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1 Department of Culture of the Administration of the Stary Oskol City District Municipal Budgetary Educational Institution of Additional Education for 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 of students is based on reasonable, time-tested methods. In 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. Music training should be put on a professional basis. It should also be noted that modern children differ from those that we taught before, not only in their musical abilities, but also in their character, behavior, attitude to work, as well as a heavy workload and in general education school and all sorts of extracurricular activities. 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 a student begins from the very first lessons, starting with landing, organizing a gaming machine and educating a 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 the sake of which this exercise 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. By curriculum for classes on a special instrument in children's music schools and children's art schools, two academic hours per week are allotted for each student. 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 right hand, in the case of the left hand, the exception is the barre technique) with the obligatory condition of a relaxed state of all the muscles of the 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 “ Primary education on a 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 elementary school guitarists, 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 on short exercises so that the fingers acquire initial skills. In part 2 of the collection Artistic technique guitarist" E. Shilin offers twelve special exercises. 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 the movement of the 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 a convenient position in advance, and not at the 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. You can’t be busy only with technical problems, play mechanically without activating your hearing, and little 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", careful attitude to him. 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 realization of 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 convenience of movements, their accuracy, free fit, mastery of a good sound, musical performance, as a rule, instill in the student a love for playing the guitar, which in itself is a very important condition for his further 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 guitar students at the initial stage of musical 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.
Description of the teaching experience Theme of the experience: Working on arpeggios in the guitar class. Relevance and prospects: Lecturer: Napalkova T.V. There is an upswing in guitar playing these days.
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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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Municipal budgetary educational institution
additional education for children "Urmar Children's Art School"
Urmarsky district of the Chuvash Republic
Methodical work
"Formation of skills of independent work in the guitar class"
Performed: teacher
MBOUDOD "Urmarskaya Children's Art School"
Mikhailova Margarita Pavlovna
Urmary - 2014
Introduction……………………………………………………………….........3
Home study system………………………………………………….4
Preparing the student for independent activity……………… 5
Basic conditions for the development of independent work skills………. 8
when working on a piece of music…………………………… 12
Development of musical and performing independence…………....13
Conclusion…………………………………………………………….........15
List of sources used……………………………………...17
Introduction.
“The most important task of the school is to excite and intelligently
guide student independence
G.A. laroche
Enrolling a child in a music school is a serious and responsible step. In order for a young musician to be able to successfully cope with new, very difficult tasks for him, so that the development of his musical abilities is successful, it is very important to help him in this in a timely and competent manner.
The development of love for music is closely related to the interest in studying it - not only in the lessons of the teacher, but also in independent homework with the instrument. It is necessary to teach the student from childhood to the fact that art requires constant and hard work, that perfection in performance is born only in the process of long-term and purposeful work. In this skill, interest and love for music is manifested, leading to the achievement of the goal set for oneself. The teacher is obliged to help the student in what he still cannot master on his own. It is necessary to teach how to do at home directly that work that leads by the shortest path to the artistic goal.
K.D. Ushinsky calls pedagogy an art "the highest and most necessary of all the arts." Communication and employment with the teacher in the classroom and outside the classroom contribute to the acquisition of knowledge and professional skills by students; contribute to the harmonious all-round development of their abilities, the formation of their attitude to work, creativity, perception of the ways of training and education, which, of course, will have a beneficial effect on their future activities.
The teacher must be an artist in working with the student, always in a creative search for the most vivid and colorful images, to achieve the simplest, most reasonable ways to solve complex artistic problems. His exactingness, benevolence, creative burning should engender in the student a love for music, for art; strengthen the will to overcome difficulties, the desire to master all the technical and expressive means execution.
I. Lesman wrote: “A musician cannot be forced - he can be carried away by creative burning and high social ideals, love for art and pedagogical work, convinced by an artistically justified interpretation of works and the reasonableness of methods for developing performing skills, attracted by a sensitive approach to the individual characteristics of talent and temperament , to conquer with high principles and true humanity”.
It is important that the child, as it were, discover the beautiful language of music for himself, even if in a simple form. As soon as the child begins to get acquainted with the instrument, it is necessary to pay his auditory attention to the beauty and difference of sounds and harmonies, it is necessary to teach him to listen and hear the sounds that combine in the melody. To hear is just to hear the surrounding sounds, to listen is to listen to the quality of the sound, to the beauty musical sound. Each sound must be performed as if it has an independent value. It is very useful to direct the attention of the child to the sounds of nature surrounding us, because all music originates in them.
Music pedagogy- an art that requires people who have dedicated themselves to this profession, great love and boundless interest in their work. The teacher must not only bring to the student the so-called "content" of the work, not only infect him with a poetic image, but also give him an analysis of form, harmony, melody, polyphony. One of the main tasks of the teacher is to instill in the student that independence of thinking and working methods, which are called maturity, after which mastery begins.
A lot of methodical works have been written for the guitar. These are the works of N.P. Mikhailenko "Methods of teaching playing the six-string guitar", Yu.P. Kuzin "The ABC of the Guitarist", Ch. Duncan "The Art of Playing the Guitar", M.E. Bessarabov "Organization of homework".
homework system.
B.A. wrote about the importance of homework. Struve: “Every music teacher knows what is the importance of a good study of homework in the musical and performing education, this soil on which in the educational process correct technique and the system of development of performing skills are yielding valuable results. And a full-fledged harvest is possible only in the presence of this soil.
Building the most rational system of homework is one of the main problems of music pedagogy.
The guitarist's home practice system should be understood as such an organization and methodology for conducting them, which aims to achieve the most productive use working time available to the guitarist-student for individual independent work outside the classroom.
The most important condition fruitful homework of the student - all-round development of initiative, skills of independent work. By nature, a person is characterized by a sense of independence, the desire to experience and try himself. In this desire to defend their right, children show particular perseverance. Often parents and teachers do not take into account this child's mentality, so the main task of the teacher is the need to find an individual approach to each child, identifying and developing all the best that is in his talent. The success of the teacher depends on how deeply he penetrated into the human and musical characteristics of the student.
“The system of homework includes two aspects, closely interconnected and interdependent. Firstly, the mode of employment, the concept of which includes determining the total amount of necessary working time, its distribution within the working day, the distribution of the material being studied, its order and sequence. Secondly, the method of training, that is, specific ways of studying, training and overcoming difficulties, ”wrote K.G. Mostras.
Preparing the student for independent activity.
The value of the initial period in teaching any of the arts is difficult to overestimate. It is in the first months that it is important to be able to captivate the child with music lessons, to develop in him the habit of working, thereby laying the foundation for successful learning for all subsequent years. Not only from teachers, but also from parents depends on how successful the child will study at the music school.
The teacher should develop interest in music lessons, show what results a well-done homework leads to. The upbringing of students is impossible without purposeful work on acquiring the skills of independent work, developing creative initiative in the classroom. At the initial stage of training, the teacher awakens the initiative of the students in the process of the lesson itself. At first, the student learns to meaningfully follow only the instructions of the teacher.
“The teacher should not suggest too much, he should, first of all, introduce the student to the joyful process of independent searches and discoveries,” said the famous teacher pianist K. Martinsen.
If this is neglected, then in the initial stage of training there is a danger of educating a student as a mechanical performer, a “robot”. The method of "coaching" creates a deceptive impression of the giftedness of the student. The transition to independence should be gradual and careful. The main thing is that the student should be assigned tasks for independent study that are available according to the level of skills he has acquired, and not do for him what he is able to handle on his own. If at the beginning of training the student is instructed to independently solve elementary tasks, for example, arrange fingerings, select the necessary positions, find out the strokes, then as the development of musical thinking grows, it becomes possible to give him more complex tasks. You can offer the student to choose a work according to the level of his preparation for independent study. The desire of the student to learn this work will be a good incentive to work.
