Educational portal. Working on rhythm at the initial stage of learning


Kriventsova Tatyana Vitalievna

The fundamental means of expressiveness of music, along with pitch melodic structure, modal relationships, timbre colors, dynamic shades is RHYTHM . When a child asks what rhythm is, I explain: in music it is the alternation of different durations. musical sounds, ordered in time. While listening, we actively respond to music with the movements of our body without realizing it. Movements appear as if instinctively (tapping with a foot, hand, fingers, shaking the head, the whole body, etc.). The ability that underlies the active (motor) experience of music is called the musical rhythmic sense.

Psychologist B. M. Teplov, noting the motor nature of the sense of rhythm, pointed out that rhythm in music is the bearer of a certain emotional content. Consequently, the sense of rhythm has not only a motor, but also an emotional nature. It is characterized by B. M. Teplov as “the ability to actively experience (reflect in motion) music and, as a result, subtly feel emotional expressiveness time course of a musical work" (B.M. Teplov. Problems of individual differences. M., 1961, p. 214).

Without a sense of rhythm, nothing is possible musical activity: be it singing, playing an instrument, dancing, perceiving or composing music. It means that a necessary condition The development of a sense of rhythm in children is their active participation in any musical activities. Both in the listening and performing activities of students there must be a moment when the isolation and awareness of rhythmic relationships represents a special task. In the first lessons, no theoretical knowledge should precede the direct feeling of musical rhythm. First stage in the process of developing a sense of rhythm (there are only two of them) - listening to musical rhythm and directly reproducing it in movements (running, walking, clapping, tapping, etc.). Second phase transition from the direct muscular sensation of rhythm to its awareness and accumulation of theoretical knowledge, inextricably linked with practical skills. Movements to music are an auxiliary means, since, relying on motor skills, the child perceives and understands much more deeply individual parties a piece of music, conveying to some extent its general character: to a cheerful march he moves with a clear, energetic step, to a cheerful polka he moves with an easy run, with lyrical melodious music his (her) movements become soft and smooth. V.Surgautaite, lecturer Department of Music of the Pedagogical Institute of Siauliai in the article “On the initial stage of development of the sense of rhythm” writes that “movements force children to perceive music more intensely and more fully. work, since at the same time they not only listen to the music, but also coordinate their movements with its character.” ( Musical education At school. Issue 6. ed. "Music", Moscow. 1970, p.19). By completing the tasks I propose, students learn to distinguish by ear and accurately reproduce individual elements rhythm: even beats, pulsation of strong beats in two-quarter and three-quarter time signatures, tempo, duration (quarter notes, eighth notes, half notes), simple rhythmic patterns, phrases.

The correct selection of musical material will help you successfully develop these skills. It is necessary that those elements of rhythmic expressiveness that the student must master in movements be sufficiently clearly expressed in the musical work. To “walk to the music,” the child will first carefully listen to the MARCH OF WOODEN SOLDIERS from “ Children's album» P.I. Tchaikovsky, clapping to indicate the speed of movement, will determine the character of the music. When listening again, he will walk in place with a clear, energetic step. I pay special attention to ensuring that the student begins and ends movements together with the music. This exercise is useful for absolutely all children with any musical ability, even more so for those who are naturally (as they say now) hyperactive: impatient, distracted attention, cannot concentrate on anything for more than five to seven minutes, has problems in coordination (in such cases it is necessary to change the type of activity more often during the lesson). The skill acquired as a result of “walking to music” is especially important, since it is the basis for the formation of all subsequent ones.

When a student or student (in other words children) have learned to march quite well, I suggest they listen to POLKA P.I. Tchaikovsky (this can be done in the same lesson) and compare both works, noting the difference in movement: it is convenient to walk to a march, while it is good to move lightly to a polka. Based on these sensations, ideas about the musical and rhythmic durations of quarters and eighths are formed. Trying to more accurately form these ideas in children (about quarters and eighths), I suggest changing movements (running and walking) to clapping when listening to simple children's songs in two-beat time: for example, “The Little Christmas Tree is Cold in Winter” by M. Krasev, “Shadow Shadow” by V. Kalinnikov, etc. The first time we listen and clap in even beats, then we sing with the same clapping and carefully note that there are sounds that last longer (1 per clap) and those that are shorter (we manage to sing 2 of them per clap). We try to sing again, but we will clap according to the pronunciation. It is very important to achieve error-free singing accompanied by clapping along the text. After this, I propose to write down a rhythmic pattern for your own pronunciation (a checkered notebook is best for this, since we will represent long sounds (quarters) with long sticks, and short sounds (eighths) with sticks half as long and connect them in pairs at the top). Below is the rhythmic pattern of V. Kalinnikov’s song “Shadow Shadow”, the endings of phrases are indicated by commas. The next example is the rhythmic dictation of the famous children's play Cossack." By the way, children like to write rhythmic dictations.

In conclusion, I suggest clapping according to the recording with syllabic pronunciation or singing: quarter notes “TA”, eighth notes “TI - TI”. The essence of this methodological technique is that each rhythmic unit receives its own syllabic name. Syllable designations contribute to the development of the analytical side of rhythmic hearing only when they are associated with motor sensations and rhythmic ideas. Based on their own practical experience, children become more clearly aware of the individual elements of musical rhythm. Let's get back to the movements: I alternately play "POLKA" AND "MARCH", making sure that the student switches from running to walking and vice versa, as accurately as possible. To strengthen this skill (change of step and run), you can use a new musical material. Let’s complicate the task: when moving to music, the child must reproduce two or three rhythmic elements at once: for example, moving to a march or polka in even beats, mark the strong ones with claps; or, walking, forceful beats, clap even ones and at the same time sing a melody. These exercises develop in children a quality that is very important for musical studies - the ability to correctly distribute attention. Once again we fix in the child’s memory that the sound corresponding to one step is called the syllable “TA” (quarter note), and the “running” ones are called “TI - TI” (eighth notes).

