municipal institution additional education

"Children's School of Arts" Kazachinsko-Lensky district

Abstract open lesson for piano on the topic:

“Mastering the means of musical expression in work

above in an artistic way»

Prepared and conducted by a piano teacher

MUDO "DSHI" Kazachinsko-Lensky district

settlement Trunk

Lesson topic: "Mastering the means of musical expression in the work on an artistic image."

The purpose of the lesson: Formation of ideas about the artistic image, the language of music, the means of musical expression for the further development of creative independence.

Type of lesson: cognitive, a lesson to consolidate knowledge and skills.

Type of lesson: traditional.

Lesson objectives:

Educational:

1. To consolidate the studied theoretical knowledge (means of musical expression: mode, strokes, tempo, rhythm-melody, dynamics);

2. Continue the formation of pianistic skills and abilities (playing with legato, staccato strokes, working with dynamic shades, timbres, performing works in different paces) by integrating figurative impressions;

To form the ability to perform analysis and synthesis piece of music; Work on achieving a level of figurative completeness.

Developing:

Develop figurative musical thinking, artistic imagination; Develop creative activity through various activities;

Educational:

Raising a positive attitude towards solving creative technical problems when working on a piece of music; Education of aesthetic taste and love for music.

Methodical methods:

Verbal

visual

Practical

Activation of hearing, appeal to the musical perception of the student

Methods of control and self-control

Development of figurative thinking

Teaching methods:

Perspective

Practical

reproductive

Implemented technologies:

Developmental learning

Artistic and aesthetic

Information and computer

Health saving

Lesson equipment:

Piano, 2 chairs, table "Means of musical expression"

Drawings, pictures, musical aids, portrait composer, laptop.

Slide presentation "The expressive means of music"

Didactic material in the form of cards "Sound Lotto"

Repertoire lesson plan:

Gamma in C major. Sorokin Etude in A minor R. Ruigrok "Doll's Woe" Arr. Russian folk song“On the river, on the Danube” V. Volkov “In the footsteps of a hare” D. Kabalevsky “Clowns” (listening) P. Tchaikovsky “Old French song"(listening) "Clown" The result of the lesson Homework

Lesson Plan

	Lesson stage	Techniques and methods	Time (min.)
	Organizing time. introduction	Verbal
	Warm up. Exercises aimed at the freedom of the motor apparatus.	Verbal, visual, display
	Work on musical material with a 1st grade student. Fizkultminutka.	Verbal, visual, showing, "guidelines", "passing amendments"
	Consolidation of the material covered ( means of expression music) using gaming technology (card game "Sound Lotto") Slideshow "The Expressive Means of Music" Slideshow "Expressive means of music"	Game, verbal, visual, display
	Short message 5th grade student about the composer	Verbal
	Performance of the play by A. Gladkovsky "Clown" Work on achieving figurative completeness	Verbal, visual, practical, "passing amendments"
	Lesson summary	verbal, visual
	Homework	Verbal

During the classes:

Organizing time. Introductory speech of the teacher.

Greetings. Reporting the topic of the lesson, tasks and progress of the lesson.

Creative attitude of students to the lesson.

Music is the language of sounds. It conveys various phenomena of life with the help of special expressive means. With the help of these means, the composer expresses his thoughts, moods in music, creates his own musical image. If an artist in drawing and paint, a sculptor in wood and marble, a writer and a poet in words recreate pictures of the surrounding life, then composers do this with the help of sounds.

Introducing my students:

Muratova Radmila Grade 1 Valeria Gudova Grade 5

Question: What is this concept of "artistic image"?

Answer: This is the composer's intention. This is what is shown in the music. These are thoughts, feelings of the author, attitude to his work. The artistic image in music is revealed through the means of musical expression.

We have at our disposal the entire piano keyboard and all its colors. Today we will work on the expressiveness of sound, on the vocal properties of the melody, we will learn to convey the musical image and character of the piece being performed, using dynamic colors and various methods of sound extraction.

Help to convey all these nuances live speech and specific image which can awaken your fantasy. And each image dictates certain performance techniques, gives rise to the ability to convey it with the necessary hand movements.

Before the start of our joint work and for your creative mood on the works, I suggest viewing the paintings that match the mood, the artistic image of your plays, prepared by our young artists students of the fine arts department.

2. Warm-up for 1st grade student Muratova Radmila.

Breathing exercises "Inhale-exhale" to relieve excitement and tension.

Exercises to strengthen the carpal apparatus "Fan", "Sliding".

Playing the C major scale with two hands in a straight and divergent motion. Then we diversify the scale play with subtexts and at different tempos:

“I play the scale loudly and I play it well”, “And now I play it fast - I will get a grade of “five”. The student plays the scale and watches for putting 1 finger.

In order to achieve technical fluency in the fingers, we proceed to repeating the Etude by the composer Sorokin.

The student performs the Etude slowly at first, then at a given pace and learns to control the integrity of the performance.

Z. Work with musical material.

P: What piece are you going to perform for us now?

U: R. Ryuplayer "Doll's Woe"

P: Tell me, what is the nature of the play?

W: Sad, sad.

P: What do you imagine when you perform this piece?

Student Answers

P: Radmila, did you prepare poems for the play?

U: R. Reads poetry:

Doll Masha got sick,

The doctor said it was bad.

Masha is in pain, Masha is in pain!

Don't help her, poor thing.

Masha will leave us soon.

It's so sad, so sad.

The student performs the play "Doll's Woe".

P: What do you think, with the help of what musical means of expression did the composer manage to convey the sad image of the doll?

W: With the help of a minor scale, slow tempo.

P: Yes, the melody sounds leisurely, sad, interrogative intonations are heard. What is the stroke of the play?

P: Radmila, I know you like to play Russian folk song"On the river, on the Danube."

What means of expression are used in the play?

