The purpose of the lesson: Formation and development of performance skills of playing the guitar at the initial stage of training.
Lesson type: Combined
Tasks:
1. Educational. To teach the student to master various methods of sound extraction within the works studied at this stage
2. Developing. Development of general outlook, ear for music, memory, attention, thinking, improvement of guitar playing techniques.
3. Educators. Education of the culture of performance of the studied works, patience and perseverance in overcoming difficulties.
4. Health saving. Compliance with the correct landing, setting of hands, conducting physical education.
Lesson form: Individual
Methods:
- method of practical demonstration;
- method of verbal explanation.
Educational and material equipment: guitar, footrest, chairs, sheet music, workbook student.
Lesson plan:
1. Organizational moment, introductory speech (methodological note).
2. Checking homework.
Game of positional exercises;
- playing the C-dur scale with the use of rehearsal of fingers i-m, m-i;
- work on the sketch;
- playing previously learned pieces;
- holding a physical education session
3. Work on a new game technique - double tirando.
4. Homework, lesson analysis.
During the classes.
Methodical reference: the first lesson in music school is a big event in a child's life. He not only gets acquainted with the teacher and the instrument, but also takes the first steps into the world of music. The further attitude of the student to the classes depends on how successful this meeting will be. Therefore, the first lessons must be built in such a way that the student receives many vivid impressions and positive emotions. It is necessary for the child to get used to the new environment for him. To do this, the teacher must win him over: play familiar melodies in the lesson, offer to sing a familiar song - this will help establish contact, create a creative atmosphere. It is necessary to prepare the student for the fact that music lessons are not only pleasure, but also painstaking daily work. If the lessons are interesting, the child imperceptibly overcomes many of the difficulties of the initial learning - technical, rhythmic, intonation. Such classes are much more effective in developing Creative skills child, increase his self-confidence.
Game of positional exercises. At the initial stage of training, in order to develop the student's primary motor skills, special exercises are needed that prepare him to perform technical tasks. Particular attention is the student's landing, the position of the instrument, the position of the hands.
C-dur scale play apoyando technique, using rehearsals of fingers i-m, m-i. The main task is the exact alternation of the fingers of the right hand when moving up and down.
The development of a guitarist's technique is impossible without work on etudes.
Kalinin V. Etude E-dur. Work on the accuracy of the fingering of the left hand, the quality of the sound in the chords being played.
Playing previously learned pieces, pointing out the disadvantages and advantages of the game:
Krasev M. "Herringbone"
Kalinin V. "Waltz"
Conducting a physical activity:
"Spider". Exercise for warming up the fingers of both hands.
"Humpty Dumpty". The exercise is performed while standing. Raise both arms up and down through the sides, slightly tilting the torso forward.
"Soldier and Bear". It is performed while sitting on a chair. At the command "Soldier", straighten your back and sit motionless, like a tin soldier. At the command “Bear cub”, relax and round your back like a soft bear cub.
Working on a new way of playing- double tirando in V. Kalinin's play "Polka". To prepare for its execution, we play an exercise on open strings with double notes. Then we analyze the work: size, tonality, key signs, musical text, rhythmic pattern and start its performance.
Homework.
Continue to work on exercises, scales and etudes. Repeat the pieces "Christmas Tree", "Waltz" - to improve the quality of the performing skills of playing the guitar.
"Polka" - work out new trick, it is better to navigate in the musical text.
Lesson analysis:
The result of the lesson showed that the goals and objectives set by the teacher were achieved:
- clarity and clarity of tasks assigned to students;
- various musical material, contributing to the development of the student's creative abilities;
- creation of figurative series (comparisons, associations);
- presentation of theoretical concepts in the context of a musical image;
- auditory control of the performed works by students;
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1 Department of Culture of the Administration of the Stary Oskol City District Municipal Budgetary Educational Institution additional education children "Children's Music School 5" Methodological report on the topic: "Development of basic technical skills and skills of students lower grades guitars" Guitar teacher Novikova Irina Viktorovna Stary Oskol 2013
2 Education, training, musical development students is based on sound, time-tested methods. different periods they are changed, supplemented, corrected. Only the ultimate goal of education remains unchanged - the education of competent music lovers. At the same time, it is necessary to educate all children professionally, regardless of whether music becomes his profession or musical education ends with the receipt of a school leaving certificate. Musical education should be put on a professional basis. It should also be noted that modern children differ from those whom we taught before, not only in their musical ability, but also by character, behavior, attitude to work, as well as a heavy workload in a comprehensive school and all kinds of extra classes. Among these children there are also musically gifted, but the bulk are children with average musical abilities. This does not mean that such children should not be taught music. In my opinion, everyone should be taught. Music lessons, whether they are successful or not, bring great benefits not only to the child who is learning, but also to the adults around him. First of all, classes discipline everyone, accustom them to patience, work, and the ability to plan their time. Over time, musical abilities develop: hearing, rhythm, memory. But the most important thing is that the child learns to love and understand the language of music. The questions of mastering the technique by students is part of the complex education of the guitarist. Technical work does not oppose general musical development. Techne - translated from ancient Greek, means craft, art, skill. The necessary technical skills - finger fluency, coordination of movements, the ability to choose a rational fingering, a variety of sound production techniques, etc. - are acquired through careful,
3 systematic work. Therefore, from the very beginning, the child must be taught to realize that music lessons are not fun, but hard work. Work on the technical development of the student begins with the very first lessons, starting with the landing, organization gaming machine and education of motor culture. One of the main shortcomings in the technical development of the student is the tightness and stiffness of the apparatus. It is necessary to proceed from the natural, i.e. comfortable hand position. Hands should be free, but not lethargic and weak-willed, and freedom of hands has nothing to do with laxity. A small child, not knowing how to use the weight of the hand, overcomes the weakness of the fingers by pinching the hand, while shaking occurs and unnecessary movements appear. Fingers require daily exercise. The development of technology is carried out not only on the basis of works of art, but also on special instructive material. At the initial stage of training, exercises can provide significant assistance in the development of various motor skills by students. There are a lot of exercises. They are convenient in that both the teacher and the student can fantasize, change them, leaving only the ultimate goal of the exercise unchanged, for which this exercise and is given. It is very valuable when a student shows his imagination. For example: changes the mode, the ending of the exercise, the rhythmic pattern, the dynamics, and so on. IN Lately especially often children come with very weak, undeveloped finger muscles, who are not able to hold the finger of the required shape. In this case, to avoid overload, you need to give up deep sound for a while. Attention should be paid to external and internal tension - muscular and mental. Many famous guitarists and guitar teachers (for example: N.A.