A very useful exercise is the rhythmic accompaniment of songs (in two-beat time) that children know well. The simplest is to accompany the claps into even beats, the next task is to clap only on strong or weak beats, then in two-bar motifs - we split the first strong beat (quarter note) into two eighths, and leave the rest as even quarters; the following option: we split not the first, but the second strong beat, leave the rest as quarters, etc. When rhythmically accompanying songs in three-beat time, the sequence of work is the same: clap even beats; only the strong; only weak both; clap the strong one and the third weak one, skipping the second weak one; Another option is to split the second beat into two eighths, clap the first and third into quarters, etc. If the child has mastered the quarter and eighth notes well, you can move on to the half duration; it combines two beats - strong and weak, designated “TA A”. The use of syllabic notations greatly contributes to the development of students' auditory-rhythmic skills; after several such lessons, they accurately distinguish quarters, eighths, and halves in different combinations by ear, and quite consciously reproduce them using syllabic names.

Such auditory-rhythmic training of beginning little musicians is a necessary basis, relying on which, in the future, they form concepts about the duration of notes, meter, beat and other elements of rhythm. This methodological technique leads closely to musical notation; in fact, all that remains is to replace the rhythmic unit with the corresponding note, and students understand that the sounds different lengths You can not only clap, tap or sing on the syllables, but also write them down with notes.

The decisive influence on the success of a child’s musically rhythmic development is the nature of his own activity, therefore it is necessary to constantly stimulate his interest in musical activities both in the classroom and at home, to develop it creative activity, cultivate independence. Only a persistent interest in music, constant desire to learn and master something new will create a need for systematic homework and active work during lessons, which will be the key and result of the success of musical and performing education in general.

Irina Aleksandrovna Efremova

MBOU DOD "Children's School of Arts named after. ", Megion

Working on tempo and meter rhythm

An important condition that gives confidence in the performance of a musical work is the accuracy and development of rhythm. Poor inaccurate rhythm, unjustified accelerations, undercounting of pauses, long notes - all these shortcomings during performance have the peculiarity that they themselves cause excitement, calmness and composure disappear under the influence of these irregularities. this work in the form of methodological recommendations, it helps to develop the tempo-rhythmic abilities of students, master particular difficulties and implement them in working on works of varying complexity. Recommendations for cultivating a sense of rhythm, a sense of expressiveness, rhythmic intonation tendencies and, at the same time, accuracy in reading metro-rhythmic notation form the basis of the work, which is based on traditional performing techniques, popular methodological literature and the author’s own experience. These recommendations can go through the entire process of musical and pianistic training for junior, middle and senior students Children's Music School classes and DSHI. Unity of tempo. The area of ​​work on tempo and meter rhythm is extremely broad. The main means of maintaining unity of pace is for students in the first stages of learning to have a clear feeling counting unit . What can help to a young musician get into the required tempo? In works with a clearly expressed metro-rhythmic beginning: it is useful from time to time to reinforce this feeling by counting out loud and silently or by “conducting”. “The student realizes the nature of the movement of music only from the moment he can hear the beat of the rhythmic pulse of the work and is able to feel this sensation,” he believed, “feeling the pulse in music is the main thing.” And he advised to lead creative work from the definition of the basic unit of movement. More active students should be given the concept of a rhythmic pulse, awareness of which is important for the performance of many compositions. The unit of pulse is the duration, which is the basis for the structure of this work. The feeling of the rhythmic pulse, along with the counting unit, is especially important in some formations that present any rhythmic difficulties. Errors encountered during performance are usually explained by the fact that students misunderstand expressiveness of pauses . You cannot shorten the duration of a note or rest. One of the means of filling them emotionally is saturating them with a rhythmic pulse , helping the student to feel the organic connection of the pause with the preceding and subsequent development of musical thoughts. The student can find involuntary accelerations and decelerations himself with the help of a metronome, by hearing the discrepancy between the pulses of the metronome and the sound of the piece being learned. It is very important here self-control , when it is not the teacher or the metronome that will indicate a change in tempo, but the student’s own brain, the student’s own sense of rhythm. If you're not sure, go back to the metronome. The work must be completely leveled, to achieve tempo unity . This is very difficult to achieve in large works: sonatas and sonatinas, plays of large volume. It is very important to regularly compare the tempo in a certain formation with the initial one, playing it immediately after the first phrase of the piece. On final stage work needed on the piece finalize the tempo of the piece . Although the tempo is indicated in the text, it, of course, cannot be the same for all performers; however, the general idea of ​​the tempo of this work still remains more or less stable. Determining the tempo is facilitated by the author's instructions, understanding of the nature of the work, its style, technical and musical possibilities student. In every special case Together with the student, you should find a tempo that allows him to feel comfortable when performing the piece. Slow playback, observing all the details of the performance plan, allows him to realize his intentions with utmost clarity and makes them especially clear to him. It should be emphasized that such playback requires maximum attention. However, such work in slow motion can lead to a loss of awareness of the desired pace. Having found and felt it, the student must secure it in order to always be able to return to it again. The element of “loss” is often found in elementary and middle grades; one often has to work on it specially, but it is not excluded from high school students. writes that concept of "pianist" includes concept of "conductor" ». This conductor, however, is hidden, but, nevertheless, he is the engine of everything. Neuhaus strongly recommends that students, when studying a work and mastering its most important aspect, the rhythmic structure, that is, the organization of the time process, set notes and conduct the piece from beginning to end. This “conductor” inspires the pianist with his will, his tempos and, of course, all the details of the performance. This technique helps to “organize time”, it is also an excellent way of “dividing labor”, facilitating the process of mastering a work. In the beginning, when the student plays at a slower tempo, smaller durations can be considered. As you study the work, you need to move on to the counting units in which the author intended it. For example, in the classical sonata of W. Mozart With dur 1 hour in size WITH The counting unit changes from quarter notes to counting by bars. If the composition has already been learned sufficiently, then in this way it is usually possible to achieve a natural acceleration of the tempo and greater integrity of performance. The pulse unit - the main compositional cell in the rhythmic structure of the composition should not be confused with the counting one - performing (conducting) unit. They may coincide, but they may also be different. So one pulse in 1 hour of a sonata by W. Mozart With dur will eighth , and the counting unit tact. In a sonata by W. Mozart C dur, which we wanted to play quickly, easily, playfully, we had to choose the tempo in sixteenth notes at the end of the final game. They just didn’t work out, although my student and I did a good job here technically and came up with exercises. I had to take the tempo a little more restrained, but in such a way that the lightness, playfulness and expressive meaning of the work were not lost. In the pre-concert period, the student was already able to play exactly at the intended tempo. Before the start of the piece, she mentally played the sixteenth notes, heard their pulsation, and only then began to play the sonata.