W: Timbre, register, long phrases. The play is presented in the form of a canon. The student performs the work.

Physical education minute

Exercise for the eyes: move the eyes (right, left, up, down)

Exercise "Pendulum" to liberate the muscles of the neck, arms, shoulder girdle: rising on your toes, slowly and smoothly with a sigh, raise your hands up. Then it is easy to spread your arms to the sides and together with the exhalation, freely leaning forward, it is hard to drop the relaxed arms down.

Q: What is the title of your next piece?

U: "Following the hare's tracks"

Performance of the play by the student.

P: Wrote this play Soviet composer Vyacheslav Ivanovich Volkov. He was born in the city of Volsk, Saratov Region. in 1904 in a miller's family. was a member of the Great Patriotic War. (Show a portrait of the composer).

Q: What is the mood of the piece?

T: Fun, fabulous

P: Let's take a closer look at what colors, that is, by what means of musical expression the composer conveyed the character in the work.

P. Radmila, what image do you convey during the performance, what do you imagine?

4.3 consolidation of the material covered (expressive means in music) using game technology (cards, drawings, pictures) Appendix No. 1 "Sound Lotto"

View slides "Expressive means of music"

P: And now you will have this task. I will let you listen to the works, and you determine what means of musical expression are used here.

Composition: sounds D. Kabalevsky "Clowns" composition: sounds "Old French song".

During the sounding of works, the student puts on the table cards with means of musical expression, which, in his opinion, correspond to this piece of music.

P: Radmila, you have already realized that you can draw and create images not only with colors, but also with sounds.

5. The next work of the composer "Pagliats" is presented by Gudov Valery.

Lera's short message about the composer.

Soviet composer, teacher. Born in St. Petersburg in 1894. Graduated from the Leningrad Conservatory in 1924. Author of music for plays and films. In 1934 he wrote a children's suite.

This collection also includes interesting plays "Chimney Sweep", "Little Dancer". That is, all plays have a name, in which lies the artistic image. One of the brightest, mischievous pieces in the suite is "Pagliacs".

P: Tell me about him? What is his character? What does he do? By what means of expression is the image achieved?

U: The clown is a jester, a clown, a comic character of an old Italian folk theater. The awkward, uncouth guy Pajac made the audience laugh with stupidity and stubbornness.

The character is energetic, perky, active, cheerful. He is most likely juggling. This is evidenced by the rapid pace, rapid alternation and transfer of hands, elastic, active staccato, major scale, clear rhythmic pulsation.

Lera uses the “flower-seven-flower” card and names the musical means that we will work on in the lesson (various dynamics from p to f), staccato stroke, intense cresendo, pedal nuance), gives a brief analysis of the pieces (three-part form).

Lera performs a warm-up exercise for the muscles of the hand "Fan" and breathing exercises, then performs the play "Clown".

Work on part 1 of the play

The construction of phrasing lines, pianistic articulation, pedal nuance, bright dynamic contrasts.

I explain and show the technical techniques of the game in bizarre syncopations, short grace notes, depicting the jester's jumps and antics.

We play the left hand with chords with a pedal change, a unifying hand movement (measures)

We achieve finger tenacity and articulation in the performance of part 1 at a moving pace.

Part. Work on the middle section of the play

Q: What is the nature of the part? Where is the climax of the play and how does it develop? What tools does the composer use?

Answer: Slightly agitated, the climax develops gradually, non-legato and staccato strokes are used with a bright change in dynamics.

We are working on the execution of non-legato and staccato strokes with elastic active fingers, achieving a strong, bright sound. We will play the melodic line on the cresendo. To do this, phrasing will help us. What is in each phrase? Beginning, end, climax.

Question: What meaning has a pause at the top of the climax?

Student Answers

Part: Repetition of part 1 with a bright conclusion.

We examined the means of expression that helped to reveal the artistic image.

I ask Leroux to play the piece at a rapid pace and bring his performance to figurative completeness.

Summary of the lesson.

Today we have seen that the means of musical expression most directly affect the character of a musical work, its image. Noting the expressive value of certain means, holistic perception music, the student becomes fuller, more conscious. An important function in the study is performed by an image and a word, they help children to imbue the necessary emotional mood. Active experience of a piece of music helps the perception of music and has a positive effect on performance. At the end of the lesson, I would like to thank the girls for their work, for their attention and responsiveness. I think you imagine, live musical images and play these works with joy.

Homework

Consolidation of the plays "Woe of the Doll", "Following the Hare's Footsteps", "On the River, on the Danube" and "Clown". Getting ready for the New Year's concert.

Compose a piece using the following means of musical expression:

Variant (major mode, moderate tempo, staccato stroke, mf dynamics) Variant (minor mode, slow tempo, legato stroke, p dynamics)

Application

Cards for the game "Sound Lotto"

Used Books:

1. “Piano. Intensive course: methodical recommendations”; M.: RIF "Crypto-logos", 1992.

2. "Education of a pianist"; M .: "Soviet composer", 1984.

3. Methods of teaching to play the piano; M.: Muzyka, 1971.

4.A. Shchapov "Piano lesson in music school and college"; M .: "Classics XXI", 2009.

5.A. Schmidt-Shklovskaya "On the education of pianistic skills"; M.: "Classics XXI", 2013.

Before the pianist performs any piece of music, one of the main tasks is the ability to reveal the seeming contradiction between the mechanicalness of sound production and the richness of sound. The mastery of sound is the most important task among other technical problems that a pianist must solve, for sound is the very matter of music.

MBU DO "Children's Music School in Redkino"

Methodical message

"Musical Sound as a Means of Expression"

Prepared by: teacher and accompanist

Children's Music School in Redkino Solovieva I.V.

