Musical dictations are one of the most interesting and useful exercises for the development of hearing, it is a pity that many do not like this form of work in the classroom. When asked “why?”, the answer is usually “we can’t”. Well then, it's time to learn. Let's learn this wisdom. Here are two rules for you.
Rule one. Trite, of course, but in order to learn how to write solfeggio dictations, you just need to write them! Often and a lot. From this follows the first and most important rule: do not skip lessons, since each of them is written musical dictation.
Rule two. Act independently and boldly! After each playing, you need to strive to write down as much as possible in your notebook - not one note in the first measure, but a lot of everything in different places(at the end, in the middle, in the penultimate measure, in the fifth measure, in the third, etc.). Don't be afraid to write something wrong! A mistake can always be corrected, but getting stuck somewhere at the beginning and leaving a sheet of music blank for a long time is very unpleasant.
How to write musical dictations?
First of all, before the start of playback, we determine the key, immediately set key signs and imagine this tonality (well, scale there, tonic triad, introductory steps, etc.). Before starting the dictation, the teacher usually tunes the class to the key of the dictation. Be sure, if you sang steps in A major for half of the lesson, then with a probability of 90% the dictation will be in the same key. Hence the new rule: if you were told that the tonality is with five flats, then do not pull the cat by the tail, and immediately put these flats in the right place - it’s better right on two lines.
The first playing of a musical dictation.
Usually, after the first playing, the dictation is discussed in the following way: how many bars? what size? are there any repeats? Which note does it start with and which one does it end with? Are there any unusual rhythmic patterns (dotted rhythm, syncopation, sixteenth notes, triplets, rests, etc.)? All these questions you should ask yourself, they should serve as a setting for you before listening, and after playing, you should naturally answer them.
Ideally, after playing it for the first time in your notebook, you should have:
- key signs,
- size,
- all beats are marked,
- written first and last note.
About the number of cycles. There are usually eight strokes. How should they be marked? Either all eight measures on one line, or four measures on one line and four on the other- just like that, and nothing more! If you do it differently (5 + 3 or 6 + 2, in especially difficult cases 7 + 1), then, sorry, you suck! Sometimes there are 16 bars, in this case we mark either 4 bars per line, or 8 bars each. Very rarely there are 9 (3 + 3 + 3) or 12 (6 + 6) bars, even less often, but sometimes there are dictations of 10 bars ( 4+6).
Solfeggio dictation - playing the second
We listen to the second playback with the following settings: with what motives the melody begins and how it develops further: does it have repetitions which ones and in what places. For example, repetition in sentences- the beginning of sentences is often repeated in music - 1-2 measures and 5-6; in the melody can also be sequences- this is when the same motive is repeated from different steps, usually all repetitions are clearly audible.
After the second playback, you also need to remember and write down what is in the first measure and in the penultimate, well, in the fourth, if you remember. If the second sentence begins with a repetition of the first, then it is also better to write out this repetition immediately.
Very important! If, after the second playing, the time signature, the first and last notes, the measures are not yet written in your notebook, then you need to “activate”. You can’t get stuck on this, you need to ask insolently: “Listen, teacher, how many bars and what size?”. If the teacher does not answer, then someone from the class will surely react, and if not, then we ask the neighbor loudly. In general, we act as we want, arrange arbitrariness, but we find out everything that is needed.
Writing a solfeggio dictation - the third and subsequent playbacks
Third and subsequent plays. First, it is imperative conduct , memorize and record the rhythm. Secondly, if you can’t immediately hear the notes, then you need to actively analyze the melody , for example, according to such parameters: direction of movement (up or down), smoothness (in succession in steps or jumps - at what intervals), movement according to the sounds of chords, etc. Thirdly, you need listen to clues , which the teacher says to other children during the “bypass” during the solfeggio dictation, and correct what is written in his notebook.
The last two plays are designed to check the already finished musical dictation. It is necessary to check not only the height of the notes, but the correctness of the spelling of stems, leagues, the placement of accidentals (for example, after a backer, the restoration of a sharp or flat).
