Methods of teaching playing folk instruments. Methods of teaching children's musical instruments Thematic course plan

In the theory and practice of music education, there are several approaches to teaching children preschool age playing instruments.

There are several known ways of learning to play melodic musical instruments: by notes, by color and digital designations, by ear.

Teaching children to play from notes is very labor-intensive, although it is sometimes used in practice. Not all preschoolers master musical notation unless constant individual work is carried out.

It is important that children understand the connection between the location of notes on the staff and their sound in the melody, eliminating the mechanical reproduction of musical notes.

The color system, widespread abroad, is convenient for children to quickly master playing instruments. A specific color designation (colored keys, metallophone plates) is assigned to each sound. The child has a record of the melody in color designation: colored circles or a color image of notes are used, with and without rhythmic designation. It is very easy to play using this system, but with this method of playing (I see a green note symbol - I press the green key), the ear does not participate in reproducing the melody, the child plays mechanically.

In a similar way, children are taught to play according to the numbers pasted near each plate of the metallophone, and to write down the melody in digital notation. Duration designation can also be modeled (long and short sticks, etc.)

Digital system proposed in the 30s. N.A. Metlov, at that time, may have been justified, but later it began to be used less frequently, since it leads to mechanical reproduction of the melody.

Both methods of teaching children (using color and number symbols) make it possible to easily and quickly obtain the desired result, but do not have a developmental effect - the share of mechanical reproduction of the melody in these methods is too large.

The greatest developmental effect of learning is achieved only by playing by ear. This method requires constant hearing development and serious auditory training.

Starting from a young age, it is important to encourage children to listen to the sounds of a melody, compare them, and distinguish them by pitch. To accumulate auditory experience and develop children’s auditory attention, they are used teaching aids, simulating the movement of the melody up, down, in place. This is a musical ladder, moving from flower to flower (notes), butterfly, etc. At the same time, the sounds of the melody are sung, corresponding in height to the simulated ratios of sounds.

You can also show with your hand the movement of the sounds of a melody while simultaneously playing it (with your voice or on an instrument).

The method of teaching children to play musical instruments by ear is based on a gradual expansion of the range of songs performed. First, the child plays a melody based on one sound. Before playing the melody, he listens to it performed by the music director, who first sings it, drawing attention to the fact that the sounds of the melody do not differ in pitch, then plays the metallophone and sings at the same time. Singing chants allows children to better imagine the direction of movement of the melody and develops musical and auditory perceptions.

Children are taught the techniques of sound production: hold the hammer correctly (it should lie freely on the index finger, it is only slightly held with the thumb), direct the blow to the middle of the metallophone plate, do not hold the hammer on the plate, but quickly remove it (like a bouncing ball). When long notes are played. The hammer should bounce higher, short notes should bounce lower. When a child plays a melody on one sound, he must accurately reproduce the rhythmic pattern. To do this, when singing a melody with words, you can focus on the rhythm of the poems. To understand the relationship between the durations of melody sounds, they are modeled using long and short sticks or notations accepted in musical notation (quarter notes, eighth notes).

Thus, learning to play musical instruments includes three stages: in the first, children listen and memorize melodies, sing them, get acquainted with playing techniques, in the second, they select songs, in the third, they perform them at will.

The method of teaching children's instruments depends on:

• o - the instrument belongs to a certain classification group and subgroup;
• o - the principle of sound production;
• o - the age of the performer and the tasks assigned to him;
• o - the level of physical, musical, emotional development of the performer;
• o - availability of conditions (material, temporary, organizational) for learning to play the instrument.

The methodology for learning to play any musical instrument should include the following steps:

• 1. Acquaintance with the instrument - history of creation, design features, performance capabilities;
• 2. Staging of the performing apparatus - body, arms, etc.;
• 3. Mastering the basic techniques of sound production;
• 4. Development of performing skills - work on artistic, expressive, emotional, musically literate and technically perfect performance of a musical work;
• 5. Work on a piece of music.

Methods of learning to play percussion instruments

Percussion instruments are especially attractive to young musicians. Power play training percussion instruments orchestra (ruble, ratchet, clapper, etc.) does not require a long time and special training, while the development of appropriate playing skills allows you to later without much difficulty master more complex percussion instruments, playing techniques, as well as musical instruments of another group of the orchestra.

In the process of becoming familiar with the percussion instrument, children:

• · Learn about the history of its creation;
• · Study design features, performance (including technical) capabilities;
• · Identify characteristics that determine the specifics of a particular instrument;
• · Establish membership in a subgroup based on the sound-forming element:
  • - instrument body - noise;
  • - membrane, membrane - membranous;
  • - plate - lamellar;
  • - the presence of several sound-like elements - combined type;
• Learn how sound is produced:
• - from hitting fingers, palms, sticks, hammers, beaters, instruments (of the same and different names) or parts of instruments against each other;
• - as a result of shaking;
• - friction (slip);
• - other sound production techniques, including mixed ones;
• · Know the properties of sound (indefinite or definite pitch, timbre characteristics, dynamic capabilities, etc.);
• · Acquire knowledge about the peculiarities of using percussion instruments (creating an ostinatic rhythmic background, sound-visual effects, sound imitations; playing solo, in an ensemble, emphasizing dynamic shades, etc.)

The process of learning to play should begin with a special propaedeutic warm-up of the hands without an instrument. This will allow you to prepare the playing apparatus for the game, form and reflect the muscle sensations necessary for the game, and develop hand coordination. At the initial stage, it is recommended to study instruments without a certain pitch (from the subgroup of noise and membranous instruments).

Thus, having analyzed the methods of teaching children's musical instruments, we can conclude that the greatest developmental effect is achieved when playing by ear.

Lesson plan:

1) Organizational moment

2) Warm up. Exercises aimed at freedom of the musculoskeletal system.

3)Working with musical material (using health-saving technology).

4) Problem situation based on educational material.

5) Consolidation of the material covered - expressive means in music (use of gaming technology).

6) Lesson summary.

7)Homework.

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Management of the education system of the Lukhovitsky municipal district administration

MBOU DOD "Krasnopoimovskaya rural children's music school"

Open lesson on specialty

(Department of folk instruments)

On topic: “The main stages of initial learning to play the guitar”

Teacher: Romanova O.N.

P. Krasnaya Poyma 2012

Lesson type : combined (consolidation of knowledge, complex application of knowledge).

Lesson includes:

Organizational and content setting

Testing the student's depth of understanding and strength of knowledge

Interaction between the teacher and the child based on the message - the acquisition of new knowledge, skills, abilities

Consolidation of learned material and exercises

Diagnostics of the strength of knowledge acquisition

Homework instructions

Lesson type: traditional

Purpose of the lesson : consolidation of the concept of means musical expressiveness based on exercises, didactic games and studied works.

Teaching methods:

1) Perspective: verbal transmission and auditory perception. The teacher communicates ready-made information using demonstrations. The student comprehends and remembers.

2) Reproductive: students remembering the information communicated by the teacher. Promotes the formation of knowledge, skills and abilities through a system of exercises.

3) Practical: musical didactic games, repeated actions in order to improve the skill and develop an ear for music.

Methodical techniques:

Verbal, visual, practical

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

Development of thinking, creative initiative

Techniques of control and self-control: when performing, listen to the sound being reproduced; correctly perform the melody and convey the rhythmic pattern.

Psychological conditions in the lesson:

Mobilizing attention cognitive activity, optimal pace of the lesson, flexibility, the ability to compositionally rearrange the lesson taking into account the current situation, psychological microclimate in the lesson.