A lesson can become an effective learning tool only with intense student homework. It is in the classroom that the teacher applies those methods of working on works that later become methods of independent work of the student. The success of homework is determined by the content of the lesson, the ability of the teacher to properly prepare the student for independent activity.
How much time in the classroom and in homework is spent in teaching the student.
Days of the week
Work in the class in the specialty
1 hour
1 hour
Homework
2 hours
2 hours
2 hours
2 hours
2 hours
2 hours
2 hours
From this diagram, drawn up according to the curriculum, it can be seen that the student works with the teacher in the classroom for two hours a week. This is not enough for a confident, deep assimilation of educational material. Most of it is self-study. The task of classwork is to prepare the student for independent creative work. It is very important to organize your homework properly. It is important for the student to understand that systematic guitar lessons are the main condition for mastering the performing arts. In this child, the help of parents is absolutely necessary, especially if the child is younger. school age. The teacher must educate his student in the spirit of diligence, accustom him to daily independent hard work. The secret of success in music can only be known to those who know the secret of diligence.
In the first weeks of training, the student learns to walk his fingers along the strings and frets. This difficult activity requires a lot of patience and attention, both on the part of the student and on the part of parents, since children of 7-8 years old are physically unable to concentrate their attention on such work for more than a few minutes. Here the student needs the help of parents during the first lessons. First you need to master the arpeggio technique on the guitar. The fingers of the right hand should see and hear. The movement of the fingers of the right hand is easier to analyze when they are not associated with the left hand. The simplest arpeggio is ascending p - i - m - a. It is important that the student follow the movements of both hands during the game, articulation between the right and left hand is very important.
It should be remembered that abstract thinking in a young child is not yet fully formed. Therefore, in homework for the instrument, you must first of all focus on figurative thinking. All independent work should proceed in continuous auditory control. Periodically, you should conduct control lessons that imitate homework. The teacher should not interfere in the process, but should observe, occasionally making comments. When organizing a student's homework, the teacher must familiarize himself with the conditions of his life, with his way of life, establish contact with parents, and help establish a daily routine.
The success of learning depends on how the classes conducted by the teacher in the classroom and the student's independent homework interact. It is necessary to teach the child to understand music. Sounds should be not just physical, but also musical, convey beauty, and not just duration, pitch, timbre. Make it so that the performed musical work does not reflect the language of musical notation, but represents some artistic phenomenon.
With all the accessibility and apparent simplicity, the guitar is quite a complex instrument. A child who sits down at an instrument must solve many problems at the same time. Competently perform a musical text, read notes correctly, while observing accidentals, fingering, nuances, solving problems of metrorhythm, tempo. Consider the correct ratio of melody and accompaniment. Listen, intotone and sing musical phrases and sentences with the fingers of your right hand. Constantly monitor the coordination of both hands. It takes some time to learn and practice on the guitar fretboard.
IP Pavlov taught: "Be passionate in your work!" The student must work systematically, without succumbing to temporary moods. P.I. Tchaikovsky wrote: “Inspiration is such a guest who does not like to visit the lazy. She comes to those who call her. Even a person endowed with the stamp of a genius will not create not only great, but also average, if he does not work hellishly. You need to do it in such a way that you achieve the best results with the least amount of time and effort. When starting to study a particular piece of music, one should understand the meaning, determine the methods of work, and present the ultimate goal. “Concentration is the first letter in the alphabet of success,” said the famous pianist I. Hoffman.
Independent work should proceed in an environment of continuous auditory control. “I play, I listen, I judge myself,” said P. Casals.
Ability, active desire to acquire skills, abilities, knowledge develops, first of all, in the independent work of the student. Student's independent work is a part of the educational process, consisting of two sections:
Independent work of the student directly at the lesson;
Homework on the assignments received in the lesson.
These sections are closely related. The more intense the student's independent work in the classroom, the more effective it is at home and vice versa. The main condition for productive and high-quality independent work of a student is a clear statement of the tasks facing him. The success of the student's homework depends on how clearly the teacher formulates them, determines the sequence of execution and specifies them. It is important to recall that, firstly, independent work skills should be taught in the classroom. Secondly, any new task proposed for independent work should be based on what was previously learned under the guidance of a teacher.
“All classes should be arranged in such a way that the next is always based on the previous, and the previous is strengthened by the next” - Kamensky Ya.
The main conditions for the development of independent work skills.
The teacher should explain to the student the importance of independent home preparation for the lesson and the role it plays in the further development and improvement of the student. Homework with the instrument should be included in the student's general circle of activities, and be included in his daily schedule. Good results cannot be expected if homework does not take place regularly, if a student plays for half an hour today and four hours tomorrow, if the time of classes changes every day.
It is extremely important to make the right regimen. The teacher should be of great help here. For independent work, you need to allocate more or less constant time every day. Of great importance for the effectiveness of homework is the distribution of working time.
In the work "The system of violinist's homework" K.G. Mostras writes: "The old tried pedagogical rule says: it is better to do not much, but evenly, systematically, than to try to make up for lost time by many hours of playing in one day. “Such a system is not useful, it can lead to “overplaying” of hands and, consequently, switching off from working condition on for a long time". Therefore, you need to practice on your own systematically and daily.
Leningrad pianist and teacher N. Golubovskaya said: “People who play ten hours a day are the biggest lazybones. Playing for ten hours with full tension of attention is available only to a few. Usually, such “perseverance” is nothing more than the desire to replace the work of consciousness with a mechanical action that does not require focused attention.
It is best to practice music in the morning hours, if this is not possible, then preferably before preparing lessons. You can also divide the time of music lessons into several parts so that the child can alternate between preparing lessons and playing the instrument. Such a change in activities, according to psychologists, will help the child get tired less and do more in the same period of time. Students of music and art schools cannot devote much time to playing the instrument. In addition to attending classes and preparing lessons, they need to read books, communicate with a computer, go to the cinema and theater, attend concerts and play sports, otherwise they will grow up as insufficiently cultured and physically unhardened people. Therefore, the teacher should pay special attention to improving the quality of homework. To accustom the student from the first years to study in such a way that not a single minute is wasted.
Why is it important to think over the schedule of the day? It should be drawn up so that in the room where the child is studying, the necessary conditions for this are provided during classes: the TV or radio is not turned on, there are no noisy conversations, etc.
For music lessons, concentration of attention, thoughtful work focused on specific tasks is of great importance.
Homework must be systematic, daily. Only regular practice is beneficial. If the child studies only before the lesson, such work is ineffective, because much of what has been achieved through the joint efforts of the student and the teacher in the lesson is lost, reduced to nothing. In order to develop the habit of daily activities, it is necessary to show strong-willed efforts, both for the child and for the parents. Preschoolers and first graders are rarely capable of prolonged concentrated work, their attention is still unstable, they cannot be concentrated on one thing for a long time. When doing homework, it is also important not to force the child to do one thing for a long time. Even if you work out for about twenty minutes, but seriously, then take a short break (play, run around the room), and return to classes again, at least a small, but step forward will be made!
How long should the lessons be? On average, for seven-year-old children, as a rule, 30-40 minutes of daily lessons are enough, for middle and high school students - up to two, two and a half hours a day.
To increase the effectiveness of the student's independent homework, first in the lesson it is necessary to discuss and allocate the time that the student should spend on each type of homework. For example: scales - 20-30 min., etudes - 30-40 min., art material - 1 hour.
