Study guide for the Solfeggio course for the first and second grades of children's music schools ⇒ Sergei Baryshnikov's Library ۩. Meter and rhythm

1. Names of sounds

DO, RE, MI, FA, SOL, LA, SI

Names of white piano keys:

• The white key between two black ones is PE.
• Two white keys to the right of RE - MI, FA.
• Two white keys to the right of FA (between three black ones) - SALT, LA.
• Two white keys to the right of LA (after three black ones) - SI, DO.

2. Names of octaves

Octave called a group of sounds from DO to each next DO.

The octave that is in the middle of the piano keyboard is called first.

Octaves that are above (to the right) the first octave are called: second octave, third octave, fourth octave.

Octaves that are below (to the left) of the first are called: small octave, big octave, counteroctave, subcontroctave.

3. Placement of notes on the staff

Notes are signs for recording music. stave, or staff, is a line of five lines on which notes are placed. The lines of the staff are counted from bottom to top.

Notes are located on the lines, between the lines, under the first line, above the fifth line, on the lower additional lines, on the upper additional lines.

4. Treble clef

Treble clef- this is a sign that indicates that the sound of the SALT of the first octave is recorded on the second line of the staff.

Notes of the first octave in treble clef are written like this:

DO - on the first additional line, RE - under the first line, MI - on the first line, FA - between the first and second lines, SALT - on the second line, LA - between the second and third lines, SI - on the third line.

5. Musical notation of the duration of sounds

The duration of a sound is indicated by different kinds of notes.

A white note (circle) without a stick is a whole note.

White note (circle) with stick - half note.

Black note (circle) with stick - quarter note

A black note with a stick and a tail is the eighth note.

The main division of the duration of sounds:

A whole is divided into 2 halves, a half is divided into 2 quarters, a quarter is divided into 2 eighths

The direction of the sticks on the staff: up to the third line, the sticks are written up, above the third line - down.

6. Size 2/4

Time signature 2/4 is a two-beat measure, in which each beat lasts a quarter, the first beat is strong, the second is weak.

Conducting scheme for 2/4: down, up.

7. Eighth notes in a double beat

Durations that are performed 2 times faster than quarter notes are called eighth notes. One quarter is two eighths.

Dividing the first beat of a measure into two equal parts: two eighths, a quarter

Dividing the second beat of a measure into two equal parts: a quarter, two eighths

Dividing the first and second beats of a measure into two equal parts: two eighths, two eighths.

8. Recording a song with and without words

If the song is written without words, two eighths, which make up a quarter, are connected by an edge.

If the song is recorded with words, then every eighth, which falls on one syllable of the text, is written separately.

9. Major and minor. Tonic

Major And minor are the most common modes in music. Cheerful, cheerful melodies, bright melodies corresponds major scale. Sad, sad melodies corresponds minor scale. The main, reference sound of the fret is called tonic. The melody usually ends on the tonic.

10. Gamma C Major

SOL major - a major mode in which the tonic is the sound SOL (a mode with one sharp in the key).

The sounds that make up G major are:

• SALT, LA, SI, DO, RE, MI, FA-sharp, (SOL).

Key sign in the key of G major:

• FA sharp.

Gamma G major and its steps:

• SALT - I, LA - II, SI - III, DO - IV, RE - V, MI - VI, FA sharp - VII, (SOL) - I.

Tonic triad in G major:

• SALT - I, SI - III, RE - V.

Introductory sounds in G major:

• F-sharp - VII, LA - II.

17. Key in F major

FA major - a major mode in which the tonic is the sound FA (a mode with one flat in the key).

The sounds that make up the F major:

• FA, SOL, LA, SI-flat, DO, RE, MI, (FA).

Key sign in the key of F major:

• SI flat.

F major scale and its steps:

• FA -I, SALT - II, LA - III, SI flat - IV, DO - V, RE - VI, MI - VII, (FA) - I.

Tonic triad in F major:

• FA-I, LA - III, TO - V.

Introductory sounds in F major:

• MI - VII, SALT - II.

18. Transposition

transposition is called the transfer of a melody from one key to another.