Redkino, 2016

Introduction

Music is the art of sound. It does not give visible images, does not speak in words and concepts. She only speaks in sounds. But he also speaks clearly and understandably, as words, concepts and visible images speak. Sound reveals meaning poetic content music, its patterns and harmony. And, if music is sound, then the main concern, the first and most important duty of any performer is to work on sound.

SOUND TECHNIQUES

Sound is the first and most important means among all other means that a pianist must possess. Working on the sound is the most difficult, because. associated with auditory spiritual qualities student.

Mastering sound is the most important task among other technical tasks that a pianist must solve, because sound is the very substance of music.

Before a pianist performs any piece of music, one of the main tasks is the ability to reveal the seeming contradiction between the mechanicalness of sound production and the richness of sound. The melodiousness of the piano sound is achieved special reception key press. The point is not to hit or push the key, but first to feel its surface, then, through the finger, feel it with the whole body and only then plunge into the key as if “to the bottom”. With the method of sound extraction, the hand must be freed from stiffness, tightness. The palm, at the same time, is above the keys, it is desirable to keep the fingers gathered together, and their tips should be strong and tenacious. The basis of the ability to "sing" on the piano is the breath of the hand. In the works, especially the cantilena warehouse, this is felt immediately. The hand should be able to play not only individual intonations coherently, but also a whole series of sounds, as it were, “in one breath”. The education of such a hand should be one of the first tasks in piano pedagogy. The pianist reproduces not only one melody or voice, but the entire complex harmonic and polyphonic fabric of the piece. The task of the performer is to make this fabric convex, bright, or, conversely, matte, extinguished.

Neuhaus divides the mistakes of teachers and pianists in relation to the perception and reproduction of sound on the piano into 2 directions: the first is an underestimation of sound, the second is an overestimation. He writes that the more common first direction, since the player does not think about the dynamic richness and sonic variety of the piano. The main focus is on the technical side, i.e. the pianist's ear is not sufficiently developed, the performer lacks imagination.

Another mistake is the overestimation of sound occurs among those performers who admire the sound too much, savor it.

Also, pianists do not understand that the beauty of sound is not a sensual concept, but a dialectical one. The best sound is the one that the best way expresses this content. G. G. Neuhaus writes that three-quarters of the work is work on sound. In his book The Art of Piano Playing, he gives a sequence of work on a piece of music, which he arranged in the following order:

1. Artistic image (meaning, content).
2. Sound in time.
3. Technique as a set of means necessary to solve an artistic problem.

There are the simplest provisions when working on sound, which a pianist, like any literate person, should know. Any phenomenon in our world has a beginning and an end, and this, of course, also applies to piano sound.

The usual sound designations from two "pp", occasionally three "p" or four "p" to f, ff, less often fff, even more rarely ffff, do not correspond at all to the real dynamic scale that the piano can reproduce. To study this scale, Neuhaus suggests that we achieve the first birth of a sound (ppppp ...), which follows after what is not yet a sound (this is zero, which results from pressing the key too slowly (the hammer rises, but does not strike the string)), gradually increase the force of impact and the height of raising the hand, reach the upper limit (ffffff ...), after which it will no longer be a sound, but a knock. This experience is important because it gives an accurate knowledge of the tonal limits of the piano. "Not a sound yet, and no longer a sound." Neuhaus advises playing melodic passages (for example, in Chopin) at a very slow pace. Thus, we can consider beautiful picture as if through a "magnifying glass", this will help to penetrate into the harmony and accuracy of the individual motifs of the work. You can also take a note or several notes at the same time, with a certain force, and keep it until the ear completely stops picking up any vibration of the string, i.e. listen to the sound until its complete, final attenuation. Only one who clearly hears the extent of the piano sound with all the changes, firstly, will be able to hear all its beauty, and secondly, will be able to master the necessary variety of sound, which is necessary for a clear and clear transmission of harmony, and creating a sound perspective.

Any piano playing, in so far as its purpose is to extract sound, is to work on sound.

In his book On the Art of Piano Playing, G. G. Neuhaus gives us some tips when working on sound:

1. A necessary prerequisite for good sound is the complete freedom of the forearm, hand, and, in general, the arm from the shoulder to the fingertips, which must always be on the alert.
2. At the very initial stage of pianistic development, Neuhaus offers us exercises, the meaning of which is to take two or more notes with one hand, where each sound must be pronounced with different accents, dynamics and length.
3. If in polyphonic music (Neuhaus writes that polyphony is the best means for achieving a variety of sound) the student fails to pronounce the multi-layered fabric plastically enough, then it is useful to resort to the method of "exaggeration".
4. One of the most common errors in performance is the convergence of melody and accompaniment, insufficient separation between the first and second plan. In this case, the exaggeration of the dynamic distance between the accompaniment and the melody will help clarify and explain a lot to the student.
5. When crescendo is written in sheet music, then piano must be played in this place, and vice versa, when diminuendo is written in sheet music, one must play forte. Accurate reproduction and understanding of gradualness dynamic shades is an essential condition for creating the right sound image.
6. You can also play the piece very quietly (concentrated, attentively), this will help correct inaccuracies that arise during concert performance.
7. Because the piano does not have an infinite length of sound, then the nuance of the melodic line, passages, must be very rich and flexible in order to clearly convey the intonation of the music performance.
8. It is very important that the work of the entire motor apparatus be in full agreement with the requirements of hearing and sound design.
9. In works that require the use of a pedal (that is, almost always), one cannot consider issues of sound in isolation from issues of pedalization. Sometimes it is useful to play a work without a pedal, this makes it possible to trace the accuracy and clarity of each sound. But it is also important to learn a piece with a pedal, because. with its assistance, you can achieve the desired sound result.
10. One of the most difficult tasks for a pianist is to create sound diversity. After all, if the player hears the versatility of the texture, then he will definitely find the means to convey it. It is very useful when playing chords or octaves to learn each voice separately.

Any work, not only on sound, must be carried out through auditory perception, because only through hearing can one achieve a colorful, melodious sound of individual phrases and the work as a whole.

