It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about the early development of the child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services.
And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of the latest All-Russian and international competitions. And of course, in this case, as a rule, standard training schemes do not work.
Of course, each teacher decides for himself “what” and “how” to teach his pupils. A lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation. And it is the teacher, having created his own original system of education and upbringing, who will be able to take into account and develop the individual abilities of the student, give the child the opportunity to realize his creative abilities most widely, and teach him to think outside the box in the future.
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MUNICIPAL EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
"GUARDS CHILDREN'S MUSIC SCHOOL"
Report
The beginning of learning to play the guitar
Children of early age.
Prepared
Music school teacher
Gvardeyska
Kozitskaya E.M.
Gvardeysk
2011
1 .Introduction………………………………………………………………1
2.1. Coordination of movements, landing and setting………………………….3
2.2. Music notation or I draw music………………………………………..6
2.2.Metro - rhythmic pulsation…………………………………………..7
2.4. Miscellaneous little things or “wind playing in the strings”…………………………8
3. Conclusion………………………………………………………………...8
4 References ……………………………………………………………10
It's no secret that recruitment in music schools has become much younger. Increasingly, parents are thinking about the early development of the child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services. And if earlier only children with musical abilities or professionally oriented children went to school, or as it was believed, today the music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, come to the guitar class. But even 10-15 years ago, educational standards prescribed taking children 10-12 years old to play the guitar, justifying that due to the peculiarities of planting and staging, not all students at an early age can cope with this task, instruments for growth - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable in the results of recent all-Russian and international competitions.
And of course, in this case, as a rule, standard training schemes do not work. But how to determine the degree of a child's learning ability and should everyone be admitted to a music school? At the entrance exams, which in itself is stressful, the child can simply withdraw. And for someone - the ability does not appear because of their lack of development. In a few minutes it is impossible to determine the true depth of a given child's possibilities.
Working with children at an early age is very interesting and it is impossible to refuse it. Violinists and especially pianists, whose schools have gone through a less thorny path of development than the guitar school in Russia, have a wealth of experience in this regard and can boast of having already created and tested methods for teaching to play the instrument, their development of even three-year-old children, not to mention preschool or primary school age.
This is the age when the child is not only spontaneously and freely active, but also an important period, during which children acquire skills that allow them to further master the world of adults. At the age of 7-9 years, the active development of the brain takes place. Music, on the other hand, promotes the integration of the hemispheres of the brain, and improves its activity - for example, those associated with linguistics, mathematics, creative thinking, since the movement of the hand accelerates the maturation of not only the sensorimotor zones of the brain, but also the center of speech. During this period, the child actively comprehends his actions through feelings. The teacher needs to think outside the box, because only in a state of increased interest, emotional upsurge, the child is able to focus his attention on a specific task, piece of music, object, remember the event with all the details and nuances. The desire to relive a pleasant state for him (contact with the instrument, communication with the teacher) can serve as the strongest motive for his activity, an incentive for musical studies.
Another condition that speaks "for" learning to play the guitar at an earlier age than 10-12 years is the indicator that the ligaments and muscles of the child are the softest and most pliable, despite the fact that by the age of 5-6 the musculoskeletal the system is already fully formed, this process is completely completed by the age of 11-12 and muscle mobility decreases.
Again, I would like to repeat - the guitar is a specific instrument, and despite the apparent ease in mastering playing the instrument, a number of problems immediately arise, especially for young children. This is the impossibility of covering the fretboard, pain when pressing the strings, and therefore not a high-quality sound. Of course, all this can cause nervousness in a child, and here the main task of the teacher is to help the student overcome difficulties so that the first sensations do not become the child’s last desire. Much depends on the personal qualities of the baby, on the level of his musical perception, intellectual development and physical data, but a reasonable careful attitude towards the child, an unforced learning process, a creative approach will help the teacher to fully reveal the student's personal potential and his creative individuality.
Today I am not talking about a certain age, my achievements can be applied at an early age, and in primary school, depending on the data of the student, his age, techniques will change taking into account age psychology. You can agree or disagree with psychologists, but it is noted that during his life a person overcomes several stages of development, and each new stage necessarily begins with a crisis. "Critical periods" are characterized by a high degree of susceptibility and plasticity of the brain. If the meeting with music falls on such a period, then as a bright flash, the event is “imprinted” or “impressed”, as the Russian geneticist V.P. Efroimson called it. This is the most active influence of the environment on the most sensitive period of development and sometimes determining the entire subsequent life of a person. Such periods occur at 1 year, then very powerfully at 3-4 years and at 7 years, as far as early childhood is concerned. If you fall into this period, your happiness, if not, you just need to work competently despite the impressing. But that's my personal opinion.
When I first took a kid to my class at the age of 6.5 years, I faced the first difficulties. The child could read, but the usual musical terminology simply did not work in this case. Two more 7-year-old students entered the school here. And I began to look for new, as it seemed to me then, solutions. But as life suggests, "Everything is new, it's a well-forgotten old!". I turned to the literature on rhythm, found a lot of interesting developments from pianists, borrowed something from Kalinin's solfeggio textbooks, and, of course, looked for material from fellow guitarists. The most important thing remained - to adapt all the material in relation to the guitar. And here I want to say the words of the brilliant pianist I. Hoffmann: “No rule or advice given to one person can suit anyone else if these rules and advice do not pass through the sieve of his own mind and are not subjected to such changes that will make them suitable for this occasion."
So here are some of my work. I want to make a reservation right away that the creative process, the search for interesting forms of presenting material is not over yet.
and I think that something new will appear constantly, since every childcarries its own questions, problems and interests.
The main thing is that you would be interested in doing this. You don’t have to expect quick results, but there will be a lot of pleasure from communicating with kids, positive from their non-standard thinking, from common victories and finds.
Little Secrets of Senorita Guitar
Education of young children has its own characteristics, the main of which is the widespread use of game forms. Due to its psychological characteristics, a child cannot work for the future, for a long-term result. He embodies the impression of reality in the game, as the most understandable activity for him. The game makes the learning process more exciting, understandable, helps to reveal the abilities of children more fully and identify problems.
Coordination of movements, landing, staging.
If we compare the burden on children in primary school and preschool age at the present time and at least in the past decade, and preferably two decades ago, then the comparison will not be in favor of today. The desire of parents to develop their children is sometimes "tragic" in nature, since the child attends several circles, sections at once, and at the same time goes to kindergarten. Of course, there is nothing wrong with this, but you should not overload the children's body beyond measure. As a result of long classes and the lack of mobility necessary for the child's body, many children by the age of 7 already have problems with the musculoskeletal system, hypo or vice versa hyper muscle tone. And even in adulthood, our life, overloaded with mental and physical stress, usually leads to enslavement in the neck and shoulders, and problems with the spine.
The guitar is one of the most “uncomfortable” musical instruments in terms of seating. Unlike the harp, piano, trumpet, violin and a number of other instruments, where the performer sits upright and his back is in a symmetrical position, the guitar dooms the guitarist to a landing that bends the upper body. Another cause of tension is a static position. In contact with our body, the guitar fetters us, the guitarist, as it were, “flows around” the guitar with his body, the body is tilted forward, which leads to an increase in the load on the spine. The constant inclination of the upper part of the body forward, the stooped stooped shoulders are a manifestation of poor posture, while the chest is compressed, the fulcrum of the body is shifted. As a result, the back is in a constantly tense state. Children usually immediately sit down incorrectly, and even if you constantly make comments to the student, he will react for a short time and change the landing to the usual one, the child cannot control the landing process on his own at first, since he has not yet developed the correct sensations. Therefore, the teacher must work out the correct fit as vital and comfortable for the student.
A talented teacher, violinist V. Mazel, paid great attention to these issues in his works, for example, in the work “The Musician and His Hands”, where you can learn a lot of useful things.
In order to help the child to master the instrument more easily, to feel his body, I also began to do some exercises with the children to develop the freedom of the hands, flexibility of the joints, strengthen the muscles of the fingers, and also relieve tension from the back muscles that often occurs during the lesson. These exercises can be called anything, the main thing is that the basic game form is preserved, and you can come up with an image yourself.
Usually any motor process consists of three phases: 1. action preparation (concentration of attention on certain muscle groups); 2.concrete action (muscle work itself); 3.relaxation after action. It is believed that the last phase is the most difficult to regulate. All exercises carried out with children are aimed at enabling the child to feel tension and relaxation, i.e. to develop "motor intuition" as V. Mazel calls it.
Today I will give a small number of examples of exercises that I do in class. In reality, the range is much more varied. At the moment, there is a lot of literature and it is not difficult to replenish your stock with new exercises.
"A new and broken doll» 1. Sit like a doll in a shop window (from 2-20 seconds) as in a shop window with a straight back, then relax for 5-10 seconds. Run several times.
2. The “doll” swings back and forth with a straight tense back, then the winding is over the doll stops - the back relaxes.
"Robot" or "Living Tree"- the body is relaxed and bent in half - the tree is sleeping, but small leaves are stirring (only fingers work), then larger branches are swaying (hands are working), then it connects the elbow, forearm and completely arms. We raise the torso up - the tree woke up and, raising our hands up, we do full circular movements, while breathing correctly. Up - inhale, down - exhale. When the “tree” falls asleep, we do everything in the reverse order”, “Robot” is similar to the “tree”, in terms of mood. Boys like to do the exercise about the robot more, and the girl about the magic tree. The child perceives his entire hand from the hand to the shoulder, this exercise gives him the opportunity to understand and feel all parts of the hand separately. At first it is difficult, but skills gradually come.
"Boxing" - with a full arm from the shoulder we strike in the air.
"Birds"- full hand depict the wingspan.
Now exercises for the development of motor abilities of the fingers. The hand of a musician is a creator, an instrument for expressing creative thought. But the hand, the area of the hand-fingers, is the most unprotected in the system of hands and is most susceptible to overstrain. A teacher working with young children should pay special attention to the organization of the actions of the hand and fingers, since it is this part of the hand that forms the most subtle and precise movements, performing a huge amount of work to extract sound.
"Puppy" ("Kitten")- with soft movements with a round brush we depict how the puppy buries the bone. Very often, during the game, the child does not control the setting of the hand, or rather the hand, most often the muscles are clamped. I immediately remind you what a soft paw the kitten has, the reaction is immediate - the position of the hand is corrected, since the emotional background is close to the child.
"Binoculars" or "Glasses"- each finger in turn steps with a pad on the thumb. We can say that this binoculars removes the image according to the degree of transition of the fingers from the index to the little finger, and brings it closer in the transition from the little finger to the index.
"pipe" - like "Points" only simultaneously playing with both hands, as if on a pipe. Both exercises again help with setting the right hand.
"Octopus" - first he learns to walk with each leg (finger in turn), they march, then in pairs. Options can vary, from simple to complex: 1-2, 2-3, 3-4. 4-5; 1-4, 2-3; 1-3, 2-4. The exercise is very difficult, it doesn’t work right away, and you don’t need to demand its exact execution, it will get better and better with time.