4 Komoliatov E. Puhol, A. Segovia, R. Evers and others) have developed their own systems of exercises for the development of impeccable playing technique. The training programs for the guitar class provide for technical tests, which are held throughout the course of study twice a year in the I and IV quarters. As a rule, the technical examination consists of listening to one etude and one scale. Preparation for passing technical tests and exams takes place in the classroom at the school, where students individually, together with the teacher, study the repertoire and solve the technical difficulties that have arisen within it. The knowledge gained at school students fix at home on their own. According to the curriculum, two academic hours per week for each student are allotted for classes on a special instrument in children's music schools and children's art schools. This is how the educational process for learning to play the guitar is organized in a modern music school. Work on the technical development of students takes place almost entirely within the framework of the repertoire they study. The exception is scales, the development of which is extremely important in the musical and technical development of schoolchildren. But they are studied separately from musical works, and guitar students themselves, as a rule, do not take this type of activity very seriously. do not see a positive result in it in the short term. The teacher should pay attention to the fact that classes aimed at the development of performing technique are of a developmental nature and are not solely for the sake of one technique. Here, a creative and individual approach is especially important. The time spent by students on working on performing techniques should be planned in advance, covering all its main types. But in general, it should not exceed 20-30% of the total time spent playing the instrument. Otherwise, technique may begin to take precedence over
5 artistic content of a musical work and cease to contribute to the disclosure of its image. The technical improvement of student guitarists should include work on the performance of: 1. arpeggio; 2. intervals and chords; 3. scale passages; 4. tremolo; 5. technical legato and melismatics. At each lesson, it is advisable to consider in detail one of the specific performing techniques, and then, in order to acquire a stable skill, students should work it out on their own at home until at least the next lesson, i.e. one week. It is very useful from time to time to return to the material covered. But work on the technique of performance should always be cyclical, like a spiral, when the return to previously learned techniques occurs with constant complication. All exercises should be played at different tempos, loudly and clearly. Mechanical uncontrolled repetitions should be avoided. According to internal sensations, one should strive to ensure that in the process of sound extraction all energy or force is directed to the last phalanx (very tip) of the finger (this is especially true for the right hand, in the case of the left hand, the barre technique is an exception), provided that all muscles are relaxed body. If in the process of training in any part of the body (muscle or muscle group) there is a clamp, then further technical growth will be slowed down or even stopped. The specifics of technically developing exercises for primary and secondary school students have significant differences. Let's briefly consider them: 1. Arpeggio alternately extracting sounds. All work on the development of the technique of novice guitar players should be aimed at forming the foundations of a performing "school". This is facilitated by the study and performance of various arpeggios. On
At the initial stage, it is better to use arpeggios on open strings from A. Gitman's collection “Initial training on six string guitar". The "School of Playing the Six-String Guitar" by Matteo Carcassi offers 22 exercises for different types of arpeggios. Emilio Pujol offers a number of exercises for ascending and descending arpeggios in his "School of Playing the Six-String Guitar": - from three sounds 29-32; - out of four sounds 85-90; - of six sounds In the above-mentioned collections, in addition to exercises, there are a large number of Etudes and Preludes for this type of technique: - M. Carcassi Preludes (e), (C); - M. Giuliani Etude 5, op. 48, "Brook"; - E. Puhol Etude "Bumblebee"; 2. Intervals and Chords The study of the technique of playing intervals and chords is recommended to be introduced at the initial stage of learning. A number of exercises by A. Gitman, M. Karkassy, P. Agafoshin are proposed in the collection "Initial training on the six-string guitar" by A. Gitman. In the "School of playing the six-string guitar" by Emilio Pujol, these are exercises with This type of technique is widely used in Andantino, Allegretto, Preludes and Waltzes by F. Carulli, M. Carcassi. 3. Scales Further, as the positioning of hands stabilizes and the musical and technical development of guitar students lower grades you can start working on scales, starting conveniently with chromatic sequences on different strings. It is best to play the scales using the “apoyando” technique and use the typical fingering of A. Segovia, but try not to allow “crossing” in the fingering. Gamma follows
7 play in various rhythmic arrangements (duols, triplets, quartoles, dotted rhythm). The purpose of scales is to align the fingers, and this requires constant auditory control. When playing scales, you need to learn how to produce sounds of even strength, carefully controlling the sound in terms of rhythm and dynamics. Work on scales plays an important role in the development of hand coordination, which is the key to motor-technical freedom. Exercises to prepare the fingers for playing scales are offered in the "School of Playing the Six-String Guitar" by Emilio Pujol. Scale passages are widely used in the works of both classical guitarists and modern authors. 4. Tremolo The most striking technique of playing the classical guitar. It sounds very impressive, because in addition to the main melody on the first strings, bass accompaniment also sounds at the same time - this is the main difficulty when working on it. Not many people can play tremolo in such a way that two-voice sounds clearly - two instruments (duet). The tremolo technique is best practiced with short drills to get the fingers started. In the 2nd part of the collection "The Artistic Technique of the Guitarist" by E. Shilin, twelve special exercises are offered. You need to work on them for at least 15 minutes daily. The exercises are arranged in ascending order, from easy to difficult, and therefore tremolo, if you work on it daily, will gradually improve. You need to take each subsequent exercise only when the previous one is well worked out. The fingers of the right hand must learn to make sounds in very economical, short movements. The thumb of the right hand has a very important and subtle role. On the one hand, he is a member of the tremolo melodic line and extracts the first sound in a grouping of 4 notes, and on the other hand, he is the main and only performer
8 accompaniments. Therefore, it must adapt very harmoniously to both the melody and the accompaniment. When you play tremolo, you need to pay attention to both the soloist, who "sings" a beautiful melody (these are p-a-m-i fingers), and the accompanist - the finger (p), which not only helps with chord sounds, but also keeps the rhythm of the piece. List of pieces with tremolo technique: - M. Carcassi - Etude (Am) -M. Vysotsky - Russian melody (Am or Gm) - H. Vinyas - Fantasy (E) -Fr. Tarrega - Remembrance of the Alhambra (Am) - Fr. Tarrega - Dreams (E) - A. Ivanov-Kramskoy - Dreams (D). 5. Technical legato and melismatic Legato exercises develop the strength of the fingers of the left hand, but it should be remembered that legato is still a specific technique. Finger movements with legato are sharper than with normal playing. Legato can sometimes be used to facilitate the actions of the right hand in scale passages, in some arpeggios, but its main purpose is coloristic. Legato playing gives the performance a unique sound coloring. With regard to the study of technical legato and melisma in the lower grades, the teacher should especially carefully control the execution of the ascending legato, and when working on melismas, one should limit himself to the performance of various grace notes and short trills on one string in a standard position without chord accompaniment. Exercises for different types of legato are developed in great detail in the “School” by E. Pujol. This type of technique is found in Andantino, Allegretto, M. Carcassi., Etude 13 op. 100 M. Giuliani, Etude (exercise 99) E. Pujol.
9 The foundation of technology is laid at school. The acquisition of movement technique is associated not only with the development of physical and mental properties, but also with auditory development, with the ability to feel the living pulse of movement. musical fabric, with the brightness of figurative representations. Etudes for the development of technique activate the fingers, bring up their lightness, clarity, and mobility. It should be said that not only etudes, but also any piece is an exercise and can be of great benefit if the student shows interest and love for it. It is necessary to achieve flexibility and plasticity of movements with minimal effort and energy saving, make sure that unnecessary muscles are not connected and there is no shaking. Prepare in advance a comfortable position, and not in last moment. Insufficient attention to sound, tenacity and support of the fingertips causes great harm not only musical expressiveness but also technical clarity. The technical development of the student must be inextricably linked with the musical and sound. At various stages of training, one or the other tasks are put forward in the foreground. Musically - aesthetic tasks in relation to etudes relate to the quality of sound, evenness of sound, timbre, tempo. It is necessary to accustom the child to constant auditory control. It is impossible to be busy only with technical problems, to play mechanically without activating the hearing, but to a small child. it is hard enough to hear small irregularities in the passages. It is necessary to instill taste even in the most mediocre students, to develop a sense of proportion in performance, to instill a "culture of sound", a careful attitude towards it. The timbre of the sound, its coloring depends on the particular work. He will also determine the articulation, respectively, and the reception of the game. It is also necessary to avoid variegated articulation. The main goal of technical development is to provide conditions for the best embodiment musical tasks. The propulsion system must
10 to be subordinate to the performing will, and the technical apparatus - to the musical embodiment of the image. The work of a guitarist requires both physical and mental stress, the development of sonic imagination. The ease of movement, their accuracy, loose fit, mastery of a good sound, musical performance, as a rule, instills in the student a love for playing the guitar, which in itself is very important. important condition his continued success. creative development child is one of the most important tasks of pedagogy. It is closely connected with art and, in particular, with specialty lessons at a music school. These lessons help develop various creative skills of children in perception, composition, performance, improvisation, thinking not only about music, but also about life. Optimization of imagination, fantasies, selection of bright, emotional and colorful musical material are the basic guidelines in the formation of a creative personality. A specialty lesson is an art lesson addressed to the inner world of a child, and creativity is a guide to the accumulation of rich personal potential. Bibliography. 1. V.G. Borisevich "Optimization of the musical and technical development of students-guitarists at the initial stage music education(article). 2. Gitman A. Initial training on a six-string guitar. M., Ivanov-Kramskoy A. School of playing the six-string guitar. M., Carcassi M. School of playing the guitar. M., Puhol E. School of playing the guitar. M., Shilin E. School of playing the guitar. Part 2 "Artistic technique of the guitarist" M., 2001.