Conclusion

In general, work on sound is a combination of many techniques, methods that are inextricably linked and enable pianists to correctly use the piano instrument as a means to convey to the audience musical concept works.

Bibliography

1. Alekseev A. Methods of teaching piano playing. - M., 1978
2. Hoffman I. Piano game: answers to questions about the piano game. - M., 1961. 3.Gotsdiner A. Musical psychology. - M., 1993.
3. 4. Dal V. Dictionary living Great Russian language. - M, 2005.

5.Corto A . About Piano Art. - M., 1965.

1. McKinnon L. Playing by heart. - L., 1967.
2. Mutzmacher V. Improvement musical memory while learning to play the piano. - M., 1984.
3. Petrushin V. Musical psychology. - M., 1997.
4. Savshinsky S. Pianist and his work. - L., 1961.
5. Teplov B. Psychology of musical abilities. - M., 1985.

11. Feinberg S. Pianism as an art. - M., 1969.

1. Tsypin G. Learning to play the piano. - M., 1984.
2. Schumann R. About music and musicians. Sat. Art. - M., 1973.

The presented methodological development reveals to teachers the main points of educating active perception musical art schoolchildren. Instilling a love for music, the teacher educates artistic taste, intelligence, creative initiative of the student. Music lessons, and in particular playing the piano, are always associated with emotional experience. The task of the teacher is to develop the creative beginning of the child's personality.

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Education of emotional-figurative thinking of students. Work on the expressive performance of a piece of music.

In music, as in no other art, the inner world of a person, his creative possibilities are revealed. Instilling a love for music, the teacher brings up the artistic taste, intellect, creative initiative of the student. It is here that the skill of the teacher, his artistic maturity, wealth inner world and the ability to plant a passion for music in the soul of a child.

Target musical education schoolchildren today - "... to introduce students to the world of great musical art, teach them to love music in all the richness of its forms and genres, in other words, to educate students musical culture as part of their entire spiritual culture” (Kabalevsky D.B.). A music lesson should always be emotionally charged. The teacher should always avoid a dry academic, didactic tone during classes with children. “Let the chain of rules always be entwined with a silver thread of fantasy” (R. Schumann).

« Perception - assimilation - processing - development - new creation- this is approximately the “progression” of the links of psychological growth from the first touch of a person to art to the formation of an artistically enlightened personality from the same person and, in especially favorable cases, an independent creator, artist ...”, asserted Asafiev B.V.

The mastering of musical works implies their full perception, i.e. listening and understanding. Such perception requires appropriate preparation of students.

By educating the perception of music, we mean educating:

A) emotional responsiveness to music,

B) a conscious attitude to the content and nature of a musical work, to its musical image, to the means of musical expression.

Developing in every possible way in the classroom various forms introducing schoolchildren to music, one should always keep in mind that any of these forms is based on an emotional, active perception of music. This concept should by no means be equated with the term "listening to music". The perception of music cannot be reduced to one of the "activities of students", as is usually done in relation to "listening to music". Active perception of music is the basis of musical education in general. Only then can music fulfill its aesthetic, cognitive and educational role, when children learn to really hear it and think about it.

Moreover, we can safely say that he who cannot hear music will never learn for real to execute it correctly.

The realization of the goal is always facilitated by the solution of certain tasks , which are interpreted by educators-researchers approximately as follows:

The first pedagogical task is the formation of an emotional attitude to music based on its perception.

The second pedagogical task is the formation of a conscious attitude to music.

The third pedagogical task is the formation of an active-practical attitude to music in the process of its performance.

It is necessary to work on expressive, emotionally figurative performance from the first day of classes, to strive to instill in the child a creative attitude to any musical activity. Understanding and fulfilling as the main task the creation and implementation of one’s artistic intent, the child will never be, or rather, will no longer be able to engage in monotonous cramming. This is facilitated by game forms of learning. The game colors and enlivens even such monotonous activities as practicing passages and pianistic techniques. I recommend turning to the game even when there is a need for serious, hard work. For example, tell your child how to work professional musicians, ballerinas, athletes, inventors; how many hours of labor, sweat, pain they spend to achieve their goal. But how much joy and happiness they receive by realizing themselves. And then the child will turn in new game- into a real musician - and will skillfully work out technically difficult places, rhythmic patterns, etc. But the teacher must remember that this is only a game, it can be repeated periodically, but it cannot be endless, and something new must be invented to replace it. I also recommend explaining to children in a figurative, preferably playful way, such important concepts for a pianist as tempo, articulation, dynamics, position, and introduce them to basic Italian musical terminology. For example, when talking about articulation, you can use the plot of the fairy tale "Teremok", showing on the piano how a frog jumps (staccato), how a fox moves smoothly (legato), how heavily a bear steps (tenuto) and so on. Having easily mastered the concept, students effortlessly master the skill of articulation in the process of performance. piano pieces and basic writing.

It is necessary to constantly develop in the child subtle emotionality and sensitivity. It is very important to teach the child to talk about his experiences, feelings. This can be done not only on musical, but also on artistic and literary material. Invite the children to tell how they feel when they see a particular picture, description various people and situations. But never ask: "What does it look like?". Your task is to teach the child to talk about his emotional impressions, feelings, their shades. For joint creativity, it is necessary to talk on the same level with the student. As often as possible, talk about life, about people, about what and how is embodied in music, expand the student's musical views. Music and life is a general theme, a kind of super-task of school music lessons, which in no case can be singled out as an independent, more or less isolated section. It should permeate all classes in all levels from the first to the last grade, shaping the worldview of students, educating their morality and spiritual nobility.