Today we talked about how to learn how to write solfeggio dictations. As you can see, writing musical dictations is not at all difficult if you approach it wisely. In conclusion, get a couple more recommendations for developing skills that help in musical dictation.
- Listen at home works that go through musical literature, following the notes (you take music in contact, you also find notes on the Internet).
- sing the notes those pieces that you play in your specialty. For example, when you work out at home.
- Sometimes transcribe notes by hand . You can use the same plays that you study in your specialty, it will be especially useful to rewrite polyphonic work. This method also helps to quickly learn by heart.
These are proven ways to develop the skill of recording solfeggio dictations, so do it at your leisure - you yourself will be surprised at what the result will be: you will write musical dictations with a bang!
Guidelines
Musical dictation educates students in the skills of auditory analysis, promotes the development musical performances and awareness of individual elements of music. Dictation helps to develop inner ear, musical memory, sense of harmony, meter and rhythm.
When learning to record a musical dictation, it is necessary to use various forms of work in this area.
1. The usual dictation. The teacher plays a melody on the instrument, which the students write down.
2. Picking up familiar melodies on the instrument, and then recording them. It is proposed that students pick up a familiar melody (a familiar song) on the instrument, and then write it down correctly. This type of work is recommended for students in cases where it is impossible to organize their homework for dictation.
3. Recording familiar songs from memory, without picking up on the instrument. Students can also use this type of dictation in homework.
4. Recording a melody previously learned with text. The melody to be recorded is first learned by heart with the text, after which it is recorded by the student without playing.
5. Oral dictation. The teacher plays a short melodic phrase on the instrument, and the student determines the mode, pitch, meter and duration of the sounds, after which he sings a melody with the name of the sounds and digitization.
6. Dictations for development musical memory. Students, having listened to a short melody one or two times in a row, must memorize it and write it down at once in its entirety.
7. Rhythmic dictation. a) Students write down the dictated melody outside the pitch (rhythmic pattern). b) The teacher writes down the sounds of the melody on the board with dots or notes of the same duration, and the students arrange the melody metrorhythmically (divide the melody into measures and correctly arrange the duration of the sounds in the measures).
8. Analytical dictation. In the melody played by the teacher, students determine the mode, meter, tempo, phrases (repeated and changed phrases), cadenzas (completed and incomplete), etc.
When recording ordinary dictations, it is first recommended to give students short melodies so that they are played a small number of times and the recording is done by heart. To stimulate the recording of a dictation from memory, when playing a melody repeatedly, one should take relatively long breaks between its repetitions. The length of the dictated should increase gradually and be regulated by the development of students' memory.
The initial dictations begin and end with the tonic. Then dictations are introduced, starting with the tonic third or fifth, later with other sounds (with the obligatory ending on the tonic).
After the students have achieved a confident technique in recording such dictations, one can begin to vary their conclusions, leading the students to record single-tone and modulating constructions with any beginning and end.
Before the dictation, it is necessary to give a tonal tuning in the form of a scale and a tonic triad or a simple cadence. If the teacher calls the mode and tonality, then initial sound the melodies are determined by the students themselves. In the case when the teacher names the tonic and plays it on the instrument (or names the initial sound of the example), then the mode and tonality are determined by the students themselves. In most cases, the size is determined by the students themselves. The teacher must ensure that the recording of dictations is carried out by students competently and accurately.
G. Friedkin
BRIEF GUIDELINES
Proposed tutorial in solfeggio is intended for students of the II-IV courses of the theoretical, conductor-choral, piano and string departments of music schools.
the main task The challenge facing solfegist teachers is also to develop analytical auditory thinking in students. To solve this problem, careful methodical development harmonic solfeggio - one of the most important sections of the course, which is studied in parallel with harmony. Harmonic solfeggio includes three types of work:
1) intonation exercises;
2) harmonic auditory analysis;
3) harmonic four-part dictation.