This distribution of study time is very conditional. Ultimately, it is determined by the educational material, its difficulty, and a number of other reasons. In addition, the distribution of time depends on the individual needs and abilities of the student. With deficiencies in technical equipment, more time should be devoted to scales, exercises and etudes. And vice versa, having reached the required technical level, one can strengthen the lessons on the pieces. The time allotted for self-study, it is advisable to divide into two parts, for example, in half.
Exercising continuously for more than one hour is not recommended. Observations show that the variety of work is the most important means of preventing fatigue. Long work on homogeneous exercises and monotonous pieces should be avoided.
Each teacher has their own way of working with parents. Some teachers welcome the presence of parents in the classroom, ask parents to write down all the comments of the teacher and, as it were, study with the child. Some, on the contrary, try from the very beginning to develop students' independence in work, giving very specific, accessible tasks at the initial stage.
At first, the student's parents can remind him that it is class time and make sure that the student actually studies during the prescribed time. In the future, the child himself must remember this. Silence should be observed during the hours of practice on the instrument; nothing should distract the student. At home, you need to remember that music lessons require a lot of attention, which is not easy to work out.
In his conversations with the parents of the student, the teacher will always be right, emphasizing the importance of creating the necessary regimen for homework. Ultimately, such a distribution of time should discipline, organize the student and give a positive result.
The process of independent work of the student should be as conscious as possible. Necessary condition it should be the presence of auditory self-control, "self-criticism" and the immediate elimination of the noticed shortcomings. “During your game,” said the outstanding Russian pianist and teacher A.N. Esipova, “listen to her all the time, as if you hear someone else’s game and should criticize it.”
Before starting classes, the student always needs to imagine how this or that passage of the work being studied or the composition as a whole should sound. Starting work directly behind the tool, bypassing this stage, "is the same as starting building a house without having its project." In order for the student to be able to imagine the sound of the work, it is advisable to play the play in the lesson and, together with the child, analyze the nature of each part and the entire composition, how, in the end, the student will have to perform it.
In independent work, continuous “communication” with the text of the studied material is very important. Studying the musical text, the student gradually comprehends the nature, content and form of the work. The analysis of the musical notation of the piece largely determines the course of further work on it.
G.G. Neuhaus wrote: “I invite the student to study the work, his musical notation how a conductor studies the score - not only as a whole, but also in detail, decomposing the composition into its constituent parts - harmonic structure, polyphonic, to separately view the main thing - for example, a melodic line, “secondary”, - for example, accompaniment ... the student begins to understand that each “detail” has meaning, logic, expressiveness, that it is an organic “particle of the whole”.
An interesting remark by A.B. Goldenweiser regarding the reproduction of musical text. He's writing: " General property many people who play the piano - from students of music schools to mature pianists performing on the stage - that they take notes with great accuracy where they are written, and remove them with the same inaccuracy. Nor do they bother to study the author's dynamic indications.
Such statements by outstanding teachers make us think about the importance of correct, thorough work on a musical text.
Particular attention in independent work should be given to rhythmic discipline. The student must know that rhythm is the fundamental principle that determines the living life of music. A.N. Rimsky-Korsakov emphasized that "music can be without harmony and even without melody, but never without rhythm."
We draw students' attention to a number of truths that should be remembered in working on rhythm:
At the beginning of work on a work, the text must be placed on precise rhythmic "rails", otherwise rhythmic instability is inevitable;
The rhythmic pulse is usually found in the hand with fewer notes. “You need to feel the fluidity, the rhythm of movement in yourself, and, only having felt it, begin to perform the piece. Otherwise, at first you will definitely get a series of chaotic sounds, and not a live line ”- Goldenweiser A .;
A triplet rhythm should never turn into a dashed rhythm, and a dashed rhythm into a triplet rhythm;
The wise advice of E. Petri should be remembered: “Play the end of the passage as if you want to make a ritenuto - then it will come out exactly in tempo” - haste is unacceptable in climaxes;
A pause is not always a break in the sound, it can mean silence, delayed and agitated breathing, etc. Its rhythmic life always depends on the nature of the work, its figurative structure. The duration of a rest is usually longer than the duration of a similar note.
Dynamic indications should always be considered in organic unity with other expressive means (tempo, texture, harmony, etc.), this will help to better understand and delve into the figurative and semantic content of music.
It must be remembered that the basis of dynamic expressiveness is not the absolute strength of the sound (loud, soft), but the ratio of strength. Typical is the inability to show the difference between p and pp, f and ff, in some children f and p sounds somewhere in the same plane. Hence the dullness, facelessness of performance. Emphasizing the importance of the ratio of the strength of sound, N. Medtner said: “The loss of the piano is the loss of the forte and vice versa! Avoid inert sound; mezzo forte is a symptom of weakness and loss of sound control.
When memorizing a work by heart, it is necessary to play it slowly, in order to avoid technical difficulties that divert attention from the main goal. At every given moment, one must learn by heart not what is difficult, but what is easy, and in order to be easy, one should learn slowly. It is necessary to learn by heart that which can be completely grasped by consciousness and which presents no obstacles. In no case can technical work produce from notes. In overcoming technical difficulties, the memory of hearing and fingers sometimes plays a decisive role.
Without sufficient knowledge of the text of the work, one should not “connect” emotions, since apart from a primitive “semi-finished product”, “draft with feelings”, you will not get anything.
Preparation for a concert, even a repeated repertoire, must be carried out according to the notes. This type of training will allow you to get rid of the inaccuracies and negligence that the work acquires over time, and to discover and feel a new "breath" of the musical image.
It must be remembered that it is possible to perform badly by chance, but it is impossible to play well by chance. It calls for constant self-improvement.
Quite often, in the pre-concert period, the question arises before the student: should there be strict self-control on the stage? Of course, the presence of self-control on the stage is necessary, but its character should rather be "regulating", guiding the music.
So, we have considered the main conditions that contribute to the development of independent work skills in students of the instrumental class.
Formation of skills of independent work of the student
when working on a piece of music.
Using the example of a piece of music, one can show how students can develop independent work skills.
We choose a work that would correspond to the student's abilities, his level of musical data, and, of course, so that the child likes it. For any type of student, the choice of repertoire plays an important role. It is necessary to choose plays that are close to them in spirit, arousing interest and the desire to master them.
It is necessary to play the piece so that the student understands how it should sound. Together with the student, make a plan according to which he will work at home. This plan will be a kind of support tool for the development of independence in the student's homework. To begin with, here is a general plan of work:
Determine the tonality, size, view signs, playing techniques, dynamics, tempo and characteristic terms;
Find parts, how many there are, divide each part into sentences and phrases;
Determine the melodic line, accompaniment;
View the fingering and find out its convenience, if it is not in the notes - put down your own;
Start parsing with the score out loud, at a slow pace, while trying to observe strokes and fingering:
Constantly control the sound quality, listen to your game all the time, exercise self-control;
When the text is played confidently enough - you can connect dynamics, emotions, imagery, work with tempo;
Start learning by heart and prepare for the performance.
The condition for successful independent work at home is the specificity of the tasks in the lesson.
If the student is still small and it is difficult for him to reach large volume work, you can set independent work little by little, for example, you can set work with fingering, or divide the work into phrases or sentences, etc.
Homework should preferably be done at the same time whenever possible. If a student is engaged in a general education school on the first shift, it is advisable to practice the instrument immediately after school, before doing homework. Classes at the same time develop the habit of the body, introduce a certain rhythm into the daily routine of the student.
How much time should be devoted to self-study? It depends on the age of the student, his physical data. Overvoltages should be avoided. It is necessary to take a break to restore the health of the body.
“The head of a student is not a vessel to be filled, but a lamp to be lit,” said the ancient sages.