Music lessons, and in particular playing the piano, are always associated with emotional experience. Music does not tolerate indifference. The student must understand this from childhood. Sluggish, indifferent, boring play does not give any positive results and does not enrich the inner world of the child. At the same time, sentimental, "sensitive" playing has nothing to do with truly expressive, emotional performance. The student, playing with feeling, does not, in fact, pay attention to the work being performed, often violates its rhythmic harmony, arbitrarily handles dynamic shades, etc. It turns out a mannered, broken, often tasteless game. The increased emotionality of the child, unless the teacher pays attention to it in time, can lead to motor overstrain and “tightness”. In an effort to play expressively and being in the grip of overwhelming feelings, students, especially those who have a heightened emotional sense of music, often allow much more than necessary tension of their motor apparatus. As a result, both musical and technical side performance; the sound becomes sharp, knocking, the melodic line breaks. The careful intervention of the teacher, who gradually and patiently helps the child to free himself from excessive muscular tension, will allow the student to master a natural and expedient manner of performance, in which the emotionality of the little musician will impart warmth and expressiveness to his playing.

A truly expressive performance is based on a deep, heartfelt study of the author's intention, on the desire to imbue the mood of the music and, with the help of one's emotional capabilities, colorfully convey all this to the audience. Of course, to some extent, the individual qualities of the performer will always be reflected in his playing, but they should not acquire self-sufficient significance. Since the student himself can not always understand the content deeply enough piece of music, a teacher comes to his aid, who will be at his best if he manages to avoid decorating the play with artificial, invented shades, directs all the energy, will and musical abilities of the student to a natural, expressive transmission of figurative content, internal logic development of the work.

It is well known that the artistic inclinations of children are different: some gravitate towards lyrical plays, others prefer to learn works of a virtuoso nature, and still others best convey the dramatic side of the composition.

The constant expansion of worldview, sensitivity, the development of speech will lead the child to acquire his own view, opinion, creative attitude to the case and the ability to explain and express their thoughts and feelings. He will need your advice on how to play it so that the piece of music will sound as he intended. The process of learning will turn from fulfilling other people's requirements into fulfilling one's own. own desires and ideas. Fulfilling your desires is much more pleasant than someone else's. Only creative work can give a high result and sustainable interest. It is useful to turn more often to symphonic music. Explain that instrumentation expands performing possibilities, since each instrument has its own timbre, character, image. Then the work on the sound, the expressiveness of the performance will become more deep meaning, will solve deeper problems. For example, it is enough to offer to play the theme, how the cello plays, and the child, relying on auditory experience (timbre and sound production) and, feeling the character of the instrument as a human character, will already have a clear idea of ​​​​how to play. He will have to solve only one problem - how to convey his ideas and feelings with the help of the piano.

Discuss with the student common problems, explain general concepts, and not to engage in a specific piece being learned. For example, if a child plays cheerful, funny music, one should give the concept of comic in art, in life. After that, the child must think for himself how to play this piece in order to make the listener smile. You can only suggest techniques, then, while working on any other piece of the same plan, the child will be able to draw up a performing plan and learn it on his own, and turn to you for specific help. Thus, first you need to give the child general concepts, and then in a conversation lead him to solve a particular problem. For each piece, it is necessary to determine the form of the work: prepare medium-sized pieces as performing ones, more difficult ones - in general terms (without learning by memory), as an acquaintance with the work, light pieces - for sight reading.

How can a student achieve expressive performance? How to teach him to understand the content of a piece of music? This requires the use of a variety of teaching methods. One of the main ones issystematic work with the student on the analysis of the form essays , developing the ability to correctly dissect musical fabric into large and small items. Of course, we are talking about the simplest, perhaps even elementary knowledge, without which, however, the goal will not be achieved. To play expressivelyphrase correctly.But correct phrasing presupposes familiarity with the division of a melody into phrases, sentences, periods, etc., and in the future, the ability to independently distinguish between them. This specific information is necessary for any performer. The student must determine (at the beginning with the help of the teacher) the form of the composition that he is learning, to know its tone firmly. A musical phrase can only be played expressively on the instrument if at least threebasic conditions:1. the performer is aware of the structure of the phrase - the division into motives, its dynamics - the beginning, rise, climax, decline, regardless of the instrument; 2. owns the means of the instrument sufficiently to carry out his artistic intention; 3. knows how to listen to himself, his performance, as if from the outside, and correct the shortcomings noticed.

Pedagogical practice provides us with countless examples of imbalance between these three conditions. A student, for example, extracts a number of beautiful-sounding tones on the instrument, but they do not form a meaningful, expressive phrase, and the performance is formal, mechanical in nature (there is observance of the second of the conditions we have listed in the absence of the first and third).

There are cases when a student with good musical ability he feels the phrase perfectly, but the lack of professional skills prevents him from expressively performing it on the instrument. It is generally accepted that there are much fewer such cases than the first ones; it is widely believed that true musicality will break through all barriers and will certainly manifest itself in the game. This is true only in relation to highly gifted children. Meanwhile, we are often too hasty in applying the epithet "non-musical" to a student who simply does not know how to reveal his musicality, because he does not know necessary elements pianistic skill (here we can talk about the observance of the first condition and the absence of the second).

Educators also often notice how smart student, who possesses the required amount of pianistic skills, plays at the same time of little interest and inexpressive. Upon careful analysis, it turns out that during his performance he does not hear what really sounds under his fingers. It may seem to the student that he plays very expressively and beautifully, while in fact he breaks the rhythm of the work, uses pretentious dynamics and moves further and further away from the main fiction of the composition (in this example, the fulfillment of the first two conditions and the absence of the third). The teacher is faced with the task of determining in each specific case the most vulnerable, underdeveloped side of the musical individuality of his student and directing maximum attention to its further development. When the little pianist learns to understand that each new phrase also carries new content that should not be " empty seats"in music, that musical speech is full of expressiveness - we can say that the work of the teacher has borne fruit.

