Open lesson from Dsha teacher. Lesson as the main form of work with students in children's music school
This master class was held as part of the Open Doors Week of the Kezhemsky District Center for Children's Creativity in Kodinsk, Krasnoyarsk Territory.
In the Kezhemsky Central Children's Theater there is a children's music school-studio, one of the academic subjects in which is “solfege” (photo 1).
MASTER CLASS INFORMATION CARD
| Subject: | Cultivating a sense of meter rhythm in solfeggio lessons. |
| Target: | The transfer by a master teacher of his experience through a demonstration of the sequence of actions, methods, techniques and forms of pedagogical activity. |
| Participants: | Pupils of the music school-studio, teachers of the Central Children's Theater, music teachers of secondary schools. |
| Methodological means: | Methodological message, live show, commented show. |
| Equipment for the master teacher: | Piano, blackboard, time division diagram. |
| Equipment for participants: | Handout sheets A, B, C ( Annex 1, Appendix 2 , Appendix 3), a piece of music paper, a pencil, an eraser. |
| Duration: | 45 minutes. |
| Form: | Lesson at a music school-studio. |
LESSON INFORMATION CARD
| Lesson topic: | Rhythm groups with sixteenth notes. |
| Target: | Cultivating a sense of meter rhythm. |
| Tasks:educational | Reinforce the rhythmic turns learned in 3rd grade, the rules of the basic division of durations, timing skills in two-, three- and four-multiple meters; develop the skill of reading rhythmic scores; continue the formation of singing skills, monitor the degree of mastery of the duration ratio. |
| developing | To promote the development of cognitive interest, to develop in students the ability to overcome difficulties in learning. |
| educational | Foster responsiveness, mutual assistance, and responsibility. |
| Age of students: | 11-13 years old, 4th year of study at the CDT music school-studio. |
| Lesson type: | Combined. |
| Forms of work: | Group, individual. |
| Teaching methods: | Conversation, practical work. |
| Lesson plan: | 1. Organizational moment (1-2 minutes). 2. Introduction to the topic: methodological message with demonstration (15-20 minutes). 3. Preparation for practical work (3 minutes). 4. Practical work No. 1: rhythmic dictation (6 minutes). 5. Practical work No. 2 mathematical examples on addition, subtraction, multiplication and division durations (8-10 minutes). 6. Lesson summary (3-5 minutes). |
PROGRESS OF THE MASTER CLASS
I. Organizational moment
The teacher welcomes the participants, informs them about the procedure for working in the master class mode, checks their readiness for the lesson and the availability of the necessary materials.
II. Introduction to the topic of the lesson, methodological message with demonstration
– Italian word "solfeggio" comes from the word " solfo", which means notes, musical signs, scale. This is the name of the lessons in which they are engaged in the development of hearing: they sing melodies from the notes, write musical dictations, determine various intervals and chords by ear. During solfeggio lessons, children are instilled with a love of folk music, the work of Russian and foreign composers, and their musical abilities are developed: hearing, rhythm, memory.
You can develop a sense of metrorhythm in each type of work, but for a more successful, effective result, it is sometimes necessary to isolate and separately work out, comprehend the metrorhythmic relationships in the works being studied, and also use special rhythmic exercises.
In elementary grades, this is tapping the rhythmic pattern of a familiar song, melody, repeating the rhythmic pattern performed by the teacher or written on the board, or on rhythmic cards.
Let's see what this looks like in practice.
The teacher sings the first phrase of the Russian folk song “There was a birch tree in the field” (Figure 1), the second phrase is clapped by the students, the third by the teacher again, and the fourth by the students. For this exercise, it is very convenient to use songs that have the structure of a “pair of periodicities”: “And I’m in the meadow” (Figure 2), “Will I go, will I go out,” “Walk, cabbage,” etc.
Rice. 1. Russian folk song “There was a birch tree in the field”
Rice. 2. Russian folk song “And I’m in the meadow”
– In middle and high school, you can develop and consolidate a sense of rhythm with the help of other exercises: these are two-voice rhythmic scores, rhythmic canons, rhythmic dictations.
Conducting, and sometimes other forms of metrorhythmic pulsation (tapping beats with one’s hands, or with a pencil on the table, or beating with one’s foot), play a major role in developing a sense of metrorhythm.
Question to students:
– Guys, tell me METER and RHYTHM are the same concepts or different?
Answers:
- Different. Meter is the pulse of music; it can be two-beat or three-beat. The meter does not change throughout the entire piece.
– Rhythm is a series of durations; each piece of music has its own rhythm. The rhythm that Beethoven used in the Fifth Symphony for the Fate Motif cannot be confused with another.
– In music there is a basic and special division of durations. The main thing is division by two: a whole duration is divided into two halves, a half into two quarters, a quarter into two eighths, etc. This division principle is well represented in this “pyramid” (Figure 3):
Rice. 3
– You can also imagine this division in the form of an apple (or cake), which is cut into equal parts into 2 - halves, 4 - quarters, 8 - eighths (Figure 4).
Rice. 4
– At the initial stage of training, i.e. in the lower grades, acquaintance with durations begins with quarter notes and eighth notes. These durations correspond to concepts such as walking and running. Then half and whole ones are studied, and even later smaller ones, sixteenths in various combinations. As a rule, thirty-second and sixty-four are not used in school practice.
– The temporal relationships between certain durations can be demonstrated by singing the C major scale:
Students sing the C major scale in different rhythms. When singing with half notes, the melody follows broadly, melodiously (Figure 5), quarter notes give the melody aspiration (Figure 6), eighth notes give playfulness (Figure 7), and sixteenth notes give motority (Figure 8).
Rice. 8
– In accordance with the program requirements in the 4th grade, children are already familiar with sixteenth notes in various combinations. This is a group of four sixteenth notes, rhythm groups of eighth notes and two sixteenth notes, two sixteenth notes and an eighth note. At the beginning of the year, the children were introduced to another rhythm: dotted eighth and sixteenth. Students master all these groups of durations by singing exercises and beating out a rhythm while counting out loud.