The formation of a system of homework is a live, flexible process that requires genuine creative attitude. A guitarist's homework system should include the following elements:
Exercises for acting out;
General technical work;
work on artistic material;
work on additional material;
Sight-reading, selection of melodies and accompaniments by ear.
The complex of daily homework should vary.
Development of musical and performing independence.
Fruitfulness, productivity in individual homework of the student is felt only if he has such components as the purposefulness of classes, performing independence, the ability to control himself, interest in work, concentration of attention and, if all this is combined, active participation of consciousness in the work of the student.
The development of the student's musical and performing independence is the main task of the teacher. Another wonderful critic G.A. Laroche wrote: "The most important task of the school is to excite and intelligently direct the independence of the student." Prominent Russian violinist L.F. Lvov in his work "Advice to a Beginner to Play the Violin" wrote: "It is the teacher's job to show the most convenient way to achieve the goal, but the student must go on his own."
Musical and performing independence, self-control - such categories arise only on the basis of the student's creative initiative.
In order to awaken the creative initiative of the student, it is necessary that the student see the clear goal set for him by the teacher, so that the teacher specifically defines the range of tasks. Clearly understandable tasks underlie the student's analysis of his actions, the search for ways and means to better solve these problems, that is, they are the starting point from which the student's creative independence develops. L. Auer in his work “My Violin School” gives advice: “Listen to your own performance. Play the phrase or passage in different ways, make transitions, change the expression, play louder and quieter until you find a natural interpretation. Go from your own instinct, while being guided by the directions of others.
In the process of working on a piece of music, at a certain stage, the necessary connections arise between auditory representations and muscle sensations, and thus motor skills. During this period of work, the student's ability to self-control and creativity is aggravated. Basically, the student remembers the skills that he acquired and applied while studying the previous one. musical material. This "baggage" is not yet great, but the tenacity of skills plays an important role in gaining experience in independent work. The most valuable is not so much the offer of already studied options that the student remembered, but the offer of his own, just invented as a result of preparing for the lesson of various options. It is these happy moments that are the basis of the student's creativity, they form his creative beginning. The student, of course, must be taught to independently analyze the musical work being performed. At first, the student very timidly tries to talk about his shortcomings in the performance of a particular piece. But in the future, if this method is applied from lesson to lesson, the student will listen to his game better, analyze it, and his requirements for the quality of the game will force him to look for new ways, methods, methods to correct shortcomings and achieve the ultimate goal of high-quality performance.
“Listen to how you play”, “did you like this phrase that you played right now? What didn't you like?" - such questions of the teacher should be constant in the lessons in the specialty with students.
An important point for further independent work of the student is to sum up the results of each lesson. If the student correctly understands the result of class work at each lesson, clearly represents the goals and objectives, methods and techniques for mastering the material, this facilitates his homework, and moves the student faster in his development. After the end of classes already at home, the student should, as if following the last lesson, play the studied works by notes and remember all the instructions of the teacher. This method activates the student's self-control and memory, contributes to a better planning of his homework.
Conclusion.
It is important that the activity of the teacher stimulate the activity of the student himself: if the student is creatively passive, then the first task of the teacher is to awaken his activity, to teach him to find and set performance tasks for himself.
Ultimately, when the child has mastered these skills, they will help him in preparing for the exam, in which you need to show a self-learned work, where the help of the teacher is excluded.
The lesson should equip the student with clear ideas about the methods that he should use at this stage in working on a play. In many cases - but by no means always - it is necessary that the newly set tasks be partially resolved in the lesson, with the help of a teacher: then it is easier for the student to work further independently. Very often the very course of the lesson should be a prototype of the subsequent independent work of the student. It is absolutely unacceptable for a lesson to replace independent work, so that it comes down only to repeating and consolidating what has already been achieved in the lesson. If, at the beginning of work on the play, it is clear that the student clearly understood the tasks facing him, it would be more expedient to let him continue the work at home on his own. Pedagogical assistance in the classroom should not turn into the so-called "training", it suppresses the activity of the student. When the teacher suggests too much, sings along, counts, plays along; in this case, the student ceases to be an independent person and turns, as it were, into a technical apparatus that implements the teacher's plan.
Each child is an individuality, a personality, the art of a teacher is to make any student become an excellent performer, acquire a steady interest in music that can last a lifetime. To do this, it is necessary to draw up such a mode of homework for the student, in which the alternation of school and musical subjects is observed, to teach the child to practice the instrument every day. During the first months of training, the presence of parents in the lesson is desirable, so that later they can control the completion of homework. From the first steps of training, accustom to independent work with the instrument. Strictly observe the hygienic and physiological conditions for the child's activities. Use a comfortable hard chair of the required height, a support for the left leg to avoid curvature of the spine. Maintain silence during class. Pay close attention to the physical and emotional state of the student. Attend annual concerts and competitions in a place with parents. Constantly form the child's need to listen classical music and analyze what you hear.
The end result of a complex educational process is the education of a performing musician who understands the high purpose of art. It is the performer who gives life to the work, hence his responsibility to the author, to the listeners, obliging him to deeply comprehend and be able to express the significance of the ideas invested in this work.
As Lieberman writes in his book “Working on Piano Technique”: “In work, one must constantly be persistent, not put up with what does not work out, not sit at the instrument without desire and thought, look for ways to make it easier to overcome certain difficulties, put before musical and technical problems until they are resolved.
Each teacher will always face the same problems: how to help the student form his own thinking, achieve the development and development of professional and performing skills; develop the emotional sphere of the child; expand his musical horizons; how to instill diligence, perseverance, organization in work, without which success cannot be achieved. From each lesson, the student must “take away” impressions home. Impressions must be processed in concentrated homework and supervising class work knowledge, skills and, ultimately, aesthetic culture student. These stages of professional orientation and development of the student, as well as further independent maintenance of their professional level are impossible without serious, time-sufficient, regular homework. There is a well-known aphorism: “Nothing will come from nothing”.
The famous violinist and conductor Charles Munsch writes in the monograph “I am a conductor”: “Fifteen years of study and all natural talent is not enough. To become a conductor (as well as a professional performer), you need a job. You need to work from the very day when you first cross the threshold of the conservatory (as music schools were called in the West in past centuries), until the evening when, exhausted, you will hold the last concert in your life.
List of used sources.
1. N.P. Mikhailenko. "Methods of teaching playing the six-string guitar". Kyiv. "Book". 2003
2. G. Neuhaus. On the art of piano playing.
Toolkit. M. Music. 1988
3. Yu.P. Kuzin "The ABC of the Guitarist"
4. V.A. Natanson. Questions of musical pedagogy.
Toolkit. M. Music. 1984
5. Ch. Duncan "The Art of Playing the Guitar"
6. M.E. Bessarabov "Organization of homework at the piano"
7. K. Martinsen. "Methods of individual teaching of piano playing". M. "Music". 1977
8. I. Hoffman. Piano game. Answers and questions in the piano game. M. 1961
9. Perelman N. "In the piano class"
10. A. Artobolevskaya "The first meeting with music." Tutorial.
Publishing house “Composer. Saint Petersburg". 2005
11. E. Lieberman. "Working on piano technique"
13. Bochkarev L. "Psychology of musical activity"
14. I. Lesman. Essays on the Methods of Teaching Violin Playing. M. 1964.
15. K. Mostras. "The Violinist's Home Study System". M. 1956.
16. L. Auer. "My School of Violin Playing". M. 1965.
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..
The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and 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 a 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, an ensemble game 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. Providing 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 pursuits. 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.
The method of learning in a group has both positive and negative sides. 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 patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who do not cope with 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 apply various forms work. 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.
