Natalia Vyacheslavovna Pylaeva, teacher of history and theory of music, Rylsk Children's School of Arts.
Open solfeggio lesson on the topic: Consolidating chords from sound and in key with students
4th grade piano department.
Topic: “Preparation for the final test. Consolidation
covered material - chords from sound and tonality.”
Purpose of the lesson: to summarize students’ knowledge on the topic “Chords” using
all types of exercises (vocal - intonation, rhythmic, auditory, creative).
Tasks:
1) Educational: consolidation of the broad topic “Chords from sound
and in key" through various types of exercises.
2) Educational: prepare students for more active,
conscious writing test work later
lesson.
3) Developmental: development of logical thinking and skills
navigate through the material covered with exercises
test-logical orientation.
During the classes:
I) Organizational moment.
II) Chant. Used as a chant
material constructed as homework, plus
fret tuning.
Work in the key of E-dur:
a) three types of scales;
b) singing a sequence of steps:
I-III-V-IV-VI-V-IV-II-III-I;
I-VI-V-VI-II -III-II -V-IV-VII-I
c) singing T3/5, S3/5, D3/5 with appeals.
The first student begins to sing T3/5, everyone sings the remaining chords
one after another. Work is underway on the internal
hearing, concentration and intonation.
III) Topic: “Finding chords from sound and tonality”
1) Fixing chords from sound.
a) theoretical survey using tests - cards:
B3/5 consists of: b3+b3;
b3+m3;
m3+b3.
Connect the chords with their correct composition: Ув3/5 m3+ m3
B6/4 h4+ m3
M6 b3+ b3
B3/5 b3+ h4
Um3/5 h4+ b3
M6/4 b3+m3
D7 is built on: 2 stages;
7 steps;
5 steps;
4 steps.
b) Exercise based on ex. from Kalinina's workbook, 4
class, page 20,№ 9.
Place the necessary sharps and flats in the chord “blanks”:
Option 1:
Option 2:
Option 3:
From each option, one student comes to the board and decides, the rest
can help if he has doubts. Then all the students sing their
options.
c) Construct the listed chords from the indicated sounds up and down:
each student comes to the board and comments on the formation, pointing
chord composition.
d) build a chain of chords from the specified sound, taking into account the given
direction and taking the last sound of the previous chord as
first next. The task is at the board, students come out one by one
alone.
Sing together a constructed task.
2) Reinforcing the topic “Chords in Key”.
a) Kalinina, 4th grade, p. 23, exercise 6
Write in the melodies the sounds that form the indicated chords:
Clap the rhythmic patterns of all melodies.
b) Construct a chord progression in E major:
Learn the sequence in three voices.
IV) Auditory dictation in writing (intervals, chords, scales):
a) 1) h5;
2) melodic minor;
3) B6/4;
4) natural major;
5)m7;
6) UV3/5.
b) chord sequences (playing in E-major. At once
record the bass, sign the chords from the second.
1. T6-S3/5-T6/4-S6-D7-T3/5-S6/4-T3/5
2. T3/5-D6-T3/5-T6-S3/5-S6-K6/4-D3/5-D7-T3/5
V) Sight reading. G. Friedkin “Sight reading in the classroom”
solfeggio",№ 250, p. 49.
Provide an analysis of tonal plan, size, phrasing;
Determine the sounds of which chords the melody is based on;
Clap the rhythmic pattern with the name of the notes;
Sing a number with conducting,
Choose an accompaniment
Transpose to d minor, sing with conducting.
VI) Oral dictation with analysis. E-dur. J. Metallidi, A. Pertsovskaya
"Dictations"№ 185, p. 33(t.1-4).
1. Analysis, determination of which sounds of which chords are used in the dictation.
2. Singing dictation with notes.
3. Complete the dictation, the second sentence in writing.
VII) Homework.
1. Compose a second version of the ending of the dictation, select
accompaniment.
2. № 250, p.49 transpose to h-moll
Bibliography:
1. Kalinina “Workbook” 4th grade.
2. Metallidi Zh., Pertsovskaya A. “Musical dictations”, Leningrad, “Music”, 1982.
3. Fridkin.G. "Sight reading in solfeggio lessons."
Guseva A.V.
New about the old:
harmony in solfeggio lessons in music school
- Play the dominant seventh chord from the G sound.
The student played.
- What key does it belong to?
- So it’s from the sound!