Students tune in and sing this example using sheet A (Appendix 1). The teacher draws attention to the fact that a group of 4 sixteenths occupies one metric beat (Figure 9):
They also clap this sample while counting out loud, working on sheet B (Appendix 2), (Figure 10):
Similarly, children demonstrate practical mastery of other rhythmic groups with sixteenth notes - eighth and two sixteenth notes (Figures 11, 12):
Rice. 12
Two sixteenth notes and an eighth note (Figures 13, 14)
Rice. 14
– Children really like examples where vocal and rhythmic lines are combined; they require more careful elaboration, but then give more satisfaction from the work done (Figure 15):
Rice. 15
– The eighth with a dot and the sixteenth are the most complex rhythmic patterns we have mastered, its mastery requires the introduction of an additional syllable in the count: raz-i, "on the" two – and (Figures 16, 17):
Rice. 16
Rice. 17
III. Preparation for practical work
| For practical work, students are offered the “Finger Exercise,” the essence of which is as follows: the teacher tells the children that his two hands are two shares in the size of two quarters. The thumb is curved inside the palm, students see four fingers on the outside of each hand. If the fingers are connected to each other, then this is a quarter duration, and the students clap it, counting “one-and-two-and” (photo 2). |  Photo 2 |
||
| If the fingers are connected in twos, then these are two eighths (photo 3). |  Photo 3 |
If all fingers are located separately, then they should be defined as sixteenths (photo 4). |  Photo 4 |
| – Rhythmic patterns compiled in this way allow the teacher to compose any exercises for clapping and recording: | |||
| Eighth and two sixteenths with two eighths - in photo 5, |  Photo 5 |
four sixteenths and two eighths - in photo 6. |  Photo 6 |
| Half - in photo 7, |  Photo 7 |
an eighth and two sixteenths on both beats - in photo 8. |  Photo 8 |
| The dotted quarter note and the eighth note are shown in photo 9. |  Photo 9 |
An eighth with a dot and a sixteenth on both beats – in photo 10. |  Photo 10 |
– You can also depict a syncopated rhythm: eighth, quarter, eighth, or two smaller ones: sixteenth, eighth, sixteenth.
The rhythm shown by the right hand is the strong beat for students, the rhythm in the left is the second, weak beat. First, the exercise is worked out while sitting and counting out loud; when there are no mistakes, you can work standing, beating a two-beat meter with your feet. Thus, in this exercise, the interaction of meter and rhythm is worked out, new rhythmic groups are learned, coordination of arms and legs is improved, and loud counting does not allow rhythmic falsehood. In addition, the emergence of the rhythm of each subsequent beat occurs “in real time,” which requires students to concentrate and pay attention. The pace of the exercise can vary from slow to vigorous, depending on the level of the group. You can start working on this exercise from a very early period of study, when students know quarter notes and eighth notes. In this case, there are senior students in the lesson, so the following durations are used: quarter notes, eighth notes, sixteenth notes in various combinations.
Students “warm up” by clapping rhythms shown by the teacher.
IV. Practical work No. 1: rhythmic dictation
Students clap the rhythm 3-5 times as shown by the teacher while counting out loud, then repeat it individually - with their feet and hands (photo 2, 5, 6, 7, Figure 18), in order to then write it down on a piece of music paper.
| Photo 2 | Photo 5 | Photo 6 | Photo 7 |
Rice. 18
V. Practical work No. 2: solving mathematical examples for addition, subtraction, multiplication and division of durations
– In this work, the numerical relationships of durations are mastered, within the framework of the main division. The division of durations is based on operations with fractions (Figure 19).
Participants complete the task on sheet C (Appendix 3).
Rice. 19
VI. Lesson summary
– Numerical relationships in music are very important, and any violation of them can lead to the destruction of the musical structure. Rhythm is one of the main means of musical expression, and every musician should treat rhythm very carefully. Rhythmic falsehood is considered the most unpleasant and gross mistake.
– I would like to end our meeting today with the following words:
“Rhythm is the patterns of musical time, beautiful and intelligent.
The meter marks the time when sounds appear in the pattern.
Tempo tells how quickly the pattern unfolds.
And the pattern itself, i.e. Rhythm is already music!”
E. Finkelstein.
- Our lesson is over. Thank you to the students for your work in class, thank you to our dear guests and colleagues for your attention and participation.
Literature:
- Kaluzhskaya T. Solfeggio. Program for children's music schools, music departments of art schools, evening schools of general music education. – Moscow, 1984.
- Lebedev S., Trubinov P. Russian book about Finale. – St. Petersburg: Composer, 2003.
- Metallidi Zh., Pertsovskaya A. We play, we compose, we sing. Solfeggio for 3rd grade children's music school. – St. Petersburg: Composer, 2011.
- Musical encyclopedic dictionary / I.P. Dabaeva, O.V. Tverdokhlebova. – Rostov n/a: Phoenix, 2010.
- Sirotina T. Rhythmic alphabet. - Moscow.: Music, 2007.
- Davydova E., Zaporozhets S. Solfeggio for 3rd grade children's music schools. – M.: Muzyka, 1997.
- Davydova E. Solfeggio for 4th grade children's music schools. – M.: Muzyka, 1999.
- Finkelstein E. Music from A to Z. Entertaining reading with pictures and fantasies. - St. Petersburg: Composer, 1993.
Plan - outline of an open lesson
majoring in piano with a 1st year student
Performed: Ilyina Irina Ivanovna
piano teacher
MBOUDOD "School of Arts in the village of N. Lapsary, Cheboksary
Lesson topic:
« Mastering the means of musical expression at the initial stage of training»
Lesson type: combined
The purpose of the lesson: to consolidate the concept of means of musical expression on the material of the studied works.
Lesson objectives:
Educational:
To consolidate the learned theoretical knowledge (strokes, mode, tempo, rhythm, melody, dynamics),
Continue developing practical skills (playing with legato, staccato strokes; working with dynamic shades, performing a piece at a given tempo);
Educational:
Hearing development
Coordination of movements,
Activate imaginative musical thinking through various activities. Educators:
Cultivate a love of music
Cultivate aesthetic taste
Cultivate perseverance and composure.
Methodical techniques:
Verbal, visual, practical;
Activation of hearing, appeal to the student’s musical perception;
Direct and suggestive forms of influence.
Development of thinking
Equipment : piano, 2 chairs, table “means of musical expression”. Drawings, pictures, sheet music. Portrait of K. Reinecke and A. Pushkin. Laptop
Application of educational technologies:
Health-saving:
The muscles of the fingers develop, which has a positive effect on memory, which will develop more intensively.
Rational organization of the lesson: physical education, inclusion of game moments, eye exercises, muscle relaxation exercises, “Rainbow” and “Talking Fingers” exercises
Alternation of different types of educational activities (playing scales, exercises is replaced by repetition of learned pieces and listening to music).
Preliminary preparation:
Learning musical pieces;
Working on the scale
Repertory lesson plan:
1. Scale C major
2.M. Krutitsky “Winter”
3. K. Reinecke “Scherzino”
4.D. Kabalevsky “Clowns” (audition)
5.P. I. Tchaikovsky “Old French Song” (listening)
6. G. Galynin plays from the cycle “At the Zoo” (audition)
Lesson plan:
1.Organizational moment
2.Warm up. Exercises aimed at freedom of the musculoskeletal system, finger gymnastics
3. Working with musical material
4. Consolidation of the material covered - expressive means in music - using gaming technology (playing with cards, drawings, pictures)
5. Lesson summary
6. Homework
During the classes:
1 . Organizing time. Greetings. Voice the topic of the lesson, tasks. Sitting behind the instrument
2. Warm up.
Exercise "Rainbow"
Arc exercises over the keyboard followed by diving into it. The exercise develops free orientation on the keyboard and a muscular sense of distance. The arms are moved in an arcing motion freely and smoothly. You can imagine how a transparent droplet rolls down a rainbow and loudly falls into a deep lake.