At the same time, the numbers of steps are put down in the melody with the original key, the numbers of the steps are signed under the new stave, then the notes of the melody are assigned above the step numbers already in the new key.

19. Pause

pause called a break in the sound (a sign of silence).

Whole pause, equal in duration to a whole note, is written as a black rectangle under the fourth ruler.

half pause, equal in duration to a half note, is written as a black rectangle on the third line.

quarter pause, equal in duration to a quarter note, is written as a sign resembling a zigzag.

Eighth pause, equal in duration to the eighth note, is written as a sign resembling the number four.

20. Musical phrase

Phrases are the parts into which the melody is divided.

Rhythmic stops or pauses in the melody (these are called caesuras) indicate the end of musical phrases. Any repetition in the melody - exact or with some changes - creates the feeling of the beginning of a new musical phrase. The end of a phrase is indicated by a daw or a comma.

21. Reprise

reprise called the repetition sign, these are two points - above the second and above the third rulers near two vertical lines.

22. Bass clef

Bass clef- this is a sign that indicates that the sound of the FA of a small octave is recorded on the fourth line of the staff.

According to the location of the note FA, other notes are also located on the fourth line, for example, the note DO of a large octave is written on the second additional line from the bottom, and the note DO of a small octave is written between the second and third lines.

23. Key A minor

LA minor - a minor mode in which the tonic is the sound LA. This is a mode parallel to C major.

Parallel are called major and minor keys with the same key signs. Tonic parallel minor key is the sixth degree of the major key.

Gamma A minor and its steps:

LA - I, SI - II, TO - III, RE - IV, MI - V, FA - VI, SALT - VII, (LA) - I.

Tonic triad in A minor: LA - I, C - III, MI - V.

Z reinforcement of rhythmic groups

Open solfeggio lesson, grade 1

Krasnodar Territory, Krasnoarmeisky District

"WORKING ON THE RHYTHM

ON LESSONS SOLFEGIO IN

JUNIOR GRADES»

Methodological work of the teacher

Theoretical department

Prosolova Valentina Viktorovna

"... Rhythm is life ... without rhythm, there is no melody, it is empty sounds."

ON THE. Rimsky-Korsakov

The importance of rhythm in music is enormous. Assimilation of it should be given special attention at all stages of education in a children's music school, as in classes musical instrument, and in solfeggio lessons.

The first assistants in the study of rhythm are hearing and musical memory, the physical sensation of movement appears already in infancy, without realizing it, children involuntarily get acquainted with the rhythm. We amuse the child with cooing, we play “patty-cakes” with him, the child falls asleep in the cradle to the rhythmic swaying. In the future, swinging the children's swing, evenly pressing the bicycle pedals - all this helps the child to feel the pulse of a clear, divided into rhythmic parts, time.

Even in the pre-notation period of learning, the child must feel and perceive the rhythm of the musical examples offered to him. Great help at the same time, they can provide rhymes that are successfully matched to the melody being performed and coincide with its rhythm. Children easily get an idea of ​​​​strong and weak shares from the pronunciation of the corresponding words: Sa - sha, ba - ra - ban ...

In the process of moving to music, children intuitively comprehend the patterns of the rhythmic structure of the melody (duration, rhythmic patterns, alternation of strong and weak beats). After such a preliminary stage, it is convenient to move on to the conscious assimilation of the metro-rhythm based on the study of musical literacy.

Rhythmic education covers the development of a sense of tempo, time signature and a clear perception of the ratio of measure durations. During the lessons, students gradually cover all the new rhythmically musical materials. For example, movement in alternating quarter notes, eighth notes, half notes, measures of various time signatures, sunsets, dotted rhythm, syncopated rhythmic pattern, etc. This expands the concepts associated with the rhythmic structure piece of music. This work should be given considerable time in curriculum. The rhythm of performance should be paid from the very beginning. great attention no omissions are allowed in this respect. The student must play, sing, clap rhythmically, accurately be able to "count". Getting Started new play, solfeggio exercises, it is necessary to pay special attention to working on rhythmically difficult places.