Freedom of musical and rhythmic movement. The rhythm of a piece of music is often, and not without reason, compared to the pulse of a living organism. Not with the swing of a pendulum, not with the ticking of a clock or the knocking of a metronome (all this is meter, not rhythm), but with such phenomena as pulse, breathing, the swaying of ears of corn in a field. In music, rhythm and meter most of all become identical in marches, just as a soldier’s step comes extremely close to mechanical, precise tapping of equal shares of time. The pulse of a healthy person beats evenly, but speeds up or slows down due to experiences. It's the same in music. Just as every healthy organism is characterized by rhythmic regularity, so when performing a piece of music, the rhythm in general should be closer to the meter than to an arrhythmia, more like a healthy pulse than a seismograph recording during an earthquake. says: “It’s painful to listen to a non-rhythmic performance, but it becomes completely unbearable when they play metronomically!” First, the text must be placed on precise “rhythmic rails”, and then proceed to a free, live rhythm. Otherwise, disorder and anarchy are inevitable. Before you deviate from the scheme, you need to understand it. As for the beginning performer - a child, you should not talk to him about “free” rhythm at all: you need to make sure that he himself quietly feels it, submits to this feeling. At the beginning of studying a work, of course, it is necessary to work strictly metrically, in the grip of a “metric grid”. In the process of work this is possible and even accepted. Rhythm issues cannot be resolved immediately. There is too much interference in an unlearned piece. Procrastination caused by ignorance of the text can become habitual. Only after mastering the material can you begin to play with your mood. When the text is well learned, you need to look for the expressiveness of the rhythm, as if on a neutral rhythmic basis. This is very interesting advice, like most of Neuhaus’s working advice. By turning off rhythmic intonation with a conscious effort of will, we, in fact, “turn off” temporarily the emotional side of perception. After all, you can make targeted decisions only by knowing the text of the play well. Thus, the unity of tempo does not contradict small deviations from it due to certain artistic tasks (the so-called agogics ). Otherwise, the performance will be inexpressive and automatic. Small slowdowns and accelerations within phrases are necessary to clearly identify the most significant intonations of the melody.

Agogy (from the musical encyclopedic dictionary): deviation of the actual duration of sounds and pauses from the ratios indicated in the notes, used for expressive purposes musical performance. As a rule, they are not recorded in musical notation. These deviations do not change the meaning of the notes that form the rhythmic pattern, although they can be very large in magnitude, especially in the music of romanticism.

Everyone is familiar with tempo deviations: fermato, ritenuto, accelerando. Fermato requires attention to itself and it is always associated with ritenuto. The easiest way to establish the duration of the fermata after the ritenuto is to continue mentally slowing down the sounds sustained under the fermata. Fermata is thus the logical conclusion of the ritenuto that leads to it. In addition to those indicated in the notes assel. barely noticeable tempo accelerations are often appropriate in middle formations that have a relatively less stable character. When finalizing the form, it is necessary to once again clarify the development of the main image, the character of which is gradually changing. In this regard, it is important to finally think through the pace of execution.

One example of accelerando is coda from Schubert's Impromptu Es-dur. Musical image develops very intensely. It combines great emotional intensity and dynamic, constant fortissimo, accents and repeating motifs do not allow tension to escape. A strongly expressed accelerando helps to find a way out of it and establish a clearly expressed image.