Draw it above the keyboard, and let the ends of the rainbow sound, saying:
Oh you, rainbow-arc
Below you lie meadows.
You hung in the sky like a yoke.
I'm so beautiful
I'll draw it in half a minute.
First draw with your right hand, then with your left. Now let's try it together with both hands. Repeat this exercise at home.
Exercise "Talking Fingers"
Remember the rhyme:
Hocus-pocus, trawl-wali,
A mouse rides on a dump truck.
What are you doing, this is a mouse?
Are you looking down on us?
Shoo! Shoo! Shoo!
Speak - tap out the poem with these fingers:
1 1 2 2 1 1 3 3
1 1 4 4 1 1 5 5
1 1 2 2 1 1 3
1 1 4 4 1 1 5
Finger game: “Magic handkerchief”
Teacher:
I have a swallow -
He ate the whole scarf, that's it!
Immediately it became swallowed
Abdomen like a hippopotamus!
Let's take ittake a small scarf by the corner and place it entirely in your palm, using the fingers of only one hand. The other hand doesn't help. First with one hand, then with the other.
Next, we check the student’s knowledge of the “C major” scale with each hand separately in 2 octaves in a forward movement and with both hands in a divergent movement. Then we diversify the playing of scales with subtexts and at different tempos: “I play the scale loudly and play it well,” “And now I play it quickly - I’ll get a five.” Play the scale with the 1st and 2nd fingers (exercise on placing the first finger).
3 . Working with musical material.
Teacher: What piece will you perform for us now?
Student: M. Krutitsky “Winter”
Teacher: Tell me, what is the character of the play?
Student: Sad, a little excited.
Teacher: What do you imagine when you perform this piece?
Student:: Cold winter, dark forest.
Teacher: What is nature like in winter?
Student answers.
Teacher: At first glance, it’s monotonous: all snow and cold. But no: first there will be a bitter frost, then there will be a thaw. What a different winter day! Sometimes sparkling, sunny, sonorous, sometimes gloomy, soft, quiet...
Winter is perhaps the most magical time of the year. She gives the most favorite holidays, the most fun activities, the most interesting fairy tales in long, mysterious evenings.
And everyone sees winter differently. In A.S. Pushkin she is a cold, magnificent beauty, like the Snow Queen.
Here is the north, the clouds are catching up,
He breathed, howled - and here she is
The winter sorceress is coming.
She came, crumbled into shreds,
Hanged on the branches of oak trees;
Lay down in wavy carpets
Among the fields, around the hills.
Winter the sorceress enchants and bewitches nature. Everything freezes, freezes, freezes under her cold breath.
Enchantress in winter
Bewitched, the forest stands -
And under the snow fringe
He shines with a wonderful life...
The composer, like the poet, depicts nature only not with words, but with sounds.
View slides depicting winter.
A student performs a piece.
Teacher: Do you think the composer managed to convey the image of winter? using what musical means of expression?
Student: using a minor scale, slow tempo, low register, long drawn out notes
Teacher: Yes, long half notes create a feeling of frozenness... A gloomy melody, similar to a Russian song, unfolds slowly, sounds in a low register. What stroke is used to perform the play?
Student: legato
Teacher: one little boy composed words to this melody:
Blizzard in the yard
Sweeps it up.
There is a pattern on the window
Sparkles.
Everything is covered in snow.
I'm frozen.
Do the words fit this music? Try to come up with a text for this play at home.
Physical education minute.
Eye exercise:move your eyes (right, left, up, down)
Exercise to loosen the muscles of the neck, arms, and shoulder girdle:Rising on your toes, slowly and smoothly, along with a sigh, raise your relaxed arms up. Then, easily spread your arms to the sides and, while exhaling, lean forward freely and drop your relaxed arms down heavily. The arms swing freely until they stop.
Exercise: free turns of the head (right, left, up, down).
Teacher: Anya, what is the name of your next work?
Student: Scherzino.
Teacher: Do you know what scherzino is?
Student: Yes. This is the name of a small work of a comic nature.
Performance of a play by a student.
Teacher: This play was written by the German composer and pianist, conductor Karl Reinecke. He lived more than a hundred years ago. (Show portrait of the composer).
Teacher: What is the mood of the work?
Student: Cheerful, joyful.
Teacher: Let's take a closer look at what colors, i.e. by what means of musical expressiveness the composer conveyed the character in the work.
Teacher: Anya, what images come to your mind when you play “scherzino”?
(Student's answer).
4 . Reinforcing the material covered(expressive means in music) using gaming technology (cards, drawings, pictures).
Teacher: And now you will have this task. I will let you listen to the works, and you determine what means of musical expression are used here.
1 piece: sounds by D. Kabalevsky “Clowns”
2nd piece: P.I. Tchaikovsky sounds “Old French Song”. While the pieces are being played, the student places cards on the table with means of musical expression that, in his opinion, correspond to the given piece of music. Next, the results of the game are checked and discussed.
Teacher: You already understand that you can draw not only with colors, but also with sounds. Try to guess a number of animals and show them in the pictures.
G. Galynin sounds “Chizhik”
"Bunny"
"Bear"
"Swans"
"Elephant"
5. Lesson summary:
The means of musical expression most directly influence the character of a musical work, its image. Noting the expressive value of certain means, the student’s holistic perception of music becomes more complete and conscious. Images and words perform an important function when studying; they help children imbue with the necessary emotional mood. Actively experiencing a piece of music helps the perception of music and has a positive effect on performance.
6. Homework:
Consolidating the plays “Winter” and “Scherzino”
Come up with words for “Winter”
At home, repeat the “Talking Fingers” and “Rainbow” exercises with words.
Teacher: This concludes our lesson. Thank you for your attention!
Used Books:
1. Smirnova T. I. “Piano. Intensive course: methodological recommendations"; M.: RIF "Crypto-logos", 1992.
2. A. Shmidt-Shklovskaya “On the education of pianistic skills”; M.: “Classics XXI”, 2013.
3. A. Shchapov “Piano lesson in a music school and college”; M.: “Classics XXI”, 2009.
4. E. M. Timakin “Education of a pianist”; M.: “Soviet Composer”, 1984.
Open lesson from the teacher of the Children's Art School named after. A.A. Pantykina Shvetsova M.N.
The date of the: 18.11.2012
Present: Deryabina T.V., Zakirova G.G.. Ivanova I. Anatol.
Lesson topic: Development of technical skills in the initial period of training using the example of scales and other elements of technique.
Methodological support of the lesson:
G.M. Tsypin, Learning to play the piano, M., Education, 1984
S.E. Feinberg, Pianism as an art, M., Classics-XXI, 2003
Konrad Wolf, Lessons from Schnabel. M, Classics - XXI. 2006
I. Hoffman, Piano playing. Answers to questions about piano playing, M., Classics-XXI. 2002
S.V. Grokhotov. How to teach to play the piano. First steps, M.. Classic - XXI,
2005
The purpose of the lesson: Creating conditions for the successful development of scales and other elements of technique.