The music samples placed in the collection can be used as material for all three listed species work.
Intonation exercises are designed to develop in students a sense of the phonism of chords, the linear movement of voices, and the interval pitch relationships that form the basis of each chord. To develop the skills of accurate intonation, it is useful to apply different forms intonation exercises, for example, singing the line of each voice, alternately singing the voices of a chord by one, two, three or four students, as well as singing all four voices at the same time by four students or a four-part choir. Having learned to accurately intonate, students before singing each chord hear (“pre-hear”) its correct sound before singing. Intonation exercises are sung from the sheet or from preliminary analysis according to the musical text, digitization or according to the dictation of the teacher.
Auditory analysis is one of the main forms of work in harmonic solfeggio. It is necessary to accustom students to the correct method of memorizing musical construction (from general to particular). The student must learn to determine the musical form, types of cadences, harmonic turns, tonal plan. The general analysis is followed by an analysis of the entire construction with a detailed listing of the chords in order and an indication of all the features: melodic position, location, harmonic and melodic ways of connecting, the presence or absence of jumps. It is important that students are fluent in all types of exercises. They must learn not only to talk about what they have heard, but also to sing all the voices in order, repeat the sequences on the piano, perform them in a four-part choir, or sing one and play other voices at the same time.
The third form of work - harmonic four-voice dictation - is closely related to harmonic auditory analysis. Dictations of this type are not written in every lesson, but often enough, as they develop harmonic ear; students get used to the feeling of the harmonic vertical, comprehend the features of the relationship between the horizontal and vertical and apply their theoretical knowledge gained about the harmony course.
Recording forms of four-voice dictations can be different: recording of all four voices, two voices (for example, bass and soprano or tenor n alto). There may be different ways of dictation. In addition to playing the dictation on the piano, you can offer next way: four students are given parts of individual voices, and without pronouncing the names of the notes, they sing (vocalize) a four-voice sequence, after which all students, including performers, are invited to make a complete recording of the dictation. For the development of timbre hearing, such a method of dictation is very useful, in which not only the piano is used, but also some other instrument. For example, one of the orchestra students performs the upper, lower or one of the middle voices on his instrument, and the teacher plays the remaining three voices on the piano.
Due to time constraints, in each lesson it is possible to practice, as a rule, only two forms of harmonic solfeggio work: intonation exercises and auditory analysis or intonation exercises and harmonic dictation.
Examples from musical literature placed in the collection can be used for harmonic dictation and auditory analysis. These examples are also suitable for holistic auditory analysis. The concept of "holistic auditory analysis" is very voluminous and includes the following forms of Tasks: 1) recording a harmonic circuit musical construction; 2) definition of the musical form, types of cadences; 3) enumeration of the methods of harmonic writing that are most typical for a given composer, etc. Holistic auditory analysis is one of the most difficult forms of work and requires students to have serious knowledge in the field of harmony, analysis, musical literature, therefore the best results can be achieved only in senior courses. But preparation for a holistic auditory analysis must begin as early as possible. In order for students to make even the simplest generalizations, the teacher needs to pose questions of the following type to them: what are the features of cadenzas, textures, metro-rhythms of composers different schools? In the future, the range of questions can be expanded, but only if the students freely and independently learned to answer the simplest of them. A holistic auditory analysis can be practiced with students of the theoretical, conductor-choir, piano departments, as well as with students of other specialties, if they have a sufficient level of development.
The collection "Harmonic dictations" consists of two parts. The first part includes constructions specially composed by the author. The second part includes examples from the musical literature. Each part has two large sections: I - "Diatonics", II - "Chromatics". Sections, in turn, consist of several chapters. The order of the topics corresponds to the structure of the harmony course. Almost all the examples in the collection have the form of a period or period-type constructions and a harmonic four-voice texture. IN last sections, the homophonic-harmonic texture is complicated by the introduction of polyphony.