"Hanger" - the child puts his fingers on the table, but with such a feeling that he hung his hands on them. Now you can freely shake your elbows. Compare: a hanger is a hand, fingers are a hook.
In the period without musical training, I still practice the following exercises:
When playing on open strings when fingering p-i-m-a, pronouncing the words of the song being performed, we alternately connect the fingers of the right and left hands, as if they were greeting.
The same can be done when playing on open strings when fingering
p-i-m-a-m-i. Thus, we concentrate the child's attention on the sequence of playing the finger. The main thing is that the verses should not be complicated, well-remembered, interesting to the child and suitable for the size of the play, that is, two or three quarters.
Fortunately, there are quite a lot of collections for classes on this topic now. Having tried many exercises in training, I select those that are acceptable to me. Recently I came across the most, in my opinion, the most convenient to use - "Musical gymnastics for fingers" St. Petersburg, 2008. Thanks to the compilers for the useful and interesting educational material.
Musical notation or I draw music.
I use a magnetic board in my practice. Insulating tape
I represent the musical staff. Multi-colored magnets serve as notes. We get acquainted with the strings and each string has its own color. At first, I let each child draw his own string with his own color, but then I became convinced that it was more convenient to help with his choice. Choosing a certain color, we immediately stipulate the pitch of the string. So the first string "mi" is yellow - bright as the sun, which is above all and the notes on it are the highest. The second string "si" is the blue sky, where the sun shines. The third string "salt" is green grass, it is lower than the sun and sky. The “re” string is a red fox, “la” is a purple or white puddle from which the fox drinks and all this is on black earth, the “mi” note is the sixth string, which is the lowest. And of course, draw a picture on this topic. We draw a lot at the initial stage. We transfer all impressions, new concepts, plays from the still obscure musical world to the more understandable world of drawing.
At first, in the donot period, the same colored magnets will help you play the simplest melodies when mastering the bass - 4, 5, 6 strings. For example, we take the well-known children's song “Rides, a steam locomotive rides”, the child plays bass (rhythm or pulse), lay out a sequence of strikes on the strings with colored magnets, and the teacher plays a melody. Practicing, not boring by the way, hitting the “r” finger on the strings. Songs are best performed in A - major, since the main functions T, D, S, fall on the open strings of the guitar. There are many verses in the song and the child will play it several times, in each verse an image of different animals is created that rides on a steam locomotive - bunnies that are without a ticket, a brave machinist puppy, ducklings. So the song includes not only a game moment, but the first acquaintance with the tempo, character and dynamics of the music being performed. At this time, it is still too early to demand phrasing, flexible nuances from the student, but he can express the general character, if not by playing, then in his usual way - by his voice. It is important that he himself chooses how to perform music and this is his artistic intention. Somehow, in a music store, I came across an author's collection by Vera Donskoy “I draw music” and “Draw music with a picture”, which also used a system of colored notes. This saved me the trouble of transcribing notes in my students' notebooks. The collections turned out to be interesting, bright and understandable for children. Now we take a piece for study, we analyze what string is played on and the child paints the notes in certain colors, which he reacts very well to during the game. In order not to get used to color and not to become helpless when writing in black and white, I also use simple songs from collections when playing the instrument, when the notes have already been learned. Very convenient in this sense is the author's collection of L. Ivanova "Plays for Beginners", as well as V. Kalinin "young guitarist".
If there are any difficulties with the musical text, we can lay out a separate difficult element of the piece on the board, visually the child learns the information better.
Also, when you first get acquainted with the guitar, on the back of the board, and they are usually double-sided, you can also make tablature with an insulating tape. And while playing on open strings, put magnets according to the string and its color, you can make the tablature color.
The magnetic board helps in solving many issues. Studying the scale, you can lay it out with notes of two colors, for example, red and green. There can be many options for determining the color, for example:
1. red-green in turn, we sing a scale, the red notes are sung by the teacher - the green student, and vice versa;
2. we lay out the scale of two identical notes at once green, green - red, red: we sing two notes in turn by color or up the teacher sings one color, down they change colors;
3. we build a scale from “do” to “do” - sing it, then move one note up and sing already from “re” to “re”, from “mi” to “mi” and so on.
Also, when introducing the concepts of pitch, you can put two notes per octave on the board, for example, “to” the first octave and next to “to” the second octave, we sing up to the word “E-ho”, reaching out with your voice from the bottom up and to the word “ U-pal" from top to bottom. Usually "Echo" from top to bottom is not very good for children.
There will be as many options as your imagination tells you.
Metro - rhythmic pulsation.
Of course, this important work, the development of the metro - rhythmic feeling, must be started from the first lessons. I mostly follow standard patterns. I will not rewrite well-known dogmas for everyone. Exercises for reading poetry, clapping the rhythm are simply a must. I explain what a pulse is, how it differs from a rhythm. Of course, a comparison from life helps - the mother walks smoothly, her steps are large, and the baby next to her, in order to keep up, takes two steps.
Once, while clapping the rhythm of a poem about soldiers, my student and I decided to march, but it turned out that it was difficult for a child to control his legs and arms at once. So, along with clapping, I began to use the stomping of verses.
When preparing the solution of one problem, it is necessary to think over how it will work on the solution of subsequent ones. Only in this case it can be considered that the time of the initial stage of training was fully used.
Miscellaneous little things in or "the wind playing in the strings."
I thought for a long time how to designate the next series of questions - fingering, the words that I use in the lesson in the conversation of children, in general, all those little things, without which it is sometimes impossible to explain to the child, things that are elementary for us and not entirely clear to him. You be the judge, but we are very comfortable with our little secrets and new magic words. Of course, this is not my “know-how”, and every teacher, if he wants to achieve results, comes up with his own little tricks. Here are ours:
for a small child, finger markings, that is, fingerings, are just dead sounds. In the left hand there are numbers and everything is somehow clear with them, but what is “p-i-m-a”, especially if you don’t learn a foreign language ?! For a little man, mom and dad are the main people and he perceives their social roles very well. That's why:
"p" - dad
"I" - and
"m" - mother
"a" -a me?
So we marked the fingers on the right hand. It becomes very clear why the thumb of the right hand is always in front - because "Dad" is the strongest and most important. The first experiments with taking two sounds at the same time are also simplified with this terminology. For example: if we take the sound with the fingers "p" and "m" - this is dad-mom, etc. Moreover, when taking two sounds (and more - a chord) it is immediately violated, the already well-built setting of the right hand when playing one sound in turn. Usually, the movement of the brush goes to the side - not right. In order to draw the student's attention to this moment, I usually say that we are playing "Zhadina",
that is, we take the whole sound into the palm of our hand, towards ourselves, “we are greedy”, and not “throw out” it to the side.
Often there are problems in the left hand - in putting the finger on the fret. Children, as a rule, put it on the beginning of the fret, and not to the nut. I explain that the neck is a ladder, in order to jump from step to step, you need to stand closer to the edge. At first, of course, we often remember about the “song on the ladder”, but gradually the student gets used to it and the hand is in the correct position, close to the position of the position.
Conclusion.
In conclusion, I would like to say that when working with children of preschool or primary school age, one often has to invent new forms of education. But this is what is interesting - the search and solution of problematic issues. After all, the main task is to make learning on the instrument alive, interesting, exciting and useful. And the emotionality, enthusiasm and openness of the child will make you true gratitude. Not yet spoiled by the thought of “what others will think”, children, as a rule, communicate very directly with you in the lesson, sometimes striking with the novelty of their thought, the impression of the lesson, or simply confusing you with their question. Of course, each teacher decides for himself "what" and "how" to teach his pupils, but you need to remember that a lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation, where the teacher plays a dominant role. And it is the teacher who, having created his own original system of education and upbringing, will be able to take into account and develop individual capabilities. student will give the child the opportunity to most widely realize his creative abilities, teach him to think outside the box in the future.
And the last thing……Having thought to put my little findings on paper, I realized that it is much more difficult than just working from lesson to lesson. In the course of preparation, I read so much literature of a musical and pedagogical orientation, much forgotten was resurrected in my memory, new knowledge appeared, that now I say: “It’s not in vain!” How much experience has been accumulated over the centuries, how much we still do not know. If my work is useful to someone, I will be very happy. I do not pretend to originality, because “everything new is well forgotten old” and of course, “No rule or advice given to one can suit anyone else if these rules and advice do not pass through the sieve of his own mind and are not subjected to this such modifications as will make them suitable for the occasion." With these words of the brilliant pianist of the 20th century I. Hoffmann, I will finish my work.
Bibliography:
- Donskikh V. "I draw music", "Composer", S-P, 2006.
- Zhukov G. N. Fundamentals of general professional pedagogy. Tutorial. Moscow, 2005.
- Intelson LB Lectures on General Psychology. "AST Publishing House", M. 2000
- "How to teach to play the guitar" Publishing house "Classics XX1", M. 2006
- Kogan G. "At the gates of mastery" Soviet composer, Moscow, 1977
- Kozlov V. "Little secrets of the Senorita Guitar", CJSC "Typography Avtograf", Chelyabinsk, 1998
- Mazel V. "Musician and his hands" book one, "Composer" S-P.2003.
- Mazel V. "Musician and his hands", book two, "Composer" S-P.2006.
- "Musical gymnastics for fingers" St. Petersburg, 2008.
- Pedagogy of creativity. issue 2, "Union of Artists", S-P. 2004
- Smirnova G.I. Guidelines. Intensive piano course. "Allegro", M., 2003
- Urshalmi I. "The Way to Freedom", Musical magazine "Guitar" No. 1, 1991.
- Shipovalenko I.N. "Age-related psychology", "Gardariki", 2005
- Yudovina-Golperina T.B. "At the piano without tears, or I am a children's teacher" "Union of Artists" St.P., 2002.
- Yanevich S.A. "Let's play" The development of musical abilities in children 4-6 years old. "Union of Artists", S-P., 2007.
Ensemble music-making as a method of comprehensive development
Methodological report of the guitar teacher Pikulina G.B.
The ancient Romans believed that the root of the doctrine was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, strive for active, creative work, the root of the teaching changes its taste and arouses a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy..
The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens..
Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known, and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.
What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble music-making as a method of comprehensive development of students.
1. An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wideintroduction to musical literature.Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in particularly favorable conditions - along with the repertoire addressed to the guitar itself, he can use the repertoire for other instruments, transcriptions, arrangements. In other words, an ensemble game constant and rapid change of new perceptions, impressions, "discoveries", an intensive influx of rich and diverse musical information.
2. Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky "not for memorization, not for memorization, but from the need to think, learn, discover, comprehend, and finally, be amazed." That is why there is a special psychological attitude during classes in the ensemble. Musical thinking noticeably improves, perception becomes brighter, livelier, sharpened, tenacious.
3. Providing a continuous flow of fresh and varied impressions, experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional responsiveness to music.
4. The accumulation of a stock of bright numerous auditory representations stimulates the formation of an ear for music,artistic imagination.
5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increasemusical thinking. On the crest of an emotional wave, there is a general rise in musical and intellectual actions. It follows from this that the lessons of ensemble playing are important not only as a way to expand the repertory horizons or to accumulate musical-theoretical and musical-historical information, these lessons contribute to a qualitative improvement in the processesmusical thinking.