Lesson objectives:

In a form that is interesting for the child, to consolidate the concept of expressive means in music and their influence on the emotional and figurative tone of the work, to expand the student’s creative capabilities in the process of learning to play the instrument.

1) Educational: consolidate the learned theoretical knowledge (strokes, scale, tempo, timbre, rhythm, melody), continue the formation of practical skills, work with dynamic shades, performance of a piece at a given tempo).

2) Developmental: hearing development, coordination of movements, imaginative musical thinking, creative activity through various types of activities.

3) Educators: cultivate a love of music, educate aesthetic taste, cultivate perseverance, hard work, concentration.

Learning Tools:

Instrument (guitar), chair, footrest, remote control, sheet music, drawing, musical puzzles.

Application of educational technologies:

1.Health-saving:

The muscles of the fingers develop, which has a positive effect on memory. Music classes teach you how to use your work day more rationally, it will be more organized.

Rational organization of the lesson: dynamic pause, inclusion of game moments, exercises.

Alternation of various types of educational activities (playing scales, exercises is replaced by analysis of musical material, repetition of learned pieces and listening to music).

In the lesson, psychological comfort, the style of communication between the teacher and the student, a charge of positive emotions, and the manifestation of goodwill are important.

2. Technology of student-centered learning:

Recognition of the student as the main active figure in the entire educational process is personality-oriented pedagogy. This technology is based on the recognition of the individuality and originality of each person, his development, first of all, as an individual endowed with his own unique subjective experience. The lesson creates conditions for the student’s self-realization, the development of individual cognitive abilities, and creative imagination.

Exercises “Walking fingers”, “Hocus pocus”.

This task encourages the student to independently choose ways to solve a given problem; reveals the student’s subjective experience; evaluates not only the result, but mainly the learning process; stimulates self-development and self-expression in the course of acquiring knowledge.

3. Technology of problem-based learning:

This technology involves consistent and purposeful presentation of educational problems to the student. The student engages in active mental activity, expresses his own opinion and actively absorbs knowledge.

4.Motivation formation technology or gaming technology:

Technology implies the organization of gaming activities aimed at searching, processing and assimilating educational information. It is good to use it during the initial training period. Including gaming moments in the educational process increases the student’s interest in practicing the instrument and activates it creative activity. The teacher creates a so-called “success situation” during the lesson. The feeling of success increases motivation to learn, maintains interest and enthusiasm for playing the instrument, and evokes positive emotions.

Lesson plan:

1) Organizational moment

2) Warm up. Exercises aimed at freedom of the musculoskeletal system.

3)Working with musical material (using health-saving technology).

4) Problem situation based on educational material.

5) Consolidation of the material covered - expressive means in music (use of gaming technology).

6) Lesson summary.

7)Homework.

Lesson progress:

1) Organizational moment. Greeting, sitting down at the instrument, setting up for active creative work.

2) Warm up. Exercises "Walking fingers", aimed at freeing the fingers of the right hand. (We monitor the quality of sound production and the freedom of the fingers of the right hand).

Exercise "Hocus Pocus"(tapping out the rhythmic pattern of the poem):

Focus - bite, trawl - get lost,

A mouse rides on a dump truck.

What are you doing, this is a mouse?

Are you looking down on us?

Shoo, shoo, shoo.

P P P P

1 1 2 2 1 1 3 3

P P P P

1 1 4 4 1 1 3 3

P P P |

1 1 2 2 1 1 3

P P P |

1 1 4 4 1 1 2

Consolidating non legato skills in learning scales F major . Performance based on the first sound, working with dynamics.

Repetition of scales in C major and D major at a moving tempo, using dynamic shades and various rhythmic patterns (use of durations - quarter notes and eighth notes).

L. Panayotov Etude (A minor).

3)Working with musical materialusing health-saving technology. The student performs previously learned pieces.

N. Ponyaev “Autumn”(listening, working on the image, working on the dynamics), using a visual aid (drawing).

Ukrainian folk song “A Cossack rode across the Danube” (work on difficult places).

Phys. warm-up:

Exercise for the eyes - move your eyes right, left, up, down, close them, open them.

Exercise “Centipede” - clasp your hands in a ring (the right hand is at the top), alternately step the fingers of both hands along the surface of your hands, pronouncing the text: “Two centipedes ran along the path. We ran and ran and caught up with each other.”

4) Problem situation based on educational material

Arranged by V. Kalinin Russian folk song “Like a Meadow”

(parsing the musical text, viewing individual parts - theme and accompaniment, playing the theme with the words of the song, combining 2 parts).

5) Consolidation of the material covered(notes of the first and second octave, expressive means in music) using gaming technology (drawings, puzzles).

6) Lesson summary:

The means of musical expression most directly influence the character of a musical work, its image. The simultaneous development of hearing, a sense of rhythm, the ability to read musical notation, and play expressively increases the effectiveness of mastering each skill separately and provides a holistic, systematic approach to learning. Actively experiencing a piece of music helps to perceive music and has a positive effect on the creative process. By igniting a spark of interest in learning about the fascinating world of music, we cultivate in the student a love of art and shape his artistic and aesthetic taste.

7) Homework, grading.

Teaching Techniques

Different groups of instruments require mastering playing techniques of varying degrees of difficulty. Therefore, participants in the orchestra should be given differentiated tasks, taking into account their individual capabilities.
In the methodology of learning to play instruments, it is important to establish the sequence of performing various musical tasks. There are still no long and strong pedagogical traditions on this issue. As with any performance, it is necessary to use the correct playing techniques when learning the pieces. Continuity in collective and individual work: in general classes and in independent music playing, on festive performances and entertainment.
Expressive performance of a piece (on various instruments) by a teacher, demonstration of techniques, methods of sound production and explanation - well-tested, traditional methods - can still be supplemented by others. Children are asked to “examine” the instruments themselves, and simple tasks are placed in front of them. creative tasks and encourage self-learning independent studies. When training takes place in a combination of these methods, you can count on pedagogical success.
In practice, they often begin to learn to play many instruments at the same time, although each instrument requires different performance techniques, or they learn the entire piece at once. At the same time, some children have to wait while others study. This tires the guys and scatters their attention.
Obviously, something else can be considered appropriate. Having familiarized the children in general lessons with, say, the appearance of the zither, with the basic techniques of playing it, having learned 2-3 chants over the course of several lessons, the instrument is then passed on to the group. There, during games, the children, on their own initiative, continue
to get acquainted with the instrument, the teacher helps them. Meanwhile, in general classes, acquaintance with another instrument is underway. Moreover, sometimes the most capable children are asked to examine the instrument, find ways to play it, and then the teacher makes his own corrections.
Gradually, children are introduced to instruments that have diatonic or chromatic scales: metallophones, triols, accordions, zithers. The percussion group requires less time to become familiar with it: two or three instruments can be brought into the lesson at once, for example, a drum, a tambourine and castanets, since children play only the rhythm on them.
Let us consider the features of the teaching methodology from the point of view of the following tasks: mastering the technical techniques of the game; sequences of tasks for mastering the game of individual instruments; learning some pieces.