The collection "Harmonic dictations" is designed for wide application in practical work on solfeggio.
Part one INSTRUCTIONAL DICTATIONS
Section I. Diatonic
1. Main triads, their inversions, codantic fourth-sextachord
2. Dominait seventh chord and its appeals
4. Seventh chords of II and VII steps and their circulation. Dominant non-chord Dominant with a sixth. Sixth chord of the VII degree
b. Phrygian phrases in soprano, bass and middle voices
Section II. Chromatics
3. Modulation in the key of diatonic kinship
a) Modulations in the key of the dominant group
b) Modulations in the key of the subdominant group
a) Gradual modulations
Part Two DICTATIONS FROM MUSICAL LITERATURE
Section I. Diatonic
1. Main triads, their inversions, cadence quarter-sext chord
2. Dominant seventh chord and its appeal
3. Side triads and their inversions
4. Seventh chords of the II and VII steps and their conversions Dominapnonaccord. Dominant with a sixth.
5. Phrygian turns in soprano and bass
6. Secondary seventh chords and their conversions. Diatonic sequences
Section II. Chromatics
1. Double dominant chords (altered subdominant)
2. Deviations in the key of diatonic relationship
3. Modulations in the key of diatonic kinship
4. Modulations in the key of non-diatonic kinship
a) Gradual modulations
b) Enharmonic modulations through minor major and diminished seventh chords
c) Modulations through chords and keys of major-minor
Musical dictation
Literature:
Alekseev B. To the question of the method of recording music. dictation // Education of music. hearing. M., 1985. Issue. 2.
Blum D. The role of dictation in the development of professional music. hearing. M., 1977.
Vakhromeev V. Musical dictation // Music. encyclopedia. M., 1974.T. 2.
Davydova E. Methods of teaching music. dictation. M., 1962.
Muller T. On the meaning of music. dictation in the course of solfeggio // Education of muses. hearing. M., 1985. Issue. 2.
Response plan
1. What is musical dictation
2. Goals and objectives of the dictation
3. Dictation material and dictation recording algorithm
4. Forms of dictation
1.Musical dictation- audio recording one-, two-, three- and four-part musical constructions. The recording of the dictation can take place from memory (recording of a well-known familiar melody), while listening and in the conditions of special classes in the solfeggio course.
(According to E. Ioffe, dictation is the “culmination” in assessing the level of development of a full-fledged musical ear.
Leading theorist - solfegist E. V. Davydova noted that dictation, like auditory analysis, is the result of knowledge and skills that determine the level of musical and auditory development of a student.
(Sladkov) is a recording of music by ear, revealing the individual level and quality of musical perception.)
For a long time in the history of the development of solfeggio, the only, and then the leading, forms of work were singing from notes and intonation exercises. Dictation and special analytical exercises and (as ways of implementing the skills acquired in the aggregate) began to be introduced into educational process pretty late.
Musical dictation is the most important and highly responsible form of work in solfeggio classes at all levels. musical training(starting with children's music school and ending with higher, professional education). In the process of recording the dictation, the most different sides hearing and different properties of psychological activity:
thinking, providing awareness of what is heard;
memory, which makes it possible to recall, to clarify what is heard;
inner ear,
the ability to mentally hear and imagine sounds,
rhythm and other elements.
Recording music brings up a sense of style, forms the necessary stock of musical elements, turns (musical lexicon).
2. Goals and objectives of musical dictation
aim musical dictation is the development of the skills of translating perceived musical images into clear auditory representations and quickly fixing them in musical notation.
Main tasks musical dictation are:
Formation and consolidation of the connection between the visible and the audible
Development and training of musical memory and inner ear
A way to test the individual abilities of each student
Serve as a means of consolidating theoretical and practical skills
3. Material of musical dictation
Dictation material has a significant impact on its memorization. As examples for dictations, both artistic samples of music and examples of an instructive plan are used.
predominance instructive, non-fiction material dramatically reduces the efficiency of memorization. Its stylistic monotony impoverishes the student's auditory experience, and can lead to standard (template) thinking (especially if the examples are often composed by the teacher). As exercises, the instructive material is quite appropriate, but within moderate limits.