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CHAPTER 1 THE BASICS OF GUITAR PLAYING Picking. Finger Technique In this section, we'll look at standard plucking (arpeggios). Having learned and conscientiously worked them out, you will be able to successfully apply enumeration in the future.
CONTENTS: Explanatory note... p. 3 Curriculum... p. 4 Content of the course being studied... p. 5 Methodological support of the program... p. 7 References. p.8 EXPLANATORY
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Ensemble music-making as a method of comprehensive development
Methodological report of the guitar teacher Pikulina G.B.
The ancient Romans believed that the root of the doctrine was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, strive for active, creative work, the root of the teaching changes its taste and arouses a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy..
development cognitive interest such an organization of learning contributes, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens..
Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known, and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.
What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble music-making as a method of comprehensive development of students.
1. An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wideintroduction to musical literature.Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in particularly favorable conditions - along with the repertoire addressed to the guitar itself, he can use the repertoire for other instruments, transcriptions, arrangements. In other words, ensemble playing – constant and rapid change of new perceptions, impressions, "discoveries", an intensive influx of rich and diverse musical information.
2. Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky "not for memorization, not for memorization, but from the need to think, learn, discover, comprehend, and finally, be amazed." That is why there is a special psychological attitude during classes in the ensemble. Musical thinking noticeably improves, perception becomes brighter, livelier, sharpened, tenacious.
3. Ensuring a continuous flow of fresh and varied impressions, experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional responsiveness to music.
4. The accumulation of a stock of bright numerous auditory representations stimulates the formation of an ear for music,artistic imagination.
5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increasemusical thinking. On the crest of an emotional wave, there is a general rise in musical and intellectual actions. It follows from this that the lessons of ensemble playing are important not only as a way to expand the repertory horizons or to accumulate musical-theoretical and musical-historical information, these lessons contribute to a qualitative improvement in the processesmusical thinking.
This form of work as ensemble music making is very fruitful fordevelopment of creative thinking.The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parties, develops his harmonic, melodic ear, sense of rhythm.
So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble play that the basic principles of developmental education are revealed with all their completeness and distinctness:
a) an increase in the volume of the performed musical material.
b) accelerate the pace of its passage.
Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
Needless to say, how important is the creative contact between the teacher and the student. And it is precisely the joint ensemble music-making that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the fretboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only keep the love of music, but also develop an interest in music lessons. And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays.
Group learning has both positives and negatives. It is more interesting for children to study in a group, they communicate with their peers, learn not only from the teacher, but also from each other, compare their game with the game of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, develop harmonic ear. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve the quality of performance, because students with different abilities are trained, who, moreover, are engaged in different ways. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a large number of students will practically stop. If you bet on professional quality games, giving it a lot of time, as is done in individual lessons, then the bulk will quickly get bored with it, and they will lose interest in learning. Therefore, the repertoire must be accessible, interesting, modern and useful, and the pace of progress must be vigorous enough,
you need to avoid monotony, constantly interest students. To test the knowledge gained before conducting control lessons, you can use the following form of work: after the work is memorized, in addition to performing by the group, it is useful to play it alternately by all students in small parts (for example, two measures) without stopping at the right pace, make sure that the game was clear and loud. Such a technique concentrates attention, develops inner hearing, and increases the responsibility of the student. You can also use such a form of work as the patronage of strong students over those who are lagging behind (who have mastered the material well in their free time help those who do not cope with the tasks, when a positive result is achieved, the teacher encourages such an assistant with an excellent mark).
The purpose and specificity of teaching children in the guitar class is to educate literate music lovers, expand their horizons, develop creative abilities, musical and artistic taste, and in individual lessons - to acquire purely professional music playing skills: playing in an ensemble, selection by ear, sight reading.
"Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
In the guitar class, various forms of work are used. Among them, ensemble music playing has special developing possibilities. Collective instrumental music making is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities at the moment, which contributes to psychological relaxation, freedom, and a friendly atmosphere.
Practicing teachers know that playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, and is indispensable in terms of developing the technical skills and abilities necessary for solo performance. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism. More importantly, ensemble music-making teaches you to listen to your partner, teaches you to think musically.
Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They were engaged in joint music-making on anylevel of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music and concert performances. Bela Bartok, Hungarian composer, teacher, folklorist, believed that children should be introduced to ensemble music-making as early as possible, from the first steps in music.
Not always an ensemble like academic discipline given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, it is currently impossible to imagine musical life without ensemble performances. This is evidenced by the performances of duets, trios, larger ensembles on concert venues, festivals and competitions. Duets and trios of guitarists have long been established ensemble form, which has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, transcriptions. But these are professional teams. And for school ensembles there are problems. For example, the problem of repertoire. Lack of appropriate literature for ensembles of guitarists of music school slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like.
It is important to start working on the ensemble from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of.
Many teachers of a special instrument practice ensembles within the class. It can be both homogeneous and mixed ensembles. Start off better job in an ensemble with students of the same class. In practice, we have seen that the ensemble work can be divided into three stages.
So stage I . The child acquires the skills of ensemble music-making already at the first lessons. Let it be pieces consisting of one or more sounds, rhythmically organized. The teacher at this time performs the melody and accompaniment. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop.Such a performance will arouse the student's interest in the new sound of music for him, interesting and colorful. At first, on the instrument (it all depends on the abilities of the student), the student plays simple melodies, accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try their hand at performing pieces with elements of polyphony. Pieces should be chosen varied in tempo, character, etc.
I know from experience that students like to play in an ensemble. Therefore, the above pieces can be played individually with each student, or students can be combined into duets, trios (at the discretion of the teacher, based on the capabilities of the instruments, their availability). For a duet (trio), it is important to select students who are equal in musical training and instrumental skills. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of the work, or part of it.
The initial and final chords or sounds must be performed in sync and cleanly, regardless of what and how sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is technical requirement games. You need to simultaneously take and remove the sound, pause together, move on to the next sound. The first chord contains two functions - a joint beginning and determining the subsequent tempo. Breathing will help. Inhalation is the most natural and understandable signal for the beginning of the game for any musician. As singers take a breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players indicate inhalation with the beginning of sound, violinists - with the movement of the bow, pianists - with the “sigh” of the hand and touching the key, for accordionists and accordionists - along with the movement of the hand, the bellows. All of the above is summarized in the conductor's initial wave - auftakte. An important point is to take the right pace. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one - a signal of a slow one. Therefore, it is important that the duet members not only hear each other, but also see, eye contact is needed. At the first stage, the ensemble members learn to listen to the melody and the second voice, accompaniment. Works should be with a bright, memorable, uncomplicated melody, the second voice - with a clear rhythm. The art of listening and hearing your partners is a very difficult thing. After all, most of the attention is directed to reading music. Another important detail is the ability to read a rhythmic pattern. If the student reads the rhythm without going beyond the size, then he is ready to play in the ensemble, because the loss of a strong beat leads to collapse and stop. When the team is ready, the first performances are possible, for example, at parent meeting or concert class.
At stage II we develop the knowledge, skills and abilities acquired at the first stage. We also comprehend the depths of ensemble music-making. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, unity of ensemble strokes, thoughtful performance and, most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. The repertoire includes, along with classical works, pop miniatures. Such a repertoire arouses interest, tunes in to new work, performances.
Stage III . This stage corresponds to the senior classes (6-7), when the curriculum does not provide hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble, they can do more complex, spectacular pieces. In this case, the duet (or trio) is able to solve more complex artistic problems.
For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by attracting additional tools. It can be a flute, a piano, a violin. Such extensions are able to “colorize” the work, make it bright. This method is suitable for concert performances and will make any, even the simplest piece, attractive. However, in the classroom it is better to conduct classes without additions so that the duet members hear all the nuances. music text.