Technique

Playing techniques depend on the design of each instrument. First of all, you need to establish the correct starting position and location of the instrument in relation to the child.
Metallophones and zithers are best placed on small stands located at the level of the players’ knees. If there are no stands, the tools can be placed on your lap. Wind instruments(before the start of the game) are also placed on the knees. The drum and tambourine are held at waist level, and the triangle is hung on a stand, or the child holds it in his left hand.
It is very important to teach correct sound production techniques. When playing on metallophone The hammer should be held so that it rests on the index finger, and the thumb holds it on top. The blow should fall in the middle of the plate and, most importantly, be light. The brush should be free. If the child holds the hammer clenched in his fist, strikes loudly, and holds it on the record, the sound will be “dirty” and unpleasant.
When playing on zither The mediator should be held between the thumb and forefinger. The sound is produced with a light, elastic movement along the string. At the same time, we must strive not to touch unnecessary strings.
Castanets They sound very loud, so they are taken in the right Hand and lightly hit with the “petals” on the palm of the left. The sound is somewhat muffled, and the rhythmic pattern is clearly audible.
Plates children hold the straps and hit one against the other in a sliding motion. To make the sound stop immediately, the cymbals are placed on the knees. Sometimes you can hit the plates (by hanging them) with a stick, the end of which is covered with several layers of soft material or cotton wool.
When playing on triangle you need to hit the stick in the middle of its horizontal part. The sound should be light and elastic.

and if it continues for a long time, you should press the triangle with your hand - the sound will stop immediately.
Tambourine makes sounds of a different nature depending on whether its membrane is struck with fingers, the soft part of the palm, or one thumb. If you also change the location of the impact—closer to the wooden frame (where the resonance is stronger), towards the middle, hitting the frame itself, or, finally, alternating these impacts, then you can achieve an interesting timbre comparison of sounds.
Play on triplet And Melodies-26 follows the same techniques. The child blows into the hole of the tube, expending his breath evenly. At the same time he presses the desired key. The triola keys are colored, each with its own color and name. First keys - D, F#, G and then the scale G major. Therefore, on a triplet you can play melodies in G major and partially in other keys, but in a limited range.
The instrument, called Melody-26, is built on a chromatic scale (two octaves), and practically any melody within two octaves can be performed on it.
When a child feels differences in sound quality, when he himself begins to navigate various playing techniques, he will develop auditory control and the ability to correct inaccuracies in his performance.

Sequence of tasks

At the beginning of training, the teacher’s methodological techniques are naturally aimed at arousing the child’s interest in a new type of activity.
In the nature of the sound of each musical instrument one can find an analogy with some natural phenomenon - the voices of birds, animals, human speech. The teacher, for example, draws the children’s attention to the fact that the birds sing high, loudly, tenderly, and this can be depicted on a zither.

The metallophone conveys well the sounds of falling raindrops: at first they fall rarely, then they ring more often, more often - the rain intensifies.

The sound of the triola is drawn-out, as if someone is screaming in the forest, calling.

And the flute or Melody-26 tells all the guys - get ready for a hike.

On the drum, the sticks beat out a fraction, as if thunder is thundering (the teacher makes alternating quick strikes with two sticks).
The point of such techniques is to familiarize children with the expressive capabilities of each instrument.
At this initial stage, it is also useful to prepare children for coordinated joint actions and to develop the sense of ensemble that is so important for playing in an orchestra. For this purpose, unique rhythmic “orchestras” are used. Children clap their hands, stamp their feet, tap wooden chopsticks, bars, plastic boxes - empty or filled with pebbles, peas, etc. And here the methods of sound production can be different. So, if you hit your palms against each other with bent fingers, the sound will be loud and dull; if you strike with “flat” palms, as if hitting “cymbals,” then the sound is clear and sonorous.
You can hit the fingers of one hand on the palm of the other, and the sound differs significantly depending on whether the fingers are held outstretched or loose and bent. Foot stomps are also different: with the entire foot, with one toe or heel, alternately with the toe and then with the heel. The so-called “slaps” are used with palms or fingertips on your thighs.
Wooden, plastic, and metal objects also make it possible to produce sounds of various types. Children with interest
listen to them while performing rhythmic tasks, master the skills of joint or alternate actions. Children are given, for example, the following exercises:

Musical echo

Children are divided into two subgroups.
1st line. The teacher knocks with chopsticks.
2nd line. The first subgroup of children taps their toes.
3rd line. The second subgroup of children taps their fingers on the palm of the other hand.


Such exercises can vary in terms of rhythm and different ways of clapping, stamping, slapping, etc.
The movement of a train is well imitated, for example, by alternating blows with the foot, now with the toe, now with the heel, or with the hands, now with the fingers, now with a dull clap. The tempo can arbitrarily speed up or slow down, and the sound intensify or fade.

1st line. Heel kick.

2nd line. Kick with the toe of the foot.

It is useful to introduce children to the perception and expressive performance of rhythmic recitative intonations of the voice. At first, you can show their expressiveness in simple rhythmic sentences, speech intonations, and recitative. As you know, recitative is close to melodious recitation. It contains intonation rises and falls that are natural for conversational speech, accents and pauses are clearly audible.
It is advisable to draw children’s attention to the fact that in various play and life situations You can use rhythmic sentences and musical speech intonations.
Let us give examples of various techniques that consistently lead children to expressive performance.
The teacher invites the children to guess who she called - Tanya or Andryusha. Children should recognize this from a rhythmic pattern performed by an adult in clapping or on a metallophone:

Children will find out what the girl was named - Tanya or Tanechka:

After this, the guys can name each other independently. Having come up with a certain rhythm, they lay out the cards on a flannelgraph, using them from the appendix to the “Musical ABC Book”. Wide cards represent quarters, narrow cards represent eighths:

They can perform the same rhythmic pattern on a metallophone, triode or percussion instruments.
From performing a rhythmic pattern, children move on to recitative. They are invited to call each other, but in different ways: affectionately, angrily, questioningly, invitingly. Children come up with expressive intonations that approach melodic speech. These are not yet vocal intonations with their precise pitch and melodious sound. They are pronounced in a patois. Either raising or lowering the intonation, the guys simultaneously look for similar ones that sound on musical instruments, thus composing short melodies.
Further training proceeds in the following sequence: first one masters playing one instrument, then another, etc. At the same time, the volume of performance skills increases: first, rhythmic patterns; then melodies built on narrow intervals; later melodies, including significant sections of the scale and wider intervals.
When learning the melody of simple plays, songs, chants, children must cope with two difficulties: reproduce the rhythmic pattern and melodic line. First, when mastering the techniques of correct sound production, the teacher offers the children an easier task - reproducing the rhythm, learning the techniques of correct sound production, the initial pieces of the “Musical Primer”. Their artistic advantage is that the rhythmic jokes are given with piano accompaniment, and this makes them more expressive.
After the teacher performs it, the children easily learn the song and sing, clapping the rhythm. It’s good to use cards from the “Note Lotto” application (“Musical ABC Book”).

Cards are laid out on flannelgraph:

Children are asked to count the sixth plate (from the beginning) on ​​a metallophone - “this is the note la", and then play a rhythmic pattern - the song “Blue Sky”. The teacher accompanies on the piano. The secondary performance is accompanied by collective singing. The task has been mastered, and the children will be able to reproduce the song on their own.

The sky is blue
Music by E. Tilicheeva

[Calmly]

In the following music classes, an individual survey is carried out: children perform this song on different sounds (records). They call them notes (their location on records is familiar to children): “Play the note mi, on a note to" etc. In this case, you need
but remember that children are able to sing and accompany themselves on a metallophone only a well-learned song, since the sound of a metallophone is higher and does not correspond to the vocal capabilities of a preschooler. It is easy for a child to get lost, since the same note on a metallophone sounds in a different octave (higher).