This form of work as ensemble music making is very fruitful fordevelopment of creative thinking.The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parties, develops his harmonic, melodic ear, sense of rhythm.
So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble play that the basic principles of developmental education are revealed with all their completeness and distinctness:
a) an increase in the volume of the performed musical material.
b) accelerate the pace of its passage.
Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
Needless to say, how important is the creative contact between the teacher and the student. And it is precisely the joint ensemble music-making that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the fretboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only keep the love of music, but also develop an interest in music pursuits. And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays.
Group learning has both positives and negatives. It is more interesting for children to study in a group, they communicate with their peers, learn not only from the teacher, but also from each other, compare their game with the game of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, develop harmonic ear. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve the quality of performance, because students with different abilities are trained, who, moreover, are engaged in different ways. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a large number of students will practically stop. If you rely on the professional quality of the game, giving it a lot of time, as is done in individual lessons, then the majority will quickly get bored with it, and they will lose interest in learning. Therefore, the repertoire must be accessible, interesting, modern and useful, and the pace of progress must be vigorous enough,
you need to avoid monotony, constantly interest students. To test the knowledge gained before conducting control lessons, you can use the following form of work: after the work is memorized, in addition to performing by the group, it is useful to play it alternately by all students in small parts (for example, two measures) without stopping at the right pace, make sure that the game was clear and loud. Such a technique concentrates attention, develops inner hearing, and increases the responsibility of the student. You can also use such a form of work as patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who do not cope with tasks, when a positive result is achieved, the teacher encourages such an assistant with an excellent mark).
The purpose and specificity of teaching children in the guitar class is to educate literate music lovers, expand their horizons, develop creative abilities, musical and artistic taste, and in individual lessons - to acquire purely professional music playing skills: playing in an ensemble, selection by ear, sight reading.
"Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
In the guitar class, various forms of work are used. Among them, ensemble music playing has special developing possibilities. Collective instrumental music making is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities at the moment, which contributes to psychological relaxation, freedom, and a friendly atmosphere.
Practicing teachers know that playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, and is indispensable in terms of developing the technical skills and abilities necessary for solo performance. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism. More importantly, ensemble music-making teaches you to listen to your partner, teaches you to think musically.
Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They were engaged in joint music-making on anylevel of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music and concert performances. Bela Bartok, a Hungarian composer, teacher, folklorist, believed that children should be introduced to ensemble music-making as early as possible, from their first steps in music.
Ensemble as an academic discipline is not always given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, at present it is impossible to imagine musical life without the performances of ensembles. This is evidenced by the performances of duets, trios, larger ensembles at concert venues, festivals and competitions. Duets and trios of guitarists are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, arrangements. But these are professional teams. And for school ensembles there are problems. For example, the problem of repertoire. Lack of appropriate literature for ensembles of guitarists of music school slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like.
It is important to start working on the ensemble from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of.
Many teachers of a special instrument practice ensembles within the class. It can be both homogeneous and mixed ensembles. It is better to start work in an ensemble with students of the same class. In practice, we have seen that the ensemble work can be divided into three stages.
So stage I . The child acquires the skills of ensemble music-making already at the first lessons. Let it be pieces consisting of one or more sounds, rhythmically organized. The teacher at this time performs the melody and accompaniment. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop.Such a performance will arouse the student's interest in the new sound of music, interesting and colorful. At first, on the instrument (it all depends on the abilities of the student), the student plays simple melodies, accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try their hand at performing pieces with elements of polyphony. Pieces should be chosen varied in tempo, character, etc.
I know from experience that students like to play in an ensemble. Therefore, the above pieces can be played individually with each student, or students can be combined into duets, trios (at the discretion of the teacher, based on the capabilities of the instruments, their availability). For a duet (trio), it is important to select students who are equal in musical training and instrumental skills. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of the work, or part of it.
The initial and final chords or sounds must be played in sync and cleanly, regardless of what and how sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to simultaneously take and remove the sound, pause together, move on to the next sound. The first chord contains two functions - a joint beginning and determining the subsequent tempo. Breathing will help. Inhalation is the most natural and understandable signal for the beginning of the game for any musician. As singers take a breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players indicate inhalation with the beginning of sound, violinists - with the movement of the bow, pianists - with the “sigh” of the hand and touching the key, for accordionists and accordionists - along with the movement of the hand, the bellows. All of the above is summarized in the conductor's initial wave - auftakte. An important point is to take the right pace. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one - a signal of a slow one. Therefore, it is important that the duet members not only hear each other, but also see, eye contact is needed. At the first stage, the ensemble members learn to listen to the melody and the second voice, accompaniment. Works should be with a bright, memorable, uncomplicated melody, the second voice - with a clear rhythm. The art of listening and hearing your partners is a very difficult thing. After all, most of the attention is directed to reading music. Another important detail is the ability to read a rhythmic pattern. If the student reads the rhythm without going beyond the size, then he is ready to play in the ensemble, because the loss of a strong beat leads to collapse and stop. When the team is ready, the first performances are possible, for example, at a parent meeting or a class concert.
At stage II we develop the knowledge, skills and abilities acquired at the first stage. We also comprehend the depths of ensemble music-making. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, unity of ensemble strokes, thoughtful performance and, most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. The repertoire includes, along with classical works, pop miniatures. Such a repertoire arouses interest, tunes in to new work, performances.
Stage III . This stage corresponds to the senior classes (6-7), when the curriculum does not provide hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble, they can do more complex, spectacular pieces. In this case, the duet (or trio) is able to solve more complex artistic problems.
For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by bringing in additional instruments. It can be a flute, a piano, a violin. Such extensions are able to “colorize” the work, make it bright. This method is suitable for concert performances and will make any, even the simplest piece, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet members hear all the nuances of the musical text.
For performances, you need to accumulate a repertoire of different genres. since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
CHILDREN'S MUSIC SCHOOL
SCHOLKOVSKY MUNICIPAL DISTRICT OF THE MOSCOW REGION
METHODOLOGICAL MESSAGE
on the topic
"Features of working with beginners in the guitar class"
teacher of folk instruments
Shchyolkovo
Guitarists embarked on the path of professional pedagogical activity relatively recently, when pianists and violinists already had centuries-old performing and pedagogical traditions, an extensive concert and educational repertoire, and methodological literature. Using the experience gained by other instrumentalists allowed guitarists to achieve great success in a short time and move from amateur home music to concert performance, from self-learning to play by ear to a professional education system. But for the further development and improvement of performing skills, it was necessary to create highly artistic original literature and teaching methods that take into account all the features and specifics of the instrument. Currently, the repertoire of guitarists already has a significant number of original compositions that are diverse and interesting in content and form. There is a process of creating schools, teaching aids and educational literature for the guitar. Suffice it to name the works of G. Fetisov. N. Kalinina, V. Agafoshina. Programs have been developed for all levels of training in the guitar class. The quality of training guitarists in music schools, colleges, institutes and conservatories has improved. Methodical rooms and departments of universities are constantly working to improve the skills of teachers-guitarists.
At the same time, pedagogical practice does not have sufficient experience when working with children of 5.6 years of age, is not free from significant shortcomings, many of which are associated with a violation of the principles of didactics. A typical phenomenon was the non-compliance with the didactic principle of accessibility - in particular, the so-called "overestimation of the repertoire". It should be emphasized that the violation of the principle of accessibility in the initial period of training leads to the most serious consequences, which are difficult, and sometimes impossible, to correct at later stages of training.
Raising this question, we anticipate the bewilderment of many experts: “Should we talk about obvious things?” But the whole trouble lies in the fact that the principle of accessibility is recognized more often only in words. In practice, the program is often overestimated, and not only in the specialty, but also in the ensemble, accompanist class and orchestra. The reasons for this phenomenon are different, and eliminating them is not as easy as it seems at first glance. Let's analyze the five main, in our opinion, reasons:
1. Formal attitude to lesson plans, drawing up plans without taking into account the individual characteristics of the student. Sometimes this is due to the fact that the teacher simply does not know the methodology for drawing up individual plans or has not studied the educational material. Insufficient control on the part of the heads of guitar departments in educational institutions aggravates the situation.
2. Erroneous definition of the complexity of the work. Often the teacher pays attention only to the technical difficulties of the work, without thinking about the complexity of the main thing - the content.
3. Deliberate complication of the program due to a kind of pedagogical ambition. When discussing exam results, such teachers, prone to externality, often say: “My student played a difficult program, so he deserves the highest mark,” not realizing that such reasoning reveals ignorance of elementary principles for selecting educational material and performance evaluation criteria.
It is also believed that one work, exceeding capacity student, must be included in the program for its "growth". Thus, not only difficult, but also inaccessible for the student at this stage work, which, as a result, is not learned, gets into the repertoire. But the trouble is not only this: as a rule, by the time of the exam, the entire program remains understudied. It should be noted that the most capable students most often suffer from an overestimated program for this reason.
4. The desire of students to play certain works that are inaccessible to them, and the “pliability” of teachers, motivating it by the fact that the student will quickly learn the work that he likes, that he will study more and achieve more. Such reasoning, of course, is not without foundation, but if the student's abilities are completely incommensurable with the difficulties of a given play, then he will not be able to overcome them.
5. Musical helplessness of the teacher, inability to work on the musical content of the work. Here is what V. Avratiner writes about this in his work “Methodological Materials on Pedagogy”: “Practice shows that work on the musical content of a work (the maximum identification of the means of musical expression necessary for a given work) is more difficult for some teachers than work on technical difficulties. Such a “teacher” sometimes has nothing to say to his student if technically the play is not difficult and the student has overcome the technical difficulties. In an effort to cover up his pedagogical helplessness, the teacher goes to overestimate the program, making it a kind of means of self-defense.
But whatever the reasons for the complication of the program, its consequences are disastrous. A guitarist who begins to learn a piece that is inaccessible to him, first of all, cannot cope with technical difficulties. Parsing, learning the text by memory takes him too much time, making it impossible to analyze the form and content of the work, to work out the sound production, nuances, strokes, etc. The student postpones all this work to a later period, when he understands the text of the work sufficiently. Being a prisoner of a work beyond his strength, the bayan player does not have time to catch all the mistakes at the initial stage of training, and then it is already difficult for him to get rid of them, as he gets used to the imperfect sound and no longer notices the errors of his performance.
Of course, the student's musical abilities play an important role in mastering the performing arts. But even a talented person, if he devotes all his time only to learning complex pieces, working on technical difficulties, will not reach a high level of performance. Talent requires a very careful attitude to yourself. An experienced teacher will nurture, grow talent from lesson to lesson, year after year, and not ruin it with exorbitant difficulties.
The guitarist works on an unbearable work with great intensity, with extreme tension. As a result of such work, quality loss is inevitable. The concept of "loss of quality" is very capacious: it implies inaccurate execution of strokes, nuances, errors of a rhythmic nature, style errors and, ultimately, an incorrect, distorted creation of an artistic image. But, perhaps, the quality of sound production suffers first of all, and it is of paramount importance for a performing musician.