Working with a student on A. Rubinstein’s play “Melody,” we thought of it as vocal work. After all, it is impossible to imagine that the singer will perform the cantilena strictly metrically. In each phrase there is a movement due to expressiveness musical language. It would be nice to hear the development of the phrase with its peak and the singer’s taking of breath at the end of the phrase, before the beginning of the next one; Here you need to hear the aspiration of the metro-rhythmic movement, so that the student becomes familiar with the ability to perform not “by bars”, but “by phrases”, that is, based on the musically meaningful division of the form. This is where conducting, rather than timing, is more suitable. Very often I let my child listen to a recording where "Virtuosos Moscow" perform "Melody"Very flexible, expressive, with a little more movement in the middle part than in the outer parts. But it is better for the student to think for himself. I imagined that the singer could not perform all three verses monotonously, I felt the need not even to speed up, but to slightly add movement in the middle part after taking a deep breath and listening to the pause at the end of the first part, and for the reprise it was necessary to return the previous movement with the help of ritenuto, fermata, pause and good breathing (caesura). Freedom of rhythm is also required for plays with a clearly expressed dance character. When performing them, it is important to feel the metro-rhythmic periodicity characteristic of a given dance, that is, a certain sequence of alternations of strong beats, and sometimes syncopation. The production of these sounds is associated with rhythmic changes. Genrikh Gustavovich spoke about the need for small deviations from the rhythm in the most rhythmic things. For example, about freedom in dance rhythms: “rhythm and meter are different things. Even though this is a dance rhythm, there is still some kind of small antimetric snag in it, to move a little, just an iota...” and these deviations from evenness add charm to the dance. In some cases, for example in fast waltzes, they should be minimal and practically usually do not require the student to specifically pay attention to them. However, rhythmic “delays” are often quite significant. They are associated with jumping and subsequent squats or some other characteristic dance PA. For example: in “Italian Polka” by S. Rachmaninov, after the light, running, flying sixteenth notes, you just want to play brighter, brilliant pulls on the accented eighth notes in bars 33 and 41. But the sixteenth notes in the last bars need to be played clearly, evenly, without deviating from the meter. At an Allegro tempo, with a jumping accompaniment with a far lagging bass, this is not easy to do. We had to work a lot technically. And even learn the entire passage with both hands eyes closed, achieving accurate hits. But this ending gives the polka brightness and shine. At the dawn of its existence, instrumental pedagogy prescribed players a rhythmically free and relaxed, soulful manner of playing music. The connection between sound and rhythm becomes especially clear in cases " rubato " . The art of playing rubato reached its true flowering in the era of romanticism. The best representatives of this direction, artists and teachers, cultivate a performing “tale” that is plastic, improvisational in nature, and covered in a reverent rhythmic breath. F. Liszt, one of the unsurpassed wizards of piano rubato, describes it as “an evasive, intermittent tempo, a flexible meter, both clear and shaky, fluctuating like a flame, like the tops of trees swaying in different sides gusts strong wind". Rubato should name the main fundamental installations naturalness rhythmic movement, stylistic authenticity , which should be “consonant” creative individuality the author of the work, the aesthetic coloring of the era, the features of the genre. Rubare means "to steal" in Italian - if you steal time and do not return it soon, you will be a thief; if you speed up the pace at first, then slow it down later; stay an honest man- restore balance and harmony. This is what G. Nighaus taught. Music devoid of a rhythmic core can only be perceived as musical noise, where musical speech is distorted beyond recognition. The stringing of uncoordinated “moments” resembles convulsive movement, catastrophism, and not the majestic waves of a calm, wind-swayed sea. Constant slowdowns and accelerations, rubato in quotation marks, give the impression of even greater monotony and boredom than an overly metrical performance. In a skillful rubato, music pedagogy teaches, there must be logic, harmony, and artistic balance of all accelerations and decelerations during performance. “As much as you borrow, repay as much,” Igumnov liked to repeat. Finally, many pianist authorities recommend that playing rubato be preceded by a rhythmically aligned performance. Good rubato is achieved only through precise rhythm. Work on tempo rubato already found in school curriculum. IN Nocturne by J. Field B - dur rhythm and sound act hand in hand. They help each other and only jointly solve the problem of artistic and expressive performance. The expressiveness of the rhythm in it must be sought consciously and it is music that substantiates this or that rhythmic nuance. Even the nature of touching the keys depends on the nature of the artistic image. From the first note in the nocturne, the keys must be “caressed, touched, and not beaten.” And the placement of the hand is not at all like a study. My student did not get a soft, gentle touch until she placed her fingers, well feeling the “touché”; and not "blow". Listening to ourselves while singing the nocturne, my student and I came to the conclusion that it is impossible to perform it strictly metrically. Although the text does not contain precise instructions such as: here - speed up, there - slow down, violations of rhythm are caused by the need to listen and keep up experience the intonation in the melody. Sometimes the deviations are not obvious, but subtle, barely guessable. But in the phrase you just need to hear the hidden internal movement. But sometimes the delays are clearly audible, they help you to listen not even to the phrase, but to the whole period, and move flexibly through the breath to the next flow of the melody. Accents (measure 8.17) and widely spaced arpeggiated chords (measure 22.43) help here. But it is advisable to make decorations subtly and beautifully, without distinguishing them from the general rhythmic and melodic line. Playing them is like weaving thin, delicate silk lace. While learning a piece, you can conduct, sing, play, talk about character, mentally imagine a picture or only its color, tone (for example, soft pink in 1 part, thick, burgundy in 2 hours). The goal of the teacher is to help the child find that same rhythmic harmony, feel the movement, and not turn the nocturne into a “too sweet” piece. One of the difficulties in fully mastering rhythm is polyrhythm . The "arithmetic" approach allows only the simplest cases (combining doublets and triplets). When performing a complex type of polyrhythm, you first need to play it many times, separately with each hand, mentally calculating. Then learn for a long time with both hands, skipping notes from the part of either the right or left hand in the polyrhythm. Only when the ear gets used to the sound of each part separately can they be combined, regularly monitoring the evenness of the rhythm with the ear while playing separately. Again, you can play with both hands, focusing your auditory attention on the part right hand, then left. Flexible performance of any polyrhythm takes time to get used to. For example, when working on F. Chopin’s “Nocturne” cis-moll, the complete unsuitability of the “arithmetic method” is obvious. Here the student encounters a typical example of tempo gubato, so characteristic of Chopin. Making a smooth expansion here is not easy. The rhythm of the accompaniment is especially broken. The important thing to note here is; so that the slowdown and subsequent return to the tempo of eighth notes in the left hand part is smooth and unnatural. For a more organic combination of right and left hand parts, it is useful to outline the sounds of the passage that coincide (or almost coincide) with the accompanying eighth notes. When helping the student to understand the author's intention of a musical work, working on various particular tasks, achieving variety and colorfulness of sound, one must ensure that there is no pretentiousness in the performance, so that the expressive techniques used by the student organically merge with the music. From the first years of education, one must cultivate the conviction that any expressive colors, nuances are inseparable from the music itself, from its content. It is impossible to formally follow the author's instructions. There are also cases when students strive to make the work as expressive and interesting as possible, without taking into account that good intentions, being exaggerated and turning into an end in themselves, lead to a distortion of the plan and make the execution artificial. Performance can only be good and artistic when all the infinitely varied performing means we let's agree completely with essay, its meaning , content, composition, with that real organized sound material that we must process as a performer. You can add something of your own to the essay, but not take away the author’s. All overthinking is vicious , they distort the content.

As a result, I would like to write down some RULES "healthy rhythm":

1. Fast and fast play are not the same thing.

2. Cresch is not always accompanied by acceleration, but dimin by deceleration.

3. The change of tempo should begin with a weak beat, so as not to turn accel into piu mosso, and ritard into meno mosso.

