Open lesson - certification forconfirmation of suitability for the positionteacher Shterts Daniil Ivanovich, specializing in button accordion with a student of the preparatory class Alexander Konorev.
Location:MBUDO "DSHI of Aleysk"
The date of the: ___________________
Lesson type: open
Form of work: individual
Theme of the lesson: "Work on the artistic image of the work in the elementary grades"
The purpose of the lesson: To learn how to reveal the artistic image of works
Tasks:
- Educational - to define the concept of "artistic image of a work", to learn to reveal the intention of the work;
- Educational - to educate the culture of performance of the work;
- Developing - to develop the ability to listen and understand executable work, develop imagination, thinking, memory, sense of rhythm;
- Health-saving - correct fit, position of hands, body, installation of the tool.
Lesson plan.
The structure of the lesson consists of five parts:
1 part - organizational;
Part 2 - work on new material;
Part 3 - consolidation of the studied material in the lesson;
Part 4 - the result of the lesson;
Equipment: 2 button accordions, music stand, table, chairs, musical literature, didactic material.
The lesson is conducted with a student of the preparatory class Alexander Konorev.
Part 1 - Organizational.
- Playing the C major scale with two hands together with different strokes: legato, staccato , arpeggios short, chords in tempo Moderato ;
- Homework analysis - an oral report on the work done, what tasks were assigned to the student, what was done and what did not work out and why? What difficulties were encountered in the implementation;
- checking homework - holistic playing of plays with two hands together r.n.p. "Kamarinskaya", r.n.p. "Will I go, blow it out", with the fulfillment of the tasks set earlier:
- Make a change of fur specified places musical staff;
- Accurately fulfill fingering requirements;
- Accurately withstand all durations;
- Keep a uniform pace of execution;
- To achieve non-stop playing with two hands, while accurately observing the musical text.
Part 2 - work on the disclosure of the artistic image of the work.
The artistic image of a musical work is the music itself, live musical speech with its laws and components, called melody, harmony, polyphony, form, emotional and poetic content.
Music is the art of sound, it speaks with sounds.
Setting the goal of the lesson. In order to learn how to reveal the intent of the work, i.e. artistic image, you need to understand what it is, by what means the idea of the work is revealed. Therefore, the purpose of our lesson is to derive the concept of "artistic image" and learn how to reveal it.
Methods of working on the play "Kamarinskaya".
Holistic playback of the play by the teacher;
Analysis of performance - the student's answers to the teacher's questions.
Teacher: What do you think this piece is about?
Teacher: What helped you understand what this piece is about? What means of musical expression did the composer use? What is the tempo in this piece? Dynamics, strokes, the nature of the accompaniment? How many parts can a play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music? Try to explain what "artistic image" is? After discussing the answers to the questions, you should start working on the artistic image of the play by the r.n.p. "Kamarinskaya".
Working methods.
- Detailed demonstration by the teacher on the instrument - playing each part separately;
- Playing in an ensemble with a teacher;
- Work on phrasing, determining the culmination in each phrase, the method of the game - comparisons (the game of the teacher and the student is compared, analysis).
- Working on the rhythm, playing with the count out loud, slapping the rhythm of each part, working on difficult rhythmic places;
- Work on strokes - must be achieved in the party right hand coherent, smooth playing, and in the left hand part the clarity of the accompaniment (playing with each hand separately);
- Work on a single tempo of performance - work under a metronome;
- If you encounter difficulties when connecting, you should return to work with separate hands, clarify the musical text, fingering, change of fur.
Holding a physical education session, raise your hands up, pull well, relax your hands, “throw” down.
Methods of working on r.n.p. “Will I go, blow it out” are similar to the methods of working on an R.N.P. play. "Kamarinskaya".
Part 3 - consolidation of the skills acquired in the lesson.
Holistic playing of pieces by students with two hands, along with the exact fulfillment of the task - to reveal the artistic image of the work during the game. Analysis of one's own performance, indicating the positive and negative sides when playing pieces.