Having learned several rhythmic chants, you can move on to the following tasks - first learn chants consisting of close intervals, and then of wider ones. The learning method remains the same. It should be remembered that poetic text facilitates memorization and allows children to use learned works in independent studies. It is also important to consistently make tasks more difficult. Easiest to play seconds, their sounds are located nearby. Therefore, after exercises on one sound, it is advisable to play songs built on this interval (for example, the Russian folk song “Soroka-Soroka”, “Accordion” by E. Tilicheeva, etc.).

Forty-forty
Russian folk song

Harmonic
Music by E. Tilicheeva
[IN medium tempo, rhythmic]

Mastering more complex performing techniques gradually makes it possible to complicate the repertoire. In the chants, progressive moves appear within small scales, and the intervals expand. Piano accompaniment, presented vividly and expressively, is of increasing interest to children. It is important that children listen to the means of musical expression and feel the mood of the music. Each work of art is original and unique in its own way, and the methods for mastering it must be different.
Children's musical perception is activated if, after listening to a piece for the first time, they are asked, for example, the following questions: “Which instruments are best to perform this piece on?”; “In which part of the piece should you play other instruments and which ones?” Children usually choose instruments more easily if the piece is clear enough in character, has a clear musical form, and is built on parts that are contrasting in character. Of course, children cannot orchestrate a play. But it is important to use an interesting technique in which they try to compose and make their “decision” - which instrument should sound in this or that part of the piece. With a skillful, tactful approach, their proposals can be influenced in a timely manner and their responses can be directed.

Methodology for learning individual works

The more complex the piece, the more developed the piano accompaniment of the song, the more leisurely the learning process should be. Let's look at two examples: “Rain” and “Our Orchestra”.
The first song is “Rain”. Russian folk song arranged by T. Popatenko is built on a motif of two sounds lying side by side (big second). This motif is repeated many times with a slight rhythmic variation - first the song begins with a strong beat of the bar (“Rain, rain more!”), and then with an upbeat (“We’ll give you thick”). The general character of the piano treatment is mobile, clear, and light. The texture is transparent - there are many pauses, the main stroke is staccato. There is an introduction and a conclusion. In the introduction, a simplified motive of the song sounds, and the conclusion, as it were, “draws” raindrops.
The transparent nature of the song should not lose its charm when instrumented. In the introduction one can hear a sort of roll call of two registers. In conclusion, triangles sound. They reproduce the character of “droplets” very well, especially since the melody of the conclusion cannot be conveyed by the sounds of children’s metallophones and zithers. In this piece, it is desirable to use a small number of instruments, distinguished by a light, ringing, abrupt sound.
The sequence of lessons for learning this song can be outlined as follows.

Lesson 1. Children listen to this song, already familiar to them, performed by an adult. Attention is drawn to the light, transparent sound of the piano part. The children remember the song and sing it. The teacher suggests thinking about which instruments would best suit its sound.
Lesson 2. After the song is performed, a discussion begins on how to instrument it. Attention is drawn to the nature of the introduction, conclusion and some differences between the second phrase and the first. Children's proposals are discussed and practically tested. If one or the other version of the instrumentation turns out to be good, then it can be performed in its entirety during this lesson.
Lesson 3. If you are learning the version proposed by the teacher (let’s assume children’s versions are not accepted), then you can first perform only the melody of the song (on a metallophone, zither), and for now perform the introduction and conclusion on the piano. Pay attention to the timely entry of the zither
Lesson 4. The whole song is learned - first without singing, then some of the children play, others sing, and finally everyone plays and sings.

Another song, “Our Orchestra” by E. Tilicheeva (lyrics by Yu. Ostrovsky), is much more difficult for ensemble performance. The melody is more varied, its range is already within septims, Moreover, there are leaps, successive moves go up and down. The rhythm also has difficulties: there are notes with a dot. All this requires children to have certain skills. With piano accompaniment and melody musical characteristics sound various groups tools. It is enough to recall the bars where the words “Drums, drums, drum, drum” are heard, in which a clear rhythm is given, as if imitating a drum. Next, a higher register appears. Thus, the instrumentation is suggested by the composer and poet. But in order for children to be able to participate in the choice of instruments themselves, obviously, they first need to perform a song without text that suggests a decision.
Therefore, the following sequence of classes is advisable:

Lesson 1. The teacher performs the piano part without singing. Children are offered musical riddles - individual phrases are played, which to some extent characterize the sound of various instruments. They guess and name which instruments are suitable for a particular phrase. Then the teacher performs the song a second time, but already sings and plays. This way, children will know if they named the instruments correctly.
Lesson 2. Learning the vocal part of a song. Children learn a melody. Then they sing it in parts: future performers sing the first phrase on triplets, the second on drums, etc. While singing, the guys imitate the movements of playing one or another instrument.
Lesson 3. Learning more complex parts: triol (1st four-bar) and metallophones with zithers (3rd four-bar). First, all the children play, then they choose those who will perform these parts, show them these parts, explain which note to start with, and offer to play. Then all the children play imaginary drums, and some children play real instruments.
Lesson 4. The practice of triol and metallophone parts continues. First, the last phrase is learned with the metallophones on which the melody is played, and then the strike group- drums. The drum pattern is repeated. At the end of the lesson, the entire score is performed for the first time, but without singing.
Lesson 5. The performance of each part is repeated separately. All fulfilled

Rain
Arranged by T. Popatenko
[Not very soon]

score, but at the same time some children sing, others play. The timely entry of each group of instruments is controlled and dynamic shades are specified.
In further classes, the entire play is repeated and the acquired skills are consolidated.

Often in pedagogical practice the following technique is encountered: children perform a melody on their instruments, and an adult plays the melody and accompaniment on the piano. To diversify the sound, you can do it differently. For example, the entire piece is performed by the teacher on the piano, and the children play a melody on the metallophone, and, as it were, an accompaniment, that is, sounds corresponding to the first (I) and fifth (V) or the first (I), fourth (IV) and fifth ( V) degrees of mode.
Here, for example, are three versions of the Ukrainian folk melody “Oh, bursting the hoop”, arranged by T. Popatenko. In the first case, metallophones duplicate the melody, in the second - a bass voice, in the third they play without piano accompaniment.
Another work is “Squirrel,” an excerpt from N. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan.” This passage conveys the image of a fairy-tale squirrel. To characterize the image, the composer used the melody of the famous Russian folk song“Whether in the garden or in the vegetable garden.” The melody of the song is cheerful, playful, dance-like in nature, but performed at a moderate tempo. When orchestrating a piece, it is necessary to select musical instruments with a light, ringing and abrupt sound. This can be a metallophone and a triangle.

When learning a piece, you can suggest the following sequence of lessons.
Lesson 1. Children listen to a play performed by an adult. Attention is drawn to the bright sound of the melody, its playful, dance-like character. You can read an excerpt from A. S. Pushkin’s work “The Tale of Tsar Saltan.” After the teacher performs the piece again, the children are asked to think about which instruments are best to use for playing in an orchestra due to the nature of the music. Children's proposals are discussed. One of the options is selected. The teacher plays a melody on a metallophone.
Lesson 2. The teacher performs the melody of the play without piano accompaniment. Children clap the rhythmic pattern of the melody. Then the triangle part is learned. Some perform a rhythmic pattern on triangles, others clap. Then the children's actions change. Before learning the metallophone part, the teacher first performs the melody himself, which is then learned in parts (1st four-beat, then 2nd four-beat).
Lesson 3. The practice of the metallophone part continues. Children perform the first part of the play (1st and 2nd four-bars) and the entire score is performed. When it is performed again, triangles are attached to the metallophones.
Lesson 4. Each part is performed separately without accompaniment and with accompaniment. Then the entire score is performed. Children's attention is drawn to the clear execution of the rhythmic pattern.
Lesson 5. Each part is performed separately with accompaniment, then the entire score is performed. Children's attention is drawn to the expressiveness of the performance. When performing again, children can change instruments.