Violating the principle of accessibility, the teacher unwittingly reduces the work to “training”. Having received a work that is too complex, the student learns only the text for three to four weeks. A month and a half passes, the student still confuses notes, harmony, fingering, is not able to follow the sequence of presentation of the material, and the teacher already begins to work with him on the artistic features of the piece. But the student cannot fulfill the requirements of the teacher, moreover, he is already tired of the play. Interest in classes in general decreases, and he reluctantly sits at home at the instrument. And so the teacher, in order to help the student, begins to learn the work with him in the lesson, doing, in fact, his homework. A week or two before a public performance (test, exam), the student's diary is still full of teacher's notes: "Play without mistakes"; "Play with nuances"; “Do not confuse fingers,” etc. Such instructions and requirements have the force of the words of a doctor addressed to a seriously ill person: “Don’t get sick!”
After the inaccessible program is “prepared”, that is, learned somehow by memory, the student, and with him the teacher, shortly before the performance, is seized by feverish excitement. They are tormented by one question: will it be possible to play without stopping?
Many famous musicians have written about the excitement of performing in public. This phenomenon is extremely complex and still far from being studied. But it can be said with certainty that one of the reasons for the excitement lies in the exorbitant difficulty of the work.
Employees of the biocybernetics laboratory of the Institute of Cybernetics of the Academy of Sciences of the Ukrainian SSR D. Galenko and V. Starinets, in collaboration with screenwriter I. Sabelnikov, created the film "Formula of Emotions". It tells about the “miracle” of emotions, which are a reserve mechanism that helps out in crucial moments, mobilizes all the forces, hidden resources of a person. But there are also emotions that lead to disaster. Their category includes "excitement-panic" (P. Jacobson's term), which covers a musician performing a program inaccessible to him. Doctor of Medical Sciences Professor P. Simonov claims that negative emotions can arise from lack of information. With regard to this case, this means the insufficiency of funds to achieve the artistic goal. Naturally, such a performance is doomed to failure. Here is what G. Kogan says about this: “... the game loses control, the performer “carries” like a chip along the waves, his movements are compressed, his memory changes, he crumple, smears, confuses in the most unexpected places.
So, on the one hand, without creative excitement, without positive emotions, there can be no real performance on the stage. Emotion creates the lift that a true artist needs to create, and not be limited to indifferent, artisanal work. On the other hand, negative emotions caused by a mismatch between ends and means can lead to failure.
Sometimes an unsuccessful performance causes serious consequences: the student begins to feel insecure on the stage, even playing pieces that are quite accessible and well learned, he loses his temper about the thought that something will happen now, that he will forget, confuse, etc. what they are afraid to forget, they forget because they are worried. This phenomenon is progressing, concert activity becomes a torment for the musician, and he is forced to stop it.
We have already said that one of the reasons for the violation of the principle of accessibility is the insufficient attention of the teacher to planning the work of each student. Pedagogical practice has developed various forms of planning depending on the subject of study. A plan of any form is built primarily on the basis of the curriculum. The biggest mistake is made by those accordion teachers who, relying on their pedagogical experience, do not look into the program for years. In addition to the program, individual planning is based on taking into account the individual characteristics of the student. Different educational institutions have adopted different forms of planning. Sometimes plans come down to just listing plays and sketches, and what guides the teacher in selecting works for a given student is not indicated. In our opinion, the following form of an individual plan should be taken as a basis:
1. Brief description of the student at the beginning of the semester.
It should include an assessment of musical data, the level of musical and general development, mental and physiological characteristics of the student.
2. Individual task for half a year.
It should be based on the characteristics of the student and the general task of learning set out in the program, be feasible and specific - that is, determine the amount of knowledge, skills and abilities that the student should acquire.
3. Instructional material and musical works that will contribute to the fulfillment of this task.
The purpose of working on instructional material - scales, arpedo-
zhio, exercises, etudes - the following will be: “1) the development of a certain type of technique; 2) preparing the student to overcome the technical difficulties of the work. In the first case, the goal is the versatile technical development of the student ... In the second case, you need to take sketches containing the type of technique and those elements of movements that are found in the work.
The artistic part of the repertoire should include various works of folk art, Russian and Western classics, Soviet and foreign composers. All works must have undoubted artistic value.
4. Final part.
It is formed at the end of the semester and represents an assessment of the results of the work. Based on these findings, the teacher sets a new pedagogical task for the next six months.
Such an individual plan will make it possible to implement the principle sequences learning.
The success of the student is directly dependent on the skill and art of the teacher. As pedagogical practice has shown, there are four categories of music teachers: 1) performers-teachers, or, which is almost the same thing, teachers-performers; 2) performers-non-teachers; 3) non-performing teachers; 4) non-performing teachers. One of the biggest shortcomings of young teachers is the inability to transfer their knowledge and performance skills to students. There are many good musicians among them, whose only problem is their lack of teaching experience. The role of a deep, systematic study of teaching methods cannot be underestimated.
What is the key to success as a teacher? First of all, the availability and consistency of requirements and instructions addressed to the student. The relationship between these two principles of didactics is especially evident at the initial stage of education.
At the very first lessons, the student faces many questions: the device of the instrument and keyboards, recording sounds, the position of the accordionist and setting the instrument, the position of the hands, the concept of the duration of the sound, the measure and its size, functions, etc. Inexperienced teacher requires the student to follow several instructions at once. Although each of them separately does not cause difficulties, but the violation of the principle of sequence makes them impossible, because the student cannot focus his attention on a large number of objects and perceive everything at the same time. The art of the teacher in this case will be the ability to instantly analyze the lesson and find what interferes with the student's perception.
Sometimes quite accessible material becomes inaccessible due to the fact that the teacher, having failed to complete the previous task, begins to make new demands on the student. As a result, significant gaps form in the student's knowledge, and he ceases to understand the instructions of the teacher. The lesson in such cases usually goes as follows: the teacher often interrupts the student's game, talks a lot, and the student, having a vague idea of what needs to be done, and getting used to the comments, no longer listens to his words.
One of the necessary qualities of a student is the ability to work independently at home. It can be argued with good reason that this determines the growth of a young musician and serves as a guarantee of his successful work in the future. The task of the teacher is to teach them to work on the work on their own. In this regard, the accessibility, feasibility of homework is of paramount importance. It is necessary to take into account the following: the amount of material, the deadline, the complexity of the task and the student's performance. A mismatch between one of these data and the rest makes the job unavailable.
Failure to complete homework is a distress signal, and the teacher is obliged to find out the reasons for this. But first of all, he must ask himself the question: Did you do your homework?" Teachers too often accuse students of laziness, disorganization. And imagine the state of a student who worked hard at home, but came to class unprepared. And there are far from rare cases when a teacher, instead of mentally giving himself a "deuce", with an unwavering hand, displays it in a student's diary!
Giving affordable work at home is a great pedagogical art. The specificity of homework is essential. An experienced teacher formulates the task in such a way that in the lesson it is easy to determine how much and how the student was engaged. Can, for example, a teacher evaluate the work of a student if the diary says: “Play more confidently, without mistakes”; "Play rhythmically, don't speed up" or even "Play with nuances"? Repeated reminders of the correct performance will not bring any benefit - the student must hear and realize his mistakes. To do this, it is necessary to simplify the task: to offer to play a small passage or even a few measures at a slow pace. And only after the errors disappear, can the student be allowed to continue working at home.
An important section of the lesson is checking the completion of homework. The teacher should give the student the opportunity to “speak out” completely, without interrupting the game with comments. Having found out to the end how well the homework has been mastered, he will be able to build further work on the work. Unfortunately, it happens otherwise: the teacher stops the student at the very first bars and works on them for a whole lesson. As a result, it remains unclear how the task was completed and what should be paid attention to in the first place.
Along with the ability to listen to the student, the teacher must also have the ability to hear him. Often, in the process of working on a work, the teacher experiences an imperceptible shift in ideas, and he begins to take the desired sound for the real one, without noticing the difficulties that the student is experiencing. During the lesson, such a teacher makes up for the shortcomings of the student's playing by conducting, singing or words, and only at the exam, not being able to "help" the student, he discovers that his performance is far from flawless. It may happen that, having got used to the imperfect sound, the teacher will not hear it at the exam either. This is one of the reasons why, while quite well versed in the game of “foreign” students, teachers do not always critically perceive the performance of their own.
A few words about accessibility of the application.
If the teacher often has to enter the same entry in the student’s diary6 “Do not confuse fingers,” this should cause him anxiety and make him think about the reasons for not following the instructions. First of all, we need to review the requirements in the previous lessons. Maybe the student was asked to play at a fast pace, not available to him at this stage. During the performance, the student confused his fingers; the resulting fingering instability then turned into a steady confusion and became the cause of non-rhythmic playing, errors and stops. The situation can be corrected only by returning the student to the tempo available to him and checking the fingering at a slow pace. In addition, the performing apparatus of each accordion player has its own physiological characteristics, and the teacher must know this in order to choose the most emotional fingering for a given student.
So, we found out that not only the complication of the program, but also the deviation from the main didactic guidelines when learning a work can lead to a violation of the principle of accessibility. At the same time, another and another conclusion, somewhat paradoxical at first glance, is undoubted: there are almost no unperformable works - the question is only in the period of preparation and methods of working on them.
The ability to make the material accessible is one of the main conditions for the successful work of a teacher. This is teaching skill and art.
Bibliography:
1. G. Fetisov. Questions of guitar pedagogy.
2. V. Avratiner. Methodical materials on pedagogy, vol. 1M,
Ministry of Culture of the RSFSR, 1970 Page 18.
3. L. Barenboim. Questions of piano pedagogy and performance. L.,
Music, 1969
4. G. Kogan. At the gates of mastery. M., "Soviet composer", 1961.
5. V. Domogatsky. Seven levels of mastery. Questions of guitar technique.
6. M. Feigin. Individuality of the student and the art of the teacher. M., "Music",
Toolkit
"First steps on a six-string guitar"
· Introduction.
· Main part.
· Chapter I. Donotny period of study.
· Chapter II. Introduction to notes.
Chapter III. Note application.
Chapter IV. Formation of bases of selection by hearing.
· Conclusion.
Introduction.
This work presents methodological material and musical examples used by the author in learning to play the six-string guitar with students of preschool and primary school age. Classical guitar schools - M. Karkassy, E. Puhol, P. Agafoshin, A. Ivanov-Kramskoy are designed for older students and at the initial stage are difficult for kids 6-7 years old, who sometimes cannot read and write, but play on the instrument wish from the first lessons. There are more modern collections for beginners, such as the Guitar Primer. A guide for beginners. (six-string guitar)" edited or "Master's Lessons for Beginners" by Dmitry Ageev. But they are intended more for adult "lovers" of playing the guitar than for kids. They cover the period from the first steps to playing in musical groups, they have voluminous source material of a different educational nature, they use mainly guitar tablature and other symbols for learning, which is unacceptable for a music school. Education at school is based on musical notation and students from the first lessons should be taught the culture of handling musical material. Proceeding from this, that is, the shortage of teaching musical examples of a lightweight nature, there was a need to create this kind of methodological manual. First, the pre-notation period of learning is considered, then, as the notes are gradually studied, the material becomes more complicated with the addition of more and more new elements. In training, the main didactic method is used - from simple to complex through repetition of the past. In the process of learning, one should constantly demand from students the exact and correct implementation of all the instructions placed in the notes, as well as develop self-control in every possible way, which is necessary for successful homework.