For performances, you need to accumulate a repertoire of different genres. since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.
methodical work
Methodical work "Working with scales in the guitar class" was prepared by Gubenko Konstantin Sergeevich
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Content
Introduction………………………………………………………………………...3 1 Monophonic scales…………………………………………… …….……..5 2 Fingering options for the fingers of the right hand……………………….…..8 3 Techniques of sound production when working on scales………………………………………………………………………………………………………………………………… 12 4 Problems of fingering of the fingers of the left hand ………………………..….16 5 The sequence of studying scales in children’s music school….18 Conclusion………………………………………………………………… ….24 List of sources used………………………………………..26
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Introduction
It's no secret that every guitarist dreams and aspires to play fast, loud and clear, impressing listeners with his virtuoso technique, especially in scale passages. For some musicians, this is easy (natural data), others develop the technique over the years of hard work (acquired skills), and some do not manage to master these virtuoso qualities at all (laziness or mediocrity). Scale-like passages in one form or another in works for classical guitar are quite common, for example, in Spanish (flamenco) and classical works (Sor, Giuliani, Aguado, Legnani, etc.), as well as etudes and virtuoso pieces. It is well known that it is useful to play scales, but for some reason not everyone does it with pleasure. Meanwhile, if you play them wisely, it turns into a creative and exciting process. When the scale is mastered, its performance captures the energy of movement. Let's remember that sledding or skiing from a mountain, riding a bicycle are routine but exciting activities, and after all, playing scales is also a solution to a chess problem, a puzzle. Let's figure out what work on scales can give and how exactly you need to work on them. The fact is that scales are the simplest technical formulas. They are interesting not in themselves, but in their simplicity and versatility. Learning a scale of just a few notes is easy, but by doing a variety of tasks, we can learn a lot. Thus, it is possible to learn the technique in pure form, bypassing the specific difficulties of mastering the musical text, the style of performance, the difficulty of switching attention from one task to another, which
4 must inevitably meet in a work of art, the main goal of which is to create a musical image. So, from what has been said, it is clear that it is important not just to learn the scale and play it. Only by knowing what to work on, how to work, what to focus on, can one benefit from playing scales. This is the first aspect - technical. The second aspect is theoretical. It turns out that in real life these two groups of problems become competitors. Few people manage to find a balance between them. AND musical theory, and technology, contrary to the philistine point of view, require accurate, specific and detailed knowledge, active inclusion of memory and attention. It is difficult for the teacher, and especially the child himself, to single out what must not be overlooked, what to control whether this knowledge is really deposited in the memory or just become familiar and become familiar, but not relevant. The purpose of this work: to study and analyze the problem of working on instructive material in the methodological literature; review the main theoretical approaches to the study of scales in the guitar class, as well as to develop a sequence for studying scales in a children's music school.
1 Single voice scales
Scales at all times have been one of the most important tools for the technical development of a performing musician of any specialty. The technique of playing a guitarist is no exception. In each methodological manual, we will find monophonic scales in all keys, most often in the fingering of A. Segovia, with a small, as a rule, annotation about the benefits of playing scales. At the same time, it should be noted that at the moment there are no unified fingering rules for playing scales on the guitar. The search for rational fingering in scales has significantly relegated to the background main question Why are they still played? More often
5 the answer sounds like this: to develop fluency and playing technique for scale passages. If we talk about the first, then today it is no longer a secret for anyone that fluency is a natural gift that can be developed if it is available. However, it is unlikely that it will be possible to significantly increase the speed of movement of the fingers, if this is not given by nature. When studying the fingering techniques used by A. Segovia in his famous Scales, doubts arise regarding the second statement. After all, scale figurations in musical works are extremely rarely performed by the fingering indicated in this manual. It seems that A. Segovia's Scales are designed to develop and strengthen the skill of an organized, confident game, coordination of the actions of the fingers of both hands. With the help of scales, one of the most difficult components of guitar playing technique is also worked out - transitions from string to string, mastering the full range of the guitar, the skill of playing in keys with a different number of sharps and flats. Knowledge of fingering and free orientation on the fingerboard is a necessary basis for the development of performing technique, besides, playing scales contributes to fixing the correct muscle sensations, developing primary fluency and coordination of the actions of both hands. From the very beginning of mastering scales, students need to set certain tasks for the quality of their performance, especially when it comes to vocational training. Such initial requirements relate to the clarity and evenness of the sound of scales. First of all, they are associated with the problem of coordinating the actions of the fingers of the right and left hands. Guitar - plucked instrument, and the duration of its sound is limited, since the vibrations of the string die out rather quickly. In addition, the string is instantly muted if the finger of the left hand is lifted or the finger of the right hand touches it. This explains the great difficulty in achieving a coherent game and the need for constant control over the actions of the fingers of both hands.
6 Achieving clarity and evenness in the performance of scales at the first stage is based on working out the coordination of movements of the fingers of both hands. The ways of its development are contained in the game of scales both with the simplest groupings of durations (duoli, triplets, quartoli) and with the involvement of more complex rhythmic figures: a dotted rhythm, an eighth - two sixteenths and their variants. Of course, it is also important to work on the alternation of all pairs of fingers of the right hand:
i-m
,
m-a
,
i-a
. It is carried out in parallel with the solution of coordination and rhythmic tasks. In addition, it is mandatory to use two methods of sound extraction -
tirando
And
apoyando
. For the control performance of scales on tests in technique, you can use any pre-agreed options. As the performance level of the student grows, the requirements for the quality of performance of scales increase. Before the student it is necessary to set more complex tasks - articulatory, dynamic, timbre. Gradually gamma becomes the material for artistic work. In the future, when working with scales, tasks become more complicated and vary: more complex rhythmic figures, a wide variety of dynamic and articulatory techniques can be used. It should be noted that legato on the guitar is rather arbitrary, but we use this term to denote the most coherent playing. One can only speak of varying degrees of dismemberment, rather than the coherence of sounds. In addition, at fast tempos, the line between staccato and legato is almost erased, and in these conditions the main thing is the feeling of difference from each other, at least symbolically. The performance of scales in the technique test not only (and not so much) stimulates the technical growth of the student, but, first of all, helps to identify gaps in technical training, shortcomings that hinder further development, and, at the same time, ways to correct mistakes and achieve new heights of mastery.
7 The specificity of guitar fingering is that not only the left, but also the right hand has it. At the same time, the functions and movements of the left and right hands differ significantly from each other, which requires special attention to the combination of their fingerings. We will cover the issues of guitar applique for the right and left hands in the following chapters of this work.
2 Fingering options for the fingers of the right hand
When it comes to guitar fingering, it usually means left hand, since basically the problems of selecting fingers often occur in it. As for the right, this topic is raised infrequently due to a certain generally recognized clarity of it. However, there is one issue that I would like to highlight. We are talking about the alternation of fingers in scale-like passages. As a rule, in scales and scale passages, many guitarists use the usual (standard) fingering of the fingers of the right hand. The principle of "standard" fingering is the alternation of two fingers of the right hand
i-m
or
m-i
. If the passage is not played quickly or if it is short, there is usually no problem. All notes sound clear and sounded. When the tempo increases, the guitarist may have a problem: the fingers seem to “weave” in the strings. But because of these "difficulties" it is not at all necessary to refuse to play a work or to perform it more slowly than it should be. Consider several principles and options for using fingering in the right hand using the example of scale
C major
in the fingering of Andres Segovia, which is now a textbook.
Gamma C-dur (fingering by A. Segovia)
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Two-finger principle
. Scale passages are played with two fingers of the right hand,
i-m
or
m-i
. This is the most common fingering technique used by almost all guitarists. Some guitarists (due to the logic of the same length of fingers and personal predispositions) use variants of the two-finger fingering, namely -
a-i
or
i-a
. Fingering is practically not used in the works.
a-m
m-a
). To develop the strength and mobility of these fingers, it is recommended to use this ligament in exercises and scales. Note that when using the little finger in the exercises in the right hand, the strength, confidence and elasticity of the finger also increase.
a
, because they are connected by a single tendon.
Three-finger principle
. Regardless of the fingering in the left hand, the three-finger fingering method is used in the right hand, namely -
a-
m-i
, less often
i-m-a
.
Combined principle
. In an upward movement in a passage or scale, the first note on the next string is played with the finger
A
. In a downward movement, the first note on the next string is played with the finger
i
. If one string has even number notes (two or four), two-finger fingering is used.
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Frauci Method
. Scales and scale passages use the thumb of the right hand. In an ascending passage, when changing strings, the last note on the previous string is played with a finger
R
. If there are two notes per string (an even number of notes), a two-finger fingering in the right hand with or without a finger is used.