Tasks:
Ensure the psychological well-being of the student during the lesson, which contributes to a better perception of the material.
Use various exercises to master scales, chords and arpeggios.
Achieve high-quality execution of scales and other technical elements.
Encourage the student to reflect, self-control and introspection.
Lesson Plan
Methodical message
Working on the C major scale . chords and arpeggios.
Working on scales
Mastering legato exercises.
Mastering exercises for placing the first finger
Playing scales separately with each hand and with both hands in a divergent movement from one sound.
Working on chords
Mastering finger support exercises.
Playing chords separately with each hand in two octaves.
.
Mastering three-note legato exercises.
Mastering four-note legato exercises.
Playing arpeggios of three sounds separately with each hand for two octaves.
Playing arpeggios of four sounds separately with each hand for two octaves.
Working on long arpeggios.
Mastering the exercise of placing the first finger.
Mastering exercises for positional play.
Playing arpeggios separately with each hand for two octaves.
III The result of all the work: Play the C major scale two octaves separately with each hand, with both hands in a divergent movement from one sound, chords two octaves separately with each hand; short arpeggios of two octaves separately with each hand; long arpeggios of two octaves separately with each hand.
Our hands are not built parallel, but symmetrically, so even an advanced pianist finds it difficult to play the same thing with his right and left hands every octave or two - therefore, it is not advisable to start playing a scale in a straight movement. When we learn the scale, we need to play with each hand separately, starting with the right hand from the bottom up, and with the left hand from the top down. When playing with two hands, you need to start in the opposite movement earlier than in the direct one. This will not be a great difficulty for the student, since he began to play the scale when the sounds of which it consists were learned earlier.
The scale should be played at a moderate tempo, since only then is legato control possible. Always prepared fingers, clear pronunciation and proper placement of the first finger. To perform the scale confidently, you should pay attention to the fact that the fourth finger always has its place. Each time, setting a scale, the teacher determines the position of the fourth finger in the right and left hands. Attentive attention to fingering fosters accuracy and precision in performance.
While working on the major scale, at the same time begin to master chords and arpeggios. These are necessary elements of technique that develop stability, good support in the fingers, positional play, the placement of fingers in the tonic triad and its inversions. The student begins to hear first two-voices (thirds of the tonic triad with 1-3 fingers, 3-5 fingers), then three-voices (chords of the tonic triad with 1-3-5 fingers). The upper voice is often hard to hear in chords. To do this, the weight of the hand must be directed towards 5 and., tilting the hand towards it. After mastering the chords of the tonic triad, include its inversions in the work. Then play short and long arpeggios.
When starting to work on scales and other elements of technique, the student is faced with the difficulty of placing the first finger. Often the student strains the first finger or unsuccessfully adapts to its placement. Hitting a key too late or pressing it too hard will result in uneven playing of scales. Also difficult is playing legato, in scales and arpeggios, aligning chord voices, playing with support, maintaining a melodic line.
Therefore, it is necessary to develop exercises to help the student. ,
The exercise must correspond to the task at hand. It is needed to overcome the difficulty encountered.
The exercise should be easier and simpler than the difficulty being overcome.
It is advisable to keep the exercise as short as possible.
A properly organized exercise achieves results in a short time.
In the exercise, you should ease the difficulty being overcome. The goal should be
easily achievable. You need to develop exercises that work flawlessly.
Lesson content
II Work on scales, chords and arpeggios with first grade student Katya Shchukina.
1. Working on scales
From work the thief lay down A tov exercise eni I:
a) Play and sing with words in sequences of two sounds, three sounds and
five-finger, right hand, then left hand.
b) Make five-finger exercises more difficult.
From work p odk first finger fret:
a) On the instrument cover: put your hand and “bring in” the free first
finger to the second, third, fourth and fifth fingers of the right and left hand.
b) On the keyboard: Lean on the fifth finger, and use the rounded first finger to freely “walk” across the keys. With a flexible brush, very light eighth notes that sound against the background of a long sound (see Appendix)
c) Exercise “Droplets”: Rely on the third finger on the note C sharp, then F sharp, and with the first finger it is easy to play each eighth note in a staccato manner, alternating sounds lower and higher. (see Attachment)
d) Exercise on lining up black keys: First play a group of two, then three black keys. Repeat each link several times in different octaves with the right and left hands. Place your first finger under your palm in time, helping your hand move in the right direction. Listen to the evenness of the melodic line, (see Appendix)
e) Exercise for placing on white keys: from each degree of the scale, play five notes in order with your right hand up, and with your left hand down, placing the first finger after the third. Monitor the clarity of pronunciation and evenness of the melodic line (see Appendix)
Play the C major scale with the right hand one octave, then two octaves. Same with your left hand. In a divergent movement from one sound “do” to one, then two octaves. Control the evenness of the sound when placing the first finger, the development of the melodic line, and the connection of sounds in legato.
Working on chords
Work out the opo ru pal people in exercises.
a) Play thirds of the tonic triad with the first - third fingers, third - fifth fingers in different octaves with the right, then with the left hand.
b) Play fifths with the first - fifth fingers in different octaves with the right hand, then with the left hand.
P ready strike a chord, listen at voices in exercises
a) For the student to play the thirds of the tonic triad with the first and third fingers, and with the third and fifth fingers.
b) Play fifths with the first to fifth fingers in different octaves separately with each hand. Listen and sing voices.
c) Play a chord. The teacher is the lower and middle voice, the student is the upper and vice versa.
d) Play the tonic triad with the first, third, and fifth fingers alternately, holding each sound. Listen to the sound of voices. Play chords in different octaves. Next, master the inversions of the tonic triad, memorizing the fingering.
Play chords: tonic triad with inversions separately by each hand into two octaves. Control the sound of all voices of a chord.
Working on short arpeggios
Otrab O learn legato in the exercises:
a) Play arpeggios of three sounds. The hand “breathes” after each link
b) Play an arpeggio of three sounds with a unifying movement of the hand from the first finger to the fifth finger. Lead the melodic line up, then down. (See Attachment)
c) Play an arpeggio of four sounds, removing your hand after each link.
d) Play arpeggios with light accents of three sounds to remove the stress from the first finger. (See Attachment)
Play short arpeggios of four sounds separately with each hand for two octaves. Control the evenness of the sound, legato connection.
I. Technique is a general concept that includes scales, arpeggios, chords, double notes, octaves, all kinds of touches, legato, staccato, as well as dynamic shades. All this is necessary to form a complete technique.
The entire technique of the classical period, and even the romantics, is saturated with scale-like sequences or its individual types, as well as arpeggios. You need to be prepared for this in advance. Students who have not completed the school of scales will be noticeably behind in technical development. Without conscious and purposeful development of technique, it is impossible to achieve any results in the art of playing the piano. Therefore, the formation of technical skills in student pianists should be dealt with already at the initial stage of training.