In the concept of a sense of metrorhythm, several aspects should be distinguished:

1.) a feeling of uniformity of movement at different tempos;

2.) a sense of size, that is, a combination and alternation of percussion and unstressed parts

3.) awareness and reproduction of combinations of sounds of various durations, that is, a rhythmic pattern.

The nature of the feeling of the meter requires its fixation in certain motor processes. When playing the instrument, this is facilitated by the motor process of performance.

The technique of working on the elements of musical rhythm is diverse. Starting from the very first lessons, we use the knowledge of “Clap to the beat”. Together with the children, we try to catch and reproduce the metric pulse of speech with claps, and then sounding music. Repertoire: children's songs, instrumental music, poems by Agnia Barto. Then you can invite the children to clap or walk the simplest rhythmic patterns. Such exercises perfectly train not only the sense of rhythm, but also attention, memory, coordination.

In solfeggio, you should use the simplest musical and rhythmic movements: walking, clapping, conducting, etc.

"Let's stand in a circle"

A) The teacher pronounces the text rhythmically, the children repeat:

Let's stand in a circle, we'll pour fun as soon as possible

Songs to sing to dance merrily around

B) The teacher will pronounce the text silently, with clear articulation, the children repeat. The pronunciation is accompanied by light clapping of the hands.

C) Use a rhythmic orchestra:

D) Accompaniment and singing of the song.

E) Sing a song with movement, with side steps first to the right, then to the left.

If desired, all forms of work can be combined.

A good method is to use various examples rhythmic echo. For example, pat the rhythm or play a melody, play a rhythmic pattern.

Ask them to repeat the rhythm of a familiar tune from memory. The game "Guess the song" develops rhythmic memory. You need to reproduce the rhythm of a familiar song and ask the children to guess it.

The repertoire may include any children's songs: "Two Cats", "Cockerel", "Little Christmas Tree", "Andrei the Sparrow" and others.

To facilitate the study of durations and rhythm formulas, you can use auxiliary exercises based on parallels between verbal speech and musical, showing children how to rhythmize names. For example:

Oh - la, Oh - laziness - ka, Ta - nya, Ta - nech - ka.

You can ask the student to come up with words for the simplest rhythmic patterns:

Tra - va, sa - mo - years, sun - nysh - ko, car - bus - on.

The metrization of two- and three-syllable words should be accompanied by the identification and display of accentuated syllables, since the basis of the rhythmic feeling is the sensation of pulsation and accentuation.

A good preparation for writing a rhythmic dictation is the metrization of poems or children's songs:

ma - laziness - koy yo - loch - ke ho - lod - but winter - mine

Po-be-zhes-whether, Po-be-zhes-whether, step, step, stop!

Beetle, beetle, buzz, where are you spinning, scratching, say.

Such work makes it possible to work out various rhythmic formulas, observing pedagogical principle from simple to complex. Moreover, the work begins from the moment when the student is not yet familiar with the musical staff.

Understanding the rhythmic pattern early stage helps the use of rhythmologists. Each duration is assigned a specific syllabic name:

Half note - ta - a

Quarter note - ta

Eighth notes - ti - ti

Sixteenth notes - ti - ki - ta - ki

The system of rhythmic syllables helps to include duration with a dot or syncopation in the first year of study:

Ti ta ti ta - ti - ti ti - ti

The introduction of this system will be helped by the song "Clock", depicting the movement of large and small clocks, in a speech rhythmic two-voice. To do this, children need to be divided into two groups.

The listed forms of work can be supplemented with the following:

1) reading a rhythmic line by rhythmic syllables;

2) performance of a rhythmic pattern, looking into music text, synchronously with the use of a teacher;

3) free completion of the rhythmic phrase started by the teacher;

4) rhythmic score;

5) rhythmic canon;

6) free rhythmic improvisation;

7) playing in a children's percussion orchestra.

Come to recognize that in the traditional solfeggio course the role and importance of educating a sense of rhythm in musicians small and large is still underestimated. And in our lessons, we must not only help students master various rhythmic formulas, but also help to establish metric pulsation, coordination of various parts of the body.

In addition, the ultimate goal is to be able to reproduce a rhythmic line of varying degrees of complexity at any tempo. Build a rhythmically free dialogue with partners, find semantic options for performance.