4. A triplet rhythm should never turn into a punctuated one.

5. One of the requirements of a “healthy” rhythm is that the sum of accelerations and decelerations be equal to a certain constant, so that the arithmetic mean of the rhythm is constant and equal to one metric duration.

We must never forget that the musician’s bible begins with the words:

IN THE BEGINNING THERE WAS RHYTHM

MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION FOR ADDITIONAL CHILDREN'S EDUCATION

CHILDREN'S SCHOOL OF ARTS

CITY DISTRICT STREZHEVOY

TOMSK REGION

Open lesson on the topic:

Prepared and conducted:

teacher of special piano – Uraltsev K.N.

year 2014

Lesson type: complex.

The purpose of the lesson:

    general: work on developing a sense of rhythm

according to the principles of developmental education in music pedagogy.

    educational : to teach the student the gaming and theoretical knowledge, skills and abilities necessary to work on rhythm; expand his musical horizons.

    developing : develop the student’s existing gaming skills and abilities, his reaction, attention, thinking and imagination, as well as independence and self-control.

    nurturing : to awaken interest in the correct rhythmic playing of musical pieces.

Lesson equipment:

    piano, 2 chairs;

    sheet music: A. Artobolevskaya “First Encounter with Music”, N. Vetlugina “Musical Primer”, L. Barenboim, N. Perunova “The Path to Music”;

    didactic material: circles with a diameter of 4 cm (4 red, 12 pink), rhythm sticks (length - 10 cm, width - 1 cm - 10 pieces, length - 5 cm, width - 1 cm - 10 pieces);

    noise instruments (drum, tambourine, rattles).

Forms and methods used in the lesson:

Customized form working with a student; visual method, explanation, conversation, survey, joint study of rhythmic exercises, consolidation.

During the classes:

- methodological message on the topic of the lesson;

Direct work with the student:

1. Work on the meter:

1.1. Definition of pulsation by ear - alternation of strong and weak beats on an intuitive basis when the teacher plays on noise instruments in - 2-, 3-, 4-multiple meters;

1.2. The student repeats the meters he heard on noise instruments after the teacher;

1.3. Working with didactic material: laying out meter circles on the table: red - strong beat, pink - weak beat;

1.4. Determination by ear of the meter (pulse, beats) in the plays “March” by S. Prokofiev, “Bear” by G. Galynin, “Waltz” by F. Schubert;

1.5. Playing an instrument with a student: teacher - piece, student - beats. (based on L. Barenboim’s collection “The Path to Music”).

2. Work on rhythm.

2.1. Repeating note values.

2.2. Rhythm games:

    “Rhythmic echo” (the teacher claps, the student repeats, clapping his hands or (option 1) playing an instrument on one note, or (option 2) playing some noise instrument);

    clapping rhythmic patterns according to N. Vetlugina’s “Musical Primer”;

    Working with didactic material:

laying out rhythm on the table with rhythm sticks.

3. Rhythmic exercises.

3.1. Clapping rhythmic formulas, playing an instrument, together with the teacher.

3.2. Collection by A. Nikolaev “School of Piano Playing”. Work on the rhythm based on easy songs No. 15,16,17,18,23,24.

Clap the rhythm of the melody;

Slap the rhythm on your knees with each hand your line;

Playing songs on an instrument with counting (beats), without counting, feeling the pulsation of the meter.

At the end of the lesson, give homework: consolidate and continue working onskills and techniques for working on rhythm acquired in the lesson, use the acquired skills in other musical examples and rhythmic exercises, practice thoughtfully with good impact and auditory control.

Conclusions from the lesson.

The set goals and objectives of the lesson were fully achieved. This was facilitated by fruitful work and a creative atmosphere in the lesson, as well as xThe student’s good sensitivity, ability to listen and think. The lesson was focused on the formation of independent activitystudent when preparing homework.

The following psychological and didactic aspects took place in the lesson:

    orientation towards the formation of activity;

    organization of development space;

    implementation of an individual approach;

    updating and enriching the student’s subjective experience;

    development of student activity in educational activities;

    manifestation of a value-based attitude towards the student’s personality;

    creation of favorable psychological climate during the lesson, the atmosphere of goodwill and comfort, as well as the style of communication between the teacher and the student, allowed us to achieve positive results and stimulate interest in further work over the rhythmic performance of works.

Application

for the open lesson: “Formation

students' sense of rhythm"

METHODOLOGICAL REPORT

“FORMATION OF A SENSE OF RHYTHM IN STUDENTS”

"The Musician's Bible"

begins with the words:

"In the beginning there was rhythm."

G.G. Neuhaus.

RHYTHM is the most essential element of music, characterizing the life of sounds, the movement of sounds in time.

Rhythm as the organization of sounds in time penetrates into various elements of the musical fabric of a work. Auditory perception of rhythm patterns in a musical composition is one of the most important conditions for its full performance interpretation.

Rhythm like means of expression music is perceived by children with particular spontaneity. This is most noticeable when they perform song, dance, and game pieces.

In the best piano literature for children, the rhythmic life of a musical work is so clearly felt that most often it is through the rhythm that children perceive it. figurative content generally. This especially applies to works of motor genres, in which the expressive possibilities of rhythm are manifested with the greatest force.

What should form the basis for developing a sense of musical rhythm from the first steps of a child’s education? Revealing the figurative and emotional essence of rhythm is the main guiding principle in developing children's skills of auditory perception of rhythm.

How is the sense of musical rhythm formed in children?

Already when studying single-voice melodies, initial skills of metrical accuracy and rhythmic expressiveness of performance are instilled. In the first song excerpts, children come into contact with different durations. Often they are explained purely arithmetically what a whole note is, and then they are told about its division into half and quarter notes. Such a schematic explanation is in no way consistent with the main aspect of cognition of rhythm - hearing different durations in their connection with each other. After all, the perception of the rhythm of children's works, starting with single-voice songs, is associated primarily with hearing the natural rhythmic movement when alternating the simplest durations - quarters, eighths, half notes.

A quarter note is not a part of a whole note for the ear, but an independent rhythmic unit from which the auditory distinction of durations begins. The child can associate the sound of durations in time with the following visual time representations: quarter - step, eighth - easy running, half - stop.

