Guitar playing technique. Methodological recommendations on the topic: “Use of creative methods in a guitar specialty lesson at a children's art school

Methodological development of an open lesson

"Guitar in various types of ensemble of the Children's Art School"

teacher of Children's Art School Bogomolova Larisa Ivanovna

Inta

The purpose of the lesson: formation and development of students' skills and techniques of ensemble playing.

Lesson objectives: learn to listen to each other and clearly follow the tempo and rhythm, observe dynamic shades, become familiar with guitar techniques.

Lesson Plan

1. Introduction.

2. Joint music playing between the teacher and the student.

3.Playing music together with peers.

4.Accompaniment skills.

During the classes.

An ensemble is a collective form of play, during which several musicians jointly reveal the artistic content of a work through performing means. Classes in the ensemble class should contribute to the development of students' rhythmic, melodic, harmonic hearing, musical memory, development of creative skills and, most importantly, instill interest and love for music and their instrument, as well as contribute to the formation of the foundations of independent musical activity. We offer you a step-by-step experience of ensemble music playing at the Children's Art School.

Stage 1. Joint music playing between teacher and student.

The main tasks at this stage: gain initial skills in sight reading and analysis of musical text, learn to listen to each other, and observe dynamic shades.

Developing ensemble music-making skills must be practiced throughout the entire period of study. If possible, introduce ensemble works into the repertoire as early as possible. We begin introducing ensemble playing almost from the first lessons. When starting to work on sound production on open strings, to make it more interesting for the child, we take songs with words. Example:

“The sky is blue, the grove is frosty, the early morning is getting rosy.” By this time the student should be familiar with note values. We work on the rhythmic side of the song, clap. Then we move on to the nature of the song, singing to the accompaniment of the teacher. The accompaniment is not only a harmonic and rhythmic support of the melody, but also reveals emotionally - figurative world songs. In the initial two measures, the accompaniment creates a feeling of calm, thoughtfulness, silence (piano). But already in the next two bars, the emerging chords saturate the sound of the approach bright light and colors (smooth crescendo). From this, the student plays the melody accordingly - the first phrase - affectionately and mysteriously, the second - brightly, crescendo. Let’s take as an example another song “The Brave Pilot”; here we need to focus on the features of sound production. A cheerful, playful melody requires a different approach to execution than the previous example. The sound is produced more intensely, confidently, evenly (mf).

Now let's move on to performing songs on closed strings. The student’s first task is to carefully, without playing, look through the musical text and determine the rhythmic pattern and dynamic shades. Let’s take “How Our Girlfriends Went” as an example, let’s determine how the melody goes and what dynamic tone to play it with (make a crescendo). Before starting the game, you can offer the student examples of different perceptions of the girls’ walk - cheerfully, joyfully and sadly, sadly and now the performance turns into an interesting, imaginative musical picture. Another example: “Don’t the nightingale fly by the window.” Having analyzed the rhythmic pattern, the upbeat, and the performance of the first beat, which is stronger in relation to the upbeat, we begin to play it with accompaniment and almost all the children say, “oh, what a sad melody,” that is, the accompaniment here becomes determining the character of the work. The main thing in this work is to learn to listen to each other. In the process of learning, we continue to play these same songs from sight in higher grades, gradually complicating the task, changing parts. In the process of such work, the student acquires the skills of “soloing” - when you need to play your part more clearly, and “accompanying” - the ability to fade into the background.

In the play “How Our Girlfriends Went,” it is very important to teach how to play the accompaniment - bass, chord, and explain the difference in sound. The bass is deep but not harsh and the chords are softer. “Don’t Fly Nightingale” here it is important to find such a sound production of chords that the figurative content of the song is conveyed.

Stage 2. Playing music together with peers (guitar duet, trio, etc.).

At this stage, the following tasks are faced: learn to use the timbre palette, work on the dynamics in each part separately, as well as build a dynamic balance, master specific guitar techniques (rasgueado, pizzicato, harmonics, vibrato).