R
.
"Balalaika" principle
. This is the principle of making sound with your fingers.
p-i
or
p-m
. If the phrase does not begin with a strong beat, the passage may begin with a finger
i
or
m
. Fingers can be used to emphasize strong beats.
R
. At the heart of the scale technique of playing the guitar, the most appropriate and natural fingering in the right hand should be used, namely:
m-i
, but not
i-m
;
a-m-i
, but not
i-m-a
;
p-m-i
, but not
p-i-m
. It is more convenient to play from the little finger to the big one, and not vice versa. When choosing the principle of alternating the fingers of the right hand, the question often arises, with which finger to begin the execution of one or another gamma-shaped figure. The main technical difficulty in the right hand when playing progressive motion is the transition from string to string, especially if it coincides with the so-called "crossing" of the fingers. Take, for example, the scale C-dur:
i m i m i m i m
1 0 Here is a fingering with three transitions from string to string: dore, f-sol, la-si. In the first case, the natural position is preserved (the middle finger produces a sound on a higher string), while in the other two there is a crossing: the index finger, as it were, "steps over the step", thereby somewhat breaking the comfortable position of the fingers. In practice, finger crossing in scales and passages is quite common, although not very desirable and should be avoided if possible. The only question is where and how to do it better: replace the fingering of the fingers of the left hand or the order of the right? To correct the situation in our example without changing the fingering of the left hand, you can start the scale with the middle finger, reducing the number of crossings to one. But the best option could be the following: the thumb starts, and then the index and middle fingers alternate. In this case, the feeling of convenience is fully preserved and the natural movement is not disturbed:
p i m i m i m i
Sometimes, when choosing the initial finger, it is very important to pay attention to the rhythmic and metrical structure of the passage, its location in the guitar's range, as well as the previous and subsequent material. It is impossible not to take into account the fingering of the left hand, since in some cases it dictates certain conditions. This chapter discusses only some of the possibilities of using fingering in the right hand, which can be used depending on the specific situation in the works. In the next chapter, we will consider the possibility of using sound extraction techniques when working on scales.
3 Sound extraction techniques when working on scales
1 1 Playing scales is an integral part of technical mastery. Many guitarists play passages either only
tirando
, or only
apoyando
. Because of this, some passages are excellent for them, while others sound less convincing. It is important for the performer to adjust himself to the perception of the passage as part of an artistic whole and to treat this technique calmly and judiciously. Any scale can be played
tirando
,
apoyando
or with one left hand (legato). You need to master all the ways, then for each passage you can find the optimal method of performance. For example, the final passage of “Variations on a Theme of Mozart” by F. Sor can be performed:
tirando
using fingers
i-m
;
tirando
using fingers
p-m-i
;
apoyando
using fingers
i-m
;
apoyando
using fingers
a-m-i
; legato with the left hand, playing the first sound on each string with the right. Each method has its own advantages. The performer must apply the most convenient option for the performance of each particular passage.
Tirando
- excellent reception, inferior
apoyando
only in the density and loudness of sound.
Tirando
it is more effective to use in short passages of 4-10 sounds. Long passages (more than 12 sounds) played
tirando
, have less sound volume and sound integrity than if they were performed
apoyando
. Ideal use case
tirando
is, for example, a passage from “Variations on a Theme of Mozart” by F. Sor:
1 2 It does not require the loudest possible sound, only a small crescendo. You can also play with this fingering: This option is possible if the performer adds a finger without any problems
A
to the passage performed
tirando
. During the execution of the scale by reception
tirando
the brush remains motionless. For greater stability, thumb (
R
) is placed on any string, for example, the third or fourth. It must be remembered that the movements of the fingers when
tirando
more economical than
apoyando
. Fingers, like springs, automatically return to the string after the sound is extracted, which occurs without tension. In this case, there is a feeling of string tension. Thus, maximum freedom and high speed of movement of the fingers is achieved. It should be taken into account that when performing a passage by the reception
tirando
not on the first string, adjacent strings may be affected. Therefore, the execution of this technique requires special efficiency in the movement of the fingers. playing
tirando
, usually use the fingering
i-m
. This is very convenient, since several movements in a row with the same finger slow down the execution of the passage. There is a game system
tirando
three fingers (
p-i-m
). For example:
1 3 However, constant use of the finger
p
in scales it is extremely inefficient, since the thumb is, as it were, in a different plane compared to the index and middle fingers. This is reflected in the sound and rhythmic evenness of the performed passage. The bass strings are usually played with the thumb. The main thing when training reception
tirando
in the performance of scales - do not strain the brush unnecessarily, monitor the correctness of movements, bringing their possession to automatism. Advantages of playing passages by reception
apoyando
the following: a thicker and richer sound, a large dynamic scale, a higher tempo of performance. Reception
apoyando
it is better to play longer passages. When playing
apoyando
you can use either two fingers (
i-m
), or three (
a-m-i
). The second option is more efficient, as it makes the finger work.
A
on par with others. Gamma performed by reception
apoyando
with three fingers, sounds more solid and allows for more tempo. However, with this performance, rhythmic failure may occur. Instead of: It may turn out: This error can be avoided if, when mastering
apoyando
three fingers to play only quartoles. At first, this is not very convenient, since the accented note is played each time with a new fingering, but over time this inconvenience is overcome.
1 4 When playing
apoyando
It is very important to clearly feel the transition from one string to another. The range of motion of the fingers is greater than
tirando
- it makes things a little easier. For better finger development, you can alternate fingering formulas:
a-i-m
,
i-m-a
,
m-a-i
. But these fingerings are used only in exercises, while there are many performing options, using the most convenient and effective ones. Usage
apoyando
with three fingers makes his own adjustments to the fingering of the right hand. As a rule, the performer tries to have exactly three sounds on one string (according to the fingering
a-m-i
). This greatly facilitates the use of this technique. For example, a "standard" C-dur scale fingering is as follows: When using three fingers, it might be: This kind of fingering forces the guitarist to pay particular attention to the evenness of the scale. So, a high-quality performance result can arise with the conscious perception of the musical fabric, the analysis of technical errors, the search for convenient, effective fingering options and constant auditory control. In the next chapter, we will look at possible problems that may arise when choosing the fingerings of a guitarist's left hand fingers.
1
5
4 Left finger fingering problems
The problem of fingering is one of the most difficult in musical pedagogy. A useful, rational selection of fingers largely determines the performance success on any musical instrument. However, we can safely say that this is perhaps the guitarist's most painful question, which radically affects all aspects of the performance: the semantic content and artistic expressiveness, musical style, strokes, physical comfort, manner and aesthetics of playing. In scale-like passages, choosing the fingers of the left hand gives the guitarist a lot of trouble, since there are usually several options for playing, and it can be difficult to choose the best one. A significant difficulty is moving from one position to another. The easiest thing to do when changing positions is to move through an open string, while remembering convenient fingering, dynamic and timbre alignment of the sound. Changing positions by sliding is possible, most often when moving to close distances (within one or two frets). The greatest difficulty is presented by a direct transition with a jump on one string, which is impossible to do without when playing in high positions and in chromatic passages. Picking up fingers, guided by the tasks of artistic expression, is the most important fingering principle, while the fingering of the left hand should not be difficult to perform without good reason. Sometimes just a slight change of fingers allows you to play some fragments easier, calmer and more confident. Therefore, from the first years of training, it is necessary to educate in students a conscious attitude towards fingering, gradually introducing them to the basic principles of its construction. Under these conditions, it is very important to awaken in the student the desire for fingering creativity, to teach him to understand the intricacies of the correct placement of fingers. Moreover, it is necessary in every possible way to encourage interest in
1 6 theoretical substantiation of this or that choice and at the same time develop a kind of "flair for fingers". At the first stages of learning, the student, as a rule, uses ready-made fingering, which simplifies and shortens the learning process. However, it is necessary to draw the student's attention to certain technical difficulties that can be solved by replacing fingers, to the possibility of performing one or another fragment with various fingering options or, on the contrary, only one, it is important to encourage him to “listen” to his fingers, while simultaneously evaluating the sound picture of the work as a whole, its style and artistic features.