Ensemble as an academic discipline is not always given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, at present it is impossible to imagine musical life without the performances of ensembles. This is evidenced by the performances of duets, trios, ensembles larger membership at concert venues, festivals and competitions. Duets and trios of guitarists are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, arrangements. But this 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. It is better to start work 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 mastery of the instrument. 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 also a technical requirement of the game. 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 a parent meeting or a class concert.
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 is composed along with classical works, variety 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 of the musical 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.
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
CHILDREN'S MUSIC SCHOOL
SCHOLKOVSKY MUNICIPAL DISTRICT OF THE MOSCOW REGION
METHODOLOGICAL MESSAGE
on the topic
"Features of working with beginners in the guitar class"
teacher of folk instruments
Shchyolkovo
Guitarists embarked on the path of professional pedagogical activity relatively recently, when pianists and violinists already had centuries-old performing and pedagogical traditions, an extensive concert and educational repertoire, methodical literature. Using the experience gained by other instrumentalists allowed guitarists to achieve great success in a short time and move from amateur home music to concert performance, from self-learning to play by ear to a professional education system. But for the further development and improvement of performing skills, it was necessary to create highly artistic original literature and teaching methods that take into account all the features and specifics of the instrument. Currently, the repertoire of guitarists already has a significant number of original compositions that are diverse and interesting in content and form. There is a process of creating schools, teaching aids and educational literature for the guitar. Suffice it to name the works of G. Fetisov. N. Kalinina, V. Agafoshina. Programs have been developed for all levels of training in the guitar class. The quality of training guitarists in music schools, colleges, institutes and conservatories has improved. Methodical rooms and departments of universities are constantly working to improve the skills of teachers-guitarists.
At the same time, pedagogical practice does not have sufficient experience when working with children of 5.6 years of age, is not free from significant shortcomings, many of which are associated with a violation of the principles of didactics. A typical phenomenon there was a failure to comply with the didactic principle of accessibility - in particular, the so-called "overestimation of the repertoire". It should be emphasized that the violation of the principle of accessibility in the initial period of training leads to the most serious consequences, which are difficult, and sometimes impossible, to correct at later stages of training.
Raising this question, we anticipate the bewilderment of many experts: “Should we talk about obvious things?” But the whole trouble lies in the fact that the principle of accessibility is recognized more often only in words. In practice, the program is often overestimated, and not only in the specialty, but also in the ensemble, accompanist class and orchestra. The reasons for this phenomenon are different, and eliminating them is not as easy as it seems at first glance. Let's analyze the five main, in our opinion, reasons:
1. Formal attitude to lesson plans, drawing up plans without taking into account the individual characteristics of the student. Sometimes this is due to the fact that the teacher simply does not know the methodology for drawing up individual plans or has not studied the educational material. Insufficient control on the part of the heads of guitar departments in educational institutions aggravates the situation.
2. Erroneous definition of the complexity of the work. Often the teacher pays attention only to the technical difficulties of the work, without thinking about the complexity of the main thing - the content.
3. Deliberate complication of the program due to a kind of pedagogical ambition. When discussing exam results, such teachers, prone to externality, often say: “My student played a difficult program, so he deserves the highest mark,” not realizing that such reasoning reveals ignorance of elementary principles for selecting educational material and performance evaluation criteria.
It is also believed that one work, exceeding capacity student, must be included in the program for its "growth". Thus, not only difficult, but also inaccessible for the student at this stage work, which, as a result, is not learned, gets into the repertoire. But the trouble is not only this: as a rule, by the time of the exam, the entire program remains understudied. It should be noted that the most capable students most often suffer from an overestimated program for this reason.
4. The desire of students to play certain works that are inaccessible to them, and the “pliability” of teachers, motivating it by the fact that the student will quickly learn the work that he likes, that he will study more and achieve more. Such reasoning, of course, is not without foundation, but if the student's abilities are completely incommensurable with the difficulties of a given play, then he will not be able to overcome them.
5. Musical helplessness of the teacher, inability to work on the musical content of the work. Here is what V. Avratiner writes about this in his work “ Methodical materials on Pedagogy”: “Practice shows that work on the musical content of a work (the maximum identification of the means of musical expression necessary for a given work) is given to some teachers more difficult than work on technical difficulties. Such a “teacher” sometimes has nothing to say to his student if technically the play is simple and the student has overcome the technical difficulties. In an effort to cover up his pedagogical helplessness, the teacher goes to overestimate the program, making it a kind of means of self-defense.
But whatever the reasons for the complication of the program, its consequences are disastrous. A guitarist who begins to learn a piece that is inaccessible to him, first of all, cannot cope with technical difficulties. Parsing, learning the text by heart takes him too much time, making it impossible to analyze the form and content of the work, work out the sound production, nuances, strokes, etc. The student puts all this work off for more late period when he understands enough of the text of the work. Being a prisoner of a work beyond his strength, the bayan player does not have time to catch all the mistakes at the initial stage of training, and then it is already difficult for him to get rid of them, as he gets used to the imperfect sound and no longer notices the errors of his performance.
Of course, the student's musical abilities play an important role in mastering the performing arts. But even a talented person, if he devotes all his time only to learning complex works, working on technical difficulties, will not achieve high level performance. Talent requires a very careful attitude to yourself. An experienced teacher will cherish and grow talent from lesson to lesson, from year to year, and not ruin it with exorbitant difficulties.
The guitarist works on an unbearable work with great intensity, with extreme tension. As a result of such work, quality loss is inevitable. The concept of "loss of quality" is very capacious: it implies inaccurate execution of strokes, nuances, errors of a rhythmic nature, style errors and, ultimately, an incorrect, distorted creation of an artistic image. But, perhaps, the quality of sound production suffers first of all, and it is of paramount importance for a performing musician.
Violating the principle of accessibility, the teacher unwittingly reduces the work to “training”. getting too complex work, the student learns only the text for three to four weeks. A month and a half passes, the student still confuses notes, harmony, fingering, is not able to follow the sequence of presentation of the material, and the teacher is already starting to work with him on artistic features plays. But the student cannot fulfill the requirements of the teacher, moreover, he is already tired of the play. Interest in classes in general decreases, and he reluctantly sits at home at the instrument. And so the teacher, in order to help the student, begins to learn the work with him in the lesson, doing, in fact, his homework. A week or two before a public performance (test, exam), the student's diary is still full of teacher's notes: "Play without mistakes"; "Play with nuances"; “Do not confuse fingers,” etc. Such instructions and requirements have the force of a doctor’s words addressed to a seriously ill person: “Don’t get sick!”
After the inaccessible program is “prepared”, that is, learned somehow by memory, the student, and with him the teacher, shortly before the performance, is seized by feverish excitement. They are tormented by one question: will it be possible to play without stopping?
Many famous musicians have written about the excitement of performing in public. This phenomenon is extremely complex and still far from being studied. But it can be said with certainty that one of the reasons for the excitement lies in the exorbitant difficulty of the work.
Employees of the biocybernetics laboratory of the Institute of Cybernetics of the Academy of Sciences of the Ukrainian SSR D. Galenko and V. Starinets, in collaboration with screenwriter I. Sabelnikov, created the film "Formula of Emotions". It tells about the “miracle” of emotions, which are a reserve mechanism that helps out in crucial moments, mobilizes all the forces, hidden resources of a person. But there are also emotions that lead to disaster. Their category includes "excitement-panic" (P. Jacobson's term), which covers a musician performing a program inaccessible to him. Doctor of Medical Sciences Professor P. Simonov claims that negative emotions can arise from lack of information. With regard to this case, this means the insufficiency of funds to achieve the artistic goal. Naturally, such a performance is doomed to failure. Here is what G. Kogan says about this: “... the game loses control, the performer “carries” like a chip along the waves, his movements are compressed, his memory changes, he crumple, smears, confuses in the most unexpected places.