Our orchestra
Words by Yu. Ostrovsky Music by E. Tilicheeva

[Slowly. Solemnly]

Squirrel (excerpt)
From the opera “The Tale of Tsar Saltan”
Music by N. Rimsky-Korsakov
[Moderately]

Learning to play musical instruments cannot be limited to just learning the repertoire. It is important that these activities are creative.
Exercises that ask you to reproduce (by ear) a familiar melody, play a rhythmic song at different pitches (transposing), or find a new way of playing an instrument certainly develop children’s independence and auditory understanding. But it is also important to create the prerequisites for the children’s own creative expressions. Give the opportunity to choose instruments for performing a particular piece, encourage them to improvise.

Techniques for developing musical creativity

Children's musical creativity begins with an “examination” of the sound capabilities of instruments. This is very valuable, but children are often helpless in their search. The teacher guides this search, inviting the children to play how cuckoos and birds sing, how it rains, how thunder rumbles, etc. But you can also use an interesting technique of collective creativity on metallophones and xylophones. If you tape the notes F And si(IV and VII stages) or remove the records of these sounds so that the children do not play them, then they can improvise everything at the same time. Children play five sounds (do, re, mi, salt, la). The result is very interesting harmonic combinations, constantly and unexpectedly changing, but always very melodic. At the same time, children can play in any rhythm, but sometimes they are offered a given rhythm, for example, a quarter note and two eighth notes. The significance of this technique lies not only in the development of harmonic hearing. Children begin to improvise themselves, making their first attempts at creating “their own compositions.”
It should be especially emphasized that the methodology for teaching playing instruments in kindergartens should be more organized and consistent than is the case in practice. The success of this training depends on the consistency of all forms music lessons children. In classes they gain a certain amount of knowledge and skills and accumulate a repertoire.
Children willingly and with great pleasure use the songs and plays they have learned in their games and perform them at holidays and entertainment. Introducing children to new instruments and performing them interesting tasks the choice of instruments for performing certain plays and songs, the acquired ability to evaluate (by ear) the quality of one’s performance, to improvise, the opportunity to participate in various ensembles - all this makes playing instruments interesting for children and valuable for their overall musical development.
Taking care of the development of children's creative manifestations, the teacher offers them a variety of tasks, for example, to evaluate the performance of a familiar melody, or improvisation by a friend, or their own performance on any musical instrument; choose from among those offered a musical instrument on which you can depict the singing of birds, the rustling of leaves, the howling of the wind, etc.; select musical instruments suitable in timbre on which you can perform this or that piece or song; convey on a drum or tambourine the rhythm of a march composed by the child himself; try to compose a dance tune, etc.
The role of the music director and educator is quite obvious. They must not only master the methods of leading classes, but also be able to freely play children's musical instruments, know the structure and techniques of playing them.
Playing instruments is an interesting and useful musical activity for children. Musical toys and instruments allow you to decorate a child’s life, entertain him and inspire his own creativity. In the process of learning to play instruments, auditory perceptions, a sense of rhythm, timbre, and dynamics are well formed. The child’s actions develop independence, attention and organization.
The whole range of techniques for introducing children to entertaining and complex musical performance prepares them well for future studies at school.

QUESTIONS AND TASKS

1. What is the importance of musical toys and instruments in the life of preschool children?
2. Describe the types of children's instruments.
3. Tell us about the features of children's musical toys and instruments.
4. At what age is it recommended to learn to play musical instruments? List the learning objectives.
5. What musical repertoire is appropriate to use in learning to play instruments.
6. What is the methodology for teaching preschoolers to play children's musical instruments?
7. Using the example of a piece of music, make a summary of the lessons during which the teacher teaches children to play the metallophone.
8. List the forms of learning to play children's instruments.

9. Reveal the techniques for developing children's musical creativity in the process of mastering playing instruments.

LITERATURE

Model education and training program in kindergarten/ Ed. R.A. Kurbatova, N.N. Poddyakova. - M., 1984.
Education and training program c. kindergarten.—M., 1987. Education and training in kindergarten / Ed. A. V. Zaporozhets, T. A. Markova - M., 1976.-P. 308-341.
Vetlugina N. A. Musical education in kindergarten.—M., 1981.
Vetlugina N. A. Musical and playful creativity in children 5-7 years old. Song creativity of children 5-7 years old // Artistic creativity in kindergarten.— M., 1974.— P. 107—120.
Dzerzhinskaya I. L. Musical education younger preschoolers.— M., 1985.
Kabalevsky D. B. How to teach children about music? - M., 1982.
Kvitnitskaya E. N. The development of musical hearing is a condition for the formation of song creativity // Artistic creativity in kindergarten. - M., 1974. - P. 20-28.
Lukyanova M. B. Children's creativity in dancing // Artistic creativity in kindergarten. - M., 1974. - P. 29-32.
Music and movement / Comp. S. I. Bekina, T. P. Lomova, E. N. Sokovnina. - M., 1981, 1983, 1984.
Teach children to sing / Comp. T. M. Orlova, S. I. Bekina. - M., 1986, 1987, 1988.
Aesthetic education in kindergarten / Ed. N. A. Vetlugina.—M., 1985.

Collections of musical and literary repertoire

Vetlugina N. A. Children's Orke - M., 1976.
Vetlugina N. A. Musical primer. - M., 1972, 1985.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, L. N. Komissarova. - M., 1985, 1986, 1987.
Music in kindergarten / Comp. N. A. Vetlugina, I. L. Dzerzhinskaya, T. P. Lomova. - M., 1975-1980. - Issue. 1—5; .1980—1981.—Vol. 1-4.
Bucket sun / Comp. M. A. Medvedeva.— M., 1984.

Methods of music education in kindergarten: “Preschool. education”/ N.A. Vetlugina, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. N.A. Vetlugina. - 3rd ed., rev. and additional - M.: Education, 1989. - 270 p.: notes.

Math lesson notes:

Teacher of wind instruments.

MBOU DOD DSHI Berkakit village

Gryzhuk Yulia Valerievna

2018

Outline

Item: wind instrument class

Class: 2

Type of lesson: individual

Lesson topic : “Comprehensive methodology for teaching playing wind instruments in primary school»

Educational system used (methodology, technology)

- The teacher creates conditions for the spiritual growth of the individual, his need for self-improvement;

- A prerequisite for training is the creation of prerequisites for the transition from education to self-education;

- Way joint activities in the system: teacher - student; student - student; student - parent; teacher - parent (closed circuit).

– The teacher develops creative activity in the child. It is important to determine the abilities, orientation, potential of each student, his life and professional orientations and direct his development. The teacher also uses active forms and methods of teaching and upbringing, an activity-based approach to learning, movement and development based on personal experience to comprehend and accumulate new experience and knowledge.

Health-saving technology;

Gaming technology;

Personally-oriented technology with a differentiated approach;- developmental training;

Artistic.

Methodological materials:

Gotsdiner G. Musical psychology - M., 1987.

Skok G. How to analyze your own teaching activities - M., 2000.