Musical material, exercises - everything has a name, as it helps the baby in the development of figurative thinking.
The work does not consider the issues of landing, staging, methods of sound extraction on the guitar, as this takes place in the professional training of each teacher. In detail, in an accessible form given
instructions ", in the collection of A. Gitman "Basic training on the six-string
guitar" - "Section I".
Of great importance in the development of any musical instrument is the ability of the student to select the melody he likes by ear. This skill is an additional incentive to study music. The chapter "Formation of the basics of selection by ear" presents an attempt to somehow systematize this process in training, so that it is formed from the studied material and becomes the basis for the selection of accompaniment to songs and other types of guitar playing.
The author believes that this methodological development, a manual, will be useful to young beginners in the initial training of young guitarists and the creation of their own methods, and will also help practitioners of other specialties, who in our time often teach a “guitar class”.
Main part.
ChapterI.
Donotny period of study.
This period in the training of a young guitarist in no way implies "playing by hand". It is assumed that the teacher writes the musical material to the student in a music book, and the student plays and performs tasks on observing the fingers in the right and left hands, the frets on the fretboard, and the like.
When you first get acquainted with the instrument - a six-string guitar - you should explain the name of the fingers of the right hand:
P - thumb
i - index finger
m - middle finger
a - ring finger
the little finger in the right hand does not participate in sound extraction, and there is a rule for the right hand - the obligatory alternation of fingers: “We have no right to play with one finger!”. For comparison, you can invite the student to walk on one leg and ask him about the sensations: is it convenient, how much can you jump like that?
Where is written on the musical staff,
Where is the guitar played?
Then I show a series of exercises for alternating the fingers of the right hand, write it down graphically - we play:
exercise number 1
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It is also advisable to immediately give the concept of durations and from the first lessons teach the student to count aloud - this will help to avoid problems with rhythm in the future:
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We complicate the task:
1) chromatic scale from the note "fa" throughout the fretboard along the 1st string,
left hand - 1-2 fingers, right hand - alternating i-m
2) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3 fingers, right hand - i-m-a alternation
3) chromatic scale from the note "fa" throughout the fretboard along the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3-4 fingers, right hand - alternating i-m, and when moving upwards, reaching the 12th fret, we shift the 4th finger to the 13th fret, and when moving down, reaching the 2- th fret with the first finger of the left hand, move this finger to the 1st fret:
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A play on chromatism, where four fingers of the left hand are played in ascending
downward movement, three times in a row, the finger of the left hand corresponds to the fret on the fretboard. Along the way, explain: the concept of "crescendo-diminuendo" - amplification-decay of sound, the concept of "reprise" - repetition
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in the right hand - put the thumb "r" on the 6th string, and the rest of the fingers play under it.
"Singing"
In this example, compared to the previous one, there is an alternation of long notes - half, and short notes - quarter notes, that is, a complication of the rhythmic pattern. Pay attention to the student.
"Downhill"
So far, the student has played melodies similar to each other, only new notes have been added. And in this example, the melody does not begin with an open string, and the notes do not play two identical ones, but sequentially from the “sol” down. Draw the student's attention to these nuances and also emphasize - on the alternation - i-m - in the right hand.
"Two cats"
The 4th finger of the left hand, the little finger, began to take part in the work. From this moment on, all the fingers of the left hand participate in the game, the student’s attention should be drawn to the exact observance of the fingering, since before the note “la” the fingers of the left hand coincided with the frets on the fretboard:
note "fa" - 1st fret - 1st finger
F-sharp note - 2nd fret - 2nd finger
note "salt" - 3rd fret - 3rd finger
note "sol sharp" - 4th fret - 4th finger,
and now such a coincidence is not necessary.
"There was a birch in the field"
The first lessons are to play simple (rhythmically) pieces, exercises on one string to consolidate the basic skills and techniques of playing the instrument, such as “apoyando”, alternation - i-m -. As you master it, add the 2nd string and study the notes on it.
"Locomotive"
From the children's song "Steam Engine" we begin to actively play on the 2nd strings. Here you need to pay attention to the child that the notes “do” and “re” are played
on the 2nd string on the same frets as the notes "fa" and "salt" on the 1st string.
The difficulty is the stepwise movement of the fingers of the left hand, and not 2 identical notes, as was the case in the examples earlier. We are working on a gamma-like upward movement. In the chorus: alternation of long notes
- halves and relatively short notes - quarter notes.
You can simultaneously play and sing with words, which is also very useful for the development of speech motor skills, hearing, coordination of hands with the voice:
The locomotive rides,
Two pipes and a hundred wheels
Two pipes, one hundred wheels
The machinist is a red dog!
Two pipes, one hundred wheels
The machinist is a red dog!
"Bunny"
Piece on the 3rd finger of the left hand. Here there are jumps from the 2nd string to the 1st. In this case, the 3rd finger must be removed from one string and put on another. The 3rd finger always plays in this piece - m -.
"Lullaby"
The technique of playing in the right hand - a-m-i - is played with a “pinch” sequentially on three strings, starting from the 1st string, “p” stands on the 6th string, while performing, we listen to the melody that lines up on the 1st string and select the note under "a", we achieve legato in the upper voice.
"Prelude #1"
Playing on 3 strings in turn in a certain sequence of fingers of the right hand - i-m-a-m -, with a pinch. Pay attention to the position of the thumb of the right hand: "p" is on the 6th string, and the rest of the fingers play under it.
Explain the duration of the "eighth" -, the concept of volts
"Bear with a doll"
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We start playing in the I-th position, from the 2nd string, from the note “la” on the 1st string we move to the V-th position and put the 1st finger, that is, we start positional playing in the left hand.
"A song about a grasshopper."
The concept - "zatakt" - to explain. In the 2nd part - the refrain - the fingering is similar to the C major scale, starting with the note "A" - a change in the position of the left hand.
We calculate the pause "quarter" and duration = "eighth".
Playing with basses: pay attention - "r" - always on the support, "apoyando", the rest with a pinch.
"Etude No. 1"
Playing with basses - you need to play with different options for alternating the sequences of the fingers of the right hand, the so-called "brute force":
p-i-m-a-m-i and the like.
"Etude No. 2"
Appears before-# . Usually children play this exercise easily and freely, here the fingers of the left hand are freed from some stiffness that occurs when playing “apoyando”, we work out the “pinch”.
"Etude No. 3"
In “Etude No. 3”, notes appear on the 3rd string ‑‑‑ la, sol-# ‑‑. The note - la -, that is, the 2nd finger, must be left on the 2nd fret, do not raise it while the fingers of the right hand extract other notes (1st - 2nd measures, 4th - 5th - 6- oh beats). This is difficult, but this must be achieved, as several technical problems are solved:
Strengthens the fingers of the left hand
trains the independent movement of the fingers of the left hand
Coordination of movements of both hands is trained
Economical movements are developed for the fingers of the left hand.
Prelude No. 2"
Here you need to draw the student's attention to the fact that each subsequent measure repeats the previous one, there is, as it were, a consolidation of each measure - this develops the student's attention. And then he tries to find similar things when studying other works.
"Rehearsals"
From this piece we start playing on two strings at the same time - i-m -,
"r" stands on the 6th string. Task: listen so that the fingers play together, and two notes resonate under the fingers of the left hand. From playing two strings at the same time, the “tirando” technique is easily assimilated - a pinch with the fingers of the left hand.
"Oriental Melody"
Here and playing with basses, and two notes in the left hand, as in "Rehearsals".
"Street organ"
After mastering this piece, the student has some freedom both with the musical text and with the possession of the instrument. You can start studying the proposed repertoire from the "Music Application".
ChapterIII.
Note application.
The sheet music supplement is an addition to the development of any topic from the chapter "Introduction to sheet music". Here are "Etudes" and "Pieces" that expand and deepen the currently studied element of learning to play the guitar.
Etudes for the development of various types of right-hand technique are offered. At the first stages of playing the guitar, it is difficult for a child to navigate the instrument:
the neck is not in front of the eyes (as, for example, the keyboard on the piano)
6 strings are in one plane, and the right and left hands are in another
fingers in each hand have their own name, different from each other
· It is not immediately clear when the right hand plays - "apoyando" - on the support of the lower string, and when - "tirando" - with a pinch.
The right and left hands play apoyando. There is a pause - the eighth, which must be maintained, a strict alternation of fingers in the left hand - i-m
Here, on the bass strings, “r” plays on the “apoyando” support, and after sound extraction it remains in place, on the lower string. Point out the peculiarity of the second bar: the thumb "p" after playing the bass goes up, and does not remain on the string, since the 4th string and the 3rd string are located next to each other.
Fingers - i-m - play with a pinch - "tirando" - on the 1st and 2nd strings.
In this type of exercise, the capture of two strings is practiced at the same time, we can say that preparations are underway for chord technique. For pupils of primary school age, the number of works performed is very important. The pieces, as a rule, are very similar to each other, but have slight differences, complications, which in general develops the technique of playing the instrument.
This exercise has a multifunctional value:
reinforces knowledge of music
melodic line built in octaves
develops freedom of movement of the hands in the 1st position.
Draw the student's attention to the fingering of the right hand:
finger plays on the 3rd string - i
finger plays on the 2nd string - m
finger plays on the 1st string - a
This rule is (in a way) important, as it helps develop the logical thinking of the little guitarist.
Right hand sound extraction method:
thumb "r" plays on the support - "apoyando"
i-m-a play with a pinch - "tirando"
Work on the development of the 3rd finger of the left hand. The student after this "Etude" correlates well the 3rd fret on the guitar with the bass strings. The first three-sound chords appeared. Pay attention: the thumb of the right hand - "r" - plays on the support, "apoyando", must move agile, easily and freely.
Develops the skills of the play "Bunny" from the previous chapter. The melody is monophonic. They play on two strings, the sound extraction of the right hand is “apoyando”, the alternation is i-m. Make sure that after a long note - half - the finger in the right hand changes. The peculiarity of this piece is that the frets on the fretboard and the fingers in the left hand are the same, but the strings are different.
Puppet waltz.
Playing with bass open strings. We fix in the student's memory their location on the stave and on the instrument. Sound production of the right hand: "r" plays "apoyando", i-m is played with a pinch. The name of the piece implies certain artistic tasks: “puppet” means “not real”, so you need to perform it as if mechanically, but easily and freely. Simple musical material allows you to cope with such tasks.
A kind of polyphonic piece. Symbolically, it can be divided into two parts: I - th part - the top line and II - th part - the bottom line.