Part 4 is the end of the lesson.
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works during the game, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them.
The student realized that in order for the work to sound, it is not enough to accurately learn the text, you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, independent work of the student is also planned to reveal the artistic image of the works.
Part 5 - the wording of the homework.
Consolidation of the skills acquired in the lesson - a holistic playing of the pieces by heart, taking into account all the comments.
These methods used when working on the disclosure of the artistic image on the example of works performed in the lesson can be used when working in other works. Such methods of work help students in the future to work independently on the disclosure of the artistic image in the works.
Homework.
Synopsis of an open lesson in the accordion specialty for students in grades 1-2 of the music school
Topic: “Work on the artistic image of the work on the example of B.N.P. "Quail", "Polyushko-field" by L. Knipper.
Work description: The development of a student's artistic image when playing an instrument of musical works is one of the most important tasks for a teacher-musician. When working on the artistic image of a piece of music, the main task of the teacher is to develop a number of abilities in the student that contribute to his "enthusiasm" when playing. These include creative imagination and creative attention. Upbringing creative imagination aims to develop its clarity, flexibility, initiative. The ability to clearly, vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists. This summary presents the forms and methods of work in the specialty lessons with students of the junior classes of the Children's Music School on the disclosure of the artistic image of the work on the example of diverse plays.
Lesson type: open
Work form: individual
Lesson topic: Work on the artistic image of the work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
educational
- define the concept of "artistic image of a work"; learn to reveal the intent of the work.
Educational
- educate the performance culture.
Educational– Develop the ability to listen and understand the work being performed, develop imagination, thinking, memory, sense of rhythm.
During the classes
The structure of the lesson consists of five parts:
1 part - organizational;
Part 2 - work on new material;
Part 3 - consolidation of the studied material in the lesson;
Part 4 - the result of the lesson;
Part 5 - the wording of the homework.
Part 1 - Organizational
Preparing the gaming machine:
playing scales in C, G Major with the right hand with different strokes: legato, staccato; arpeggios, right hand chords at a slow tempo;
playing the C major scale with the left hand;
playing the C major scale with two hands.
analysis of homework - oral report on the work done homework: what tasks were set for the student, what was done and what did not quite work out, why? What difficulties were encountered in the implementation; checking homework - holistic playing of pieces with two hands "Polyushko-field" by L. Knipper and B.N.P. "Quail" with the fulfillment of the tasks set earlier:
1. to make changes of fur in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical signs;
3.accurately withstand all durations;
4. keep a uniform pace of execution;
5. achieve non-stop playing with two hands, while accurately observing the musical text.
Part 2 - work on the disclosure of a work of art
Setting the goal of the lesson
– In order to learn how to reveal the idea of the work, i.e. artistic image, you need to understand what it is, and by what means the idea of the work is revealed. Therefore, the purpose of our lesson is to derive the concept of "artistic image", and learn, using the means of musical expression, to reveal it.
Methods of working on the play by L. Knipper "Polyushko-field"
holistic playing of the play by the teacher;
performance analysis: student's answers to teacher's questions:
1.what do you think this piece is about? During the dialogue, it is possible to use pictures, drawings that help to understand the meaning of the work.
2.Do you know the lyrics of the song?
3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the pace in this piece? Dynamics, strokes, the nature of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music?
6. Try to explain what is an "artistic image"?
After the student answers the questions, one should start working on the artistic image of the play "Polyushko-Field".
Working methods
1. detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3. work on phrasing: determining the climax in each phrase, graphic image dynamics in notes, singing a melody, showing a teacher on an instrument; method of the game-comparison (the game of the teacher and the student is compared, analysis)
4. work on the rhythm: playing with the score aloud, clapping the rhythm of each part, working on difficult rhythmic places;
5. work on the strokes - to achieve coherent, smooth playing in the right hand part, and to achieve clear accompaniment in the left hand part (playing with separate hands);
6. the connection of two parts: in the first part, the artistic image is “a column on foot”, and in the second part - “cavalry” (the change in accompaniment contributes to the creation of such an image);
7. work on a single tempo of performance - playing under a metronome;
8. if you encounter difficulties when connecting, you should return to work with separate hands to clarify the musical text, fingering, change of fur.