From an overheard dialogue between a teacher and a student
For many decades now, a tradition has been preserved in our country - from the first to the seventh grade, the basics are studied in solfeggio lessons classical music. At the next stage of music learning - at school - almost the same thing happens. But is it possible to say that eleven (!) years of communication with the academic discipline of solfeggio lead to positive results, namely, students sing the learned numbers purely, sing from sight, hear all the classical elements studied during this period, write one-voice and two-voice dictations (we leave it without for now critical assessment established forms of work in solfeggio and, moreover, the ultimate goals of this academic discipline)? Unfortunately, we have to state the opposite: the more the theoretical platform of a subject designed to educate and develop is aggravated ear for music, especially in primary school music school, the more modest the results of the final exam in in this case. Question related to emotional attitude to solfeggio, with the formation of a sincere interest in music through the hours spent in solfeggio lessons, it is better to omit.
But it’s already XX I century! And we are separated from the classical era, one might say, by a period of three centuries. Is it really true that during this time the methodology necessary for the speedy and successful development of the basics of the classical system has not developed? As soon as possible, because we still need to have time to get acquainted (at least a little) with some elements musical speech, characteristic of the previous century - the twentieth century!
In response, you can hear objections from teachers: “What are the innovations of the 20th century? We should master the basics of the classics.” But children who specialize in playing something from the music of the 20th century, for example, plays by Bartok, Prokofiev, Slonimsky, Metallidi. This means that at least some innovations of the previous century should be reflected in solfeggio. If we take into account that pianists and string players do not have a subject called solfeggio at the university, and when entering the conservatory they show knowledge of only classical elements, then it is worth recognizing that auditory work on mastering the features musical language XX century curriculum not currently envisaged.
A modern student, by the way, not only plays something from Bartok, Siegmeister, Prokofiev and someone else of our time during lessons in his specialty, but also calls mobile phone, has been actively playing since the age of six computer games, on vacation he goes to Egypt, Finland or Switzerland. And in solfeggio music notebooks from a music school graduate you can find the following tasks: build a dominant seventh chord from the sound B flat down, resolve the tritone by all available means, determine by ear tonic, dominant, and sometimes subdominant chords that are in splendid isolation by themselves , i.e., belonging to different keys and, of course, without reference to any musical text. On the part of the teacher, genuine indignation can be caused, for example, by the student’s ignorance of the key signs of F sharp minor. At the same time, the standard solfeggio admission requirements for admission to a music school, despite the numerous tests included in this exam, do not include a single task that reveals the applicant’s musical responsiveness, as well as his practical skills in the field of music.
The critical state of modern music education behind last years It is increasingly becoming the subject of scientific discussions and scientific and methodological conferences. The pressing problems of music education received a kind of concentration in a collection of articles, very symptomatic in its title, “How to teach solfeggio in the twentieth century.” I century", published in 2006. The editor-compiler of this collection, M. Karaseva, notes that “the question of survivability musical theoretical disciplines (including solfeggio) at any level national education is more acute today than ever." E. Derunets points to the reason for the crisis state of affairs in the educational process: “The isolation of musical theoretical disciplines from the immediate needs of performing practice leads to the fact that the knowledge acquired by students turns out to be fragile, and a significant part of it soon disappears from memory.” E. Lerner comes to the conclusion about the need to use radical measures: “the project new program in theoretical subjects can be developed only under one condition - a revision of the concept of the entire system of music education."
Focusing on building the foundations musical thinking in line with the subject of solfeggio, V. Sereda practically indicates the direction in which one should look for ways to “revise the concept” of this academic discipline. The author of the article builds his methodology for teaching solfeggio on the basis of the integrity and systematic nature of the musical language. The chosen methodological position determines V. Sereda’s sharply negative attitude towards the common form of teaching solfeggio lessons, where elements of the musical language flourish in maximum isolation from each other: “Students study in solfeggio lessons not melody, harmony, mode and texture, but sounds, intervals, chords and scales, divorced from the living and always changing context in which they exist in music. works<…>An ear for music is manifested not in the ability to distinguish the pitch of sounds and recognize isolated harmonies of different colors, but in a person’s ability to perceive and evaluate the semantic relationships of the elements of muses. language. Its basis is intonation - the pairing of sounds, consonances, voices of the musical fabric, as well as any of its temporary units - beats, motives and phrases."