I-th part - a melodic line of a scale-like character, for two measures, is repeated at different pitches. First, in the 1st octave on the top three strings, then an octave lower - on the three bass strings. All play apoyando.
Part II - as if imitating the voice of the cuckoo "cuckoo" and listening to the echo in response. "Ku-ku" to extract with a pinch, and "r" - relying on the lower string. The play is quite figurative and when a student gets acquainted with it, it is possible to present the play in the form of a musical riddle by performing it on an instrument. Children, as a rule, easily guess the name and then play with pleasure themselves.
Evening song.
All strings are involved in the game. In the right hand, you can offer 2 options for fingering:
I- two notes are simultaneously played by fingers - i-m
II- first they simultaneously play - i-m, then - a-m - and the like.
The second variant of sound extraction should be used with more advanced students.
New level of education:
The rhythmic pattern in the right hand becomes more complicated.
· For the first time, we begin to use a small "barre" on two strings in the left hand.
The play is quite large.
The sound production of the fingers of the right hand is already familiar and does not raise questions.
Sketch.
A play on the development of the technique of the thumb of the right hand - "p". The melody is built on bass strings. Here, the fingers of the left hand correspond to the frets on the fingerboard, so the student can play this piece without learning the notes on the 6th, 5th, 4th strings. It is enough to indicate which string to play and which finger in the left hand.
Bike.
Product of two-part form. Recurring motifs.
In the first part - an element of the chromatic scale, rehearsals for the four fingers of the left hand. In the right hand - i-m - "apoyando".
In the second part - playing with bass strings, you need to count aloud, alternation - i-m - it is more expedient to perform with a pinch, "tirando".
This piece should be given to the student in the second half of the year, when the skill of reading music from a sheet is formed. Here the melody is traced on the bass strings, and the two-tone chords that support the harmony change with each bass. The child must know the notes on the guitar in the 1st position well enough to accurately follow the fingering indicated in the musical text.
ChapterIV .
Formation of bases of selection by hearing.
One of the auxiliary elements in learning the classical six-string guitar is the ability of the student to perform a melody by ear. Choose an accompaniment for her. Such skills help the teacher to achieve certain pedagogical tasks:
instill a love for the instrument
・Cultivate hard work and perseverance
Expand your musical horizons
develop musical taste
This chapter, musical exercises and musical examples on popular, everyday music, in my opinion, will help the teacher to cultivate interest in learning and mastering the instrument. Although, in my opinion, it is quite difficult to teach a student to “pick up” an instrument on his own, if he does not have musical data (ear, rhythm, musical memory), the student should have a desire to select a melody he likes, an ear for music to sing and accompany himself .
Training, the formation of a base for selection by ear (fluency in the instrument, hand coordination, theoretical construction of chords, chord technique) - give certain results. You can show the student examples, learn with him the simplest methods of selection by ear, learn by heart specific musical turns and accompaniments. With a competent approach to the subject of music-making, a student, even if he is not able to “select” musical material by ear on his own, then perform a well-known melody from notes, “give it out to the public” - is quite capable, this can be taught.
In this situation, the incentive will be
and comments from parents: “What a familiar song, how well you play it!”,
and others: “I heard how your child plays the guitar, and classmates sing along with him” - all this stimulates interest and develops the freedom to play the instrument.
So , goal this work - improving the skills of playing the guitar.
Tasks:
mastering simple 3-sound arpeggiated chords in the 1st position
application of chords, use in exercises
mastering the skills of the simplest accompaniment
So, from what, from what moment of learning the guitar can you start playing chords and accompaniment skills?
1) when they more or less mastered the musical staff, neck;
2) when the tasks of the first stage of training are completed:
hand positioning
Started work on technique, fluency
basic durations learned
Acquaintance on the guitar with the simplest cadence turns in keys began
The ability to select by ear in general and to play music in particular was revealed.
Approximate plan of approach to the subject "selection by hearing»
1) homework for the student:
Pick up on the guitar the melody of M. Krasev "Little Christmas Tree"
2) work on the selected melody:
help pick up
fix fingering
3) homework - write down a melody, draw it graphically, play according to your musical notations with a score.
Stage II - exercise 1), 2), and "Gypsy":
1) I write down the 1st version of the performance, we learn
2) homework - on this musical material - various rhythmic patterns.
concept of letter designation of notes
recording of chords on the musical staff and at the top - their letter designation
the concept of "minor - moll", "major -dur", graphic representation
· d-moll, D-dur.
study of step notation of chords.
Learning simple forms in various rhythms.
I propose to study this on the simplest song repertoire of the "bard", popular plan, which is "on hearing" both among students and their parents. It is most convenient to start accompaniment on the guitar in the keys of A-minor, E-minor - where you do not need to use the "barre" technique, the fingers are located in the 1st position, familiar to beginner guitarists.
Istage
M. Krasev "Little Christmas Tree"
The melody is monophonic. Usually, when choosing, children do not listen to the end and, naturally, do not count half the duration. In the melodic line of the "Chorus" it is necessary to observe the fingering of the scale "C major" monophonic. Then you can perform a song in the ensemble "teacher-student", where the student plays his monophonic melody, and the teacher plays the accompaniment.
This type of melodies, children's songs need to be selected "by ear" more in quantity in order to consolidate the simplest skill. By the way, it has been observed from practice that modern children do not know Russian folk songs and melodies at all, therefore it is best to select familiar songs “by ear”, for example, from cartoons:
V. Shainsky "A song about a grasshopper" from the film "The Adventures of Dunno"
G. Gladkov "Song of the Turtle" from the film "The Lion and the Turtle"
E Krylatov "Lullaby of the Bear" from the film "Umka"
B Savelyev "If you are good" from the film "Leopold's Birthday"
And Ostrovsky "Tired toys are sleeping"
Y. Chichkov "Chunga-changa"
IIstage
Exercise #1:
Exercises for the development of "chord" technique.
An exercise based on "arpeggiated" (decomposed) chords.
It is necessary to indicate the letter designation of the harmonic function above each chord - this allows the student to visually cover the chord in musical notation and its letter designation:
Gypsy girl.
· This piece can initially be offered to the student to try to pick up on their own, if he is familiar with it.
· Correct mistakes.
Write down number 1 in your notebook, memorize it.
· And in parts for No. 2 and No. 3, indicate only the rhythm and the student will independently complete the entire piece on the learned musical material of part No. 1.
Write down parts for No. 2 and No. 3 in your notebook.
Exercise number 2:
This exercise is more difficult than exercise #1. The sequence of functions is changed, A7 is added.
Exercise number 3:
Let's start extracting 3 sonorous chords. The fingering is studied in the arpeggio exercises. Difficulty for a student to take three notes
simultaneously. It is necessary to draw the student's attention to the fact that only the bass changes in a measure, and the chord is one.
Exercise number 4:
The musical material has become more complicated:
Every time the bass and the chord change,
Exercise number 5:
Functions, chords are known to the student from the previous exercise, the rhythmic pattern has changed.
Exercise number 6:
Exercise number 7
Exercise number 8:
We complicate the task - we change the tonality, the rhythmic pattern.
All exercises must be counted out loud, played according to notes, so that the motor, visual, auditory memory of the child develops simultaneously, coordination of movements is trained, and various rhythmic patterns are brought to automatism. In the future, as you master it, you can combine rhythms from different exercises in the same key: there is already scope for the imagination of any teacher. All this is done for a deeper study of the possibilities of the guitar, strengthening the playing apparatus, so that lightness and freedom in playing the instrument are developed.
Conclusion.
The stated technique of the first steps on the guitar has been tested in practice. Kids like to play the instrument from the first lesson, the selected material is accessible to the understanding of students of 6-7 years old, it is easy to play the guitar. Positive emotions develop in the specialty lessons, the student has a feeling of lightness and freedom, which must be skillfully maintained and developed throughout the entire period of study. If earlier a music school had to train future professional musicians, a strict selection was carried out by admissions committees, there was a competition among those who wanted to “learn music”, then in our time a music school works with everyone who comes, without selection for the presence of musical data. And this is right, a person must develop and improve in many areas, despite the fact that nature has not endowed him with abilities and supertalents. All interested children can be taught to play any musical instrument in the volume of the music school, the teacher needs to be patient and help in achieving some results.
Along the way, the teacher solves the problems of sound extraction, the quality of the performed musical material. The names of the exercises give scope to children's imagination. This will prepare students for the development of repertoire collections and pieces by already famous classical guitarists and contemporary composers. To work with kids, you can use the collection of V. Yarmolenko "Anthology of the guitarist for students in grades 1-7 of the music school." A lot of folk melodies and the most frequently performed repertoire for guitar from many well-known collections are collected here.
References:
Ageev D. Guitar. Master's lessons for beginners. - St. Petersburg: Peter, 2009.
Bocharov guitarist. A guide for beginners. - M.: Accord, 2002.
Gitman A. Initial training on a six-string guitar. - M.: Presto, 1999.
Ivanova. Development of music-making skills in work with beginners in the piano class. (DShI No. 1, Chelyabinsk). - Chelyabinsk, 2000.
Ivanov-Kramskoy playing the six-string guitar. - M.: Music, 1979.
Koloturskaya. Accompaniment. (DSHI No. 5, Chelyabinsk).
- Chelyabinsk, 2000.
Mikhailus. Development of music-making skills (selection by ear, arrangement, improvisation) in grades 1-7 of the Children's Art School. (DSHI No. 12, Chelyabinsk).
- Chelyabinsk, 2000.
Fetisov steps of the guitarist. Notebook number 1. - M.: V. Katansky Publishing House, 2005.
Yarmolenko V. Reader of a guitarist for students of grades 1-7 of music school. - M., 2010.
Methodical manual Shishkina Lyudmila Viktorovna
MOU "Gymnasium No. 10", Zheleznogorsk, Kursk region
"First steps on a six-string guitar"
Content.
Introduction.
Main part.
Chapter I. Donotny period of study.
Chapter II. Introduction to notes.
Chapter III. Note application.
Chapter IV. Formation of bases of selection by hearing.
Conclusion.
Introduction.This work presents methodological material and musical examples used by the author in learning to play the six-string guitar with students of preschool and primary school age. Classical guitar playing schools - M. Karkassy, E. Pukhol, P. Agafoshin, A. Ivanov-Kramskoy are designed for older students and at the initial stage are difficult for kids 6-7 years old, who sometimes cannot read and write, but play on the instrument wish from the first lessons. There are more modern collections for beginners, such as the Guitar Primer. A guide for beginners. (six-string guitar)" edited by Bocharov O.A. or "Lessons of the Master for Beginners" by Dmitry Ageev. But they are intended more for adult "lovers" of playing the guitar than for kids. They cover the period from the first steps to playing in musical groups, they have voluminous source material of a different educational nature, they use mainly guitar tablature and other symbols for learning, which is unacceptable for a music school. Education at school is based on musical notation and students from the first lessons should be taught the culture of handling musical material. Proceeding from this, that is, the shortage of teaching musical examples of a lightweight nature, there was a need to create this kind of methodological manual. First, the pre-notation period of learning is considered, then, as the notes are gradually studied, the material becomes more complicated with the addition of more and more new elements. In training, the main didactic method is used - from simple to complex through repetition of the past. In the process of learning, one should constantly demand from students the exact and correct implementation of all the instructions placed in the notes, as well as develop self-control in every possible way, which is necessary for successful homework.