Methods of working on B.N.P. "Quail" are similar to the methods of working on the play by L. Knipper "Polyushko-field"
Part 3 - Consolidation of the skills acquired in the lesson
Holistic playing of plays by students with two hands with the exact fulfillment of the task - to reveal the artistic image of the work during the game. Analysis of one's own performance, indicating the positive and negative sides when playing pieces.
Part 4 - Summary of the lesson
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works during the game, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for the work to sound, it is not enough to accurately learn the musical text, you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, independent work of the student is planned to reveal the artistic image of the work.
Part 5 - the wording of homework
Consolidation of the skills acquired in the lesson - a holistic playing of pieces by heart, taking into account all the comments.
These methods used when working on the disclosure of the artistic image on the example of the works "Polyushko-field", "Quail" can be used when working in other works. Such methods of working on a work help students to independently work on the disclosure of the artistic image in the works.
Methodical message of the teacher of the highest qualification category MAOU DOD TsDOD MEC
Samsonova Tatyana Viktorovna on the topic:
"Work on the artistic image in the piano class"
Work on the artistic image is carried out throughout the course of the young pianist's training and is the leading direction in the process of developing the artistic and creative potential of the child. The main thing in working with a student is the focus on thinking about the character, mood of the music being performed, the search for images that are adequate to the found mood of the work. And the role of a pianist teacher is in creating an artistic, creative, intellectual atmosphere for a lesson, in inviting a student to a creative dialogue, in creating an atmosphere of understanding the language of music.
Turning to the topic “Work on the artistic image in the piano class”, we will again (following G.G. Neuhaus) say about the conventionality of this concept. The fact is that music is not adequate to the word, image, idea. In some respects, it is more specific and at the same time wider than them. “The image and thought,” according to the just remark of S. E. Feinberg, “as if drowning in the depths of the musical content, unable to fill its entire volume, explain all its meaning. The concreteness of the musical language is not to be found in the fact that it replaces the word. Music can express a lot both before and after the word. It is important. At the same time, it is clear that powerful forces of figurative expressiveness are hidden in music.
In our daily practice, for the most part, we deal with instrumental pieces that direct our imagination along a certain channel. And no matter how convincing these images are for each of us, we must always remember that in any case, only one of the many possible interpretations arises, that another artistic “idea” of the work can always be offered - poetic, pictorial, plot. These images have great permanence: they enhance the emotional side of the perception of music, helping to organize the plan of interpretation.
So what is an image? S.E. Feinberg gives the following definition: “The image is the most vivid expression musical perception". According to N.I. Golubovskaya, “Music is the language of images, it awakens in us images of feelings, moods, reveals the complex spiritual world of a person, and embodies the multifaceted world surrounding a person.” And S. Savshinsky is deeply right, noting that "music does not speak about music, but about the life of the human spirit."
Work on an artistic image should begin immediately, with the first steps of studying music and musical instrument. If a child can reproduce some simple melody, let's try to ensure that the first performance is expressive, so that the nature of the performance exactly matches the mood (“content”) of the given melody.
And here it is very important to strive for the student to play a sad melody sadly, cheerful - joyfully, solemnly - solemnly, etc. To do this, we must "ignite" the child's interest in music, connect music with his life and games. And, starting classes with young children, we will try not to scare the student away with something too serious, boring. For this purpose, you can offer associations with everything that is familiar and understandable to a growing person.
Let's try to immediately "plunge" into the music, giving the young musician the opportunity from the first
the same meetings to act actively, creating their own musical image. Each, even the most small work, should be imprinted in the mind of a young pianist as a holistic image that awakens fantasy and imagination.