When perceiving the same sample art music auditory consciousness is supported by a powerful factor - artistic emotion. Positive emotions generate students' interest in working on the dictation, activate the memorization process.
Dictation recording algorithm (Ostrovsky):
general impression
analysis-detail
solid, but already clearly conscious image
When recording a dictation, the main and auxiliary forms of work can be applied.
Preparation:
- transcribing musical notation
- auto-dictation (selection of a familiar melody - recording it)
– written transposition of selected melodies
– graphic fixation of the melody line
- oral dictation
- rhythmic arrangement of notes written on the board
- variation dictations (the teacher's game of the melody written on the board in a modified version)
- dictation "with errors" (students look for errors on the board)
4. Forms of dictations:
1. demonstrative (the goal is to show the recording process)
2. dictation with preliminary analysis
3. sketch (for example, first recording only cadences)
4. from memory
5. dictation - shorthand (not addressed to the inner ear, musical memory, which means that it cannot be made the main type of work)
6. with tuning in an arbitrary key (or without key detection)
8. auto-dictation or self-dictation (recording familiar melodies from memory, possible as homework)
9. rhythmic.
oral dictation contributes to the training of memory, the development of the ability to recreate the "graphic", intonational and rhythmic appearance of the melody. Memorization is facilitated by analysis aimed at understanding the form, characteristic intonational, modal, rhythmic, register and genre features of music. Checking - playing an instrument, solfegging this melody; transposition to another key, homework to record a well-developed melody or return to it at the next lesson.
A variant of this task is memorizing music by looking at music text followed by recording (based on internal hearing, and not on visual memory). Then - solfeggio, transposition. Homework: composing similar melodies with subsequent collective analysis and criticism in the lesson.
The most important during the oral dictation is the process of dismembering what is heard, clarifying the compositional logic; during recording, if possible, it is necessary to keep in memory all the phases of the musical structure, comparing them in terms of repetition, modification, contrast. In this regard, the most essential condition is the use of adapted material.
stands out 4 stages in the process of oral dictation :
– formation of an idea of the stylistic affiliation of a musical passage (with an orientation to certain expressive means)
– syntactic division of the fragment
– analysis of musical construction in relation to intonation turns
– comparison and comparison of constructions.
According to texture 1-voice, 2-voice and polyphonic dictations are distinguished.
1. understand the structure of the melody, the number of constructions, phrases, the nature of the final turns, the feeling of relying on stable sounds of tonality
2. determine the modal functional value of individual revolutions and parts
3. the ability to record individual intonation turns, realizing the line of movement of the melody. By adjusting the distance between the individual steps, one must not lose the perspective of the whole; interval orientation when checking large jumps, hidden 2-voice lines and when recording melodies with deviations and modulations
4. It is impossible to separate pitch and metro-rhythmic ratios: in the process of recording, both pitch and rhythm should be recorded simultaneously. It is necessary to teach, having determined the size and tempo, to conduct the melody, then, mentally remembering, lightly tap the rhythm.
write with consonances, relying on vertical hearing
The first method was developed by Ladukhin in the manual "1000 examples of musical dictation" (however, this method does not contribute to the development of students' harmonic hearing).
Ostrovsky suggests first recording the dictation by digitizing intervals (without notes), but in this case attention is not directed to hearing the melody and the integrity of the impression is violated.
In groups of vocalists, wind players, populists, a schematic recording of polyphony is possible:
a) tonal plan, functions and rhythm;
Polyphonic examples can be written as follows:
Recording only the subject and reply in pre-scheduled measures
Recording only counterpositions to the theme implementations pre-written by the teacher.
