyzed, the dictation is learned, until each student remembers it. The task is to correctly arrange the musical text from memory.
• Graphic dictation - the teacher indicates on the board only some steps, graphic symbols denoting elements of melodic intonations.
• Dictation with the completion of a melody develops students' creativity three stages of melodic development: beginning, middle (development) and conclusion.
• Selection and recording of familiar melodies . First, the melody is selected on the instrument, and then it is drawn up in writing.
• self dictation - recording from memory learned numbers from the textbook. In this form of dictation, the development of inner hearing and the development of the ability to graphically draw out what is heard takes place.
• Dictation without preparation (control) - reflects the degree of assimilation of the material. As a material, you can choose a dictation one or two classes lighter.

Any form of dictation is a kind of monitoring of development musical thinking child, the level of assimilation of new material by him, as well as a way to give children the opportunity to realize their skills on their own or make "discoveries" under the guidance of a teacher.

Examples of dictations for grade 2:

Examples of dictations for grade 3:

Examples of dictations for grade 4:

The dictations presented in the manual are created on the basis of the elements of musical intonations described above and are instructive. In my opinion, in this form it is convenient to “hear” and analyze them, which means that it is easy to cope with the task. This is what I wish our students - young musicians!

Hope for creativity teachers to the one presented in this methodological guide material.

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For the purchase of Lyudmila Sinitsyna's manual "Solfeggio dictations for elementary grades", please contact the author at