Looking for new ones methodological guidelines, consonant with our time, it is worth first thinking about why, in fact, the subject of solfeggio fell under the rubric of theoretical disciplines. Somehow in a private conversation choral conductor V. Chernushenkov was indignant about this: “how can solfeggio be called a theoretical subject, this is the most practical discipline!” It is worth adding to this that such subjects as harmony, polyphony, analysis should be considered disciplines that have the most applied nature. But the history of music is a theory, the content of which is to understand the logic of the course historical events. In this light, it would be nice for every teacher teaching one or another “theoretical” discipline to answer the question - what set of practical skills necessary for performing or listening to music does his student possess upon completing his studies in this discipline. At the same time, it must be remembered that only one that is inspired by the lively interest of the one who demonstrates it should be considered a practical skill related to the field of music. Is it possible to consider the so-called “sight singing” or even simply singing a pre-learned melody with acquired practical skill, if it is always (!) reproduced in all solfeggio groups in the same monotonous voice, equally at a certain average tempo, not related to the given melody, with errors in intonation reading, since its genre characteristics remain undisclosed due to an incorrect understanding of the metric system and, finally, never acting as an analogue of singing a melody on a particular instrument and, moreover, not personifying singing as such, as a type of musical activity?
So what to do with the music that was just composed (some 50 - 100 years ago!)? Will it ever get into the solfeggio program of a music school, or will the student be doomed to study only the techniques of classical tonality for a long time? By the way, there are still many wonderful artistic phenomena in the preclassic period, in different national cultures. Or is our main task to look for new methodological ways to resuscitate solfeggio, remaining within the framework of the system in which in one breath you need to play “sol - si - re - fa - mi - do - do - do”?
The paradox of the current state of affairs is that if we approach the solfeggio program in a music school from a chronological position - first the classics, and then ... - we will never catch up with our own shadow, since the study of any style, any era has no boundaries. Moreover, fear and misunderstanding of the evolution of musical language today are becoming an indicator of misunderstanding of the classical system itself. The main changes in the music of the twentieth century, for example, a different interaction of melody with harmony, the organization of tonality, require a different attitude towards the classical system: what are the theoretical principles for determining tonality by the last sound, or determining tonality by key signs, finally, the definition of the tonic in the form of only the first degree of the scale. All this is an anachronism akin to old man Hottabych’s definition of the location of the Earth, which rests on three whales.
A new method of teaching solfeggio in a music school, even in initial stage training must be built taking into account a deep understanding of the most important system-forming for each historical period, which are rooted in various principles of interaction between harmony and melody, more broadly, in various relations of vertical and horizontal. The classical system is a major-minor tonality, the essence of which lies in its harmonic existence. Harmony gives rise to everything: melody, rhythm, metric, texture, syntax, fingering, dynamics, instrumentation. And vice versa: pre-classical as well as post-classical systems establish different relationships of subordination: harmony is subordinated to the horizontal, harmony becomes unpredictable. Almost all components of the musical language are given freedom of implementation. At the same time, the integrity of the musical organization is achieved by other conditions: in each individual case one must look for what unites the components of the musical language into an artistic whole. And here a sea of different situations arises - from rhythmic and harmonic ostinato to intonational similarity based on imitations, variation, repetition, etc.
If students in a music school are asked to write down as a dictation a melody born of major-minor harmonic functionality, then why not introduce students to this melody along with this harmonic functionality inherent in it? You can do the opposite: first introduce students to the harmonic grid of a given melody, and then to the melody itself, while experiencing the joy of encountering the next variation on the “tonic - dominant” theme. In accordance with the harmonic basis of the melody, it is possible (and necessary!) to propose composing a two-voice harmonic pedal for the corresponding vocal composition, or writing out a harmonic three-voice (traditional three voices, but without bass, which teachers know from the classical harmony course) also for subsequent vocal scoring. Not the chords themselves, in an abstract sequence, but the chords that embody the essence of the classical tonal system.