And I would like to finish my work with the words of N.A. Rimsky-Korsakov: "... Rhythm is life ... without rhythm, the melody does not exist, but is empty sounds."

The article shows the forms of work on the development of a sense of metrorhythm in the solfeggio class, methodological tips are given for working with students in the study of metrorhythm. This article can provide practical assistance for theoretical teachers.

Rhythm in life and art is one of remarkable phenomena. Rhythm is one of the fundamental principles in nature, in the human body and, of course, in art. Rhythm belongs not only to music, but also to other types of art with which music is inextricably linked (poetry, dance). Music, as a temporary art, has some form of rhythmic organization. There is no music without rhythm. Rhythm holds together a sequence of sounds, intervals, chords, creates meaningful motifs, phrases, themes from them. Rhythm is the basis, the “skeleton” of a piece of music. “What a blessing to have a sense of rhythm. How important it is to take care of its development from an early age,” said K.S. Stanislavsky.

Building a sense of rhythm one of the most important tasks for students music pedagogy, and at the same time, one of the most difficult. What is the essence of these difficulties? In sound, duration is a weaker component than pitch. The pitch of a sound can be clearly fixed, and the duration of a sound lends itself to relative fixation. Often students in solfeggio lessons hear, realize and determine the pitch of the heard melody, but find it difficult to fix and reproduce the exact rhythmic pattern. Therefore, the development of a sense of the rhythm of the metro rhythm is necessary from the first steps. musical training children. The sense of musical rhythm is developed. Rhythm always reflects the emotional content of music, its figurative essence. And the more precisely, the brighter it will be shown by the student artistic content music, the more prerequisites are created for the upbringing and development of musical rhythmic feeling. The sense of rhythm is dynamic, motor in its essence. Rhythm is a motor and emotional category. Rhythmic experiences are always accompanied by one or another motor reaction. "Without bodily sensations of rhythm, musical rhythm cannot be brought up" (Jacques-Dalcroze). The development of rhythm, along with other methods related to the definition by ear, occurs through the auditory-visual-dynamic stereotype (Yu. Kozyrev), thanks to which the sound heard or seen is realized in the form of sounding gestures (claps, stomps, etc.) . The more students accumulate auditory impressions, the more active is the musical and rhythmic education.

The period of initial education of the sense of the metro rhythm plays a significant role. Without mastering the basics of rhythmic literacy, without mastering the necessary skills and abilities, students will experience constant difficulties in accurately reproducing the rhythmic pattern in solfegging musical numbers, recordings various kinds dictations, in the performance of music on any instrument.

What techniques and skills do we use in solfeggio lessons to develop the metrorhythm? From the very first lessons, we start working on the metro rhythm using games. To begin with, just listen to the surrounding sounds (heartbeat, ticking clock, car horn ...). We find out that many sounds in our life have a uniform repetition, knock, pulse. We reproduce with children a uniform sequence of sounds of the same length (for us, already durations). The skill of perceiving and reproducing the measured pulsation of even beats from the first steps develops a sense of the meter, and hence the tempo. Children are invited to move to the music and feel the movements characteristic of one or another heard musical fragment. We study strong and weak parts using examples of words consisting of 2, 3, 4 syllables. We invent words with children on different topics: words - names, sweet words, words-animals, words-berries (sli-va, ma-li-na, go-lu-bi-ka) ... We immediately learn to clock the strong and weak beats (in a two-lobed pulse on strong beat we lower the palm on the table, and on the weak share the wrist remains on the table, we lower only the fingers. In a three-lobed pulse, the fingers emphasize two weak lobes).

We begin mastering the durations with the quarter and eighth durations and immediately give the concept of rhythmic syllables TA and TI-TI. First, words, then phrases, then two lines, finally, four lines we translate into rhythmic syllables, we perform the work both orally and in writing. We learn children's songs, we beat, we clap the rhythm with words, with rhythmic syllables, we write down a rhythmic pattern.