So, what contributes to the development of figurative thinking of the child? In our opinion, this is also musical material - bright and varied, close to children in terms of musical images and moods; and a pictorial illustration or drawing appropriate to the nature of the play being performed; the text of subtext songs, preferably composed by the children themselves. If you liked the play, and if it is not a song that already has lyrics, the children themselves compose the words, finding their own words in them. story stories, images, meanings. The figurative perception of the content is largely facilitated by the program title, which “introduces” the child into the world of the music he performs, as well as lines of poetry composed by the student or a story-essay that accompanies the performance of a musical play.
All this helps to create your own musical image and, later, finding the right hand movement, the right sound palette.
Carried away by this creative work, the teacher “charges” the student with his temperament, interest, “flight of ideas”, awakening reciprocal strings in him. This creates conditions for the development of vivid musical impressions, for successful work on an artistic image.
Pianist teachers usually divide the work on a piece into several stages, and each implies its own main task. In this case, inevitably, something remains in the background. Reflection on the disclosure of the artistic content of the work should be present at all stages - from the first acquaintance with the work to the completion of work on it. And if we conditionally divide this work into three stages, then we can note that:
The first stage is devoted to the creation of a general idea of the play, of its main artistic images;
The second stage is a gradual deepening into the essence of the studied work. Here there is a selection and mastery of the means of artistic expression necessary for the implementation of the performing plan;
The third stage sums up all the previous work.
A piece of music receives a complete performing embodiment, requiring from the student the unity of feeling and thought, skill and inspiration.
It should be noted that when offering a child this or that piece of music, it is necessary to take into account the level of his performing training, the level of spiritual culture, and intellectual horizons.
Of great importance for all subsequent work is the first acquaintance with the work. Most musicians say that it is emotional impressions that are important at the first meeting with new music, it is better to postpone theoretical analysis to a later stage. And yet, before sitting down to the piano, the student must have an idea of what he is going to play. A few words about the composer, era, style, the title of the work (why the play is called "Scherzo", "Barcarolle", "Lullaby", "Fairy Tale", etc.). The task of such a dialogue is to give a certain direction to thinking and feeling, to evoke artistic associations, figurative representations.
Undoubtedly, a combination of a verbal explanation with a live demonstration on the instrument, both of the work as a whole and of its individual parts, details, and performance techniques, is more useful. The teacher himself, of course, should know as much as possible about the work on which he is going to work with the student. The general concept, the performance plan are outlined by the teacher from the very beginning, but in the process of joint work, new horizons may open up, artistic ideas and meanings.
Professor N. Golubovskaya, addressing her students, emphasized more than once: “You should never come to a lesson without your attitude to the work, and do not argue like this: first I will learn the notes, and then inspiration will come to me or someone will show how have to play. It is easier to switch from the wrong image to the right image than to go from zero to something. We can never afford to be "empty" in relation to the pieces we play."
Talking about music is not easy. Musical thoughts sometimes contain such a broad meaning that any verbal explanation will look too narrow. As R. Schumann said, “the best way to talk about music is to be silent about it.” Many prominent musicians speak in the same way. P. I. Tchaikovsky said: “Of course, my symphony is programmatic, but the program is such that it is absolutely impossible to express it in words.”
And, nevertheless, in pedagogical practice it is impossible to do without verbal explanations of music. And if in a conversation with more gifted students you can get by with generalized categories, then other children often “respond” only to specific images. Note that in the classroom it is very important to carefully monitor your speech, striving to ensure that our judgments reflect the meanings and meanings as accurately as possible. At the same time, what has been said will be clear, specific and apt. So, having determined the character and mood of the piece, let's try to immediately find the sound coloring, the pulse of movement, elementary nuances and technical means arising from the character of the piece, its figurative structure.
All this is work on the artistic image in the piano class, on the development of playing techniques that are directly related to performing tasks.
G.A. Brokhina: “Once again I would like to dwell on the technique of subtext. Often it is the text that helps to understand the nature of the music, to achieve natural phrasing, to find the nature of the sound. Note that subtext always carries an artistic and semantic load.