One of the most important tasks is to develop in the student the spatial accuracy of the finger apparatus, that is, the ability to accurately, accurately and accurately hit the desired keys with his fingers. We often observe cases of sloppy, as they say, “dirty play.” Therefore, the teacher must, first of all, not allow any inaccuracies in the student’s game.
Work on technology should be carried out systematically. Already in the initial period of training, the student becomes familiar with various types of exercises, which gradually develop his diversified technical skills.
First, this is a series of non legato exercises. Here a good feel for the keyboard is developed, correct movements and finger stability are learned, and most importantly, the student gradually gets used to controlling the sound of each key pressed by ear.
Gradually, the tasks become more complicated and non legato exercises are replaced by legato exercises. The main task at this stage is the ability to smoothly connect sounds and achieve audible legato.
You should start by connecting two sounds 2-3 p.. 3-4 p.. 1-2 p., 4-5 p. then three sounds 2-3-4 p., 1-2-3 p., 3- 4-5 p.
My students play and sing with words like this.
The final legato exercise is five-finger sequences. They are the basis for starting to learn scales. Having mastered five-finger exercises, the student will learn to accurately place his fingers on the keys, connect sounds legato, and lead a melodic line.
Scales are the next stage of working on exercises. Here the skills of playing legato are consolidated and developed, the smoothness and evenness of the melodic line is developed, finger fluency develops, the student gradually begins to become familiar with the basic patterns of fingering, technical formulas, etc.
Scales should be started to be played only when the student already knows them perfectly, so that he can sing with his voice. Without thinking, he can build any scale on the keyboard from each note with one finger. Only when he knows the scales can he begin to play them.
Usually they start with the C major scale, then play the G major scale and continue like this. adding one sign at a time. From a pianistic point of view, it is much easier for a student to play a scale with black keys, as this promotes a comfortable position on the keyboard (“long” fingers on black keys). In this case, the hand lies naturally.
But often people start learning scales in the order of the circle of fifths. The C major scale is easier to learn than a scale with many sharps. It is better to start playing the scale with the first and second or first and third fingers, keeping the hand close to the black keys so that the student does not have to fidget with his hand. When he can play any of the major scales quite freely at a moderate tempo with two fingers, you can begin to gradually apply the usual more complex fingering. Having mastered the major scale, separately with each hand, start playing with both hands.
Working on long arpeggios
Work out podk ladyvani e first finger.
a) Play legato alternately the sounds of the tonic triad in the first and second octaves with the first and third fingers (C-G-C), placing the first finger under the palm separately with each hand.
b) Play on legato alternately the sounds of the tonic quartersex chord in the first and second octaves with the first to fourth fingers, placing the first finger under the palm separately with each hand
Otrabo perform positional play in the exercise n iyah:
a) Play holding the sound “do” with the first finger. Accurately hit the next “do” sound with your first finger. Quickly move your hand closer to the keyboard.
b) Move your hands from position to position, bringing the first finger under the palm, first to the third, then to the fourth fingers.
c) Show the technique of “sliding” from position to position without observing legato at the moment of transition from the third or fourth fingers to the first (positional play).
Play long arpeggios separately with each hand for two octaves. Control the evenness of the sound when placing the first finger, the development of the melodic line, and the connection of sounds in legato.
The result of all the work : Play the C major scale two octaves separately with each hand, two hands in a divergent motion from one sound, chords two octaves separately with each hand; short arpeggios of two octaves separately with each hand; long arpeggios of two octaves separately with each hand.
Feedback about the open lesson
teacher of Children's Art School Shvetsova M.N.
Lesson date: 11/18/2009
The lesson was conducted with a first-grade student Katya Shchukina.
The lesson, taught by teacher M.N. Shvetsova, was quite well organized and planned. The teacher strictly followed the planned lesson plan; clearly formulated the purpose of the lesson, tasks; has a good command of the lesson material, which is confirmed by the methodological message.
To cover the topic of the lesson, the teacher selected the necessary material. The teacher clearly explained the need for each task. A variety of exercises have been selected to prepare for performing scales.
M.N. Shvetsova stimulates the student in the lesson, moderately encourages and encourages, uses the method of personal demonstration, helps, suggests how to cope with the difficulties that have arisen.
The development of technical skills, during the period of initial training, develops in the student perseverance, hard work, determination, and the desire to achieve their goals.
Ivanova I. A.
The skills acquired during the lesson, as well as their development in subsequent lessons, are necessary for the student’s technical growth and successful performance of the concert program.
FEEDBACK ABOUT THE LESSON
The topic of the lesson, “Development of technical skills in the initial period of training using the example of scales and other elements of technique,” is covered quite fully. The goals and objectives of the lesson are achieved through changing types of activities and changing tasks.
In his work with the student, the teacher uses a lot of preparatory game exercises and approaches assignments creatively. During the lesson, an extensive methodological message was heard, and step-by-step work was shown with a preparatory class student on the C major scale, chords, long and short arpeggios. A lot of visual materials were used. The teacher's tone is friendly and calm, which promotes the student's active participation in the learning process.
The teacher fulfilled the teaching, developmental and educational goals set for this lesson.
Teacher
Zakirova G.G.Open lesson in the specialty "Piano" in the third grade of the art school
Subject:Sedova Vera Olegovna
Description. I offer a lesson with a third grade student at an art school on overcoming difficulties in technical works. The material may be useful to beginning teachers specializing in piano at art schools, music directors of piano clubs, and anyone who wants to improve the quality of their playing of a musical instrument.
Item:"Piano", musical instrument of the vocal department
Class: third
Type of lesson:
Lesson format: individual
The purpose of the lesson.
Lesson objectives:
educational:
developing:
2) develop gaming skills;
5) develop a sense of rhythm;
educational:
Equipment: piano, chair and footrests, chairs according to the number of people present in the class
Sheet music
Exercises by Charles Ganon (Nos. 1,3,5,6);
Scales, arpeggios, chords (C - dur, a - minor);
Karl Czerny, etude No. 2 op 821;
Vladimir Korovitsyn, “Dolls of Senor Karabas” (ensemble).
Expected Result. The student will become familiar with techniques and methods that help in overcoming technical difficulties.
Lesson Plan
1. Organizational moment. Reporting the topic of the lesson, setting a learning task - 1 min.
2. The main part of the lesson - 35 minutes.
a) Gymnastics to free the student’s body from clamps (for the neck, hand and fingers, shoulder and elbow joints, body - 2 min.
b) Checking the quality of homework - 5 min.
c) Playing exercises and scales - 8 min.
d) Work on musical works - 20 min.
3. Fixing the material - 5 min.
4. Final part
Grade.
Homework - 3 min.
Reflection. Summing up - 1 min.
Techniques and methods of work in the lesson:
- verbal (conversation, explanation),
- practical,
- creative,
- reproductive,
- game method,
- observation method,
- method of analysis and synthesis.
During the classes
1. Organizational stage
Reporting the topic of the lesson, setting a learning task.