Children have different musical abilities and therefore it is impossible to overload them psychologically, to force them to work out all the necessary arsenal of means of performing a work that is difficult for their age. But it is also impossible to keep them on elementary plays, since everyone at any age wants to play beautiful, interesting, desirable music. Therefore, in one lesson, take 2-3 elements (as many as the child can take into account) and highlight them in all the plays, paying all the attention of the student to them. At home, the child should work on the selected elements, polish, hone them. In the following lessons, other elements, techniques, etc. are taken. So gradually the number of skills increases, and the child is constantly improving. Don't keep students practicing simple pieces, but let them move forward at a fast pace. important final result, but not demonstration performance at the first school concerts.

I recommend starting work on a new work according to the following plan: 1. in the lesson, the child reads the entire work from a sheet; together with the teacher, finds out techniques that make it easy to read new text, remember difficult places;

2. build a performance plan with the student - determine the nature of the parts, change of mood, etc .;

3. find out what techniques are needed to perform the intended artistic image; explain and show previously unknown;

4. the student marks difficult places in the notes (in terms of sound production or technical performance) that require separate work, the teacher suggests its forms and methods.

In subsequent lessons, work on the play in accordance with its purpose in general plan work (work out individual episodes or prepare for a concert). The main thing for all forms of work is that the creative initiative remains with the student. At each stage of the student's development, it is necessary to remember that a beautiful sound and virtuoso brilliance are not an end in itself, but a means of revealing musical images, the emotional content of the work. It is necessary not only to correctly parse the text, but also to comprehend it intonationally, to understand the essence of intonational and phrasing-semantic leagues.

The task of the teacher is to develop the creative beginning of the child's personality. Sometimes we can be reproached that in a particular play something has not been completed, not finalized. But the main thing is done: the child plays with soul, emotionally, expressively, with interest.

Based on the principles of advanced musical science, the pianist teacher must constantly seek, learn, observe; he must remember that in pedagogy, as in any kind of art, routine and cliches are completely intolerable.

“The easier it is for the teacher to teach, the harder it is for the students to learn. The harder it is for the teacher, the easier it is for the student. The more the teacher himself learns ... the easier it will be for the student to learn, ”- L. Tolstoy.

Literature

1. Asafiev B.V. Musical form as a process. - 2nd ed. - L., 1971.
2. Bochkarev L.L. Psychology of musical activity. - M., 1997.
3. Kabalevsky D.B. Pedagogical reflections. - M., 1986.
4. Kabalevsky D.B. The power of art. - M., 1984.
5. Libin A.V. Style is a person? // Human style: psychological analysis. - M., 1998.
6. Neuhaus G.G. On the art of piano playing. M., 1961.
7. Petrushin V.I. Musical psychology. - M., 1997.
8. Schumann R. life rules for musicians. - M., 1959.
9. Yakovleva E.L. Developmental psychology creativity personality. - M., 1997.

Piano teacher Yu.P. Kabanova

MBOU Gymnasium No. 7, Krasnoyarsk

An open lesson was held with a 2nd grade student Vladimir Terekhin.

Lesson topic:"Means of Musical Expression".

The purpose of the lesson: mastering the expressive means of music initial stage learning.

Tasks:

Educational: on the example of diverse pieces and exercises, to study various means of musical expression (melody, tempo, dynamic shades, etc.).

Developing: form a creative approach to the use of expressive means in music.

Educational: develop emotional-figurative perception.

Lesson type: combined.

Methods used: comparisons, games, visual method, observation and listening, analytical.

Lesson structure

I. Beginning of the lesson

1. Organizational stage
a) greeting
b) communication of the purpose and progress of work in the lesson

II. Main part of the lesson

1. Theoretical part
2. Work on Bukhvostov's play "Forget-Me-Not"
3. A set of technical exercises
4. Work on the R.I.P. “Like at our gates” arr. Az. Ivanova

III. The final stage

1. Evaluation
2. Homework
3. End of the lesson

The main part of the lesson.

The teacher talks to the student about the topic. Each art has its own special language, its own means of expression. Music has its own special language, the language of sounds. And she also has her own means of expression. Melody as the basis of a musical work. Motives, phrases, sentences. The simplest musical form.

The student is invited to play Bukhvostov's play "Forget-Me-Not". The teacher notes that the student feels how the melody should sound, but does not perform it properly. You should find expressive means of execution that will help to cope with the problem. During the conversation, the role of the rhythmic pattern and the upward movement of the melody, the role of dynamic shades in the first phrase of the play are clarified. The student is invited to work out the dynamic plan of this part, paying attention to the movement of the fur.

It must be remembered that the graceful, melodious melody of this piece will sound expressive only if the fur is calmly and evenly carried, without making the fur sudden movements when transferring shades. The musical phrase must be performed in one breath. The change in the movement of the fur should coincide with the beginning of the musical phrase.

The teacher asks the student to play, paying attention to the way the fur is driven.

The musical, expressive performance of phrases depends not only on the observance of dynamic shades, nuances, the correct change in the movement of the fur, but also on the tempo. The student is asked questions about the role of tempo and it turns out genre affiliation pieces: waltz. So the pace should be like this. to emphasize the dance character of the play. The conclusion is fixed practically: the student plays several phrases on the instrument at the pace of the waltz.

The teacher proceeds to work on the next fragment, showing how it sounds. Together with the student, the passage is analyzed, sequences are found when the melodic line moves down. The teacher asks to play this fragment, observing dynamic shades.

Next, it turns out what the climax of the work is. The climax is prepared by a gradual increase in tension. This increase in tension is achieved by the general movement of the sounds of the melody upwards, by increasing the volume of the sound. The work on the climactic passage is shown.

The teacher advises to work out at home those expressive means of performance that were discussed in the lesson: work on the climactic passage, try to make the play sound like a single whole.