I will give an example from my practice. When working with a 3rd grade student on R. Schumann's play "Little Romance", we encountered some difficulties. Having learned the part of each hand separately, the student still could not figure out the strokes and separate the theme and the accompanying chords. Expressiveness, emotional brightness largely depends on the performance of the melodic line, since the melody is the main carrier of meaning in a piece of music. It was the name of the play (“Little Romance”) that gave us the idea that it can be sung if some words are substituted. We took a very simple subtext, as it was done right in the lesson, but we still tried to connect the words with the nature of the music. The result was achieved immediately. After the first playing, the student herself, without my help, connected both the theme and the chords with both hands. Moreover, the nature of the sound has also changed: apparently, the text itself has tuned in the right way - the girl began to play much softer and sincerely. About the nature of the sound in this construction, we later said little.
N.A. Peretrukhina: “In working with older students, parallels with other types of art play an important role - literature, poetry, painting, architecture, etc. Visual images, philosophical reflections, poetic analogies, intellectual excursions into the field of other arts and even science should not be considered an attempt to verbally retell the content of a musical work. The goal here is different - to “turn on” figuratively associative thinking and thereby evoke an emotional response. We fantasize and draw, come up with “plots” and titles for musical plays, read poetry and prose, listen to the music of great composers performed by masters, conduct, try to compose poetry and music ourselves.
I suggest a 2nd grade student creative task"Gallery of images" (selection of an associative figurative series). We listen to "Consolation" by F. Liszt (a student of the 6th grade plays). Aglaya (10 years old) “draws” music with words: “This is night. The lake is magical, deep. A beautiful swan is swimming. And the stars. Kingdom of the Stars! This is heavenly music."
Sometimes my students create “mood albums” dedicated to their favorite musical compositions.
So, in the album based on the play by B. Shchurovsky "Barcarolle", made by a 5th grade student Polina Kryukova, landscape watercolors, sketches, sketches are presented, which became a reflection of the girl's artistic quest. Here we see poems by I. Bunin, M. Voloshin. Through a drawing and a poetic word, the girl comes to a figurative, artistic comprehension of a musical play.
However, the music itself sometimes becomes a "decoy" for an artistically gifted child. Such "music of the soul" was for Polina "Nocturne" by P.I. Tchaikovsky, which prompted the 13-year-old girl to write her own poems.
Quietly silvering, the ringing tends to rise.
Starry snow, like laughter, sparkles with brilliance.
Spirits of light entwined in pale blue air;
And the length of the sounds is aching
will be limited to the light.
A wondrous old dream came to life in the sky -
A clear world of purity in a sea of dreams...
Rising easily, bell ringing
floats away
To worlds of endless joyful memories.
Under the influence of the poetry of Andrei Bely and "Requiem" by W. A. Mozart, the following lines were composed:
And every moment is just a mistake
In the concept of justice.
But the calm smile does not go out,
Trust in God's mercy.
And should not be judged recklessly,
What has been kept harsh for centuries.
Kohl in oblivion carry away cruelty
incomprehensible
New cruelties will reign.
But through the bitterness of suffering, darkness
anger,
I believe the stellar memory will last.
Oh, give, Lord, we only
holy patience!
Everything else will come to mind later.”
So, we note that the disclosure artistic sense a musical work as complete as possible (so that it sounds clear and expressive, adequate to its content) - this is what the teacher and student should strive for in a joint search.
It is important to awaken a child's interest in creativity, constantly remembering that all children are talented. And in many ways the path of a child in art and creativity is determined precisely by the meeting with a sensitive, knowledgeable Teacher.
MUNICIPAL BUDGET INSTITUTION OF ADDITIONAL EDUCATION "KUZMOLOVSKAYA SCHOOL OF ARTS"
An open lesson with a 4th grade student Arina Malova (age 10).