5 The sequence of studying scales in a children's music school
There are several points of view on the performance of scales in the learning process. According to one, scales are the basis for the development of a musician's technique. Supporters of this point of view include the performance of scales in the curriculum at the earliest stages, in significant volumes, and in a wide range. In this case, the scales are often supplemented by the performance of arpeggios with movement in the same range and chords of the main steps. From the point of view of the effectiveness of teaching, unlike professional educational musical institutions, such an approach is of little use in a children's music school. It should be borne in mind here that playing a scale on a guitar for a beginner is technically quite a difficult task, since playing any sound on closed strings requires coordination of both hands. Therefore, monophonic scales on the guitar are comparable in complexity to the performance of scales by intervals on keyboard instruments. In addition, the guitar "keyboard" is not linear, but consists of two "coordinates" at once: strings and fret, for thinking this is a more difficult task. As a result, the lion's share of the student's efforts will be spent on learning the scale itself, and not on the technical development that the teacher assumes.
1 7 Proponents of another point of view quite rightly believe that scales are just one of the types of technical exercises, and, as a rule, not the most effective. However, a complete rejection of learning scales in elementary education is also unacceptable, because, firstly, it unreasonably violates the unity of the established teaching methodology that is successfully used on other musical instruments, and secondly, the guitar ceases to be an assistant for the student to study the material of the solfeggio course , where scales are actively given from the first year of study. You can begin the formation of scale performance skills already in the first semester on the simplest material. For the guitar, this is a one-octave A minor scale performed with the thumb in its natural form: After confidently playing the scale with the thumb, you can move on to playing with the index and middle fingers of your right hand. The material can be the C-major scale, which can be supplemented with the sounds of the tonic triad in the simplest arrangement: It should be especially noted the need to use the little finger of the left hand in the fingering for its timely development. To form a stable skill of alternating the index and middle fingers of the right hand and develop fluency, we can recommend the following sequence of playing the scale:
1 8 In the second half of the year, it is advisable to continue studying major scales in keys with one key sign: G major F major For advanced students, you can use E. Pujol's technique and expand the range of playing by a second upwards, obtaining a continuous chain to increase the endurance of the performing apparatus. In this case, the cadenzas can also be somewhat complicated: G major F major In the second grade, it is useful to offer students one-octave minor scales in natural, harmonic and melodic form:
1 9 A-minor natural harmonic melodic E-minor natural harmonic melodic first position. From this point of view, major scales in common keys with a large number of key signs will be useful:
2 0 D-major or A-major or Two-octave scales can be switched to, taking into account the abilities and age of the student, only after the confident and sufficiently mobile performance of one-octave ones, gradually complicating the fingering and supplementing the arpeggio in the same range: E-minor natural (harmonic) G - major
2 1 In the middle grades, students can be consistently offered two-octave major and minor scales with more complex fingering and changing positions: B minor D major D minor
2 2 With the consistent development of skills in playing scales, high school students will have access to two-octave scales in the fingering of A. Segovia, and three-octave scales will be able to serve as a developmental material for advanced and professionally oriented students.
Conclusion
In this work, we examined the issues of working on monophonic scales, analyzed the options for fingering the fingers of the right hand, analyzed the methods of sound production when working on scales, identified the main problems of fingering the fingers of the left hand, and determined the sequence for studying scales in children's music school. The study of methodological literature and many years of experience in a children's music school made it possible to reveal the following: numerous and varied scales on the guitar are the best educational and training material in the education of the guitarist's performing apparatus and the development of his finger technique. As initial scales in the guitar class, it is methodically expedient to use scales with "open" strings (M. Carcassi; F. Carulli), since playing such scales contributes to the study of notes on the guitar fretboard in the main playing positions, and also due to the fact that in scales with such a fingering, the thumb of the left hand, located on the back of the fretboard, in scales with such fingering gets a natural opportunity to relax, rest during the sound of the “open” string, which is very important for the correct initial technical equipment guitarist's left hand. Playing scales with "open" strings also helps to activate the auditory attention of a novice guitarist, since the natural sound of an "open" string becomes a model for the "man-made" sound of a string pressed against the fretboard. Guided by auditory sensations, the player “levels out” the dynamic and timbre sounding of the scale steps.
2 3 Scales with typical (positional) fingering are methodically effective at the later stages of a guitarist's training, with intensive study of tonalities and development of finger mobility and fluency. Scales with double notes (octaves, thirds, sixths, decims) help to strengthen the fingers of the guitarist's left hand, physically prepare his performing apparatus for playing texturally complex pieces, so they are studied in high school and professional classes. Scales are often the main links in most of the technical episodes of works of art. A student who works daily on the scales, over time, is able to bring them to a virtuoso brilliance. Scales should be played with all strokes, in all rhythmic and articulatory variants. This method allows not only to perfectly master the neck of the instrument, but also to develop the brightness and sharpness of the strokes, the most common rhythmic patterns and articulation groups.
List of sources used
1. Dobrov M. Formation and development of scale performance skills in the guitar class of the children's music school. 2. Ivanov-Kramskoy A. M. School of playing the six-string guitar. Ed. 4. - R-n-D .: Phoenix, 2004. - 152 p. 3. Newsletter "Narodnik" No. 1-58./Ed.-comp. V. Novozhilov, V. Petrov. - M .: Music, 1998-2007. 4. How to learn to play the guitar. / Comp. V. Kuznetsov. - M.: Classics-XXI, 2006. - 200 p. 5. Karkassy M. School of playing the six-string guitar. / Ed. V. M. Grigorenko. – M.: Kifara, 2002. – 148 p.
2 4 6. Katansky AV, Katansky VM School of playing the six-string guitar. Ensemble. Chord tables. Song accompaniment: Educational and methodical manual. - I .: Katansky, 2008. - 248 p. 7. Classical guitar. Issue. 1./ Comp. K. Mironov. - Krasnoyarsk: 2001. - 74 p. 8. Node Frederic. Guitar tutorial. – M.: Astrel, 2005. – 270 p. 9. Puhol E. School of playing the six-string guitar. - M.: Soviet composer, 1983. - 189 p. 10. Sor F. School of playing the guitar./ F. Sor; corrected and supplemented by the degree of complexity by N. Kost; total Ed. N. A. Ivanova-Kramskoy; per. from French A. D. Vysotsky. - R-n-D: 2007. - 165 p. 11. Teslov D. The ideal school of guitarist technique. Complete collection of instructional material./ D. Teslov. – M.: Golden guitar studio, 2008. – 224 p. 12. Teslov D. The ideal school of guitarist technique. Complete collection of instructional material. Continued / D. Teslav. – M.: Golden guitar studio, 2012. – 306 p. 13. Shumidub A. School of playing the guitar. - M.: Shumidub, 2002. - 127 p.
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
"STARODUBSKAYA CHILDREN'S SCHOOL OF ARTS NAMED AFTER A.I.RUBTS"
Methodological report on the topic:
"The initial stage of learning the game
on the guitar of children 6 - 7 years of age "
Prepared by: Komyaginskaya Irina
Alexandrovna,
teacher
folk instruments
Starodub
The topic “The initial stage of teaching children 6-7 years old to play the guitar” was chosen by me not by chance. It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about early development child.
Not so long ago, it was widely believed that it is best to start playing the guitar at 9-10 years old. Yes, in some cases this is true. Each child develops individually. There are children who, even at this age (9-10 years old), do not quickly and easily learn simple initial musical knowledge. Perhaps, in this case, you just need to change the teaching methodology, find an individual approach to this particular child, rethink and present the necessary material in a different way. But, provided that the child has grown up enough, got stronger and has a great desire to learn how to play, lessons on the instrument can and should be started at the age of 6-7 years. In addition, young children have a greater potential for development, and the sooner they start, the better results can be expected.
Work with children in early age very interesting and not to be missed. Violinists and especially pianists, whose schools went through a less thorny path of development than the guitar school in Russia, have a wealth of experience in this regard and can boast of having already created and tested methods for teaching to play the instrument, their development of even three-year-old children, not to mention preschool or primary school age.