The next stage of the lesson: the teacher asks the student to play a set of technical exercises. which will help to cope with the technical difficulties that arise when working on the Russian folk song “Like at our gates”.

The student plays the G major scale, short arpeggios with legato, staccato strokes, chords, an exercise in thirds with different strokes. The teacher pays great attention to working on arpeggiated passages, because for the student it the new kind technique present in the play “Like ours at the gates”.

Then the teacher proceeds to work on the Russian folk song "Like ours at the gate." The character of this play is completely opposite to the character of the play Forget-Me-Not. The teacher finds out what musical genres the student has already met in the course musical literature and having found out that this is a song, dance and march, asks the student to determine the genre that underlies the work. The student answers that it is a dance song. The teacher clarifies that this is an adaptation of a Russian folk song, and such adaptations are most often based on the principle of variation.

We call variations a certain musical form of a work and its part, which consists of a presentation of a theme and a number of its modified repetitions. The first part of the play "Like at our gates" is a theme, the basis for variations.

The teacher shows the work on the first part of the work, drawing the student's attention to repeating fragments, strokes that help convey the nature of the play, phrasing. great attention is given to work on the part of the left hand.

The second part of this piece is the first variation. It is built on arpeggiated passages. The teacher and the student work on arpeggios, combining them in four sounds.

The third part is the second variation. The theme is played in the left hand part. Such a presentation is unusual for the student, so this work is given great attention.

At home, the student is invited to work on arpeggiated passages and work out the theme in the left hand.
During the entire period of work on plays, one must remember that every sound, every melodic construction should serve to express the character of the work.

Lesson type: Lesson to improve knowledge, skills and abilities.

Type of lesson: Lesson with in-depth study of educational material.

The purpose of the lesson: Practical study of the methods of work that are used to create a musical image in S. S. Prokofiev's play "Rain and Rainbow".

Lesson objectives:

• educational: formation and improvement of professional skills necessary for mastering the culture of musical performance;
• developing: development of emotional responsiveness, sensitivity to figurative understanding of the world, development of creative and cognitive activity;
• educating: fostering a steady interest in classes, the formation of an artistic and aesthetic taste.

Lesson structure:

1. Organization of the beginning of the lesson.
2. Lesson motivation. Goal setting.
3. Checking homework.
4. Assimilation of new knowledge.
5. Initial test of understanding.
6. Generalization and systematization of knowledge.
7. Control and self-control of knowledge.
8. Summing up the lesson.
9. Information about homework.

Lesson plan.

1. Organizing time.
2. Message topics, goals and objectives of the lesson. Main part. Mastering in practice the methods of work that are used to create a musical image in the play by S. S. Prokofiev “Rain and Rainbow”.
   2.1 Listening to homework.
   2.2 The concept of “musical image”. Program music.
   2.3 Musical expressive means as the main condition for creating a musical image.
   2.4 Basic methods of working on sound.
3. Summing up the lesson.
4. Homework.
5. View animated film"Walk". Directed by I. Kovalevskaya. Music by S. S. Prokofiev.

Teacher: In the course of the previous lessons, we worked on S. S. Prokofiev’s play “Rain and Rainbow”. We have successfully passed the first stage of work on the work. You, Nastya, were given homework: work on the text, play by heart. Let's hear the results of your homework.

A student performs a play she has been working on at home.

Teacher: Homework is done. The play is memorized. The quality of work can be assessed as good. For independent homework, a creative task was given: to select literary work, consonant, in your opinion, with the content and mood that is present in the musical play “Rain and Rainbow”.

Student: Yes, with the help of my mother, I found two poems that, in my opinion, correspond to the mood of the play. Now I will read them.

F. I. Tyutchev Reluctantly and timidly The sun looks down on the fields. Chu, it thundered behind the cloud, The earth frowned. Warm gusts of wind Distant thunder and rain sometimes ... Green fields Greener under a storm. Here it broke through the clouds blue lightning jet, The flame is white and flying Bordered its edges. More often raindrops A whirlwind of dust flies from the fields, And thunder rolls All angry and bold. The sun looked again Frowningly into the fields, And drowned in radiance All the troubled land

I. Bunin There is no sun, but bright ponds They stand as cast mirrors, And bowls of still water It would seem completely empty But gardens are reflected in them. Here is a drop, like a nail head, Fell - and hundreds of needles Backwaters of ponds furrowing, A sparkling downpour jumped, And the garden was noisy from the rain. And the wind, playing with foliage, Mixed young birches, And a ray of sunshine, as if alive, Ignite the trembling sparkles, And the puddles poured blue. There's a rainbow... It's fun to live And it's fun to think about the sky About the sun, about ripening bread And treasure simple happiness: With an open head to roam, Watch how the children scattered In the gazebo, golden sand ... There is no other happiness in the world.

Teacher: You have become acquainted with poetic compositions, and now let's compare the verses with the musical content of the play. What do you feel when you read poetry?

Student: I feel fresh and warm. I close my eyes and imagine the rain that rustles on the leaves. Joy from the appearance of the sun and rainbow.

Teacher:

In a piece of music, just like in a novel, a story, a fairy tale, a picture written by an artist, there is its own content, it reflects the world around us. This happens through the musical images that are created by the composer. A musical image is a complex of musical and expressive means that are used by the composer in a composition and are aimed at evoking in the listener a certain range of associations with the phenomena of reality. The content of the play is revealed through the alternation and interaction between various musical images. A musical image is a way of life of a work.

Depending on the content, a piece of music may contain one or more images.

How many musical images do you think are in the piece we are studying?

Student: Two images, because in the title we hear rain and see a rainbow.

Teacher: Well done! Indeed, the piece contains two musical images, which are embedded in the very title "Rain and Rainbow". Such plays are called program plays. The title, pointing to some phenomenon of reality, which the composer had in mind, can serve as a program. Rain is usually depicted as a steady movement of sixteenths or eighths. In the miniature “Rain and Rainbow” this is not the case.