Kirnarskaya D. Musical abilities. - “Talents-XXI century”.

Berger N. Modern concept and methods of teaching music - S.-P., 2004. Ginzburg L. About working on a piece of music - M. 1977.

Kryukova V. Musical pedagogy. Rostov on Don 2002.

Mühlberg K. Theoretical foundations of learning to play woodwind instruments. Kyiv, 1985.

Platonov P. Questions of methods of teaching playing wind instruments. - M., 1978.

Rozanov V. Fundamentals of teaching methods and playing wind instruments. - M., 1988.

Kryuchkov A. Basics of performing performing breathing when playing wind musical instruments for primary and secondary students special education. M., 1985

Technical training aids (if used in the lesson)

List of audio, video recordings, visual aids, etc. used in the lesson.

Lesson equipment :

lesson plan;

two saxophones (one for the teacher);

piano;

music stand;

sheet music;

didactic material (cards with tasks, children's drawings).

Lesson Objectives :

Educational :

Formation of basic skills when mastering the saxophone:

1. confident closing of the valves with the fingers of both hands, flexibility of the fingers

for some fingerings;

2.learning the correct “free” positioning of the labial apparatus

(embouchure);

3. correct use of performing breathing when playing;

Educational:

Development of independent and creative work from the first lessons

music;

Development of hearing, memory, rhythm, musical thinking;

Development of basic skills when mastering the saxophone.

Development of a general outlook, development of will and control of one’s behavior.

Educational:

Education of aesthetic taste.

- fostering perseverance and hard work.

Lesson objectives:

training a sensitive, educated musician - an orchestral and chamber performer, as well as a soloist, who has a good command of the means of expression characteristic of his instrument and is able to reveal the content of musical works to listeners;

learn to listen and hear yourself during the performance process.

Methods and techniques for implementing the assigned tasks:

Observation;

Hearing;

Practical;

Visual;

Expected result :

- consolidation of initial skills in playing the saxophone in combination with

improving the physical and psychological state of the body.

- learn to play an instrument fluently

Master the main tasks in game technology.

Gain experience in analytical work when performing etudes, scales,

exercises and plays

Main part of the lesson:

“Comprehensive methodology for teaching playing wind instruments in primary school.”

1.Introduction: introduction to the instrument

The saxophone is a relatively young instrument, the inventor of which was the talented Belgian musician Adolphe Sax (1814-1894). After much searching and experimentation, he managed to make the first copy of an unusual musical instrument, which received the name of its inventor. This happened around 1840. Sax was the first to perform in concert in front of an audience, demonstrating with his playing all the advantages of the saxophone.

Subsequently, Sax developed his constructive idea, which led him to the creation of a whole family of saxophones. He made the first family for use in an opera and symphony orchestra, and the second - as part of a brass band. Moreover, each type of saxophone received its name in accordance with the accepted names singing voices: sopranino, soprano, alto, tenor, baritone and bass. Saxophones of the first group did not stand the test of time and gave way to instruments of the second family. These are the instruments that saxophonists play today on the concert stage, in orchestras, and ensembles.

The first to experience the beauty of the timbre of the saxophone, primarily as a member of an opera and symphony orchestra, were outstanding French composers XIX century G. Berlioz, A. Thomas, J. Bizet, J. Massenet, JI. Delibes, C. Saint-Saens, V. d'Indy and others. It was they who anticipated the future of the saxophone and the prospect of its participation in various academic forms and genres of musical art. Especially many wonderful works for the saxophone were created in the 20th century. Music was written for him by A. Glazunov, C. Debussy, F. Schmitt, J. Ibert, P. Hindemith, P. Creston, E. Vila-Lobos, A. Jolivet, G. Dubois, E. Bozza, E. Denisov, A. Eshpai and others. In addition to solo and orchestral performance, the ensemble form of playing the saxophone has become widespread. In addition to works specially written for the saxophone, the performers' repertoire includes many arrangements and transcriptions of classical music, which also reveal the natural capabilities of the instrument.

Saxophonists have achieved great achievements in the field of jazz music, where the instrument has occupied a leading position for a long time.

The saxophone belongs to the group of woodwind instruments and has a complex structure. It consists of three main parts: a mouthpiece withreed, lead pipe and body with developed system valve-lever mechanism. The end of the instrument tube has the shape of a bell turned upward.

An important part of the saxophone ismouthpiece, Representing in its appearance a hollow beak-shaped cylinder. It is made of rubber, ebonite, plexiglass or a special metal alloy. The mouthpiece greatly influences the sound of the instrument, or rather the color of the sound. The mouthpiece is easily attached to and removed from the lead tube

2. Rational setting.

In order to successfully master the technique of playing the saxophone, especially at the initial stage of lessons, the future musician first of all needs to clearly understand the basic rules of staging and then implement them in the process of individual work.

The concept of “staging” means a set of rules for the rational position and interaction of all components of the musician’s performing apparatus (breathing, lips, fingers, hands, etc.). Rational staging helps the saxophonist achieve high-quality playing results with minimal effort and time, and avoid unnecessary, additional muscle tension. The task of correct setting is to facilitate the effective, disciplined organization of lessons on the instrument, in which the choice of techniques, methods and tempo of work should be made taking into account the level and duration of the musician’s training, as well as his individual abilities.

A rational formulation includes the following elements:

1. General setting – convenient way holding the saxophone in your hands, the correct position of the body, head, arms, fingers and toes.

2. Staging performing breathing - methods of voluntary control of breathing and rules for changing inhalation during the game.

3. Placement of the embouchure - the most appropriate location of the mouthpiece on the lips, the shape and nature of the action of the embouchure and lower jaw.

4. Articulation – position of the tongue, shape of the oral cavity.

5. Fingering – placement of fingers on the instrument, organization of precise, coordinated, stable-reflex, free and economical actions of the finger apparatus.

The most important prerequisite for developing the skills of a saxophonist’s performing technique is compliance with the requirements that ensure the overall performance of the game. They boil down to the following points.

The saxophonist should keep his body and head straight and straight, without any deviations to the sides or bending forward or backward. The playing posture should be natural, relaxed, regardless of whether the saxophonist plays the instrument while standing or sitting. In this case, the chest must be slightly raised and the shoulders turned. This will give the respiratory muscles greater freedom to work.

Good support on your feet helps maintain proper body posture when playing while standing. To do this, it is better to spread them the width of your feet, turn your toes, and move your left leg forward a little. When playing while sitting, it is recommended to sit upright, halfway down the chair, without leaning on its back. It is strictly forbidden to cross your legs while doing this. The alto saxophone is placed in the hands diagonally across the body, resting its lower bend of the tube on the player’s right thigh. A special strap with a snap hook allows you to adapt to a stable position of the saxophone, which makes it possible to set the required height of the instrument’s suspension.

A comfortable fit around the lips of the mouthpiece with a reed can be adjusted by turning the mouthpiece on the mouthpiece tube without changing the position of the head.

The general position of the saxophonist is characterized by the right elbow moving slightly back, away from the body. The fingers are placed on the main (mother-of-pearl) keys, at a distance of approximately one centimeter from their surface. They should be (with the exception of the thumbs) in a rounded, relaxed state, and in the area of ​​​​the bend of the first and second phalanges they should approach a vertical position. Touching the keys and levers is carried out with the pads of the fingers without increased pressure, with some advance in the attack of the sound. When pressed index fingers Small movements of the hands should be connected to the side flaps. The correct positioning of the fingers is facilitated by the natural state of the wrists, which together with the hands form a straight line. When the fingers of the left hand touch the side valves, some bending of the wrist occurs.