Musical material, exercises - everything has a name, as it helps the baby in the development of figurative thinking.
The work does not consider the issues of landing, staging, methods of sound extraction on the guitar, as this takes place in the professional training of each teacher. In detail, in an accessible form given
aspect in training is covered by modern authors: in the collection of G.A. Fetisov “The first steps of a guitarist”, notebook No. 1 in the section “Methodological
instructions ", in the collection of A. Gitman "Basic training on the six-string
guitar" "Section I".
Of great importance in the development of any musical instrument is the ability of the student to select the melody he likes by ear. This skill is an additional incentive to study music. The chapter "Formation of the basics of selection by ear" presents an attempt to somehow systematize this process in training, so that it is formed from the studied material and becomes the basis for the selection of accompaniment to songs and other types of guitar playing.
The author believes that this methodological development, a manual, will be useful to young beginners in the initial training of young guitarists and the creation of their own methods, and will also help practitioners of other specialties, who in our time often teach a “guitar class”.Main part.
Chapter I.
Donotny period of study. This period in the training of a young guitarist in no way implies "playing by hand". It is assumed that the teacher writes the musical material to the student in a music book, and the student plays and performs tasks on observing the fingers in the right and left hands, the frets on the fretboard, and the like.
When you first get acquainted with the instrument - a six-string guitar - you should explain the name of the fingers of the right hand:
P thumb
i index finger
m middle finger
a - ring finger
the little finger in the right hand does not participate in sound extraction, and there is a rule for the right hand - the obligatory alternation of fingers: “We have no right to play with one finger!”. For comparison, you can invite the student to walk on one leg and ask him about the sensations: is it convenient, how much can you jump like that?
Where is written on the musical staff,
Where is the guitar played?
Then I show a series of exercises for alternating the fingers of the right hand, write it down graphically - we play:
exercise number 1
exercise number 2
It is also advisable to immediately give the concept of durations and from the first lessons teach the student to count aloud - this will help to avoid problems with rhythm in the future:
Another guitar rule:
Exercise "Swing".
First, I show the child the alternation of the fingers of the left and right hands at the same time, the same fingers work - without playing. The motive is like on a swing - up and down, up and down. Then we record graphically and execute on the instrument:
"Swing".
We complicate the task:
chromatic scale from the note "fa" throughout the fretboard on the 1st string,
left hand - 1-2 fingers, right hand - alternating i-m
2) chromatic scale from the note "fa" throughout the fretboard on the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3 fingers, right hand - i-m-a alternation
3) chromatic scale from the note "fa" throughout the fretboard along the 1st string,
from the 1st fret to the 13th in ascending and descending movements,
left hand - 1-2-3-4 fingers, right hand - alternating i-m, and when moving upwards, reaching the 12th fret, we shift the 4th finger to the 13th fret, and when moving down, reaching the 2- th fret with the first finger of the left hand, move this finger to the 1st fret:
"Breeze"A play on chromatism, where four fingers of the left hand are played in ascending
downward movement, three times in a row, the finger of the left hand corresponds to the fret on the fretboard. Along the way, explain: the concept of "crescendo-diminuendo" amplification-decay of sound, the concept of "reprise" repetition
. Repetition is a very important element in performing practice, as it forces the student to mobilize to play the same moment several times, which does not always work out.
Chapter II.
Introduction to notes. As you master the exercises of the “bottom” period, you need to start studying the notes on the 1st string in the I-th position, with the further fixing of each new note in the musical material in the form of various chants:
"Top Top"Count aloud, when playing, pay attention to the setting of the left hand - put all fingers round, hold over the neck,
in the right hand - put the thumb "r" on the 6th string, and the rest of the fingers play under it."Singing"In this example, compared to the previous one, there is an alternation of long notes - half, and short notes - quarter notes, that is, a complication of the rhythmic pattern. Pay attention to the student.
"Steps"The note “sol” was added for study, which is located on the 3rd fret on the 1st string."Downhill"So far, the student has played melodies similar to each other, only new notes have been added. And in this example, the melody does not begin with an open string, and the notes are played not two identical ones, but sequentially from the “sol” down. Draw the student's attention to these nuances and also emphasize - on the alternation - i-m - in the right hand."Two cats"
The 4th finger of the left hand, the little finger, began to take part in the work. From this moment on, all the fingers of the left hand participate in the game, the student’s attention should be drawn to the exact observance of the fingering, since before the note “la” the fingers of the left hand coincided with the frets on the fretboard:
note "fa" 1st fret - 1st finger
note "F-sharp" 2nd fret - 2nd finger
note "salt" 3rd fret - 3rd finger
note "sol sharp" 4th fret - 4th finger,
and now such a coincidence is not necessary."There was a birch in the field"
The first lessons are to play simple (rhythmically) pieces, exercises on one string to consolidate the basic skills and techniques of playing the instrument, such as “apoyando”, alternation - i-m. As you master it, add the 2nd string and study the notes on it."Locomotive"
From the children's song "Steam Engine" we begin to actively play on the 2nd strings. Here you need to pay attention to the child that the notes “do” and “re” are played
on the 2nd string on the same frets as the notes "fa" and "salt" on the 1st string.
The difficulty is the stepwise movement of the fingers of the left hand, and not 2 identical notes, as was the case in the examples earlier. We are working on a gamma-like upward movement. In the chorus: alternation of long notes
Halves and relatively short notes - quarter notes.
You can simultaneously play and sing with words, which is also very useful for the development of speech motor skills, hearing, coordination of hands with the voice:
The locomotive rides,
Two pipes and a hundred wheels
Two pipes, one hundred wheels
The machinist is a red dog!
Two pipes, one hundred wheels
The machinist is a red dog!"Bunny"
Piece on the 3rd finger of the left hand. Here there are jumps from the 2nd string to the 1st. In this case, the 3rd finger must be removed from one string and put on another. The 3rd finger always plays in this piece - m."Lullaby"
The technique of playing in the right hand - a-m-i - is played with a “pinch” sequentially on three strings, starting from the 1st string, “r” is on the 6th string, while performing, we listen to the melody that lines up on the 1st string and select the note under "a", we achieve legato in the upper voice.
"Prelude #1"
Playing on 3 strings in turn in a certain sequence of fingers of the right hand - i-m-a-m, with a pinch. Pay attention to the position of the thumb of the right hand: "p" is on the 6th string, and the rest of the fingers play under it.
Explain the duration of the "eighth", the concept of volts"Bear with a doll"
Educational moments of this children's song:
playing on two strings
a combination of different durations - quarter-eighth-half
there are repetitions that need to be correctly performed
fingering compliance
there is a text of a song that you can sing to your accompaniment.
Gamma "C major" in one octave.
We start playing in the I-th position, from the 2nd string, from the note “la” on the 1st string we move to the V-th position and put the 1st finger, that is, we start positional playing in the left hand."A song about a grasshopper."
The concept - "zatakt" to explain. In the 2nd part - the chorus - the fingering is similar to the "C major" scale, starting from the note "A" a change in the position of the left hand.
We calculate the pause "quarter" and duration = "eighth".Playing with basses: pay attention - "p" is always on the support, "apoyando", the rest are pinched."Etude No. 1"
Playing with basses - you need to play with different options for alternating the sequences of the fingers of the right hand, the so-called "brute force":
p-i-m-a
p-i-m-a-i-m
p-i-m-i-m
p-i-m-a-m-i and the like.
"Etude No. 2"
Appears before-# . Usually children play this exercise easily and freely, here the fingers of the left hand are freed from some stiffness that occurs when playing “apoyando”, we work out the “pinch”."Etude No. 3"
In "Etude No. 3" notes appear on the 3rd string la, sol-#. The note - la, that is, the 2nd finger, must be left on the 2nd fret, not raised until the fingers of the right hand extract other notes (1st - 2nd bars, 4th - 5th - 6th so you). This is difficult, but this must be achieved, as several technical problems are solved:
strengthening the fingers of the left hand
trains the independent movement of the fingers of the left hand
training coordination of movements of both hands
economical movements are developed for the fingers of the left hand.
Prelude No. 2"
Here you need to draw the student's attention to the fact that each subsequent measure repeats the previous one, there is, as it were, a consolidation of each measure - this develops the student's attention. And then he tries to find similar things when studying other works."Rehearsals"
From this piece we start playing on two strings at the same time - i-m,
"r" is on the 6th string. Task: listen so that the fingers play together, and two notes resonate under the fingers of the left hand. From playing on two strings at the same time, the “tirando” technique, a pinch with the fingers of the left hand, is easily assimilated.
"Oriental Melody"
Here and playing with basses, and two notes in the left hand, as in "Rehearsals"."Street organ"
After mastering this piece, the student has some freedom both with the musical text and with the possession of the instrument. You can start studying the proposed repertoire from the "Music Application".Chapter III.
Note application.
The sheet music supplement is an addition to the development of any topic from the chapter "Introduction to sheet music". Here are "Etudes" and "Pieces" that expand and deepen the currently studied element of learning to play the guitar.Sketches.
Etudes for the development of various types of right-hand technique are offered. At the first stages of playing the guitar, it is difficult for a child to navigate the instrument:
the neck is not in front of the eyes (as, for example, the keyboard on the piano)
6 strings are in one plane, and the right and left hands are in another
fingers in each hand have their own name, different from each other
it’s not immediately clear when the right hand plays “apoyando” on the bottom string, and when it plays “tirando” with a pinch.
Etude №1
The right and left hands play apoyando. There is a pause - the eighth, which must be maintained, a strict alternation of fingers in the left hand i-m
Etude №2
Here, on the bass strings, “r” plays on the “apoyando” support, and after sound extraction it remains in place, on the lower string. Point out the peculiarity of the second bar: the thumb "p" after playing the bass goes up, and does not remain on the string, since the 4th string and the 3rd string are located next to each other.
Fingers - i-m - play with a pinch - "tirando" on the 1st and 2nd strings.
Etude №3
In this type of exercise, the capture of two strings is practiced at the same time, we can say that preparations are underway for chord technique. For pupils of primary school age, the number of works performed is very important. The pieces, as a rule, are very similar to each other, but have slight differences, complications, which in general develops the technique of playing the instrument.
Etude №4
This exercise has a multifunctional value:
reinforces knowledge of music
melodic line built in octaves
develops freedom of movement of the hands in the 1st position.
Draw the student's attention to the fingering of the right hand:
finger plays on the 3rd string - i
finger plays on the 2nd string - m
finger plays on the 1st string - a
This rule is (in a way) important, as it helps develop the logical thinking of the little guitarist.
Right hand sound extraction method:
thumb "r" plays on the support - "apoyando"
i-m-a play with a pinch - "tirando"
Etude No. 5
Work on the development of the 3rd finger of the left hand. The student after this "Etude" correlates well the 3rd fret on the guitar with the bass strings. The first three-sound chords appeared. Pay attention: the thumb of the right hand - "p" plays on the support, "apoyando", should move movably, easily and freely.