2. Main part of the lesson
Gymnastics to free the student’s body from clamps (for the neck, hand and fingers, shoulder and elbow joints, body (exercises “Swing”, “Mill”, “Airplane”, “Bullseye”, “Harlequin”, “Come to Me”, wrist rotations) , flexion and extension of fingers towards yourself, away from you)
Reception of work: explanatory - demonstrative.
Checking the quality of homework
The student shows the teacher how to complete his homework:
1) plays the exercises of Ch. Ganon, trying to fulfill the tasks set by the teacher: the collected fingers play from the palm, the arms and shoulders are free, the sounds are even in rhythm and the force of pressing the keys, the fingers run without tension at a comfortable pace (maximum for the student);
2) showing students the scales C - dur, a - minor: the tempo and all conditions are preserved, as in the exercises of C. Ganon, a flexible hand in short arpeggios, solemn, festive chords, the chromatic scale is rapid, the fingers in it are located close to each other, The lifting height of the fingers is small.
Working methods and techniques:
- method of monitoring the execution of exercises and scales,
- the teacher’s proposal to practice the technique of playing exercises on the instrument’s lid to enhance sonority and equalize sounds in forward motion,
- analysis of the work performed,
- praise for moments of worthy execution of the program.
Game of scales
When playing scales, it is important to draw the student’s attention to the careful placement of the first finger: the correct turn of the hand, its composure, roundness, proximity of the fingers to each other. The hand leads the fingers, the fingertips are sharp and sensitive. When playing arpeggios, correctly learned fingering is important. With careful work in the first and second grades, with systematic consolidation of the skill of playing scales and exercises, the skill of confident performance is preserved. Otherwise, it is forgotten. Fingers point in the direction of movement. When playing chords, the fingers are elastic, the hand is swift in playing chords. The whole arm and body work. The task is to perform the chords festively, not fussily, with dignity.
Working methods and techniques: the same as in the exercises.
Working on the sketch
Performing in the classroom is like performing on stage. Analysis and self-analysis of performance, teacher's remarks.
Methods and techniques of work: playing on the instrument's lid with strong fingers at a slow tempo. The muscles of the fingers are actively working (the fingers are actively working with the pads, they are strong, like a bird’s beak).
If there are rhythmic irregularities (for example: a) at the beginning of each measure the left hand is late on a weak sixteenth beat, the reason is the student’s lack of understanding of the length of the temporal sound of the sixteenth;
b) taking intervals with the right hand without an active and bold sound, the reason is weakness of the outer fingers of the hand, incorrect distribution of the load on the fingers, lack of understanding of sound production of intervals and chords; c) unevenness in scales, the reason is there is no work to strengthen the fingers on the instrument cover, work at a slow pace is ignored when working independently at home), then it is important to eliminate the shortcomings identified with the help of the teacher’s leading questions systematically at home and in lessons if you want to achieve more high performance results.
Working on the play
Before performing a piece in an ensemble, it is necessary to learn the musical text. Working methods: working on musical fragments, playing with each hand separately (identifying the reasons for stops and different tempos in the hands), performing multiple repetitions with the least amount of movement of the body, arms, and fingers. During such work, the student finds movements of the arms and body that are convenient for execution, individual fingerings, and remembers them. What is important here is the teacher’s illustrative demonstration of the techniques and techniques of the game so that the student can try them out in practice, find his position in the game, and include thinking and attention, both external and internal. The tempo can be moderate - average, but the student must work on the strokes, dynamics, phrasing, and breathing of phrases in independent home studies.
If individual phrases and fragments have been practiced, connections in phrases and parts of a work have been learned, you can carefully assemble the entire work by playing it in its entirety at an average tempo with a teacher in an ensemble, thus identifying weak points in the text. As a result of the analysis, the student himself can formulate homework for himself, as well as tell the teacher about the techniques and methods of working on this work at home.
Methods and techniques for working in an ensemble:
- method of monitoring execution,
- the teacher’s suggestion to practice the technique of playing staccato on the instrument’s lid to enhance sonority and equalize sounds,
- analysis of the work performed,
- useful self-criticism and performance criticism,
- praise for worthy moments in the performance of the play.
It is important to systematically eliminate all shortcomings identified through the teacher’s leading questions at home and in class if you want to achieve better reproduction results.
Homework
1. Practice the new exercise by Ch. Ganon (No. 3) on the instrument cover at a slow pace. Playing the instrument at a moderate tempo. The student has knowledge about working on exercises from his own work experience. Continue working on the exercises you have already learned.
2. Sketch. Practice scales, intervals, moments of coincidence of hands, synchronized execution of scales at the end of an etude, striking a culminating chord. Continue working on K. Cherny’s sketches No. 4, 10 op 821.
3. Play. Practice the staccato technique, especially in the synchronized sound of the hands, analyze the character of all parts by dynamics, strokes, create an image of each part. Learn again all the connections between phrases and parts, insert them into a single whole, consolidate them daily until the expected result is obtained.
Final part
Reflection
Conversation with the student about what you liked during the lesson and why. What he would like to fix. What new things can you bring to the lesson?
Methodological literature
1. Liberman E. “Work on piano technique” - M.: 1993
2. Korykhalova N. “Playing scales” - M.: “Music” 1995
3. Shchapov A.P. “Piano pedagogy” - M.: 1991
Music literature
1. Korovitsyn V. - Children's album for piano, ed. "Phoenix" 2008
2. To Cherny. 160 eight-bar exercises, opus 821
3. S. Ganon. The pianist is a virtuoso. 60 Exercises to Achieve Fluency, Independence, Strength and Even Development of Fingers, and Lightness of the Wrist, ed. "Composer", St. Petersburg, 2002
Self-analysis of an open lesson on the subject “Piano”, a musical instrument of the vocal department of the MBUDO Children's School of Art, department in Dmitrov, teacher Vera Olegovna Sedova with a third grade student
Characteristics of the student
A nine-year-old third-grade student in the subject “Piano,” a musical instrument in the vocal department. At the time of the lesson, he has a good ear for music and memory. The sense of rhythm is not sufficiently developed. Emotionally responds to all manifestations of musical development. He accepts criticism well, sees his mistakes and is not afraid to criticize his performance. There are progress in learning. Friendly and sociable. He doesn’t take his music lessons seriously enough, but he works effectively at the instrument, and there is a return. He tries to understand music text well, systematically learns to sight read, and carefully selects familiar works by ear. At concert venues he cannot cope with anxiety, because due to insufficient work at home, stage works are not completed. The correct attitude towards sound production has not yet been formed; the staccato technique has not been sufficiently worked out in practical exercises. Hands are not free enough and organized enough to play the instrument.
The student can work effectively in class and at home.
Subject:“Working on technical works at an art school”
Lesson format: individual
Type of lesson: lesson - practicing technical skills in exercises, scales and technical works
The purpose of the lesson. Teaching the student independence in analyzing the piece of music being learned in order to eliminate technical problems.