This is the age when the child is not only spontaneously and freely active, but also an important period, during which children acquire skills that allow them to further master the world of adults. The age when the brain is actively developing. Music, on the other hand, promotes the integration of the hemispheres of the brain, and improves its activity - for example, those associated with linguistics, mathematics, creative thinking, since the movement of the hand accelerates the maturation of not only the sensorimotor zones of the brain, but also the center of speech. During this period, the child actively comprehends his actions through feelings. The teacher needs to think outside the box, since only in a state of increased interest, emotional upsurge is the child able to focus on a specific task, piece of music, object, remember the event with all the details and nuances. The desire to relive a state that is pleasant for him (contact with an instrument, communication with a teacher) can serve as the strongest motive for his activity, an incentive for musical studies.
Another condition that speaks "for" learning to play the guitar at an earlier age is the indicator that the ligaments and muscles of the child are the softest and most pliable, despite the fact that by the age of 5-6 the musculoskeletal system is already fully formed, completely this process is completed by the age of 11-12 and muscle mobility decreases.
Main tasks at the initial stage:
- make the learning process interesting and accessible;
- adapt the child to the instrument;
- to master elementary game actions with the help of a complex of exercises easily accessible to children's naive-fabulous perception of exercises;
Again, I would like to repeat - the guitar is a specific instrument, and despite the apparent ease in mastering playing the instrument, a number of problems immediately arise, especially for young children. This is the impossibility of covering the fretboard, pain when pressing the strings, and therefore not a high-quality sound. Of course, all this can cause nervousness in a child, and here the main task teacher to help the student overcome difficulties so that the first sensations do not become the last desire of the child. Much depends on the personal qualities of the baby, on the level of his musical perception, intellectual development and physical data, but a reasonable respect for the child, an unforced learning process, a creative approach will help the teacher to fully reveal the student's personal potential and his creative individuality.
First lesson - an important event in the life of not only the student, but also the teacher. He not only gets acquainted with the teacher and the instrument, but also takes the first steps into the world of music. The further attitude of the student to the classes depends on how successful this meeting will be, so the first lessons must be structured so that the student receives many vivid impressions, positive emotions. Let the child get comfortable in an unfamiliar environment for him, try to win him over. Not every student will immediately be able to establish contact and gain his trust. Pedagogical work in a music school requires from the teacher, in addition to knowledge of his subject, the presence of a complex of knowledge from the field of pedagogy, psychology, physiology. A good teacher, in addition, must have a number of human qualities, the main of which are a sense of humor, kindness and love for children. The main task of the first lessons is to "infect" the student with his enthusiasm, not to let him divert his attention to something extraneous.
At the first lesson, we usually talk about why the student chooses the guitar from the whole variety of instruments, remember the names of the parts of the guitar, repeat especially unusual names, look at what the strings are made of. “But it turns out they are precious, silver. And silk threads inside! And there are also golden ones! ”, We unwind the previously prepared old string. Full delight. It is very interesting. The first three strings do not arouse such interest after the explanation that these are not “fishing lines”, but nylon. After that, to consolidate the material, we sign the parts of the guitar on a pre-prepared picture.
And, of course, in the very first lesson we try to master landing. Every child looks forward to this moment. Needless to say once again about the importance of a proper fit. Let us quote the words of the Israeli teacher I. Urshalmi: “The correct landing is characterized by the following: the maximum length of the spine, the neck naturally continues the spine, the chest and back are straightened, the distance from the ears to the shoulders is the limit. The landing is supported by an imaginary "elastic" cross. We just have to keep its shape.” A lot of literature has been written about the landing and setting of hands. There are some general principles, there are discrepancies. Probably, you need to individually approach the issue of landing with each child, based on physical development and physique.
The guitar is one of the most “uncomfortable” musical instruments in terms of seating. Unlike the piano, where the player sits upright and their back is in a symmetrical position, the guitar places the guitarist in a position that distorts the upper body. Another cause of tension is a static position. In contact with our body, the guitar fetters us, the guitarist, as it were, “flows around” the guitar with his body, the body is tilted forward, which leads to an increase in the load on the spine. The constant inclination of the upper part of the body forward, stooped shoulders are a manifestation of poor posture, while the chest is compressed, the fulcrum of the body is shifted. As a result, the back is in a constantly tense state. Children usually immediately sit down incorrectly, and even if you constantly make comments to the student, he will react for a short time and change the landing to the usual one, the child cannot control the landing process on his own at first, since he has not yet developed the correct sensations.
If the student is tired, you just need to change the type of work. It is difficult for a child at this age to sit quietly in one place for 40 minutes. You can put the instrument down and do finger gymnastics at this time, or just do some warm-up exercises with the teacher.
Education of young children has its own characteristics, the main of which is the widespread use of game forms. A child, by his psychological characteristics, cannot work for the future, for a long-term result. He embodies the impression of reality in the game, as the most understandable activity for him. The game makes the learning process more exciting, understandable, helps to reveal the abilities of children more fully.
To help the child to master the instrument more easily, to feel his body, we do some exercises with children that relieve tension from the back muscles that often occurs during the lesson. For example:
"The New and Broken Doll".
1. We sit like a doll in a shop window (from 2-20 seconds) as in a shop window with a straight back, then relax for 5-10 seconds. Run several times.
2. The “doll” swings back and forth with a straight tense back, then the winding is over, the doll stops - the back relaxes.
"Living tree". The torso is relaxed and bent in half - the tree is sleeping, but small leaves are stirring (only fingers work), then larger branches are swaying (hands are working), then it connects the elbow, forearm and completely arms. We raise the torso up - the tree woke up and, raising our hands up, we do full circular movements, while breathing correctly. Up - inhale, down - exhale. When the “tree” falls asleep, we do everything in the reverse order. The child perceives his entire hand from the hand to the shoulder, this exercise gives him the opportunity to understand and feel all parts of the hand separately.
And more exercises for the development of the motor abilities of the fingers, which we perform in order to organize the actions of the hand and fingers.
"Kitty". With soft movements with a round brush we depict how a kitten buries a bone. Very often, during the game, the child does not control the setting of the hand, or rather the hand, most often the muscles are clamped. I immediately remind you what a soft paw the kitten has, the reaction is immediate - the position of the hand is corrected, since the emotional background is close to the child.
"Binoculars". Each finger in turn steps with a pad on the thumb. We can say that this binoculars removes the image according to the degree of transition of the fingers from the index to the little finger, and brings it closer in the transition from the little finger to the index. "Hug the bun." We put the freed brush of the child on a rubber small ball so that the brush, lying on the ball, takes the form of a “bath”. We make sure that the fingers: index, middle, ring and little fingers are collected.
These and other exercises help with setting the right hand.
And we also have a warm-up exercise, which is based on a game of words, “colored” movements of the fingers, hands, or movements of the entire body. The text of the warm-up is the development of an artistic, dynamic speech warehouse, it is also thin and creative work over various content and sound components of the word, changes in tempo. speech forms not only instill in students a sense of metrorhythm, awaken figurative fantasy, but also teach children, from the very first steps, they meaningfully relate to any manifestations of intonation.
"The Well and the Birds".
Exercise promotes the development of freedom and lightness in the hands. Coordinated, free, precise, active and independent movements in the fingers.
“Here is a large well with clean fresh water.”
“Birds flew to him - Give, well, we get drunk.”
When reading the first phrase - "here is a big well" - a child
“draws” a deep well with cams, with exposed
thumbs, from top to bottom and back in parallel lines.
“With clean fresh water” - the child has the same position of the hands, only they move alternately (the text explaining the movements is “we get water from the well with buckets”). Both phrases are read in a "thick, low" voice, at a slow pace with vowel singing. Further, in the second phrase, birds are depicted in the movements of crossed arms with “fluttering” palms. These are light, graceful "flights" of the hands: Above the head, in front of you, to the right and to the left. At the same time, the text is intoned in a higher voice and more mobile tempo.
“Drink, dear sisters! There is enough water for everyone here.”
“These birds drink water, they sing these songs.”