It will become close to the student’s perception if we subtext it something like this: “step, step, step; be-zha-li, be-zha-li, stop, stop.”

How can the hearing of rhythm be reconciled with the existing system of counting durations?

Counting, in the form in which it is most often used (that is, counting literally everything, including small durations), does not always help children control the accuracy of the sound in time of various metrical groupings. Often in practice there are cases when the score does not provide rhythmic performance, and, following the rhythmic and technical irregularities of the student’s playing, it itself becomes unrhythmic.

Actually early stage learning, for some time the students in my class count only in fractions, developing and consolidating the skill of pulsation. Gradually, in this pulse, they learn to listen to half and whole notes, and then clap (as if to “overlay”) 2 eighth notes on one count.

It is very useful to write down and clap with the student various metric exercises in 4-8 bars, where the bottom line is meter and the top line is rhythm. My students and I call them"rhythmic scores". There are countless options for working on such exercises, from clapping together with a teacher to independent performance by the student himself, where left hand the meter will tap, the right one will tap the rhythm.

Based on the fact that hearing a quarter note as the main time unit is the most natural way of measuring durations, therefore, from the initial training, the counting itself should be done in quarter notes.

Almost all children have difficulties with counting.if they count "one-and-two-and". This is very inconvenient and, in addition, this account makes it difficult to “cover” the musical work as a whole. G. Neuhaus called this feature of creating a form and composition “long, horizontal thinking” and, admiring the rhythm of S. Richter, wrote: “Clearly feels xia, that the entire work - even if it is gigantic in size,lies before him like a huge landscape, visible in its entirety at onceand in every detail from an eagle's flight, from an extraordinary height and fromincredible clarity." To develop this ability,you need to conduct a musical work from beginning to end in order to “get to know yourself”, your creative intentions without adjusting for performance, which, due to various circumstancesThe government may not be perfect enough.

Also in working on rhythm in initial period training, you can use rhythm syllable counting to "ti-ti-ta" which will more convenient for a beginning musician.

In addition to counting, it is useful to use other methods of working on rhythm that firmly establish the accuracy of the pulsation of quarter notes. For example, the teacher plays single-voice melodies with alternating quarter, eighth and half notes, and the student claps his hands or counts the pulse of the quarter notes; Even before performing the melody on the instrument, the student, first looking at the rhythmic pattern of the melody, counts out the quarter notes by clapping and at the same time, speaking with rhythmic syllables, reproduces all the durations in full.

The rhythmically stable performance of melodies, and then simple pieces, is facilitated by the texture of the works, in which the rhythmically uniform movement of repeating metrical groupings predominates.

Overcoming rhythmic difficulties in children's piano pieces contributes to the use of verbal subtext. In A. Artobolevskaya’s collection “First Encounter with Music” there are many plays for which subtexts and words are written to help remember the rhythm of the work. These are “Minuet” by L. Mozart, “The Sparrow” by A. Rubbach, “Lullaby” by I. Philip, “Chicken” by N. Lyubarsky and many others.

Already in pre-note period During learning, the child must feel and perceive the rhythm of the musical examples offered to him. Then you should explain what the images of note durations, pauses, dots near notes, etc. mean. For a child, the outline of these signs should be associated with a certain length of sound or silence. The teacher should always illustrate the images of rhythmic beats captured in musical notation with examples. interesting for the child songs and melodies.

Information from the area of ​​rhythm must pass into the child’s consciousness inseparably from the sense of time.

The first assistants in learning rhythm are hearing and musical memory, the physical sensation of movement. Already in infancy, children involuntarily become familiar with rhythm. We amuse the child with cooing sounds, play “okay” with him, and the child falls asleep in the cradle to the rhythmic rocking. In the future, the rocking of a children's swing, the "ticking" of a clock, the uniform pressing of bicycle pedals - all this helps the child to feel the pulse of a clear time, divided into rhythmic beats.

During this period, great assistance in work will come from didactic material:

    circles of contrasting color for laying out the meter (pulse);

    rhythm sticks for identifying long and short sounds;

    rhythmic cards with written durations to determine rhythm and consolidate knowledge of note durations (i.e., a kind of “rhythmic dictations”).

This type of work must be done constantly in lessons, developing and consolidating auditory skills in determining meter and rhythm.

A child can also better perceive melodies, with their various rhythmic divisions, based on life impressions.

There are dozens of ways to explain rhythm. This is how A. Artobolevskaya tells about her student:

Today I understood how you explained the account to me. When we walked home after a walk and climbed the stairs, my grandmother sighed four times on each step. Mom walked and sighed twice, and dad walked in quarters - one sigh per step. I ran two steps for each step dad took, and there was a dog with us, she trotted twice as fast, running four steps for each step dad took. This means that I climbed in eighth place, and the dog in sixteenth place!

From the very beginning, when explaining the duration of sounds, we need to talk about pauses. The main thing is that children must understand that a pause is a sign of silence, a break in sound, but not in movement! It's like breathing in musical speech. A. Artobolevskaya compares pauses with lace curtains, saying that pauses are like holes in a lace pattern. A musical “pattern” also consists of sound-filled and sound-free periods of time. The alternation of silence, silence with sound, in fact, creates the very fabric of music.

Students often fail to sustain long notes and pauses. What should be the reasons? Most often, the meaning of stopping on a long note or pause is not clear to the child. He perceives the stop as a formal requirement on the part of the teacher and in his presence he will fill the “empty space.” And without a teacher, he will again play as “his understanding” of music tells him. The teacher’s task is to teach him not to formally calculate a pause, but to feel the pulsation even in the absence of sound, melody.

Playing in an ensemble with a teacher has a significant impact on the development of a sense of musical rhythm. The first step is ensemble playing is the performance by the studentIparty, and as a teacher -IIparties. At the same time, the student must actively listen to the different manifestations of rhythm in the teacher’s part. For example, “Our Land” by D. Kabalevsky is a characteristic waltz pulsation of the accompaniment, in the play “Sleep, Child” by K. Orff - the figurative rhythm of a half-beat “swing”; in the Ukrainian dance “Rain” - lightly, in eighths, falling “droplets”.