Student: Yes, I played the play “Summer Rain”. In it, the rain is different from the rain in the play we are learning.

Teacher: Visibly tangible musical means pictures of nature are revealed in the play “Rain” by V. Kosenko .

Listen, I will play you a play by V. Kosenko “Rain” (teacher's show). Comparing the plays “Rain and Rainbow” and “Rain”, you understand now, Nastya, how one and the same natural phenomenon can be depicted in music. Now tell me, does the play we are working on have such rain as in V. Kosenko's play “Rain”?

Student: No, the rain is different here.

Teacher: Please play me the beginning of the piece (the student plays the first two lines). Do you hear the difference?

Teacher: Beginners of the piece “raindrops” is, of course, not an exact sound-picture sketch, but there is a feeling summer rain, its freshness, is a poetic musical display of a well-known real picture. In the second section of the piece, the composer draws a rainbow. At the end we hear the rain that falls under the sun, mushroom rain.

Teacher: Let's repeat the first section (the student is playing). Pay attention to the fact that next to the intonations that draw the rain, we hear the intonations of the rainbow. In the solfeggio lessons, you already got acquainted with the concept of alteration.

Student: Yes, this is an increase or decrease in tone. Sharps and flats.

Teacher: Well done, you have mastered this material well, but let's pay attention to consonances with many signs, altered consonances. Please play these chords (the student is playing) Try to play them using the weight of your hand, resting on the keyboard. “The position of the fingers should be slightly extended, the fingertip is in contact with the key”, - E. Lieberman. Try to hear how these chords create emotional tension. Please play me this section of the piece, paying attention to my recommendations (the student is playing)

Teacher: And now let's try to evaluate how convincingly you managed to convey the image we were talking about.

Teacher: You told me that the second section is a rainbow. Indeed, this is a miracle of a multi-colored rainbow. It appears as a descending C major scale, bringing enlightenment and calmness.

Teacher: I prepared two artistic illustrations of the natural phenomenon of the rainbow for the lesson: B. Kuznetsov “Rainbow. Jasmine”, N. Dubovskoy “Rainbow”. Let's look closely and feel each of them. Color, horizon, air, mood, without which the performance of the play would be impossible. Like an arc of a rainbow covering the sky, a widely spreading, typically Prokofiev melody appears in the piece. G. Neuhaus said that "the sound perspective is as real in music for the ear as in painting for the eye." In the future, altered consonances are again heard, but they do not sound as intense as before. Gradually, the color of the music brightens more and more. Color is a combination of colors. The coloristic play “Rain and Rainbow” reflected Prokofiev's childishly enthusiastic attitude to nature.

According to contemporaries, Prokofiev was outstanding pianist, his playing style was free and bright, and for all the innovative style of his music, his playing was incredibly tender.

Let's remember the topic of the lesson. Tell me, please, musical and expressive means that help to reveal the image.

Student: Harmony and melody.

Teacher: Let's pay attention to harmony again. Harmony is chords and their progression. Harmony is a polyphonic musical color that chords create. . Please play the first part of the play (the student is playing).

Teacher's comment: The teacher during the performance pays attention to expressive possibilities harmony, the need to listen to individual harmonies and their combinations, the need to strive to understand their expressive meaning. The role of harmony in creating a state of instability (dissonant harmonies) and peace (their bright resolutions) is clear. Dissonant harmonies can sound softer or sharper, but in this case, the student and I achieve a less harsh sound.

Diagnostics.

Teacher: We have just talked about the meaning and possibility of harmony as one of the musical means of expression. Please tell me how you understood the meaning of the word harmony.

Student: Harmony is chords and their sequence.

Teacher: In the words of the great Russian pianist and teacher G. Neuhaus: "Music is the art of sound."

Sound expressiveness is the most important performing means for the realization of musical and artistic design. Please play the middle of the piece (the student is playing middle part plays).

Teacher's comment: Prokofiev's melody is the widest register range. Transparent, ringing sound suggests the clarity of attack and the accuracy of the completion of each tone. The coloring of the sound suggests the finest watercolor sound painting. The return to illustrations and work on the second part is dictated by the need to work on sound extraction techniques. Sound expressiveness is the most important performing means for the realization of musical and artistic design. Used in the work practical techniques and methods that help to develop melodic ear and, accordingly, the colorfulness of sound in a student.

Melodic ear is the representation and hearing of the melody as a whole and each of its notes, each interval separately. It is necessary to hear a melody not only in pitch, but also expressively, dynamically and rhythmically. Working on melodic ear is working on intonation. Intonation gives volume to music, makes it alive, gives it color. Melodic ear is intensively formed in the process of emotional experience of the melody and then the reproduction of what was heard. The deeper the experience of the melody, the more flexible and expressive its drawing will be.

Working methods:

1. Playing a melodic pattern on an instrument separately from accompaniment.
2. Reproduction of a melody with accompaniment by a student and a teacher.
3. Performance on the piano separately of the accompaniment part with singing the melody “to oneself”.
4. The most detailed work on the phrasing of a piece of music.

Teacher: An important component in working on a melody is working on a phrase. Demonstration by the teacher of two versions of the performance of the episode in order to develop the ability to hear and select the necessary sound to create the right musical image. (Teacher performs) The student actively listens and makes the right choice. This method of work activates the perception of the student and helps to create an image to strive for.

When working on phrasing, which is one of the means of expressing the artistic image of a musical work, the student and I discussed the structure of phrases, intonation peaks and culmination points, paid attention to breathing in a musical phrase, and determined the moments of breathing. “Living breath plays a leading role in music”, - A. Goldenweiser.

Teacher: Now, let's remember what cantilena is?

Student: Cantilena is a melodious wide melody.

Teacher: Please play a long melodic line that starts the middle of the piece. The student is playing.