So, on the one hand, without creative excitement, without positive emotions, there can be no real performance on the stage. Emotion creates the lift that a true artist needs to create, and not be limited to indifferent, artisanal work. On the other hand, negative emotions caused by a mismatch between ends and means can lead to failure.
Sometimes an unsuccessful performance causes serious consequences: the student begins to feel insecure on the stage, even playing pieces that are quite accessible and well learned, he loses his temper about the thought that something will happen now, that he will forget, confuse, etc. what they are afraid to forget, they forget because they are worried. This phenomenon is progressing, concert activity becomes a torment for the musician, and he is forced to stop it.
We have already said that one of the reasons for the violation of the principle of accessibility is the insufficient attention of the teacher to planning the work of each student. Pedagogical practice has developed various forms of planning depending on the subject of study. A plan of any form is built primarily on the basis of the curriculum. The biggest mistake is made by those accordion teachers who, relying on their pedagogical experience, do not look into the program for years. In addition to the program, individual planning is based on taking into account the individual characteristics of the student. Different educational institutions have adopted different forms of planning. Sometimes plans come down to just listing plays and sketches, and what guides the teacher in selecting works for a given student is not indicated. In our opinion, the following form of an individual plan should be taken as a basis:
1. Brief description of the student at the beginning of the semester.
It should include an assessment of musical data, the level of musical and general development, mental and physiological characteristics of the student.
2. Individual task for half a year.
It should be based on the characteristics of the student and the general task of learning set out in the program, be feasible and specific - that is, determine the amount of knowledge, skills and abilities that the student should acquire.
3. Instructional material and musical works that will contribute to the fulfillment of this task.
The purpose of working on instructional material - scales, arpedo-
zhio, exercises, etudes - the following will be: “1) the development of a certain type of technique; 2) preparing the student to overcome the technical difficulties of the work. In the first case, the goal is the versatile technical development of the student ... In the second case, you need to take sketches containing the type of technique and those elements of movements that are found in the work.
The artistic part of the repertoire should include works of various nature folk art, Russian and Western classics, Soviet and foreign composers. All works must have undoubted artistic value.
4. Final part.
It is formed at the end of the semester and represents an assessment of the results of the work. Based on these findings, the teacher sets a new pedagogical task for the next six months.
Such an individual plan will make it possible to implement the principle sequences learning.
The success of the student is directly dependent on the skill and art of the teacher. As pedagogical practice has shown, there are four categories of music teachers: 1) performers-teachers, or, which is almost the same thing, teachers-performers; 2) performers-non-teachers; 3) non-performing teachers; 4) non-performing teachers. One of the biggest shortcomings of young teachers is the inability to transfer their knowledge and performance skills to students. There are many good musicians among them, whose only problem is their lack of teaching experience. The role of a deep, systematic study of teaching methods cannot be underestimated.
What is a pledge successful work teacher? First of all, the availability and consistency of requirements and instructions addressed to the student. The relationship between these two principles of didactics is especially evident at the initial stage of education.
At the very first lessons, the student faces many questions: the device of the instrument and keyboards, recording sounds, the position of the accordion player and setting the instrument, the position of the hands, the concept of the duration of the sound, the measure and its size, functions, etc. Inexperienced teacher requires the student to follow several instructions at once. Although each of them separately does not cause difficulties, but the violation of the principle of sequence makes them impossible, because the student cannot focus his attention on a large number of objects and perceive everything at the same time. The art of the teacher in this case will be the ability to instantly analyze the lesson and find what interferes with the student's perception.
Sometimes quite accessible material becomes inaccessible due to the fact that the teacher, having failed to complete the previous task, begins to make new demands on the student. As a result, significant gaps form in the student's knowledge, and he ceases to understand the instructions of the teacher. The lesson in such cases usually goes as follows: the teacher often interrupts the student's game, talks a lot, and the student, having a vague idea of what needs to be done, and getting used to the comments, no longer listens to his words.
One of the necessary qualities of a student is the ability to work independently at home. May with with good reason argue that this determines the growth of a young musician and serves as a guarantee of his successful work in the future. The task of the teacher is to teach them to work on the work on their own. In this regard, the accessibility, feasibility of homework is of paramount importance. It is necessary to take into account the following: the amount of material, the deadline, the complexity of the task and the student's performance. A mismatch between one of these data and the rest makes the job unavailable.
Failure to complete homework is a distress signal, and the teacher is obliged to find out the reasons for this. But first of all, he must ask himself the question: Did you do your homework?" Teachers too often accuse students of laziness, disorganization. And imagine the state of a student who worked hard at home, but came to class unprepared. And there are far from rare cases when a teacher, instead of mentally giving himself a "deuce", with an unwavering hand, displays it in a student's diary!
Giving affordable work at home is a great pedagogical art. The specificity of homework is essential. An experienced teacher formulates the task in such a way that in the lesson it is easy to determine how much and how the student was engaged. Can, for example, a teacher evaluate the work of a student if the diary says: “Play more confidently, without mistakes”; "Play rhythmically, don't speed up" or even "Play with nuances"? Repeated reminders of the correct performance will not bring any benefit - the student must hear and realize his mistakes. To do this, it is necessary to simplify the task: to offer to play a small passage or even a few measures at a slow pace. And only after the errors disappear, can the student be allowed to continue working at home.
An important section of the lesson is checking the completion of homework. The teacher should give the student the opportunity to “speak out” completely, without interrupting the game with comments. Having found out to the end how well the homework has been mastered, he will be able to build further work on the work. Unfortunately, it happens otherwise: the teacher stops the student at the very first bars and works on them for a whole lesson. As a result, it remains unclear how the task was completed and what should be paid attention to in the first place.
Along with the ability to listen to the student, the teacher must also have the ability to hear him. Often, in the process of working on a work, the teacher experiences an imperceptible shift in ideas, and he begins to take the desired sound for the real one, without noticing the difficulties that the student is experiencing. During the lesson, such a teacher makes up for the shortcomings of the student's playing by conducting, singing or words, and only at the exam, not being able to "help" the student, he discovers that his performance is far from flawless. It may happen that, having become accustomed to imperfect sound, the teacher will not hear it at the exam either. This is one of the reasons why, while quite well versed in the game of “foreign” students, teachers do not always critically perceive the performance of their own.
A few words about accessibility of the application.
If the teacher often has to enter the same entry in the student’s diary6 “Do not confuse fingers,” this should cause him anxiety and make him think about the reasons for not following the instructions. First of all, we need to review the requirements in the previous lessons. Maybe the student was asked to play at a fast pace, not available to him at this stage. During the performance, the student confused his fingers; the resulting fingering instability then turned into a steady confusion and became the cause of non-rhythmic playing, errors and stops. The situation can be corrected only by returning the student to the tempo available to him and checking the fingering at a slow pace. In addition, the performing apparatus of each accordion player has its own physiological characteristics, and the teacher must know this in order to choose the most emotional fingering for a given student.
So, we found out that not only the complication of the program, but also the deviation from the main didactic guidelines when learning a work can lead to a violation of the principle of accessibility. At the same time, another and another conclusion, somewhat paradoxical at first glance, is undoubted: there are almost no unperformable works - the question is only in the period of preparation and methods of working on them.
The ability to make the material accessible is one of the main conditions for the successful work of a teacher. This is teaching skill and art.
Bibliography:
1. G. Fetisov. Questions of guitar pedagogy.
2. V. Avratiner. Methodical materials on pedagogy, vol. 1M,
Ministry of Culture of the RSFSR, 1970 Page 18.