Working on the melody closely with the harmony can ultimately lead to artistic form, including solo singing with the words of the original melody (or playing it on an instrument, if it is instrumental in nature), harmonic accompaniment, having the form of four-note chords in a simple rhythmic and textured version ( left hand the bass plays, and the right one plays the other three sounds), a vocal two- or three-voice pedal that counterpoints the melody, composed on the basis of the same harmony. Then, perhaps, in the mind of the student, the idea will finally form that there is no chord in the melody (remember the expressions “the melody moves along the sounds of the dominant seventh chord” or “the melody includes the tonic quarter-sex chord”, etc.), but there is a melody that has grown on the basis of one or another chord and therefore by a diminished fifth by VII degrees and to the minor seventh on V steps accompanied by a dominant seventh chord. Then, perhaps, it will appear in the student’s mind that the tonic in the classical system is not one single first degree, but a chord that includes I, III, V stages in any combination, in any register, with any amount of duplication of these stages. And intervals do not exist on their own, but are carriers of the modal function of one or another classical chord. Then, finally, it will be possible to develop an ear for music based on harmonic intonation forecast, that is, to find the boundaries of the extent of one harmony in a particular melody and respond to the unfolding of the melody (or any linear element of texture) as a transition from one harmonic intonation to the next one. Then, perhaps, an interdisciplinary connection between solfeggio and a specialty will finally develop, in which the skills acquired in solfeggio harmonic intonation will contribute to the education of a competent musician.
If we learn to formulate a methodology for teaching solfeggio based on systematicity, then we will be able to competently contrast the classical system of major-minor with the pre-classical and modern music, where the opposite situation reigns - freedom of harmonic choice for any melody. This is where you can get creative! There are already benefits for music lessons V kindergarten, in which it is proposed to play according to various drawings (these drawings are a direct reflection of the model of modern scores, for example, by Cage). One of the most powerful sources convenient forms mastering the patterns of modern music is the scale identity of melody and harmony, where the chord pattern is born as an effective element of the melody, not connected by either the number of tones or the obligatory tertian structure. Imagine for a moment what a grandiose symphony can be composed to the text “Ding-dong, ding-dong, the cat’s house is on fire...”, the melody of which includes any sequence of two adjacent black keys, and is played on the piano simultaneously with the melody in all seven registers this second is harmonious, i.e., a chord! The accompaniment can be realized as a bell ringing - with alternating high and low registers.
It is methodically convenient to carry out further “invasion” into the field of modern music according to the following directions. One of them is based on a comparison of a familiar and the modification of this familiar. We can offer comparisons of tertian chords and chords with a substitute tone, diatonic and the same but altered chords, variation of scales in melodies with similar movement, etc. Another direction is the simultaneous correlation of the familiar and the unfamiliar (a familiar melodic turn, but an unfamiliar harmonic “clothes” or vice versa), which allows you to draw attention in the most active form to both the pole acquaintance, and to the pole stranger.
It is believed that the economic crisis, which is currently being experienced in many countries of the world, is necessary to intensify the search new form prosperity of society. Apparently, similar processes are taking place in the field of music education, and a competent assessment of old methods of work will help determine the desire to find new methods that are vital for our children for their successful spiritual existence.
In December 2008, the Seventh, now traditional, International Scientific and Practical Conference “Modern Music Education” took place, organized by two leading universities in St. Petersburg - the Russian State Pedagogical University them. A. I. Herzen and the St. Petersburg State Conservatory named after. N. A. Rimsky-Korsakov. M. Karaseva gives an apt description of the current state of affairs, defining solfeggio in school as a “pre-harmonic” stage, and in a college-university as a “pre-harmonic” ( M. Karaseva. Russian solfeggio of the postmodern era, or postmodernism in the mirror of methodology / SATOR TENET OPERA ROTAS. Yuri Nikolaevich Kholopov and his scientific school. M., 2003. P. 334.
But in solfeggio textbooks you can first find an independent paragraph devoted to movement along the sounds of the dominant seventh chord, and later, somewhere after two or three paragraphs, the situation related to the reproduction of a minor seventh on the V step is considered.
The author of this article has previously considered possible ways to include innovations in 20th century music in the solfeggio course at the initial stage of training: Guseva A. V. Searching for new paths: the beginning of creativity / Methodological problems of modern music education. Materials of the interuniversity scientific and practical seminar on March 21, 2008. RGPU named after. A. I. Herzen. St. Petersburg, 2008. pp. 67 - 79.
I even understand why people write music without being at all interested in notes. There are many such arrangers. This is a ubiquitous problem, on any music portals there are people who write notes at random... no idea chords, harmony and musical notation
. They say: “Nooo, sheet music is not for me.” The whole problem is that harmony is very good. complex science. Many children graduate from music school without a clear understanding of harmony. Thick tutorials won't save the situation either - because... they scare you away with their texts, everything seems very complicated.