Topic: Work on the artistic image in the works "
Teacher Dobrovolskaya T.I.
village Leskolovo
2017
Lesson topic : "Work on the artistic image in the works"
Lesson type: combined.
The purpose of the lesson: consolidation and improvement of skills for creating and reproducing an artistic image.
Lesson objectives:
Educational:
to consolidate the skills of the ability to play various pieces of music musically, emotionally, figuratively, with auditory control;
introduce interesting facts from the biography of composers whose works are performed by the student;
search for performing techniques to convey a musical image.
contribute to the expansion of musical horizons.
Developing:
contribute to the development creativity(artistry);
develop ear for music, memory, attention, internal culture;
develop aesthetic and moral feelings;
develop musical erudition, from which a sense of proportion, style and taste is born;
to promote the development of in-depth perception and transmission of mood in the performed piece of music;
promote the development of cognitive activity, creative thinking.
Educational:
to form an emotional and value attitude to the music that sounds in the lesson;
cultivate musical taste;
to promote the development of emotional responsiveness to music.
Teaching methods:
comparison method;
visual-auditory method;
method of observing music.
way of thinking about music
method of emotional dramaturgy;
verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;
method of musical generalization;
plastic modeling method.
Repertoire lesson plan:
1. Gamma E dur
3. S. Banevich "The soldier and the ballerina"
Lesson plan:
1. Organizational moment
2. Work on the scale.
3. Working with musical material
4. Consolidation of the material covered.
5. Summary of the lesson
6. Homework
Introduction.
The student's musical and artistic images are living, spiritualized, actively and dynamically developing "phenomena" with which he comes into non-verbal contact, experiencing a sense of spiritual satisfaction in the process of this communication. Therefore, the most important moment in the development of cognitive (cognitive) abilities can be considered the upbringing of performing independence in a student - the ability to interpret a work in one's own way, create and develop one's own musical and artistic images, and independently find technical techniques to realize one's idea.
The notion that music is a special language of communication, a musical language, like the language of German, English, etc., is indisputable. Passionate about his work, a competent teacher tries to convey this point of view to his students, to form an associative link between musical and works of art, comparing plays with poems, fairy tales, short stories and novellas. Of course, one should not understand the language of music in literally as a literary language. Expressive means and images in music are not as clear and concrete as the images of literature, theater, and painting. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. “If everything that happens in a person’s soul could be conveyed in words,” A.N. Serov wrote, “there would be no music in the world.”
Since we are talking about the creation and development of an artistic image, it is necessary to define what is meant by the concept of "content of a musical work". The generally accepted notion is that the content in music constitutes an artistic reflection. musical means human feelings, experiences, ideas, attitudes of a person to the reality surrounding him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, in its execution one should not lose sight of and technical side music-making, since the careless performance of a piece of music does not contribute to the creation of the desired image in the listener. This means that the teacher and the student face a rather difficult task - to combine these two areas when working on a piece of music, to synthesize them into a single systematic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.
During the classes:
1. At the beginning of the lesson, we play the E major scale. Once again we play the scale, refining the fingering. Next comes the work on the scale in thirds and decims. Particular attention is drawn to the dynamic shades in playing the scale.
Next comes work on chords and arpeggios by hand. We remember that we play the arpeggio "as if drawing loops" with each hand. Work on arpeggios in a dynamic way on short, broken and long ones.
When working on chords, we achieve a smooth bright sound and activity of the fingers when taking chords from the instrument and then transferring it.
D7 game.
Homework.