Breathing technique .

In the process of consistent development of individual saxophone playing technique, the staging of professional, that is, performing, breathing is of particular importance.

Professional breathing of a saxophonist is a specific breathing: in addition to the physiological function (continuous gas exchange), it performs the function of timely supply of air to the instrument. This breathing is based on the saxophonist’s ability to voluntarily control the phases of inhalation and exhalation. Both phases of breathing are interconnected and occur under their own special conditions: fast, short inhalation and long, uniform exhalation. The main difficulty of the performing breathing technique lies in coordinating the two respiratory phases. The saxophonist's skillful use of the natural flexibility of the respiratory muscles and the use of a rational type of breathing help to overcome this difficulty.

When playing the saxophone, inhalation is made quickly and silently through the corners of the mouth and partly through the nose. When inhaling, the saxophonist should not take in too much air to avoid unnecessary tension. respiratory muscles. It is also necessary to ensure that your shoulders do not rise when inhaling. The inhalation speed should correspond to the time allotted for changing breathing: the shorter the pause, the faster the inhalation is made, and vice versa

There are two types of breathing - diaphragmatic and thoraco-abdominal.

Diaphragmatic breathing is characterized by active movement of the diaphragm and lower ribs. It is usually used when playing short musical formations or in cases where the saxophonist has little time to breathe. And vice versa - when there is enough time allotted for reproducing inhalation, then they resort to a deep type of breathing - chest-abdominal, which allows you to perform long musical phrases without forced overexertion.

The development of breathing technique can be carried out in two ways: without an instrument and in the process of playing it.

The first method is auxiliary. It is based on the saxophonist performing various sets of general physical and special breathing exercises that favorably contribute to the overall vitality of the body and strengthen the respiratory apparatus. Breathing exercises are especially useful for a beginning saxophonist, as they enable him to quickly acquire the skill of conscious control over the frequency and depth of inhalation, the ratio of the duration of inhalation and exhalation, and the degree of tension in the respiratory support zone.

The second way in which breathing technique is developed is the main one. It is characterized by the systematic playing of continuous sounds in various dynamic shades, as well as the performance of music of a slow nature and, of course, various types of exercises.

Also inflating notes withf on pand back. Playing long notes in octaves.

3. Sound production. Formation of the embouchure.

When playing the saxophone, the most subtle and complex actions are performed by lips that are formed and trained in a certain way. The combination of the labial and facial muscles involved in sound production and their characteristic position around the mouthpiece with a cane form a special physiological complex - an embouchure (fromFrench the words bouche - mouth and emboucher - to put to the mouth. To correctly position the embouchure, the following conditions must be met:

1.breathe deeply without raising your shoulders.

2. Slightly tuck the lower lip over the lower teeth.

3. Place the upper teeth tightly on the mouthpiece in the center, close the jaws.

4. keep your lips in a half smile.

5. place your tongue under the cane and silently blow air, at the same time moving your tongue deep and down, without inflating your cheeks.

6.stretch the sound, ensure evenness of intonation.

The first sound is made on the mouthpiece and only when the intonation becomes stable, lessons on the instrument begin. As a rule, exercises to develop breathing technique are suitable for training the labial apparatus. Also at the initial stage of training, the elasticity of the labial muscles is trained on simple sketches:

As the motor skills of the embouchure are consolidated, strength and endurance appear in the lips, you can complicate the training exercises and move on to mastering the extreme registers of the instrument.

The placement of the embouchure is inseparable from the auditory pre-hearing of the quality of the sound being extracted. Muscle memory and hearing interact simultaneously, thus providing the necessary timbre, dynamics and intonation for the saxophone sound in various registers. The embouchure coordinates its work with other departments of the saxophonist’s performing apparatus, uniting with them into a complex chain of sound formation.

A saxophonist needs to constantly monitor the condition of his lips, protect them from various injuries and chapping. If the lower lip is cut by teeth, then you can use dental overlays made of paper, cotton wool, elastic bands, or order a special overlay from dental prosthetists.

Sound attack.

When playing the saxophone, the beginning of sound production is carried out in various ways associated with the simultaneous movement of the tongue and the exhaled air stream. This initial moment of sound production is called the sound attack. The saxophonist should attach special importance to the attack, since it characterizes the individual performing manner of pronouncing the sound.

The attack of sound is ensured by the active work of a whole group of muscles of the tongue, which, when contracted, change the configuration of the tongue: making it flat or thick, relaxed or dense.

Before the sound is produced, the tongue is in a forward position, touching inside muscle "cushion" of the lower lip, and top part– canes.

intonation stability and tone quality.

Consolidation of this initial performing skill can be carried out on the basis of work on a special exercise, for example:

4.Game technique.

Of great importance for the individual adaptation of a saxophonist to his instrument is the development of a variety of constantly interacting movements of the fingers of both hands, which provide the necessary contact with the valve-lever mechanism of the saxophone.

The saxophonist's finger technique presupposes the ability to play quickly, clearly, coordinated and free from unnecessary stress. This quality is acquired in a certain sequence (from simple to complex) and subject to long and thoughtful training. The work of the fingers is coordinated with the gaming functioning of breathing, embouchure, articulatory apparatus and hearing.

The formation of gaming skills of the finger apparatus has the following general patterns:

1. At the initial stage of working on finger motor skills, a motor skill is formed progressively, based on a repeating cycle of exercises, that is, consolidation of a reflex stereotype of movements.

2. At the subsequent stage of technical work, stabilization of the motor skill occurs, the movement of the fingers acquires a variable character: when the intonation, dynamic and timbre conditions of the game change, they can perform actions with various fingering combinations, and when extraneous external stimuli arise, the fingers act steadily without fingering violations or disruptions.

3. Depending on the game situations, certain memorized fingering movements, no matter how well automated they are, can be performed either unconsciously or consciously.

4. Reflex consolidation of skills is best acquired when working on technical material at a slow pace, through repeated repetitions, the number of which should be optimal and individual for each saxophonist.

5. During the transition from the initial stage of automation of movements to further improvement of finger fluency, the consolidation of a motor skill slows down somewhat, while the growth of performing technique occurs spasmodically - with rises and delays.

In the process of working on finger technique, the saxophonist develops specific muscle-motor sensitivity, which allows him to accurately coordinate the motor actions of his fingers in spatial, temporal and fingering terms. It is necessary to develop finger technique using the following exercises:
When playing various exercises, scales and etudes, the main task for a beginning saxophonist is to freely position the playing apparatus (hands, fingers, embouchure, breathing).

5.Analysis of the lesson result:

The main goals and objectives of the lesson were to teach the child how to play the instrument correctly. The child learned the initial principles of setting up the entire apparatus as a whole: this includes how to hold the instrument correctly, how it is necessary to hold the head and body, how the labial apparatus and fingers should work. Also, the child knows in what sequence he will study, what exercises to develop certain types of technique he will use during the lessons. The skills acquired in the initial lesson must be developed and maintained throughout the entire process of studying at a music school.

Verification forms homework student:

The following is asked for the house:

1. Playing long sounds in direct sequence - 10 min. Playing the scale discussed in the lesson.

2.Independent analysis of the sketch.

3.Work on the work, completing the tasks assigned in the lesson.