At the initial stage, after getting acquainted with durations and rhythmic syllables, it is useful to pronounce, clap, sing, play learned tunes, songs, numbers for solfegging with the pronunciation of rhythmic syllables. Pronunciation and singing aloud rhythm with the help of rhythmic syllables gives students a clear understanding of the rhythmic pattern being learned, memorization of rhythmic formulas, and the correct performance of the heard or seen musical material. To consolidate the durations passed, we use in the lesson different types tasks: rhythmic games, for example, "Snake" (The first participant comes up with two measures of his rhythmic pattern, the next one repeats the second measure and adds his own measure, etc.), cards (we lay out the rhythm of the proposed rhyme, songs), we balance the baskets (we fix baskets on a magnetic board, one contains cards with durations, in the second we put cards with other rhythmic groupings, but so that the number of durations is the same as in the first basket), listen to the melody and correctly arrange the beats in a confused rhythm. We solve rhythmic examples:

Performing in class rhythmic canons, rhythmic scores for 2, 3 voices using their invented noise instruments. You can act out scenes, small theatrical performances with the use of percussion, noise instruments, with the use of instrumental accompaniment, phonogram, rhythmic recitation. An excellent exercise for fixing rhythmic patterns (from the methodology of T.A. Borovik). Each duration, rhythmic formula corresponds to a certain gesture, which is shown to the students to the music, the students clap the proposed rhythm with the pronunciation of rhythmic syllables. This task not only organizes students, concentrates their attention, develops memory, but also gives great scope for creativity, for a splash of children's imagination, motor function is activated, emotional intonation and rhythmic responsiveness of students to musical accompaniment develops.

We pay special attention recordings of rhythmic dictation. After the students have mastered the recording of words, expressions, poetic lines, we write a rhythmic dictation in the form of sentences, then in the form of a period. When listening to a melody, analyzing it, recording, memory, logical, structural thinking, recording skills actively work in children. We also precede the recording of melodic dictations with the analysis and recording (over the measures) of the rhythmic pattern. Almost all students cope with this form of work and perform it quickly and correctly. You can try to record the rhythm of the heard melody from a musical fragment in the texture. Accordingly, it is necessary to carefully select musical material in the homophonic-harmonic structure of the texture.

Students should be able to understand rhythmic groupings - determine the size, arrange bar lines.

Creative tasks also give a big impetus to the development of a sense of metro rhythm. It can be composing your own rhythm, composing a melody for a given rhythmic pattern, composing a melody for a poetic text, composing rhythmic scores, recording a rhythm for a suggested quatrain in different meters, composing a rhythm in a genre segment (polka, waltz, march, mazurka ... ). using characteristic rhythmic formulas. The ability to freely operate with fixed rhythmic patterns gives students a message to further musical creativity- composing and improvisation.

Mastering the passed rhythm goes on in such a form of work at the solfeggio lesson as piano playing. Mastering elementary functional revolutions, harmonic schemes, sequences, step series, modulations, playing accompaniment by letter symbols, selection musical accompaniment involves the use of different rhythms mastered by students in the learning process.

At solfeggio lessons, the teacher needs to show timing schemes and conductor gestures and achieve clarity in their execution. Students should feel and hear the beats clearly. A clear display of the meter, clock pulse organizes, focuses on listening to music, develops a sense of rhythm.

The teacher throughout the course of training in solfeggio must consistently, in an accessible, understandable form theoretical material about metro rhythm, confirm musical examples, use creativity not only to submit a new educational material, but also to reinforce topics. The use of information and computer technologies (ICT) provides great opportunities for the assimilation of educational material, including rhythm. Demo Material(tables, concepts), slide illustrations, video projects that can be gleaned from Internet resources or created independently, will not only give a figurative, memorable presentation of educational material, but also establish greater contact between the teacher and students, for a certain amount of time will convey a greater amount of verbal, visual and auditory information.

The main tasks of the teacher, who teaches one of the main subjects of the theoretical cycle, is to form in his students, in addition to theoretical and practical skills, to sensitively listen, feel, understand music different eras, genres, cultures, promote personal qualities and develop a culture creative activity.