The student’s auditory sensation of quarter pauses in the melody of “an excerpt from the first movement of the symphony in G minor” by W. Mozart is well controlled by hearing the eighth notes of the accompaniment (in the teacher’s part), as if filling the length of the pauses. At further stages of training, it is useful to use another form of ensemble playing - playing a melody in a partprimoteacher, and accompaniment in the partyseWithondo- a student. Here the active control of the rhythm will largely pass to the student.

In cultivating a sense of musical rhythm and developing the skills of rhythmically expressive playing, one should proceed from the student’s sensitive auditory perception of the patterns of rhythm in the work and their natural performance embodiment in pianistic techniques accessible to children. All work and invention must come from an intuitive feeling developmental psychology child and his individual reaction to music.

REFERENCES

    Artobolevskaya A.D. "First encounter with music."

    Barenboim L., N. Perunova “The Path to Music.”

    How to teach to play the piano. First steps. - M.: Publishing House"Classic-XXI", 2009. Compilation by S.V. Gorokhov.

    Milich B. Education of a student pianist. M, “Kifara” 2002.

    Nikolaev A. “School of piano playing.”

Basic methods of working on developing a sense of rhythm

PLAN:
1. Introduction
2. Main part:
- work on note durations and recording rhythmic dictations
- developing a sense of rhythm
- work on the conductor's gesture
- development of rhythmic figures
3.Conclusion
4.Educational and methodological literature

In music, the pitch relationships of sounds are inseparable from the temporal organization and, therefore, the development of intonation hearing and a sense of metrhythm must be carried out simultaneously. All physiological processes both in nature and in the human body occur in a certain rhythm. In his book Psychology musical abilities“Teplov writes that the sense of metrorhythm is based on the perception of temporary organizations of music not only by hearing, but also by the physical cells of the body. Listening to music, a person has a need to move, i.e. involuntarily shake your head or leg. It has been noticed that the pulse even changes and breathing becomes uneven depending on the impression the music makes.

In the method of teaching solfeggio, when working on the sense of rhythm, it is necessary to apply and use some physical manifestations of the human body. When I start working with 1st grade students, I often use hand clapping, pencil tapping, and sometimes walking and conducting. At first, it’s just a clear movement to the music of the march, the ability to perform each beat, “step” with clapping. Under dance music Children learn to run easily in even eighths by saying the word “run.” I perform the rhythm by clapping, and the children read it with the words: “Step, step, run, step,” while clapping their hands. When the children begin to more freely perceive the simplest rhythms consisting of quarters and eighths, I give these rhythmic groups names: quarter - for the syllable “ta”, eighths - for the syllables “ti-ti”, half - “ta-a”, and then I show you how they are recorded. You can come up with many combinations with this rhythm. Students sing a song with words and then with syllables, then I ask them to graphically write down the rhythm of the song. At first the songs were: “Cockerel”, “Sunshine”, “Like Under a Hill”. After such work, students begin to understand that rhythmic figures in songs do not alternate chaotically. but in a certain order, that certain rhythmic combinations of figures are repeated, that there is a certain connection between them.

Is very useful rhythm game, when students, following the motive played by the teacher, read the rhythmic pattern with the syllables “ta, ti-ti” and clap. Gradually, I include half duration in the examples and consolidate these relationships with the following examples: “Christmas Tree” by Krasev, “Jolly Geese” and others. I use flashcards with students in class. At first, students write down the rhythm without a bar line. After passing the concept of the strong beat of a bar, examples are already written down by division into bars. I’m starting to teach the kids to feel the pulsation of the lobes, i.e. alternation of strong and weak beats in music. Auditory familiarization with strong and weak beats You can start by getting to know the march. The command in the march is a strong beat, stressed on the count of “Raz-i”. Then, listening to songs such as “Jolly Geese”, “Savka and Grishka” and many others, students mark only the strong beat in the bar either by clapping or using a pencil on the table. Having divided the students into 2 groups, I suggest that one group mark only the strong beat, and the second group each beat. For example, in the well-learned song “Shadow-Shadow,” one group of children sings the song while the other claps the rhythm. We write out musical examples to place bar lines on the board. It is very useful to invite children to write down various rhythmic dictations.

Working with rhythm on song material already in initial training leads to the emergence in children of clear and correct ideas about motivation and repetition. In the lower grades, you can gradually introduce children to different types of repetition: literal, contrasting, varied. Examples include the Belarusian folk song“Savka and Grishka”, Russian folk song “There behind the river, there behind the pass” and others.

Rhythm tables, which help train sight reading skills, visual memory, and the ability to maintain a uniform tempo, are of great benefit in consolidating skills. First, children read the rhythm written on the first table, and then repeat it by heart. At this time I change the table and the children read the rhythm of the second table without stopping. I also include reprise tunes.

The most important thing in the development of meter rhythm is the cultivation of a sense of metricity. It lies in the ability to maintain uniformity at a certain pace. We are accustomed to the fact that in solfeggio everything is sung at an average tempo, but it is necessary to work at any tempo to perform the same example (faster or slower). The feeling of the right tempo, the ability to maintain it, is the same “tuning” as tuning at a certain altitude. Tempo affects the difficulty of the example and the musicality of the performance. One melody should be performed very quickly, easily, the other - drawn out.

Such exercises are useful. I suggest that students simply count “one, two, three, etc.” at a certain pace. The counting is carried out out loud and silently, and the tempo and accents change during the counting, and pauses are made.

Of great importance is the ability to keep the pace within yourself and cultivate memory for a certain pace. Usually, when solfegeing, the tempo accelerates if the example is easy and, conversely, slows down if there are short durations and a more difficult rhythm.