But in reality everything is much simpler! You can get acquainted with musical harmony and learn how to add chords by reading one of my lessons. It is enough to read this lesson to write music at the level of world hits! After all, if you look at the hit parade, there are compositions made up of 3-4 chords. Nothing complicated.
Musical notation- a science that teaches musical notation. But I believe if you write electronic computer music, then the stave, scores, treble clef, ... - all this is not needed... FL Studio does not use the stave and musical notation in its classical form, everything is much simpler there!
In this lesson I will write how to achieve harmony in music, I’ll write in simple, understandable words, with clear pictures for example - this will be our musical notation :)
Purpose of the lesson: Show successful chord combinations. Musical harmony made easy!
Now we will learn harmony for 3 steps :)
Step 1. The first thing you need to get acquainted with is the concepts of Minor and Major. Those. we just need to understand how they are designated.
A- This is an A major chord.
Am- This is an A minor chord.
B- this is B major.
Bm- this is B minor.
C— C major
Cm— C minor
In Fruity Loops they will look like this (see picture below)
If you noticed, minor the middle note is slightly lower than major- and this is the only difference.
Also for the curious, I’ll tell you the designation of this icon: #
- this is a sharp (the same note, only a semitone higher).
But we will now learn harmony based on the key of A minor, which means that we will not touch the black keys (and any sharps) (except for rare exceptions, more on that later).
Step 2.
Key of A minor uses only white keys from Piano-roll, so look at our first picture (Figure 1), it means
chord
A(A major) is not suitable for us - it uses the black C# key.
Chord Am(A minor) uses only white keys A, C, E - so it’s suitable.
Chords B And Bm They don't fit at all because they have a third note of F# (black).
Chord WITH(C major) - suitable, it’s all clear from the picture.
In order not to suffer for a long time, I can say right away, here are the chords that we will use:
Am, C, Dm, Em, E, F, G.
Just 7 chords!!! :) God, how simple it is!!!
If you are a beginner, use only 6 chords: Am, C, Dm, Em, F, G (this is enough to write a Hit on the white keys! :))
All of these chords use only white keys in piano-roll, but there is an exception...
This is a chord E (E major) - it consists of the notes E, G-sharp, Si. (in piano-roll these are the notes: E G# B), but never uses the G note (white key).
Why?
The secret probably lies somewhere in the east... Because it is in Eastern music, Arabic music, Indian music that the tonality is slightly different from Western European, by one note. Try playing the E major chord on the keyboard, these are the notes: Mi, Fa, G sharp, A, Si. See the picture below.
100% you will feel some kind of oriental motif!
Teaching harmony online lesson - all the essence on one page
And last 3rd step.
I'll write right away successful combinations chords, everything has already been invented a long time ago, and there is no need to reinvent the wheel.
Record yourself these successful chord sequences and use them to write competent music.
Am-Dm-Em-Am
Am-F-Dm-Em
Am-C-Dm-G
Am-Dm-C-G
Am-F-G-Am
Am-G-F-Em
Am-F-C-G
Am-Am-Dm-E
Am-F-Dm-E
Am-Am-F-E
Am-G-F-E
Am-F-C-E
We create our track from scratch.
But in club music everything is much more primitive, there is music with 2 chords and the following combinations are popular:
Am-Am-Am-G
Am-Am-Am-E
Am-Am-Em-Em
And it's far away Not all good chord progressions. I wrote the most successful ones in my opinion.
Later, you can add your favorite chord combinations to this list. But even these are quite enough to write a hundred musical super hits)
Now let’s consolidate the material covered with a clear example in pictures. For example me I create harmony on chords Am-Dm-Em-Am (see picture).
Everything is done right
chord Am- bottom note A5
chord Dm- bottom note D5
chord Em- bottom note E5
But it is not necessary to line up the chords so smoothly.
If you want there to be no such sharp up/down jumps in harmony, you can make the transitions smoother. To do this, we will move a few notes up an octave (see picture below).
In the second Dm chord we moved 2 notes up (an octave). From the fact that we moved the note D5 to D6, and the note F5 to F6 - the chord hasn't changed, it is still a Dm (D minor) chord.
Those. It is important to understand that the combination of notes Re-Fa-La is a D minor chord, but the combination of notes Fa-La-Re or La-Re-F is also a D minor chord and it also sounds good and harmonious!
Download this FL track and you can hear how these chords sound. And see how they are built.
This lesson reveals basics of musical harmony and just on one page. Bookmark this page, it may still be useful to you if you forget something.