List of methodological and educational literature

1. Davydova E. Methods of teaching solfeggio. M., Music, 1986.
2. Borovik T.A. Ti-ti TA and di-li DON: Game theory of music for children 4-6 years old, 2008.
3. Kozyrev Y. Solfeggio program for an improviser. M., 1994.
4. Teplov B. Psychology musical ability. M., Music, 1961.
5. Kholopova V. musical rhythm. M., Music, 1980.
6. Afonina N. Rhythm, meter, temp. S-P., 2001.
7. Serkovskaya Tutorial for class 1. Belgorod, 1996.

KGKP "School of Arts of Akimat of Shemonaikha District"

rhythm group

Development open lesson

solfeggio for 2nd grade

Gil Ekaterina Sergeevna

Music Theoretical Teacher

disciplines

Shemonaikha

2015-2016 academic year

Rhythmic group four sixteenths

Development of an open lesson

Gil Ekaterina Sergeevna

teacher of musical and theoretical disciplines

Item: solfeggio

Level of student learning: Grade 2

Methodological substantiation of the topic: Music is a kind of art not only sound, but also temporary. The organization of music in time is due to one of its most important aspects - rhythm. When listening to music, a person has an intuitive need to move and even breathe in a perceived rhythm. The impact of rhythm on the listener is very strong, and the emotional response to the rhythm is, as it were, the simplest, primary manifestation of musicality.

To teach the ability to feel the ratio of durations, the pulsation of shares is one of the main areas of work in solfeggio lessons from the very beginning. initial stage learning. Therefore, the development of a sense of meter and rhythm should go inseparably from work on intonation and hearing.

Solfeggio is a complex discipline. With the right and systematic approach to learning, skills are formed that allow the future musician to freely navigate in the field of musical and expressive means. Rhythm plays a key role here. developed sense rhythm significantly helps students in performing practice.

The topic for an open lesson within the framework of the regional competition "Pedagogical debut" - "Rhythmic group" was not chosen by me by chance. This is one of the key stages in the development of the rhythmic organization of music by students. In the second grade, children already have the skills to correlate the simplest durations. Acquaintance with sixteenths completes this stage. In addition, the topic corresponds to the calendar and thematic plans drawn up in accordance with state program Republic of Kazakhstan solfeggio course for children's music schools and children's art schools.

Since the lesson introduces a new topic and primary fixation acquired knowledge, there may be some mistakes on the part of students in the performance of the tasks provided. This is due to the natural working process. But once again it must be emphasized that only the comprehensive development of knowledge, skills and abilities contributes to the formation of a holistic musical personality.

The purpose of the lesson:

Tasks:

Explain new topic by referring to the ZUN of students and comparing with life characters.

Develop the skills of reproducing a new rhythm through motor, vocal-intonation and auditory exercises.

To carry out a communicative connection of students through work in pairs, in a group.

To consolidate the theoretical knowledge of students.

Development of figurative and creative thinking.

Type of lesson: combined, study and primary consolidation of new knowledge.

Lesson form: collective.

Didactic materials: Slide presentation, A. Varlamova, L. Semchenko Solfeggio textbook Grade 1; Zh. Metallidi, A. Pertsovskaya “We play, compose and sing” Solfeggio textbook Grade 2; L. Zhumanova " Rhythmic exercises» Tutorial on solfeggio; E. Koroleva "Music in fairy tales, poems and pictures", audio recording, cards with rhythmic syllables, cards with rhythmic groups.

Equipment: desks, board, noise instruments, laptop, projector, piano.

Technologies: Person-oriented, technology of collective creative activity, health-saving technologies.

Teaching methods: Cognitive, practical, audiovisual, verbal, visual, metasubject.

Competencies: educational and cognitive, communicative, intellectual and cognitive.

Learning principles:

links between theory and practice;

sequence, systematic;

accessibility with the necessary degree of difficulty;

visibility, variety of methods;

activity of trainees;

solid assimilation of ZUN in combination with the experience of creative activity.

Expected results:

Lesson outline

Lesson plan:

Organizing time.

Introduction by the teacher. Setting the goal of the lesson.

Chanting, vocal-intonation exercises.

Explanation of the new topic.

Physical moment.

rhythmic exercises. Rhythm syllables.