Plays.
Polechka.
Develops the skills of the play "Bunny" from the previous chapter. The melody is monophonic. They play on two strings, the sound extraction of the right hand is “apoyando”, the alternation is i-m. Make sure that after a long note - half - the finger in the right hand changes. The peculiarity of this piece is that the frets on the fretboard and the fingers in the left hand are the same, but the strings are different.
Puppet waltz.
Playing with bass open strings. We fix in the student's memory their location on the stave and on the instrument. Sound production of the right hand: "r" plays "apoyando", i-m is played with a pinch. The name of the play suggests certain artistic tasks: "puppet" means "fake", so you need to perform as if mechanically, but easily and freely. Simple musical material allows you to cope with such tasks.
Cuckoo.
A kind of polyphonic piece. Symbolically, it can be divided into two parts: the I-th part is the top line and the II-th part is the bottom line.
The second part is a melodic line of a scale-like character, for two measures, repeated at different pitches. First, in the 1st octave on the top three strings, then an octave lower - on the three bass strings. All play apoyando.
The second part - as if imitating the voice of the cuckoo "cuckoo" and listening to the echo in response. "Ku-ku" to extract with a pinch, and "p" based on the lower string. The play is quite figurative and when a student gets acquainted with it, it is possible to present the play in the form of a musical riddle by performing it on an instrument. Children, as a rule, easily guess the name and then play with pleasure themselves.
Evening song.
All strings are involved in the game. In the right hand, you can offer 2 options for fingering:
two notes simultaneously played by fingers - i-m
first play i-m at the same time, then - a-m - and the like.
The second variant of sound extraction should be used with more advanced students.
Dance.
New level of education:
The rhythmic pattern in the right hand becomes more complicated.
For the first time, we begin to use a small "barre" on two strings in the left hand.
The play is quite large.
The sound production of the fingers of the right hand is already familiar and does not raise questions.
Sketch.
A play on the development of the technique of the thumb of the right hand - "p". The melody is built on bass strings. Here, the fingers of the left hand correspond to the frets on the fingerboard, so the student can play this piece without learning the notes on the 6th, 5th, 4th strings. It is enough to indicate which string to play and which finger in the left hand.
Bike.
Product of two-part form. Recurring motifs.
In the first part - an element of the chromatic scale, rehearsals for the four fingers of the left hand. In the right hand - i-m - "apoyando".
In the second part - playing with bass strings, you need to count aloud, alternation - i-m - it is more expedient to perform with a pinch, "tirando".
Round dance.
This piece should be given to the student in the second half of the year, when the skill of reading music from a sheet is formed. Here the melody is traced on the bass strings, and the two-tone chords that support the harmony change with each bass. The child must know the notes on the guitar in the 1st position well enough to accurately follow the fingering indicated in the musical text.
Chapter IV.
Formation of bases of selection by hearing.
One of the auxiliary elements in learning the classical six-string guitar is the ability of the student to perform a melody by ear. Choose an accompaniment for her. Such skills help the teacher to achieve certain pedagogical tasks:
instill a love for the instrument
cultivate hard work and perseverance
expand your musical horizons
develop musical taste
This chapter, musical exercises and musical examples on popular, everyday music, in my opinion, will help the teacher to cultivate interest in learning and mastering the instrument. Although, in my opinion, it is quite difficult to teach a student to “pick up” an instrument on his own, if he does not have musical data (ear, rhythm, musical memory), the student should have a desire to select a melody he likes, an ear for music to sing and accompany himself .
Training, the formation of a base for selection by ear (fluency in the instrument, hand coordination, theoretical construction of chords, chord technique) - give certain results. You can show the student examples, learn with him the simplest methods of selection by ear, learn by heart specific musical turns and accompaniments. With a competent approach to the subject of music-making, a student, even if he is not able to “select” musical material by ear on his own, then perform a well-known melody from notes, “give it out to the public” - is quite capable, this can be taught.
In this situation, the incentive will be
and comments from parents: “What a familiar song, how well you play it!”,
and others: “I heard how your child plays the guitar, and classmates sing along with him” - all this stimulates interest and develops the freedom to play the instrument.
So, goal this work - improving the skills of playing the guitar.
Tasks:
mastering simple 3-sound arpeggiated chords in 1st position
application of chords, use in exercises
mastering the skills of the simplest accompaniment
So, from what, from what moment of learning the guitar can you start playing chords and accompaniment skills?
1) when they more or less mastered the musical staff, neck;
2) when the tasks of the first stage of training are completed:
setting of hands
work began on technique, fluency
basic durations learned
Acquaintance on the guitar with the simplest cadence turns in keys began
the ability to select by ear in general and to play music in particular was revealed.
Approximate plan of approach to the subject "selection by hearing
»
Stage I:
1) homework for the student:
Pick up on the guitar the melody of M. Krasev "Little Christmas Tree"
2) work on the selected melody:
help pick up
fix fingering
3) homework - write down a melody, draw it graphically, play according to your musical notations with a score.
Stage II - exercise 1), 2), and "Gypsy":
I write down the 1st version of the performance, learn
homework - on this musical material - various rhythmic patterns.
Stage III:
the concept of lettering notes
writing chords on the stave and at the top - their letter designation
the concept of "minor - moll", "major -dur", graphic image
d-moll, D-dur.
study of step notation of chords.
Stage IV:
Learning simple forms in various rhythms.
I propose to study this on the simplest song repertoire of the "bard", popular plan, which is "on hearing" both among students and their parents. It is most convenient to start accompaniment on the guitar in the keys of A-minor, E-minor - where you do not need to use the "barre" technique, the fingers are located in the 1st position, familiar to beginner guitarists.
I stage
M. Krasev "Little Christmas Tree"
The melody is monophonic. Usually, when choosing, children do not listen to the end and, naturally, do not count half the duration. In the melodic line of the "Chorus" it is necessary to observe the fingering of the scale "C major" monophonic. Then you can perform a song in the ensemble "teacher-student", where the student plays his monophonic melody, and the teacher plays the accompaniment.
This type of melodies, children's songs need to be selected "by ear" more in quantity in order to consolidate the simplest skill. By the way, it has been observed from practice that modern children do not know Russian folk songs and melodies at all, therefore it is best to select familiar songs “by ear”, for example, from cartoons:
V. Shainsky "A song about a grasshopper" from the film "The Adventures of Dunno"
G. Gladkov "Song of the Turtle" from the film "The Lion and the Turtle"
E Krylatov "Lullaby of the Bear" from the film "Umka"
B Savelyev "If you are good" from the film "Leopold's Birthday"
And Ostrovsky "Tired toys are sleeping"
Y. Chichkov "Chunga-changa"
II stage
Exercise #1:
Exercises for the development of "chord" technique.
An exercise based on "arpeggiated" (decomposed) chords.
It is necessary to indicate the letter designation of the harmonic function above each chord - this allows the student to visually cover the chord in musical notation and its letter designation:
Gypsy girl.
This piece can initially be offered to the student to try to pick it up on his own, if he is familiar with it.
Correct mistakes.
Write number 1 in your notebook, memorize it.
And in parts No. 2 and No. 3, indicate only the rhythm and the student will independently complete the entire piece on the learned musical material of part No. 1.
Write in the notebook parts for No. 2 and No. 3.
Exercise number 2:
This exercise is more difficult than exercise #1. The sequence of functions is changed, A7 is added.
Stage III
The following are examples of harmonic functions in A minor (a moll), most used in song variants. The a moll key is comfortable and easy for guitarists.
Exercise number 3:
Let's start extracting 3 sonorous chords. The fingering is studied in the arpeggio exercises. Difficulty for a student to take three notes
simultaneously. It is necessary to draw the student's attention to the fact that only the bass changes in a measure, and the chord is one.
Exercise number 4:
The musical material has become more complicated:
Every time the bass and the chord change,
New ones have been added to the already known chords - С-dur - G-dur, but the fingering can not be put down everywhere, but only where unfamiliar chords appear - in the form of signal fingers.
Exercise number 5:
Functions, chords are known to the student from the previous exercise, the rhythmic pattern has changed.
Exercise number 6:
Exercise number 7
Exercise number 8:
We complicate the task - we change the tonality, the rhythmic pattern.
All exercises must be counted out loud, played according to notes, so that the motor, visual, auditory memory of the child develops simultaneously, coordination of movements is trained, and various rhythmic patterns are brought to automatism. In the future, as you master it, you can combine rhythms from different exercises in the same key: there is already scope for the imagination of any teacher. All this is done for a deeper study of the possibilities of the guitar, strengthening the playing apparatus, so that lightness and freedom in playing the instrument are developed.
Conclusion.
The stated technique of the first steps on the guitar has been tested in practice. Kids like to play the instrument from the first lesson, the selected material is accessible to the understanding of students of 6-7 years old, it is easy to play the guitar. Positive emotions develop in the specialty lessons, the student has a feeling of lightness and freedom, which must be skillfully maintained and developed throughout the entire period of study. If earlier a music school had to train future professional musicians, a strict selection was carried out by admissions committees, there was a competition among those who wanted to “learn music”, then in our time a music school works with everyone who comes, without selection for the presence of musical data. And this is right, a person must develop and improve in many areas, despite the fact that nature has not endowed him with abilities and supertalents. All interested children can be taught to play any musical instrument in the volume of the music school, the teacher needs to be patient and help in achieving some results.
The author recommends that each student go through all the musical examples of this manual.
Along the way, the teacher solves the problems of sound extraction, the quality of the performed musical material. The names of the exercises give scope to children's imagination. This will prepare students for the development of repertoire collections and pieces by already famous classical guitarists and contemporary composers. To work with kids, you can use the collection of V. Yarmolenko "Anthology of the guitarist for students in grades 1-7 of the music school." A lot of folk melodies and the most frequently performed repertoire for guitar from many well-known collections are collected here.
References:
Ageev D. Guitar. Master's lessons for beginners. - St. Petersburg: Peter, 2009.
Bocharov O.A. Guitarist's primer. A guide for beginners. M.: Akkord, 2002.
Gitman A. Initial training on a six-string guitar. M.: Presto, 1999.
Ivanova S.V. Program. Development of music-making skills in work with beginners in the piano class. (DShI No. 1, Chelyabinsk). Chelyabinsk, 2000.
Ivanov-Kramskoy A.M. School of playing the six-string guitar. Moscow: Music, 1979.
Koloturskaya E.P. Program. Accompaniment. (DSHI No. 5, Chelyabinsk).
Chelyabinsk, 2000.
Mikhailus M. I. Program. Development of music-making skills (selection by ear, arrangement, improvisation) in grades 1-7 of the Children's Art School. (DSHI No. 12, Chelyabinsk).
Chelyabinsk, 2000.
Fetisov G.A. The first steps of the guitarist. Notebook number 1. M.: V. Katansky Publishing House, 2005.
Yarmolenko V. Reader of a guitarist for students of grades 1-7 of the music school. - M., 2010.