Write comments, and you can also share links to your tracks created using this lesson... and we will listen, evaluate and give advice.
A musical composition consists of several components - rhythm, melody, harmony.
Moreover, if rhythm and melody are like a single whole, then harmony is what decorates any musical composition, the stuff that makes up the accompaniment you dream of playing on the piano or guitar.
Musical harmony is a set of chords, without which not a single song or piece will be complete, full-sounding.
Properly chosen harmony caresses the ear, ennobles the sound, allowing us to fully enjoy the wonderful sounds of a piano, guitar or instrumental ensemble. The melody can be sung, the harmony can only be played. (By the way, you can also sing harmony, but not for one person, but for at least three, provided that they can sing - this is what choir and vocal ensemble artists are trained to do).
A play or song without harmony is like an uncolored picture in books for children - it is drawn, but there is no color, no tints, no brightness. That is why violinists, cellists, domrists, and balalaika players play accompanied by an accompanist - unlike these instruments, you can play a chord on the piano. Well, or play domra or flute in an ensemble or orchestra, where chords are created due to the number of instruments.
IN music schools, colleges and conservatories there is a special discipline - harmony, where students study all the chords existing in music theory, learn to apply them in practice, and even solve harmony problems.
I will not delve into the jungle of theory, but will tell you about the most popular chords used in modern compositions. Often they are the same. There is a certain block of chords that wander from one song to another. Accordingly, a lot of musical works can be performed on one such block.
To begin with, we determine the tonic (the main note in a musical composition) and remember, along with the tonic, the subdominant and dominant. We take a scale step and build a triad from it (one note at a time). Very often they are enough to play a simple piece. But not always. So, in addition to the triads of the main steps, triads of the 3rd, 2nd and 6th steps are used. Less often – 7th. Let me explain with an example in the key of C major.
Examples of chord progressions
I put the chords in descending order of their popularity:
C major
- C major, F major, G major (these are the main triads of the mode);
- Li minor (this is nothing more than a triad of the 6th degree);
- E major, less often - E minor (triads of the 3rd degree);
- D minor (2nd degree);
- si – diminished triad of the 7th degree.
And this is another option for using the 6th degree triad in musical compositions:
But the fact is that these musical harmonies are characteristic only if the note DO is taken as the tonic. If suddenly the key of C major is inconvenient for you, or the piece sounds, say, in D major, we simply shift the entire block and get the following chords.
D major
- D major, G major, A major (1st, 4th, 5th steps - main triads)
- B minor (6th degree triad)
- F# major (3rd degree triad)
- E minor (2nd degree)
- to # reduced 7th stage.
For your convenience, I will show a block in a minor key, slightly different degrees are popular there and it can no longer be said that the chords of the 3rd and 2nd degrees are rarely used. Not that rare.
La Minor
A standard set of chords in A minor looks like this
Well, in addition to the standard ones - 1, 4 and 5 steps - the base of any key, the following harmonies are used:
- A minor, D minor, E major (main);
- E seventh chord (related to E major, often used)
- F major (6th degree triad);
- C major (3rd degree triad);
- G major (2nd degree triad);
- A major or A seventh chord (the major of the same name is often used as a kind of transitional chord).
How to find tonic
A question that torments many. How to determine the tonic, that is, the main tonality from which you need to start when searching for chords. Let me explain - you need to sing or play a melody. The note it ends on is the tonic. And we determine the mode (major or minor) only by ear. But it must be said that in music it often happens that a song begins in one key and ends in another, and it can be extremely difficult to decide on the tonic.
Only hearing, musical intuition and knowledge of theory will help here. Often the completion of some poetic text coincides with the completion of the musical text. Tonic is always something stable, affirming, unshakable. Once the tonic has been determined, it is already possible to select musical harmonies based on the given formulas.
Well, the last thing I would like to say. The flight of creative inspiration of a composer can be unpredictable - seemingly completely unpredictable chords sound harmonious and beautiful. This is already aerobatics. If only the main steps of a scale are used in a musical composition, then this is called a “simple accompaniment.” It is really simple - even a beginner can pick them up with basic knowledge. But more complex musical harmonies are closer to professionalism. That’s why it’s called “picking” chords for a song. So, to summarize:
- We determine the tonic, and for this we play or hum a melody and look for the main note.
- We build triads from all degrees of the scale and try to remember them
- We play chords in the blocks indicated above - that is, standard chords
- We sing (or play) a melody and “select” a chord by ear so that they create a harmonious and beautiful sound. We start from the main steps; if they are not suitable, we “feel” other triads.