Rhythmic exercises, noise ensemble.

Reading from a sheet.

Rhythmic dictation.

Homework.

Summing up the lesson, grading, reflection.

During the classes:

Organizing time. Checking students in the journal, preparing supplies.

Introduction by the teacher.

Teacher: Hello dear girls, today our lesson will be somewhat unusual. Guests came to us, and I think we will be happy to show how we do solfeggio lessons, what we are learning and what we already know and can do. Do you agree?

Children: answer.

Teacher: Great! Today you definitely won’t be bored, because new knowledge and the most different tasks. And this wonderful sun will show the result of our work in the lesson. But, just look, it is not at all cheerful and does not look like the sun. In winter, it lost all its rays. And spring is coming soon and he can’t live without rays! What can we do to help the sun? And that's what! If you all together, together, cope with the tasks, then the sun will receive four rays at once for each of them, because there are four of you. And, if at the end of the lesson the sun has many new, bright rays, then it will shine and become cheerful. And we can confidently be proud of our work. Well, let's help the sun?

Children: answer.

But first you need to properly prepare for the tasks and, of course, first of all, sing. The chant is already familiar to us. These are our favorite exercises.

chant.

The chant “Here I go up, here I go down” works out the intonation in the direction of the melody movement using dynamic shades crescendo and diminuendo. The teacher performs an exercise on the piano, raising each next key by half a step. Children sing first all together, then one at a time.

Singing “I stand still, I step down; I stand still, I step up” is performed with a gradual acceleration of the tempo and active articulation of the words, which helps to warm up the singing apparatus.

Explanation of the new topic.

Teacher: But the first smiles appeared. Our sun seems to want to smile too, so we will glue the first rays to it.

I see that everyone is in a good mood, which means it's time to learn something new and add to what you already know. Today, girls, I want to introduce you to a new rhythm. It is written on the board and is called "Rhythmic Group Four Sixteenths". What are these notes and why exactly four, let's try to find out.

To play any melody, you need not only to know how the note sounds, but also how long it lasts. If all the notes sound the same, the music will become boring. So rhythm is very important. Rhythm is when short and long sounds alternate with each other. First one, then the other. The rhythm is recorded in durations, you already know them. Who can tell me what durations are?

Children: whole, half, quarter, eighth, sixteenth.

Teacher: Right. In our class, for this case, there is always a hint on which they are drawn.

To show that they are different from each other, the musicians came up with different ways to record them. Let's remember how. What is the longest note?

Children: whole.

Teacher: Indeed. A whole note lives the longest. Imagine that this is a great-grandmother in a family of durations. (Scheme on the screen) It is the largest and completely gray-haired, so we do not paint over it. How do we count a whole note?

Children: One and, two and, three and, four and.

Teacher: It’s hard for her to walk, her steps are slow, that’s why she rarely sounds. The daughters of great-grandmothers are grandmothers, these are her halves. They are called half. These notes are like whole notes, they are also white, but they go faster. Count one and two and. Or the familiar rhythm syllable Ta-a. Grandmothers have their own children - mothers and fathers. These are quarter notes because there are four of them. They need to work, so they sound often and go faster: one and, two and (with claps) or Ta-ta. Their little children are the eighth - girls with ponytails. They are funny and run around. We count them for each syllable: one-and-two-and or Ti-ti-ti-ti.

We have already made friends with all these durations. And today we will try to catch the fastest and nimble kids, which are called sixteenths. Because the whole note has sixteen great-grandchildren. They are very funny, with two tails and love to play and run fast. For convenience, we will call them in syllables: Ti-li-ti-li. Let's try to clap sixteenths with pronunciation of syllables?

Exercise.

These notes love to dance and sing cheerful songs, so the music with them becomes fast and interesting. Let's listen to the pieces with these lengths.

Performed by the piano teacher:

1. Latvian dance.

2. The song "Bug and the Cat" (from the Solfeggio textbook grade 1 by A.A. Varlamova and L.V. Semchenko, p. 87).

Teacher: Cheerful music?