The next phrase “drink, dear sisters” - index and thumb closed in a circle, lower and raise with the wrist, the rest of the fingers are above the “bird's head”. Explanatory text "we will water the bird by lowering the beak into the water." The text is read instructively and clearly. “Enough water for everyone here” - the middle fingers close and open with the thumbs. The text is readable and fun. Further, in the fourth phrase, the movements are repeated, “these birds drink water” - the big and nameless fingers close, “these songs are sung” - the big and little fingers close.
“They sang all their songs, started up, flew ...
Yes, and it’s time for you and me, so the game is over. ”
“Sang all their songs” - touch the thumb in turn with each finger in forward and reverse motion. Read the text, slow down reading and pause. “We started up, flew ...” - it is easy to wave your hands, while raising them from the bottom up. Speech intonation has a smoothly rising line, with possible repetition of words. “Yes, and it’s time for you and me” - keep your hands above your head.
“Here the game is over” - hold, calming down your hands down, feel complete relaxation.
The role of such forms of work in the organization of the playing apparatus in the guitar class, the development of coordination, finger sensitivity, stretching and motor skills, as well as in the emancipation of children, is invaluable.
When we get acquainted with the strings, we depict each string with its own color. Choosing a certain color, we immediately stipulate the pitch of the string. So the first string "mi" is yellow - bright as the sun, which is above all and the notes on it are the highest. The second string "si" is the blue sky, where the sun shines. The third string "salt" is green grass, it is lower than the sun and sky. The “re” string is a red fox, “la” is a purple or white puddle from which the fox drinks and all this is on black earth, the “mi” note is the sixth string, which is the lowest. And of course, draw a picture on this topic. We draw a lot at the initial stage. We transfer all impressions, new concepts, plays from the still obscure musical world to the more understandable world of drawing. When working with colored notes, I use the author's collection by Vera Donskikh "I draw music", which also uses a system of colored notes. This saved me the trouble of transcribing notes in my students' notebooks. The collection turned out to be interesting, bright and understandable for children. Now we take a piece for study, we analyze what string is played on and the child paints the notes in certain colors, which he reacts very well to during the game. In order not to get used to color and not to become helpless when writing in black and white, I also use simple songs from collections when playing the instrument, when the notes have already been learned. In this sense, the author's collection of L. Ivanova "Plays for Beginners" is very convenient. The works in it are bright and have a program name, i.e. carry an image. Thus, from the first lessons, musical and figurative thinking is activated in children.
A meaningful understanding of the content of the songs has a great influence on the musical development of the student. Musical language is invariably associated with everyday language and speech. It happens that children cannot read a short poem, proverb, saying expressively enough. That's why work on expressive artistic reading so important in the classroom.
A few examples:
"Ding - dong, ding - dong, the cat's house caught fire." The words of this song should be read to the student and asked to repeat, carefully and patiently persuading that the words should be pronounced loudly, clearly, and most importantly, anxiously.
"The sun is shining through our window." A completely different character of pronunciation: affectionately, slowly, quietly.
“The kindergarten is by the river. And around - flower beds. short poem pronounced with surprise. The first phrase is fun, loud enough. The second part of the phrase is drawn out and quieter.
By nature, the child is very active, through the movement he learns the world around him. Therefore, in many ways musical education children are facilitated by such an activity as metro-rhythmic pulsation. Of course, such an important work as the development of the metro - rhythmic feeling, must be started from the first lessons. Basically, we practice according to standard patterns - we read poetry, slap the rhythm and understand that there are frequent and rare claps. Then I show the student how to write it down:
“Pe - tu - shock, pe - tu - shock, gold - lo - that gre - be - shock”
There are short and long claps: short ones are connected with each other with a stick (eighths), and long ones are recorded with separate sticks (quarters). At first, you can help make the correct recording of songs. You can also write the rhythm of several songs, then read songs 3 - 5, and the student must choose his own rhythm for each. It is useful for guitarists not to even pat the rhythm, but to tap their fingers on the deck.
I explain what pulse is, how it differs from rhythm. It helps, of course, a comparison from life - the mother walks smoothly, her steps are large, and the baby next to her, in order to keep up, takes two steps.
When the child copes with this, we can offer another example for mastering and acquiring the skills of assimilation of rhythmic structures. On separate cards, write rhythmic patterns - the simplest. Show the card to the student for a few seconds. The student memorizes and taps from memory.
When learning to play the guitar at the initial stage, there are little things, without which it is sometimes impossible to explain to a child things that are elementary for us and not entirely clear to him. For this I use "magic words".
For small child finger markings, i.e. fingering, are just dead sounds. In the left hand there are numbers and everything is somehow clear with them, but what is “p-i-m-a”, especially if you don’t learn a foreign language ?! For little man mom and dad are the main people and he perceives their roles very well. That's why:
"p" - dad
"i" - and
"m" - mother
"a" - and I?
So we marked the fingers on the right hand. It becomes very clear why the thumb of the right hand is always in front - because "Dad" is the strongest and most important. The first experiments with taking two sounds at the same time are also simplified with this terminology. For example: if we take the sound with the fingers "p" and "m" - this is dad-mom, etc. Moreover, when taking two sounds, it is immediately violated, the already well-built setting of the right hand when playing one sound in turn. Usually, the movement of the brush goes to the side - not right. In order to draw the student’s attention to this moment, I usually say that we are playing “Zhadina”, that is, we take all the sound in the palm of our hand, to ourselves, “we are greedy”, and not “throw it away” to the side.
Often there are problems in the left hand - in putting the finger on the fret. Children, as a rule, put it on the beginning of the fret, and not to the nut. I explain that the neck is a ladder, in order to jump from step to step, you need to stand closer to the edge. At first, of course, we often remember about the “song on the ladder”, but gradually the student gets used to it and the hand is in the correct position, close to the position of the position.
After the student already knows how to distinguish eighths and quarters, high and low sounds, sits and holds the instrument correctly, we begin to work on songs. Songs should be very simple. And they should be accompanied by another guitar played by the teacher.
All songs are written in long lengths, which gives time for reflection and counting aloud. A joint game between a teacher and a student, an ensemble, an interesting and necessary form of work in a lesson. The guitar is a multi-voiced instrument and is quite complex in terms of sound extraction technique. In a duet, the student can play very simple parts, while the performance of the second guitar part by the teacher complements the work, expanding the range of the instrument. Any simple polyphonic works can be played as a duet. Joint play increases the child's interest in activities, introduces a creative element.
Yu. Kuzin has developed a sight-reading technique especially for young children, which we often use in the classroom. For example: without looking at the strings to find the desired string, without looking at the strings to find a certain fret of some string. When the left hand quickly finds the given fret and string, you can connect the actions of the hands.
In conclusion, I would like to say that you can start playing the guitar at any age. It depends on the individual characteristics person. But the early start of classes, at 6-7 years old, makes it possible to dwell in more detail, deeply and slowly on many problems and intricacies of owning an instrument. Of course, classes with older children give quick results and do not require as much effort and dedication as classes with kids. After all, the main task here is to make learning on the instrument lively, interesting, exciting and useful. And the emotionality, enthusiasm and openness of the child will make you true gratitude. Of course, each teacher decides for himself "what" and "how" to teach his students, but you need to remember that a lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation, where the teacher plays a dominant role. And it is the teacher who, having created his own original system of education and upbringing, will be able to take into account and develop the individual abilities of the student, give the child the opportunity to realize his creative abilities most widely, teach him to think outside the box in the future.
I would like to end my report with the words of the brilliant pianist of the 20th century I. Hoffmann: “No rule or advice given to one person can suit anyone else if these rules and advice do not pass through the sieve of his own mind and do not undergo such changes that make them fit for the occasion."
Bibliography.
1. Aleksandrova M. ABC of a guitarist. - M., "Kifara", 2010
2. Donskikh V. I draw music. - S-P.: Composer, 2004
3. Kalinin V. Young guitarist. - M.: Music, 1997
4. Kuzin Yu. ABC of a guitarist. - Novosibirsk, 1999
5. Kuzin Yu. Sight-reading on the guitar in the first years of study. - Novosibirsk, 1997
6. Musical gymnastics for fingers. - St. Petersburg, 2008.