Lesson objectives:
1) introduce the student to technical techniques and practice them in specific works;
2) cultivate in the student the will to achieve positive results in work;
educational:
1) expand the student’s musical horizons;
2) look for rational techniques for playing the piano;
3) learn to correctly read the structure of a musical text;
developing:
1) develop imaginative thinking;
2) develop gaming skills;
3) improve the skill of playing notes;
4) develop melodic, harmonic, pitch hearing;
5) develop a sense of rhythm;
6) develop initiative in creativity;
7) develop independence in work;
educational:
1) cultivate interest in the subject and instrument;
2) cultivate understanding and respect for music of different genres;
3) cultivate responsibility for the results of one’s work;
4) cultivate control over one’s actions;
5) cultivate a culture of behavior behind the instrument.
Lesson steps
1. Organizational stage
At this stage, the teacher greeted those present and highlighted the topic and purpose of the lesson, justified the chosen topic, argued for its relevance, namely: this topic is aimed at the comprehensive development of the child’s abilities, step-by-step disclosure of his capabilities, teaching the technique of working with musical text, awakening interest in independent studies behind the instrument.
2. Main stage
The teacher used the following teaching methods:
- verbal,
- practical,
- creative,
- reproductive,
- game method,
- observation method,
- method of independent work,
- method of analysis and synthesis.
Gymnastics is an indispensable attribute of a lesson at any department of an art school - to free the student’s body from tension in the neck, hands and fingers, in the shoulder and elbow joints, in the body (exercises “Swing”, “Mill”, “Airplane”, “Bullseye”, “Harlequin”, “Come to me”, rotation of the hands, bending and straightening of the fingers towards oneself, away from oneself).
Gymnastics develops the activity of the fingers, frees the wrist, elbow and shoulder joints, neck, and body.
Exercise game(S. Ganon No. 1, 3, 5, 6)
Correctly organizing game movements is an important task facing the teacher at all stages of training. The success of further education depends on the positioning of hands, which continues throughout the first stage of training at an art school. Free self-expression is impossible with clamped hands and body.
Game of scales(C - dur, a - moll)
An important element in the performance of scales, chords and arpeggios is the correct presentation of patterns (construction, fingering) and the systematic development of performance skills with constant attention to creating convenience when changing hands positionally and synchronous sound of both hands. Attention was also paid to the pace that is most optimal for the capabilities of a particular student.
Working on the sketch K. Cherny No. 2 op 821
The students were given practical tasks: to monitor the coordination of the hands, actively, but without unnecessary movements, articulate with the fingers, free the hands and “listen” to the movements in the joints, actively take intervals with the right hand, synchronize the work of both hands. The student tried to cope with tasks, worked consciously and effectively.
Work on the ensemble play by V. Korovitsyn “The Puppets of Senor Karabas”
Brief analysis of the musical text. Before performing the play, a conversation was held with the student about the rhythmic and line features of the work, determined by its programmatic meaning.
3.Final stage
Reflection. Summarizing
Evaluating the student's work. After analyzing the positive results and shortcomings of the lesson, the teacher gave the student a “good” grade.
The work of the teacher and student was assessed positively.
Homework is given taking into account the improvement of work on exercises, sketches and program work.
Conclusion. Throughout the lesson, the teacher maintained the student’s interest in the topic being studied. The relationship between the stages of training was traced. The student was attentive, active, and inquisitive. The lesson objectives were carried out creatively. The lesson achieved its goal.
A specialty lesson in a music school is a special type of activity, not similar to lessons in a general education school, because This is an individual lesson between a teacher and a student, the goal of which is to master a musical instrument, instill a love of music, discover creative abilities, expand horizons and, as a result, increase intelligence.
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Municipal budgetary educational institution
additional education for children
Children's music school No. 3 of Volzhsky
Methodological report
«
»
prepared
teacher
Bliznyuk Elena Vladimirovna
Volzhsky
2015
METHOD OF CONDUCTING A PIANO LESSON
Various forms of lesson delivery. Sequence of work with the student.
A lesson is the main form of organization of educational and educational work and is a time-limited, organized system of teaching, educational interaction between teacher and students, as a result of which children acquire knowledge, develop skills and abilities, develop their abilities and improve the teacher’s experience.
A specialty lesson in a music school is a special type of activity, not similar to lessons in a general education school, because This is an individual lesson between a teacher and a student, the goal of which is to master a musical instrument, instill a love of music, discover creative abilities, expand horizons and, as a result, increase intelligence.
The forms of teaching are extremely varied. In many ways, they are determined by the individuality of the teacher - his methodological views, tastes, and habits.
Types of lessons. The following types of lessons are used in schools: theoretical lesson, practical lesson, independent work, lecture, conversation, seminar, excursion, concert, film lesson, conference, collective analysis, control lessons. The more options from this variety a teacher-musician uses in specialty lessons, the longer the student’s interest in the instrument will be maintained.
Types of lessons. Any lesson should be dedicated to completing a task. Depending on the setting of these tasks, lessons can be divided into the following types:
A lesson dedicated to learning new material,
lesson - correcting mistakes,
lesson - consolidation of what has been learned,
combined lesson.
The last type is the most suitable for a music school.
What is more appropriate to start a lesson with - with exercises, sketches or artistic repertoire, and if with works, then what genre? It is usually useful to first work on what is particularly important at this stage and which may take relatively more time. If you need to cover a large repertoire, it is advisable to study part of the works in detail in one lesson, and the rest in the next. It is better to devote time to reading notes and playing scales somewhere in the middle of the lesson to refresh the student’s attention.
Conducting a lesson
Lesson structure.The structure of the lesson (organization of educational work) is of fundamental importance, since it largely determines the effectiveness of training and its effectiveness.
Of course, there is not and cannot be a single recipe here. The content of the lesson and its structure depend on many factors. From the purpose of piano training - professionally oriented or carried out as part of general music education. It depends on whether the piano is a special or additional instrument.
The content of the lesson, its form and flow are also determined by the individual manner of the teacher. Moreover, the latter deals not only with different students in different ways. Techniques and methods of work, means of didactic influence do not remain unchanged during classes with the same student. What matters here is the student’s age, the degree of his preparedness, his personal qualities - he is talented or incapable, diligent or lazy.
The organization of the lesson also depends on many factors: to whom it is given - a well-known student or a beginner, when it is held - at the beginning of the semester or, say, closer to the reporting performance, what repertoire is being worked on.
And besides all these differences, it is really impossible to reduce the living, sometimes unpredictable, freely woven matter of the lesson to a certain matrix. And yet, each lesson has stable components; proven techniques are used that have been tested in the activities of many generations of pianist teachers.
Typical lesson structure:
Checking homework (identifying shortcomings, summarizing previous work),
Continuation of work (elimination of deficiencies using already known or new techniques or approaches),
Summing up the work (assessing the student’s readiness for the lesson and his activity in the lesson), recording homework.
Checking the task.
How should homework be checked?