Teacher: Now you know that sixteenth notes should be played quickly. And why, nevertheless, are four sixteenths written together on the board, and not two, not three, not five? Because the rhythm depends not only on the duration, but also on the size that is placed at the beginning of the melody. What sizes do you already know?

Children: 2/4, 3/4, 4/4.

Teacher: Good. The time signatures tell us how many parts the bars are made up of. For example: (diagram on the screen) in 2/4 time, two quarter notes, two parts or beats, how to cut an apple into pieces or beats. And you already know that a quarter note can be divided into two eighths or four sixteenths, but there should be two parts. Therefore, we connect the tails of the eighths and sixteenths. That's why we write four sixteenth notes together, because it's one beat. Not confused?

Children: answer.

Teacher: All this time you listened very carefully and answered questions. And the sun is a bit dull. Let's add four more rays to it and move on.

And while you were listening attentively, you are a little tired, so now we will a little warm-up. Since we are studying fast notes today, we will do the warm-up with acceleration.

physical moment

And it's cold outside, well, everyone took up their noses.

They tapped their knees and shook their heads.

They patted his shoulders and stomped a little.

They quickly bent in half, and finally stretched.

Rhythmic exercises, rhythmic syllables.

Teacher: We talked about notes for a long time. And notes don't like to be talked about. Notes must sound. After all, we are real musicians, so now we will perform music. And for starters, let's fix the rhythm that we just met. In front of you, girls, are cards with different rhythmic patterns. What rhythms have you already seen here?

Children: eighths, quarters, sixteenths, dotted quarters and eighths.

Teacher: First, we clap the first line, all together, then in turn (the second line is similar).

Performing an exercise.

Rhythmic exercises, noise ensemble.

Teacher: Great. Here's what I think: you did a great job with the rhythm and now you can even organize your rhythm quartet. Are you familiar with this word - a quartet?

Children: A quart represents the number four.

Teacher: There are also four of you in the group. There is a piece in the textbook where a rhythmic ensemble is needed.

Distribute noise instruments and perform Estonian dance (textbook "We play, compose and sing" Solfeggio Grade 2, A. Pertsovskaya, J. Metallidi, p.50).

Reading from a sheet.

Teacher: Well done. The rays are drawn towards the sun. The rhythm has been successfully mastered, it's time to learn how to sing sixteenth notes. At the very beginning of the lesson, we sang a chant, but did you know that sixteenth notes are used in this chant. Listen here: perform, analyze into rhythmic syllables.

And now, let's listen to how these durations sound easy and mobile in singing.

Listening to a piece of music. P.I. Chaikovsky. Chorus of peasants from the opera "Eugene Onegin". words on the screen.

Teacher: did you like it? What was the nature of this song?

Children: cheerful, perky, etc.

Teacher: You have already been an instrumental ensemble, and now let's turn into a choir and try to sing a short fragment of this song. Let's look at the melody and analyze it.

Melody analysis: tonality, size, duration.

Speak notes in chorus, mark repetitions. Perform first with notes, and then with words to the accompaniment of the teacher.

Teacher: What a good choir turned out, for it you can add four more rays to the sun.

Rhythmic dictation.

Teacher: And we have the last and most favorite task is a rhythmic dictation. If we can handle it, our sun will finally shine.

Each student is given a set of cards with note values, including rhythm group. The task for 8 plays (possibly less) is to lay out the cards according to their order.

Homework.

Teacher: Now you have added the rhythm that I played for you, and your homework will be to come up with your own rhythm using sixteenth notes. It will be necessary to write it down in a notebook and slap it in the next lesson.

While you are recording homework in the diary, I will stick the rays that you earned while writing the dictation.

Summing up the lesson, grading, reflection.

Teacher: Well, our so rich and rich has come to an end. difficult lesson, where we not only learned about the new rhythm, but also learned how to perform and hear it. What did you like or dislike about the lesson? What do you remember?

Children: answer.

Teacher: Look how many rays our sun has. You did a very good job today, and now it has no right to be sad. And with the advent of spring, it will only become brighter.

Well, I want to say that a lot has worked out for you today because you worked not only each separately, but also all together, together, as a team. Like an ensemble, like a choir, like a united rhythm. Thank you for your work.