- We rehearse the song and enjoy our own performance.
As a tip, it’s convenient to select musical harmonies along with the sound of the original on a music center, computer or tape recorder. Listen to it several times, and then take a fragment, say 1 verse, and pause it, play it on the piano. Go for it. Selecting musical harmonies is a matter of practice.
Outline open lesson teacher
MBU DO "DSHI r.p. Sredny" Speshilova O.V. with students
2 classes of piano department
Lesson topic : Four types of triads .
The purpose of the lesson: Development of “harmonious” thinking of students.
Lesson Objectives :
Development of structural and logical thinking of students, capable
lead them to the discovery of new harmonic elements - triads.
Developing clear awareness, hearing, singing and playing an instrument
chords.
Developing skills in visual analysis of music.
Lesson format: group
Working methods :
Problem-based learning method that promotes logical activation
and creative thinking of students
A visual teaching method that promotes the formation of auditory
students' ideas using visual aids
Verbal and dialogue methods involve active communication
students and teacher
The game method involves the active participation of students in creative
during the lesson
Search method associated with independent discovery by students
musical laws
During the classes:
Repetition of the "Triad" theme.
Auditory analysis.
Theoretical information. Game "Teremok".
Learning chants.
Singing numbers given at home with analysis.
Dictation.
Summarizing. Homework.
Didactic and logistical support of the lesson:
Piano
Keyboard
Magnetic board, magnets
Third-cuckoo cards (blue - minor, red - major)
Application pedagogical technologies
1. Problem-based learning technology.
Creating a problem situation (average level of problem-based learning) with teacher questions: “What is a triad?”, “What is an interval?”, “What does a triad consist of?” etc. Students engage in active thinking and express their own opinions. We consolidate it in practice - we sing, we determine it by ear.
2. Technology of student-centered learning
During the lesson, the necessary conditions are created for the self-realization of students (everyone takes an active part in the lesson process), the development of individual cognitive abilities (each child expresses his personal opinion), the development of the creative imagination of each student (an emotional response to music, composing melodies on a given topic, etc.). d.). The teacher-student relationship is built on the principles of cooperation.
3. Motivation formation technology or gaming technology.
The inclusion of game moments in the educational process - “Teremok” - increases the interest of students in solfeggio classes, activates them creative activity. The teacher creates a so-called “success situation” in the lesson - independent problem solving and a feeling of success increase students’ motivation for solfeggio lessons.
Lesson content:
1.1. Remind the children about the triad:
What does a triad consist of?
What types of thirds are there (singing a song about thirds (N. Fedotova “Learning by Playing” pr. 20))
Talk in detail about thirds (types of thirds, step and
tone value, color)
1.2. Determine the value of each third and label them:
D.Z.: Transform minor thirds into major thirds and vice versa.
2. Determination by ear of thirds and Bs 53, M 53.
3. 1. “There is a tower in a field - it is neither low nor high. Who, who is in the little house
lives?
And two cuckoos live in it - two cheerful girlfriends"
Invite students to be realtors and populate the cuckoos
towers.
3.2. Build all types of triads on the keyboard and at the board.
4. Learn the song (N. Fedotova “Learning by playing” pr. 36)
Determine the key
Sing in this key
Determine shape and character
Find motion using triad sounds
Dictation: (G.F. Kalinina “Musical entertaining dictations”)
Determine the key
Determine the movement of the melody: ascending, descending, incremental, jumping, based on the sounds of the triad.
7. Summarize the lesson: What new did you learn during the lesson?
Homework:
Transpose dictation into toneG- dur
Harmonize the dictation using the main triads of the mode.
Compose melodies for the “teremkas” using movements based on the sounds of the triad
Build triads in your notebook and on the keyboard.
Self-analysis of the lesson:
The lesson was conducted strictly according to plan. Before explaining the new material, several tasks from the previous topic were worked through. An important point I think awareness new topic students, as well as participation in the process of the whole group.
Considering age characteristics younger children school age– instability of attention, emotional perception of the surrounding life, during the lesson you have to quickly switch from one form of work to another. Children easily and quickly perceive and assimilate what they are emotionally interested in. It is the child’s conscious and emotionally filled motivation that is the most effective driver in his learning and affects the quality of learning the material. The best way To achieve this psychologically comfortable state for the child, play is necessary.