The method of so-called “incidental corrections”, in which the teacher, listening to the student, begins to interrupt him and give instructions, has been repeatedly and quite rightly condemned in the literature. As a rule, you need to listen to the end of everything that the student brought to class. The student, psychologically tuning into the fact that it is necessary to play without stopping, gets used to concentrating all his strength on this task and thereby develops important performing qualities. While listening to a student, you need to remember well all the features of his game and point out its advantages and disadvantages. The ability to listen is a necessary component of teaching technique, a sign of both pedagogical talent and skill. Listening carefully to the student, the teacher makes a quick analysis of his game. Comparing it with what he demonstrated in previous lessons, the teacher determines how far the student has progressed in mastering the work, what are the prospects for the “maturation” of the thing. While listening, you need to have time to notice, summarize and systematize shortcomings, establish the cause of failures, think about how to help the student, and, if necessary, once again adjust the planned action plan.
When evaluating a student’s performance, one must not turn into a recorder of shortcomings, noting only errors and errors. One must be able to hear the merits of a student’s performance, grasp his own idea in the still imperfect rendering and help realize it.
You should not overload the student's attention with many comments. An experienced teacher, first of all, draws the student’s attention to the most important thing - to the general nature of the performance, to the most important details, to gross mistakes. During the lesson, various methods are used to help the student understand the nature of the music being performed and achieve the desired results. Most often, the teacher plays the entire essay or excerpts and provides verbal explanations.
The teacher's performance of the work.
Playing works is important because the content of any work, even the simplest one, cannot be fully conveyed in words or in any other way. It is necessary, however, to immediately note that the teacher’s performance of the studied compositions in class is by no means always useful. Performing too often or having to play every new piece can hinder the development of a student's initiative. The question of how to play in the classroom can be answered in general terms - perhaps better. Good performance will enrich the student with vivid artistic impressions and serve as an incentive for his further independent work. Much more often, the teacher’s performance is not at a high enough level. Some teachers allow themselves not to prepare for classes, apparently believing that their authority gives them the right to show “in general terms”, with a large number of errors, or to limit themselves to performing individual simple passages. Oddly enough, some teachers consider it possible, sitting next to a student, to “show” him certain phrases in a completely different register, and most importantly, without paying attention to the quality of the sound. In some cases, teachers deliberately show certain places, deliberately exaggerating the shortcomings of student performance in order to make them more prominent. This method of work can bring certain benefits, but it should not be used often. It is useful to perform entire compositions at the initial stage of studying them in order to interest the student. The performance of a work before starting work takes place mainly in children's schools and, moreover, in the lower grades. This is often of great benefit, since it is sometimes difficult for a child to understand some essays on his own. From the very first steps of learning, it is necessary to give students systematic tasks to independently familiarize themselves with the work in order to develop their initiative.
Verbal explanations and other forms of work with the student.
The second way to reveal content is through verbal explanations. The teacher must be able to talk about music, and perhaps in a more figurative, poetic, and exciting way. Verbal explanations and figurative comparisons only achieve their goal when they are close and understandable to the student. When working with advanced students, it is usually more advisable to use individual figurative comparisons relating to the nature of the sound, various details or the concept of the whole. When working with students, it is important to address issues of the composer's style. Advanced students should be introduced to materials that reveal the artistic views of the author and the era in which the work was created. By revealing the most essential features of the composer’s work while working on a work, the teacher helps the student subsequently solve similar problems in other works by the same author.
We must remember that a lesson is not a monologue by a teacher. Even if he were Chrysostom three times, be able to speak convincingly, intelligibly and brightly, his speeches will not bring the desired benefit if the answer is the silence of the student. You need to talk to the student not only for feedback. The lesson should be a dialogue. Of course, the dialogue between teacher and student is constantly conducted in the language of music, but a “conversation” between two pianos is not enough; an exchange of thoughts, feelings, and considerations about and in connection with the works being studied is also necessary.
The ability to talk about music helps to understand its difficult language. Nathan Perelman notes: “Only one correctly found word-extract can, after dissolving, give the desired character to what is being performed, for example: anxious, jubilant, sad, triumphant, shy, proud, etc.” Anton Rubinstein, according to the memoirs of I. Hoffmann, loved to demand from his students that they be able to indicate the character of the play, and not with one or two, but with a whole series of verbal definitions.
An apt word can express the essence of a technical technique, convey the nature of the movement, and point to the necessary muscle sensations. Let us recall the expressions “a finger grows through the key”, “play as if according to the test”, “pierce the key with a finger”, etc. The message coming from a successfully found expression sometimes gives more than showing the instrument.
Along with performance, some teachers also resort to other ways of revealing the content of a work, for example, an emotional impact on the student through “conducting.” The significance of this method of work is that it allows the teacher to directly influence the student during performance.
Assignment and mark.
The last component of the lesson is the formulation of a new task, ensuring the student’s homework, independent work. This is perhaps the most important part of the lesson, in which the threads of everything that filled the lesson converge. If the teacher listened carefully to the student’s play when he showed him the result of his efforts, if he was able to determine the main direction in working on the program and skillfully introduced new material, it will not be difficult to explain what needs to be done at home. The task should be feasible, understandable and interesting for the student.
We must be sure that the student clearly understands not only the volume of material that must be learned, but also the nature of the work on it. For this purpose, as well as to consolidate in the child’s memory the most significant of what was said to him, it is useful to ask relevant questions at the end of the lesson. Diary entries serve the same purpose. Some teachers, when working with children, write in large block letters so that the child can read the assignment himself; This teaches students to be more independent from the very first steps and helps improve the quality of homework.
Considering the great educational significance of grades, the teacher must be quite sure that the student understands why he received a particular score.
Bibliography
- Alekseev A.D. Methods of learning to play the piano. Ed. 2nd, additional, M.: Muzyka, 1971.
- Babansky Yu.K. Optimization of the educational process. M.: Education, 1982.
- Barenboim L.A. The path to music making. Ed. 2nd, additional, L.: Sov. composer, 1979.
- Bunin V.V. Pedagogy S.E. Feinberg. M.: Muzyka, 2000.
- Galperin P.Ya. Current problems of developmental psychology. M.: Moscow State University Publishing House, 1978.
- Ginzburg L.S. About working on a piece of music. – 4th ed., additional, M.: Muzyka, 1981.
- Hoffman I. Piano playing. Questions and answers. M., Art, 1938.
- Kogan G.M. At the gates of mastery: Psychological prerequisites for success in pianistic work. M.: Sov. composer, 1961.
- Kryukova V.V. Musical pedagogy, Rostov-on-Don, 2002.
- Liberman E.Ya. Creative work of a pianist with original text. M.: Muzyka, 1988.
- Milich B.E. Education of a student pianist. M.: Kifara, 2002.
- Neuhaus G.G. About the art of piano playing. Ed. 2nd, – M., Muzgiz, 1961.
- Perelman N.E. In the piano class. Short thoughts. – M.: Classics-XXI, 2011.
- Timakin E.M. Education of a pianist. Ed. 2nd. M.: Sov. composer, 1989.
- Shchapov A.P. Piano lesson at a music school and college. – M.: Classics-XXI, 2009.