3. L. Barenboim. Questions of piano pedagogy and performance. L.,
Music, 1969
4. G. Kogan. At the gates of mastery. M., " Soviet composer", 1961
5. V. Domogatsky. Seven levels of mastery. Questions of guitar technique.
6. M. Feigin. Individuality of the student and the art of the teacher. M., "Music",
It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about early development child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services.
And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of the latest All-Russian and international competitions. And of course, in this case, as a rule, standard training schemes do not work.
Of course, each teacher decides for himself “what” and “how” to teach his pupils. A lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation. 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, will give the child the opportunity to most widely realize his Creative skills, will teach him to think outside the box in the future.
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MUNICIPAL EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
"GUARDS CHILDREN'S MUSIC SCHOOL"
Report
The beginning of learning to play the guitar
Children of early age.
Prepared
Music school teacher
Gvardeyska
Kozitskaya E.M.
Gvardeysk
2011
1 .Introduction………………………………………………………………1
2.1. Coordination of movements, landing and setting………………………….3
2.2. Music notation or I draw music………………………………………..6
2.2.Metro - rhythmic pulsation…………………………………………..7
2.4. Miscellaneous little things or “wind playing in the strings”…………………………8
3. Conclusion………………………………………………………………...8
4 References ……………………………………………………………10
It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about the early development of the child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services. And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of recent all-Russian and international competitions.
And of course, in this case, as a rule, standard training schemes do not work. But how to determine the degree of a child's learning ability and should everyone be admitted to a music school? At the entrance exams, which in itself is stressful, the child can simply withdraw. And for someone - the ability does not appear because of their lack of development. In a few minutes it is impossible to determine the true depth of a given child's possibilities.
Working with children at an early age is very interesting and it is impossible to refuse it. Violinists and especially pianists, whose schools have gone 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. At the age of 7-9 years, the active development of the brain takes place. 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 his attention on a specific task, piece of music, object, remember the event with all the details and nuances. The desire to relive a pleasant state for him (contact with the instrument, communication with the 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 than 10-12 years 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 the system is already fully formed, this process is completely completed by the age of 11-12 and muscle mobility decreases.
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 of the teacher is to help the student overcome difficulties so that the first sensations do not become the child’s last desire. Much depends on the personal qualities of the baby, on the level of his musical perception, intellectual development and physical data, but a reasonable careful attitude towards 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.
Today I am not talking about a certain age, my achievements can be applied at an early age, and in primary school, depending on the data of the student, his age, techniques will change taking into account age psychology. You can agree or disagree with psychologists, but it is noted that during his life a person overcomes several stages of development, and each new stage necessarily begins with a crisis. "Critical periods" are characterized a high degree receptivity and plasticity of the brain. If the meeting with music falls on such a period, then as a bright flash, the event is “imprinted” or “impressed”, as he called it Russian geneticist V.P. Efroimson. This is the most active influence of the environment on the most sensitive period of development and sometimes determining the entire subsequent life of a person. Such periods occur at 1 year, then very powerfully at 3-4 years and at 7 years, as far as early childhood is concerned. If you fall into this period, your happiness, if not, you just need to work competently despite the impressing. But that's my personal opinion.
When I first took a kid to my class at the age of 6.5 years, I faced the first difficulties. The child could read, but the usual musical terminology simply did not work in this case. Two more 7-year-old students entered the school here. And I began to look for new, as it seemed to me then, solutions. But as life suggests, "Everything is new, it's a well-forgotten old!". I turned to the literature on rhythm, found a lot of interesting developments from pianists, borrowed something from Kalinin's solfeggio textbooks, and, of course, looked for material from fellow guitarists. The most important thing remained - to adapt all the material in relation to the guitar. And here I want to say the words of the brilliant pianist 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 are not subjected to such changes that will make them suitable for this occasion."
So here are some of my work. I want to make a reservation right away that the creative process, the search for interesting forms of presenting material is not over yet.
and I think that something new will appear constantly, since every childcarries its own questions, problems and interests.
The main thing is that you would be interested in doing this. You don’t have to expect quick results, but there will be a lot of pleasure from communicating with kids, positive from their non-standard thinking, from common victories and finds.
Little Secrets of Senorita Guitar
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 and identify problems.
Coordination of movements, landing, staging.
If we compare the burden on children in primary school and preschool age at the present time and at least in the past decade, and preferably two decades ago, then the comparison will not be in favor of today. The desire of parents to develop their children is sometimes "tragic" in nature, since the child attends several circles, sections at once, and at the same time goes to kindergarten. Of course, there is nothing wrong with this, but you should not overload the children's body beyond measure. As a result of long classes and the lack of mobility necessary for the child's body, many children by the age of 7 already have problems with the musculoskeletal system, hypo or vice versa hyper muscle tone. Yes, even in adulthood, our life, overloaded with mental and physical activity, usually leads to stiffness in the neck and shoulders, and problems with the spine.
The guitar is one of the most “uncomfortable” musical instruments in terms of seating. Unlike the harp, piano, trumpet, violin and a number of other instruments, where the performer sits upright and his back is in a symmetrical position, the guitar dooms the guitarist to a landing that bends 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, the stooped 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 sit incorrectly right away, and even if you constantly make comments to the student, he will respond to 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. Therefore, the teacher must work out the correct fit as vital and comfortable for the student.
These issues great attention a talented teacher, violinist V. Mazel, gave in his works, for example, in the work “The Musician and His Hands”, where you can learn a lot of useful things.
In order to help the child to master the instrument more easily, to feel his body, I also began to do some exercises with the children to develop the freedom of the hands, flexibility of the joints, strengthen the muscles of the fingers, and also relieve tension from the back muscles that often occurs during the lesson. These exercises can be called anything, the main thing is that the basic game form is preserved, and you can come up with an image yourself.
Usually any motor process consists of three phases: 1. action preparation (concentration of attention on certain muscle groups); 2.concrete action (muscle work itself); 3.relaxation after action. It is believed that the last phase is the most difficult to regulate. All exercises carried out with children are aimed at enabling the child to feel tension and relaxation, i.e. to develop "motor intuition" as V. Mazel calls it.
Today I will give a small number of examples of exercises that I do in class. In reality, the range is much more varied. At the moment, there is a lot of literature and it is not difficult to replenish your stock with new exercises.
"A new and broken doll» 1. 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.
"Robot" or "Living Tree"- the body 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”, “Robot” is similar to the “tree”, in terms of mood. Boys like to do the exercise about the robot more, and the girl about the magic tree. 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. At first it is difficult, but skills gradually come.
"Boxing" - with a full arm from the shoulder we strike in the air.
"Birds"- full hand depict the wingspan.
Now exercises for the development of motor abilities of the fingers. The hand of a musician is a creator, an instrument for expressing creative thought. But the hand, the area of the hand-fingers, is the most unprotected in the system of hands and is most susceptible to overstrain. A teacher working with young children should pay special attention to the organization of the actions of the hand and fingers, since it is this part of the hand that forms the most subtle and precise movements, performing a huge amount of work to extract sound.
"Puppy" ("Kitten") - soft movements with a round brush we depict how a puppy 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" or "Glasses"- 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.
"pipe" - like "Points" only simultaneously playing with both hands, as if on a pipe. Both exercises again help with setting the right hand.
"Octopus" - first he learns to walk with each leg (finger in turn), they march, then in pairs. Options can vary, from simple to complex: 1-2, 2-3, 3-4. 4-5; 1-4, 2-3; 1-3, 2-4. The exercise is very difficult, it doesn’t work right away, and you don’t need to demand its exact execution, it will get better and better with time.
"Hanger" - the child puts his fingers on the table, but with such a feeling that he hung his hands on them. Now you can freely shake your elbows. Compare: a hanger is a hand, fingers are a hook.