Dictation - an interesting and fruitful form of training for the development of musical ear. Therefore, a solfeggio teacher needs to approach work with knowledge of the psychology of students, take into account their age and individual characteristics and interests, plan a lesson so that the closest attention is constantly paid to the musical dictation.
Development of creative skills in the solfeggio lesson
Literature:
Davydova E. Methods of teaching solfeggio. M., 1975.
Kalugina M., Khalabuzar P. Education of creativity. Skills in solfeggio lessons. L., 1978.
Maklygin A. Improvising on the piano. M., 1994.
Maltsev S. On the psychology of musical improvisation. M., 1990.
Sladkov P. Fundamentals of solfeggio. M., 1997.
Shatkovsky G. Composition and improvisation of a melody. M., 1989.
Shelomov B. Improvisation at solfeggio lessons.
The role of creative skills in solfeggio lessons
The main forms of work aimed at developing creative skills
Systems of Kartavtseva (for the school), Shatkovsky (for the music school)
An indispensable attribute of solfeggio lessons should be creative exercises that stimulate interest in classes and increase their effectiveness.
Creative skills are an important means of educating an ear for music, developing musical memory, developing skills in mastering the components of the musical language and musical speech, artistic and figurative thinking.
An important component of the development of musical and creative activity is imagination. In the field of musical education, the imagination becomes a working one, that is, an ability associated with a specific musical activity. In the process of long training, it acquires the property of a special ability. creative musical imagination is the ability to create new, original music. It grows out of the simplest ability to combine, improvise and compose small intonation themes.
Introducing all kinds of music into the learning process creative activity has a deep internal relationship with all musical abilities - ear for music, memory, susceptibility to music. Creativity enriches the student's musical and auditory baggage, as in the process of composing or improvisation, memorization and practical mastering of musical elements takes place. Productive creativity develops the ability to analyze, synthesize, and think.
Already elementary creativity develops the ability of imagination, creates an atmosphere of creative enthusiasm and competition in the classroom, causes positive emotions and interest. Therefore, modern methods of teaching solfeggio put the problem of developing creative skills at the center (Shatkovsky, Maltsev, Maklygin, etc.). The authors of most methods offer forms of creative activity on the instrument. Solfeggio can make up for the lack of vocal forms of composition and improvisation.
Thus, work on the formation of creative skills is an important component both for the education of music lovers (amateur music-making) and for musicians of certain professions (composers, improvisers, accompanists).
Forms of work .
Forms of music-making aimed at musical and creative development:
selection of accompaniment to a melody
improvisation
composition
1. Accompaniment selection it is advisable to start after the students have acquired some auditory experience, certain skills in playing the piano with two hands. Before that, you should limit yourself to a set of familiar melodies with one hand. This form of work develops auditory memory, introduces the keyboard.
2. Training improvisation is associated with the development of an auditory-visual and dynamic stereotype (the ability to competently, instantly translate musical fantasies into real sound). At first, when improvising, it is necessary to record the rhythm of the future melody, analyze its intended intonational relief and modal features. At an early stage of training, improvisation according to the “model” is also widely used.
In solfeggio lessons, improvisation should be organized into a logical system of exercises directly related to the sections of the course, to consolidate theoretical knowledge. Most important point- improvisation should be carried out in specific modal system, and on early stages most acceptable anhemitonic frets- the basis of folklore (improvisational in nature) music:
Maltsev offers the following types improvisations in solfeggio lessons:
1. Sing the song to the end (first the last syllable, then the phrase and sentence)
2.Improvise a song for a poem (in senior music school classes- with the name of the notes)
3. The game "rondo" (children perform refrains, the teacher - episodes, then vice versa)
4. Variations: a theme is proposed, analyzed, learned by heart, reference tones are distinguished and remembered (they should not disappear), a variation is improvised.
5.Improvisation of a melody for a harmonic turn
6. Further development of the harmonic formula to a period (then - in a simple 2-x, 3-part form).
interesting shape creative work improvisation with the use of K. Orff's orchestra is also in the music school.