Polyphony is the main thing in the education of a student (Neuhaus). Working on polyphonic works is an integral part of learning piano performing arts. This is explained by the enormous importance that developed polyphonic thinking and possession of polyphonic texture has for every piano player. The ability to hear polyphonic fabric, perform polyphonic music, the student develops and deepens throughout the training
The general mood of the invention in F major is close to the part "Gloria" ("Glory") from Bach's Mass in B minor. The invention is based on a theme that first rises along a broken triad (fa-la-fa-do-fa-fa), and then descends (fa-mi-re-do, re-do-cb-la, cb-la-sol -F). The theme is joyful, light, fast. Here you can talk about a lot of rhetorical and symbolic figures. The very contour of the theme - the ascent along the triad and the scale-like descent correspond to the stanza of the chorale "Christ lay ..." - "Praise the Lord", at the same time the descent is three times four notes - a symbol of Holy Communion. Joyful, light and quick topic contains ups and downs - there are associations with the flight of angels. From the 4th measure, the chime of the bells appears - the glorification of the Lord (la-do-sib-do, la-do-sib-do, la-do-sib-do) - again three times four notes each - a symbol of Holy Communion. In the 15th measure in the lower voice and in the 19th measure in the upper voice, the interval of the descending diminished seventh is sharply highlighted - a symbol of the fall. In bars 5-6, 27-28, 31, a parallel movement of sixths appears - a symbol of contentment and joyful contemplation.
The invention is written in 3 partial form - 11+14+9 bars.
The first section, starting in F major, ends in C major. The second section, starting in C major, ends in B flat major. The third section, starting in B flat major, ends in F major.
The polyphonic feature of this peculiar fugue is canonical imitation. However, this canon, which initially goes strictly to the octave, jumps to the lower non (in measure 8), and is interrupted in measure 11.
Showing and working with a student on fragments of the work. Work on a dynamic plan, work on creating the image of the “flight of angels”.
Work on the inventions of J.S. Bach helps to understand the world of deep, meaningful musical and artistic images of the composer. The study of two-voice inventions gives children's children a lot. music schools for acquiring the skills of performing polyphonic music and for musical and pianistic training in general. Sound versatility is characteristic of all piano literature. The role of work on inventions in auditory education, in achieving timbre diversity of sound, in the ability to lead a melodious melodic line is especially significant.
3. S. Banevich "Soldier and ballerina".
Playing the piece by heart. Dialogue with the student about his opinion about the piece played.
Story based on the fairy tale by G.Kh. Andersen about the history of the tin soldier. Creation of the image of a tin soldier and a ballerina. Their relationship.
Showing and working with a student on fragments in a piece of music and creating a musical image for this fragment. Work on the dynamic plan in the work. Work on pedaling.
4. I. Parfenov "In the spring forest"
Playing the piece by heart. Debriefing with the student of successes and failures.
Dialogue with a student about his presentation spring forest, for more detailed work on the fragments in the work.
Work on dynamics and pedalization in the piece.
RESULTS OF THE LESSON: reflection (analysis of activity) and self-reflection (introspection)
What have been done
What did not have time, what to finish
What I understood, what I did not understand
What did you learn
What was difficult, what was not. Analysis of your mistakes.
Emotional results: what you liked, how the mood.
Mark 1-5
Grade - general impression
Conclusion: The goal of the lesson is achieved, not achieved.
Conclusion
Introspection of the lesson: We believe that the lesson was a success, and the goal of the lesson - to work on the artistic image in the works was achieved. At the end of the lesson, during the control playback, the student tried to convey her inner feelings and emotions as much as possible. Of course, intonation is discussed in every lesson, but usually in ordinary working lessons the teacher sets several tasks at once (textual, technical, intonation, etc.), so it is difficult for the student to fully concentrate, for example, on the task of correct intonation.)
This thematic lesson is valuable precisely because the child is given only one specific task and it is easier for him to focus on it. This helps the child to perceive this material more emotionally, remember it and apply it in performance. Undoubtedly, public lesson involves a new, unusual environment for both the teacher and the student, therefore, we can say about some tightness, stiffness and tension in the child and the teacher. All the planned stages of the lesson were completed, packed in class time, the tasks of the lesson were defined. The student showed the ability to work on details and on the whole, on nuances and musical phrases, on correcting inaccuracies and errors in performance. The perception of the instructions of the teacher is quick and conscious. The student at the lesson showed her ability to express her inner feelings through sound.