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Transcript

1 Plan outline of the Open lesson of teacher Galina Vyacheslavovna Gorobtsova in piano class. The lesson was conducted with a 3rd grade student of the general aesthetic department, Georgy Gorobtsov. A variable-adapted program for the subject “Special Piano” was used. All sections that are used in the lesson help solve the main problems. Topic of the lesson: “Development of skills in reading notes from a sheet.” Purpose of the lesson: Development of musical horizons, activation of thinking, hearing, coordination when reading notes from a sheet. Objectives: educational - student mastery of theoretical knowledge and practical skills; developmental Type of lesson: - mastering musical notation; - development of coordination; - development of a musical eye; - development of rhythmic skills; - metrhythmic organization of performance; - acquisition of auditory control skills. Lesson on consolidating and systematizing knowledge and skills. Teaching methods and technologies: - visual; - verbal; - practical; - emotionally cognitive; - generalization methods; - gaming technologies; - health - saving technologies. Lesson equipment: - musical instrument; - sheet music; - teaching aids; - didactic material.

2 Lesson plan I. Organizational stage. a) greeting, psychological mood of the student; b) communicating the topic of the lesson and its objectives. II. Main part. 1. Mastering the musical alphabet 2. Exercises to develop coordination 3. Mastering musical notation 4. Rhythmic exercises 5. Development of the skill of “look-hear” forward 6. Formation of the skill of quickly memorizing text “photographing” 7. Ensemble music playing III. Final part Summing up (evaluating the effectiveness of the lesson). Homework. Lesson progress II. The main part of the formation of skills in reading music from a sheet is associated with the consistent solution of a whole complex of practical and pedagogical problems. With regular practice of sight reading, the student’s musical horizons expand, an ear for music and thinking develop, the task of organizing the pianistic apparatus becomes easier, quick orientation on the keyboard is developed, complex motor skills are developed, and a basis for accompanist practice and playing in an ensemble is formed. Where does the development of sight reading skills begin? From getting to know the musical alphabet. I use three circles of the musical alphabet in my work: - the first circle is seven note sequences, arranged in order, where each of the seven notes can be the first. We pronounce the first circle of the musical alphabet from the given sounds. -the second circle of the musical alphabet is the “thirds” sequence, where each note can also be the first. We pronounce the second circle of the musical alphabet from the given sounds. - Today we will get acquainted with the third circle of the musical alphabet - “fourth” sequences. Question to the student: tell me what a “quart” is? Answer: A quart is an interval four steps wide. - Now you will play and name the notes, stepping through this interval from the key “C” of the first octave until you get to “C” of the fourth octave. And then, go back in reverse order, continuing to name each key played. The student plays and pronounces the third circle of the musical alphabet. - I have a card on which all the options for the third circle are written, at home you will continue to study it using it. Actions related to motor skills are the most elementary part of developing the skills of reading notes from a sheet. The formation of such orientation, the development of a visual representation of the piano keyboard, begins in the process of studying scales and exercises. We learn the scale using a non legato technique in one octave, and then we play with different strokes without looking at our hands. It is best to choose a scale using black keys such as: D, A, E, B major, and later minor ones: C, G, D. It is the black keys that will serve as a reliable guide for fingers that are deprived of vision support.

3 The student is invited to play any of the named scales with non legato and staccato strokes. At the same time, we try to concentrate all his attention on sound and articulation. From the very first lessons, we begin to master musical notation with the study of two clefs at the same time, and we number each line in both the treble and bass clefs with the numbers 1,2,3,4 and 5. The additional line of the note “C” of the first octave received the number zero. Contrary to tradition, bass clef lines are counted from top to bottom. - Find and play the key that is written on the fourth line in the treble clef; on the first line in the bass clef; zero ruler with the right hand, between the fifth and fourth in the bass clef with the left hand at the same time. - Now play the F key of the second octave and tell me on which ruler it is written; key of the small octave and name its location on the staff. Playing notes presents new difficulties for a child. It is advisable to reduce the range of problems to a minimum. Playing at the initial stage with one finger allows you to concentrate on the correct production of sound; the pieces should not be complex, the child should play while looking at the notes. - Now you and I will play the “Pathfinder” exercise (from teaching aid“Into music with joy” by O. Getalova and I. Vizna.) And if in previous lessons you “followed the trail” either in the treble or bass clef, then today we will take exercises using two clefs at the same time. Question: On what note will you start the game? Answer: from note C. - Your task is to look at the notes, determine where and how the melody is moving: spasmodically, in a stepwise movement up or down. It is known that children develop metrhythmic skills much faster and easier than pitch skills, which is why some teachers do not pay enough attention to metrhythmic education. In order to make it easy for students to navigate the rhythm and not create rhythmic difficulties when reading notes from a sheet, it is advisable to use special rhythmic exercises, isolating and separately working out the relationships of various rhythmic figures. At the initial stage of training, two rhythmic figures are sufficient (a half and two quarters, or a quarter and two eighths). Question: if I walk in quarters and you walk in eighths, how many times faster should you move? Answer: twice. - Let’s walk in eighths, and I’ll walk in quarters. - Now let’s switch, I’m in eighths, and you’re in quarters. Question: in the last lesson, you and I sang the song “Our Kitten” with words. What durations are found here?

4 Answer: quarter and half. -Have you noticed that the words help you feel the rhythmic pattern of this chant? Tap the rhythm, pronouncing rhythmic syllables. - Now let’s look at the Russian folk song “Loaf”. Question: What is the size of the song? Answer: 4/4 Question: look carefully at the first bar, what can you say about it? Answer: it has two beats instead of four, which means it is an upbeat. Question: do you remember what a tap is?

5 Answer: There was once a beat in the play, It was the very first beat, But a misfortune happened to it. It was torn into two parts. The beginning of this beat stood behind the entire play. And the end of the same measure climbed into the beginning and became an out-beat. That's why now the counting is done in reverse. - I will play the accompaniment, and you clap the rhythm of the melody: It is advisable to start directly reading works from the sheet at the beginning of training with a simplified task of reading the melody (playing with claps, voice, etc.). It is also possible to use special exercises: The teacher plays the piece, and the student recites the notes out loud:

6 The teacher begins to play the phrase, the student continues it, calling out the notes out loud, but maintaining continuity of movement. Thus, the ability to carefully follow the notes and “look and hear” is developed. Among the exercises that develop the skill of accelerated text perception, so-called photography plays an important role. The student is shown a piece of text (motive, phrase, sentence), which he must remember, mentally imagine in sound and play. At the moment of performance, the student reads and remembers the next fragment. First fragment: Second fragment: It is very useful to use ensemble forms of music playing at all stages of learning. Such a game introduces the student to relatively complex sounds that are inaccessible to him in solo performance, disciplines the will, trains attention, and helps to feel the metro-rhythmic movement of music. - Now you and I will sight-read an ensemble called “Toy Bear.” Try to look ahead, listen carefully to the second part, and follow the rhythmic development of the piece.

7 III. Final part Formation of the skill of quickly parsing and reading musical text is closely related to the general musical and pianistic development of the child. The best results in the skill of reading notes from a sheet are achieved when this skill is formed from the first steps of a pianist’s training. Experience shows that even weak students, systematically playing from sight, move forward much faster and more confidently. They develop an interest in playing an instrument. The teacher must use all available opportunities to instill in his students a love of sight reading and independent music playing. Question: What did you learn in today's lesson? Answer: the third circle of the musical alphabet, we got acquainted with new songs. Homework is to repeat the first, second and learn the third circle of the musical alphabet, play scales and sight read. Evaluation of the work done by the student: has the goal of the lesson been achieved (mastering sight reading skills?) Have you better understood how to work at home?

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