More often than not, students speed up their pace rather than slow it down. It is necessary to work separately on developing a sense of meter at different paces. For this, it is very important for the teacher to show the tempo when conducting correctly. In order for a gesture to be clear and convincing, first of all, internal adjustment is needed. Before you start singing, you need to tune in to the right tempo and key.

Conducting, or rather timing, has its meaning and benefit when the movements of the hand are natural, automated and reflect the physical sensation of tempo and size. It is important that students feel the downbeat in size. It is necessary to cultivate in students a living artistic meter, a clear, free gesture. Meter is also inseparable from the sense of musical meter. Therefore, the basis for cultivating a sense of meter rhythm is, first of all, cultivating a sense of meter and size.

When recording a dictation, some students write two-beat meter with quarters and eighths in quarters and halves. Why is this so? With auditory perception, the student wrote the rhythm arithmetically correctly, but did not feel the expressive side of the meter. Here they are faced with the fact that the arithmetic expression of size is very intelligible, visually recorded, but they have to work specially on its auditory perception.

In addition to bilobed and trilobed, the size is determined by the nature of the lobes and their alternation. Easily distinguished by ear simple measures and complex. The first beat is strong, the other is relatively strong. How to distinguish between “three-quarters” and “three-eighths” measures? It's not a matter of tempo, but the character of each beat. When performing music in these meters, the expressive features of each of them should be emphasized by various means: in the “three-quarters” size, each beat is clear, full-bodied, for example: “Czech folk song”; in the size of “three-eighths” the first beat is slightly emphasized, the other two are performed more easily, for example: the chorus from Glinka’s opera “Ruslan and Lyudmila” Act V.

A lot depends on the pace. The six-eighths time signature at a slow tempo is most often perceived as three-quarters. The beat is divided into 2 parts and each becomes relatively independent. IN fast pace this time signature is perceived as “two quarter notes” with a triplet movement of eighth notes. For example, the Russian folk song “Steppe and steppe all around.” You should achieve such a performance of this size that you can feel the movement from one strong beat to another. This size is typical for melodies with large phrases. I try to constantly develop in students the skill of quickly responding to the sounding rhythm.

The next important step is to study the durations in which one beat enters another - these are a quarter with a dot and an eighth. This rhythmic group represents the transition of the beginning of the second beat to the first; the emphasis on beat 2 is internal, i.e. exists only in internal representation. When singing, you can place a slight emphasis on the dot. For example, the Russian folk song “There was a birch tree in the field” is the third phrase, the Russian folk song “The winter is already passing.”

By reinforcing this rhythm, you can play a game with your students in which two people participate. The first - the “trainer” - seems to show the task, and the second - the “horse” - at this time performs its own rhythm in motion.

In three-beat time, the group “a quarter with a dot and an eighth” is perceived and reproduced with great difficulty. In order to make it easier to demonstrate rhythm, you should select songs with repeating rhythmic figures. For example, “There, far away, across the river...”, Chorus of “maiden, beauty” from the opera “Eugene Onegin”.

The difficulty of the dotted rhythm lies in the fact that the sixteenth note is connected in the minds of students not with the previous, but with the subsequent note. To master this rhythm, we sing scales in this rhythm. Tapping the rhythm and recording rhythmic dictations is useful. Examples here include “Song of the Motherland” by Dunaevsky, “Eaglet” by Bely and revolutionary songs: “Dubinushka”, “Varshavyanka”, “Boldly, comrades, in step”. In high school, a new rhythm group “dotted quarter and two sixteenth notes” appears. To master this group, you can learn Glinka’s song “Lark” with lyrics and accompaniment.

To master the group four sixteenths, you can take a Czech folk song. It is easy to remember due to repeated repetitions, and students like this example. To master sixteenths, it is useful to memorize easy and convenient examples. Many examples are studied in specialty lessons, as well as solfeggio. These are the Belarusian folk dance “Kryzhachok”, “Bagpipes” by Bach, “Polka” by Glinka.

To master the figure of two sixteenths and an eighth, you can take the Russian folk song “I have it in my little garden.” For mastering combinations of both figures with eighth notes, the example of “Hunter Chorus” from Weber’s opera “ Magic shooter" In Krasev's example "Mirror" there are all three groups with sixteenth notes.

It is extremely important to instill in students the correct sense of grouping and, of course, to consolidate it in writing skills. In any group, the beginning of the beat is emphasized, and the remaining notes are pronounced together with it.

When working on developing a sense of rhythm, you must first of all accumulate auditory impressions. Therefore, each rhythmic figure must first be mastered by ear, and then worked out in musical notation. I select examples not only from the solfeggio textbook, but also passages with accompaniment from musical literature. I invite children to find the rhythms they are studying in this music.

Syncope is a shift of stress from a stronger beat of a measure to the preceding weak one. Students usually identify this rhythmic group well by ear, but find it difficult to write it down in dictations. That's why this group I'm working on familiar, simple song material. A suitable example is the Czech folk song “The Shepherd”, the Polish folk song “Slovak Song”.

When working on triplets, the combination of auditory and visual images is especially important. It is useful when triplets and eighth notes and a dotted rhythm are combined in one melody. For example, in Muradeli’s song “The Party is our helmsman.”

In high school, rhythmic difficulties are often associated with the inability to compare different rhythmic groups without difficulties and stops, and to move from one rhythmic group to another. To develop a reaction to such comparisons, you need, in my opinion, an exercise that would develop a certain automatism in the perception and reproduction of rhythmic figures. This exercise consists of the teacher showing visual aid rhythmic figures in different combinations continuously, at a certain tempo and size, and a student or group of students must reproduce these figures simultaneously with the demonstration. I ask for the most common use of tapping with a pencil or clapping. While working on the tables, visual images are combined with auditory and motor reflexes. It is also useful to offer students exercises to complete the composition of the rhythm, to improvise on a given rhythm.

Rhythmic exercises should not be an end in themselves. They should help consolidate intonation and auditory skills, prepare the ear for the perception, recording and performance of music in lessons in the specialty.

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Toporkova V.A. ​

Skopin city Ryazan region, 2012



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