In the period without musical training, I still practice the following exercises:
When playing on open strings fingering p-i-m-a, pronouncing the words of the song being performed, we alternately connect the fingers of the right and left hands, as if they were greeting each other.
The same can be done when playing on open strings when fingering
p-i-m-a-m-i. Thus, we concentrate the child's attention on the sequence of playing the finger. The main thing is that verses should not be complicated, well-remembered, interesting to the child and suitable for the size of the piece, that is, two or three quarters.
Fortunately, there are quite a lot of collections for classes on this topic now. Having tried many exercises in training, I select those that are acceptable to me. Recently I came across the most, in my opinion, the most convenient to use - "Musical gymnastics for fingers" St. Petersburg, 2008. Thanks to the compilers for the useful and interesting educational material.
Musical notation or I draw music.
I use a magnetic board in my practice. Insulating tape
portray stave. Multi-colored magnets serve as notes. We get acquainted with the strings and each string has its own color. At first, I let each child draw his own string with his own color, but then I became convinced that it was more convenient to help with his choice. 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.
At first, in the donot period, the same colored magnets will help you play the simplest melodies when mastering the bass - 4, 5, 6 strings. For example, we take the well-known children's song “Rides, a steam locomotive rides”, the child plays bass (rhythm or pulse), lay out a sequence of strikes on the strings with colored magnets, and the teacher plays a melody. Practicing, not boring by the way, hitting the “r” finger on the strings. Songs are best performed in A - major, since the main functions T, D, S, fall on the open strings of the guitar. There are many verses in the song and the child will play it several times, in each verse an image of different animals is created that rides on a steam locomotive - bunnies that are without a ticket, a brave machinist puppy, ducklings. So the song includes not only a game moment, but the first acquaintance with the tempo, character and dynamics, performed music. At this time, it is still too early to demand phrasing, flexible nuances from the student, but he can express the general character, if not by playing, then in his usual way - by his voice. It is important that he himself chooses how to perform music and this is his artistic intention. Somehow, in a music store, I came across an author's collection by Vera Donskoy “I draw music” and “Draw music with a picture”, which also used a system of colored notes. This saved me the trouble of transcribing notes in my students' notebooks. The collections 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. Very convenient in this sense is the author's collection of L. Ivanova "Plays for Beginners", as well as V. Kalinin "young guitarist".
If there are any difficulties with the musical text, we can lay out a separate difficult element of the piece on the board, visually the child learns the information better.
Also, when you first get acquainted with the guitar, on the back of the board, and they are usually double-sided, you can also make tablature with an insulating tape. And while playing on open strings, put magnets according to the string and its color, you can make the tablature color.
The magnetic board helps in solving many issues. Studying the scale, you can lay it out with notes of two colors, for example, red and green. There can be many options for determining the color, for example:
1. red-green in turn, we sing a scale, the red notes are sung by the teacher - the green student, and vice versa;
2. we lay out the scale of two identical notes at once green, green - red, red: we sing two notes in turn by color or up the teacher sings one color, down they change colors;
3. we build a scale from “do” to “do” - sing it, then move one note up and sing already from “re” to “re”, from “mi” to “mi” and so on.
Also, when introducing the concepts of pitch, you can put two notes per octave on the board, for example, “to” the first octave and next to “to” the second octave, we sing up to the word “E-ho”, reaching out with your voice from the bottom up and to the word “ U-pal" from top to bottom. Usually "Echo" from top to bottom is not very good for children.
There will be as many options as your imagination tells you.
Metro - rhythmic pulsation.
Of course, this important work, the development of the metro - rhythmic feeling, must be started from the first lessons. I mostly follow standard patterns. I will not rewrite well-known dogmas for everyone. Exercises for reading poetry, clapping the rhythm are simply a must. I explain what a pulse is, how it differs from a rhythm. Of course, a comparison from life helps - the mother walks smoothly, her steps are large, and the baby next to her, in order to keep up, takes two steps.
Once, while clapping the rhythm of a poem about soldiers, my student and I decided to march, but it turned out that it was difficult for a child to control his legs and arms at once. So, along with clapping, I began to use the stomping of verses.
When preparing the solution of one problem, it is necessary to think over how it will work on the solution of subsequent ones. Only in this case it can be considered that the time of the initial stage of training was fully used.
Miscellaneous little things in or "the wind playing in the strings."
I thought for a long time how to designate the next series of questions - fingering, the words that I use in the lesson in the conversation of children, in general, all those little things, without which it is sometimes impossible to explain to the child, things that are elementary for us and not entirely clear to him. You be the judge, but we are very comfortable with our little secrets and new magic words. Of course, this is not my “know-how”, and every teacher, if he wants to achieve results, comes up with his own little tricks. Here are ours:
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 a little man, mom and dad are the main people and he perceives their social roles very well. That's why:
"p" - dad
"I" - and
"m" - mother
"a" -a me?
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 (and more - a chord) 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 the whole sound into the palm of our hand, towards ourselves, “we are greedy”, and not “throw out” it 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.
Conclusion.
In conclusion, I would like to say that when working with children of preschool or primary school age, one often has to invent new forms of education. But this is what is interesting - the search and solution of problematic issues. After all, the main task is to make learning on the instrument alive, interesting, exciting and useful. And the emotionality, enthusiasm and openness of the child will make you true gratitude. Not yet spoiled by the thought of “what others will think”, children, as a rule, communicate very directly with you in the lesson, sometimes striking with the novelty of their thought, the impression of the lesson, or simply confusing you with their question. Of course, each teacher decides for himself "what" and "how" to teach his pupils, 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 individual capabilities. student will give the child the opportunity to most widely realize his creative abilities, teach him to think outside the box in the future.
And the last thing……Having thought to put my little findings on paper, I realized that it is much more difficult than just working from lesson to lesson. In the course of preparation, I read so much literature of a musical and pedagogical orientation, much forgotten was resurrected in my memory, new knowledge appeared, that now I say: “It’s not in vain!” How much experience has been accumulated over the centuries, how much we still do not know. If my work is useful to someone, I will be very happy. I do not pretend to originality, because “everything new is well forgotten old” and of course, “No rule or advice given to one can suit anyone else if these rules and advice do not pass through the sieve of his own mind and are not subjected to this such modifications as will make them suitable for the occasion." With these words of the brilliant pianist of the 20th century I. Hoffmann, I will finish my work.
Bibliography:
- Donskikh V. "I draw music", "Composer", S-P, 2006.
- Zhukov G. N. Fundamentals of general professional pedagogy. Tutorial. Moscow, 2005.
- Intelson L.B. Lectures on general psychology. "AST Publishing House", M. 2000
- "How to teach to play the guitar" Publishing house "Classics XX1", M. 2006
- Kogan G. "At the gates of mastery" Soviet composer, Moscow, 1977
- Kozlov V. "Little secrets of the Senorita Guitar", CJSC "Typography Avtograf", Chelyabinsk, 1998
- Mazel V. "Musician and his hands" book one, "Composer" S-P.2003.
- Mazel V. "Musician and his hands", book two, "Composer" S-P.2006.
- "Musical gymnastics for fingers" St. Petersburg, 2008.
- Pedagogy of creativity. issue 2, "Union of Artists", S-P. 2004
- Smirnova G.I. Guidelines. Intensive piano course. "Allegro", M., 2003
- Urshalmi I. "The Way to Freedom", Musical magazine "Guitar" No. 1, 1991.
- Shipovalenko I.N. "Age-related psychology", "Gardariki", 2005
- Yudovina-Golperina T.B. "At the piano without tears, or I - children's teacher» "Union of Artists" St.P., 2002
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