3. Composition is a convenient form of homework, but the foundations of this form of creative activity are laid in the classroom. Shatkovsky gives a trace. tips for composing a melody at the beginning. stage:
1. Minimum means, maximum expressiveness (it is necessary that each sound or combination of sounds carries a semantic load).
2. Unity of rhythm (the ability to combine repetition and contrast)
3. Intonational unity (the ability to combine repetition and contrast)
4. Try to achieve originality of the melody or theme
From the very initial stages musical and creative activity great importance has a choice of topic for composition or improvisation, giving a certain direction to the imagination. creative shapes assignments should be based on the preparatory stage, based on a theoretical analysis of music, identifying common intonation, rhythmic patterns.
Based on these principles, Shatkovsky also builds a system for developing writing skills, based on the gradual complication of tasks:
1. Composing a melody to a neutral (emotionally inexpressive) text using all kinds of interval melodic moves and analyzing the acquired effect (m2 sounds plaintively, ch4 - resolutely, etc.).
2. An essay on a poetic text that concludes vivid image or mood. The composition itself should be preceded by an analysis of the text, then the selection of appropriate musical and expressive means (orally) for it - mode, key, intervals in the melody, leading intonation, rhythmic features, genre, then - the composition.
3. Composing a composition for a certain state (I have fun, Spring). Students need to explain that they have to express a certain feeling in their music.
4. Mastering the skills of developing a melody
5. Composing in a certain form (from a period to a sonata), a certain style.
System of Margarita Tikhonovna Kartavtseva (for school)
She sets up an experiment on students of the school: creative exercises are introduced in different courses, in different volumes. As a result, Kartavtseva comes to the conclusion that the entire process of developing musical abilities must be saturated with creative forms of work.
He distinguishes three stages: creative exercises in monophony, two-voice, three- and four-voice.
Methods and forms of work:
2. Double voice: the second voice using the opposite movement; undertone with a constant rhythm; second voice using direct movement; the second voice with the use of sustained pedal sounds, as well as tertovye second; the second voice using all the passed types of subvoices; vocal and instrumental. echo; two-part canon
3. Three- and four-parts: singing otd. voices in three parts; improvisation (composition) of the third voice in homophonic or polyph. warehouse; chanting the lower (or upper) voice of a given harmonica. turnover; improvisation of two (three) sub-voices to the same song; composing two sub-voices before the formation of a three-voice; composing imitations, canons, fuguettes
Boris Ivanovich Shelomov's system (for music school)
Shelomov believes that at first any means should simply be listened to, reproduced, then studied in theory (he notices that it is impossible to overload with theory, it scares, reduces figurative-emotional perception: he comes up with an interesting game name for each task). Considers possible forms of creative work in the study of various means of musical expression (4 sections), then offers additional lessons in melodic improvisation :
1. Improvisation and the formation of a sense of rhythm
Forms: improvisation of rhythm on a text (with subsequent analysis of rhythmic improvisation), composing melodies on one text with different rhythms and meters, variations on a given rhythmic pattern, composing a rhythm in a certain genre, etc.
2. Work on the education of conscious intonation-modal representations
Forms: “Magic Ladder” (direction of movement), singing to the tonic, completing the last phrase, “Singing Board” (ending melodies at different steps, with their emotional characteristics), playing questions and answers, using certain steps, melodic turns in improvisations and intervals
3. Mastering some techniques of melodic development and the structure of the song period
Forms: improvisation of melodic variants, playing "verses with variations", sequential development, violation of the square constructions, etc.
5. Improvisation with a purely artistic attitude
Forms: the game “Echo in the Forest”, the game of “concert” (the plot, images and children improvise), solo improvisations with accompaniment, ensemble improvisations (for example, composing phrases to one poem in turn), collective composition of an opera.
Alexander Lvovich Maklygin believes that there are two main purposes of improvisation. The first is improvisation as a form of practical comprehension of music theory. The second is improvisation as a form of stage creativity of a performing musician.