We will show the work of a duet playing in an ensemble. At the beginning of the lesson, we play the C major scale in unison, try to play together, listen closely, it doesn’t work right away, but we try. Here we learn to play smoothly within one dynamic shade. You can also do this on one note to hear the difference in the sound of the dynamics. Then we move on to the works.

Let’s take for example E. Larichev “Polka” arr. O. Zubchenko. Polka is a fast, lively Central European dance, as well as a genre of dance music. Polka time signature - 2/4 . Polka appeared in the middle19th century V Bohemia(modern Czech Republic), and has since become a famous folk dance.

We figure out who has the melody and who has the accompaniment, explaining that the melody should sound brighter.

The accompaniment is a deep bass and very soft, light chords so as not to drown out the melody. The bass serves as a metro-rhythmic basis.

Second play "Mazurka". The rhythm of the mazurka is sharp and clear, it combines light grace and sometimes dreaminess. Sound production should be clearer, sharper, and lighter.

Then comes work on dynamics. Having cultivated a subtle sense of dynamics, the ensemble player will unmistakably determine the strength of the sound of his part relative to others. In the case when the performer in whose part the main voice sounds plays a little louder or a little quieter, his partner will immediately react and perform his part a little quieter or louder.

When working on a piece, the teacher needs to pay attention to 3 points: how to start together, how to play together and how to finish the piece together.

The ensemble must have a performer who acts as a conductor; he must show the introduction, release, and slowdown. The signal to enter is a small nod of the head, consisting of two moments: a barely noticeable upward movement and then a clear, rather sharp downward movement. During rehearsal, you can calculate an empty beat, and there can also be words (attention, we started three or four). It is very important to finish the piece together, at the same time.

The last chord has a certain duration - each of the ensemble members counts it to himself and shoots it exactly on time. It can also be a nod of the head.

We also include playing pieces in unison. After all, in unison, the parts do not add to each other, but duplicate, so the shortcomings of the ensemble are even more noticeable. Performing in unison requires absolute unity - in meter rhythm, dynamics, strokes, phrasing. Unfortunately, little attention is paid to this form of ensemble playing; meanwhile, strong ensemble skills are formed in unison, and unison is also interesting visually and stage-wise. The duet (trio) will perform “Gypsy”.

Stage 3. Accompaniment skills. Objectives: mastering the arpeggio technique, learning basic chords and their letter designations, elaboration of the entire texture - melody, accompaniment and bass.

The guitar is an independent instrument and at the same time a rich accompanying instrument. It can successfully accompany a violin, flute, domra - forming successful timbre combinations with these instruments. By its nature, the guitar is especially suitable for accompanying the voice, creating a soft, pleasant background for it. Acquaintance with accompaniment occurs already at the end of the first year of study, when the student begins to play chords in the first position. Let's consider the performance of accompaniment - arpeggio and bass chord. When performing arpeggios, draw the student's attention to the harmonic overlay of sounds that create a continuous sound. The first sound is played F, the second - mf, the third - mp, the fourth - p. This means that the next sound is taken with such a sound strength that is obtained as a result of the attenuation of the previous one. This performance can be called “singing on the guitar.”

The student will perform the song “Grasshopper” by V. Shainsky. In the first case, he sings and accompanies himself, in the second - domra. In this example, we use letter chord symbols. Also, in this example, we get acquainted with different accompaniment textures: arpeggio, bass-chord, beat.

The second example is A. Petrov’s romance “Love is a Magic Land”, the technique of playing arpeggios, the middle part is a guitar solo. Using these pieces as an example, work on accompaniment, the relationship between the sound of melody and accompaniment, and sound production is shown. The accompanist must play expressively and respond to any dynamic, tempo changes in the soloist's performance.

In order to play together, you need to feel, understand, listen to each other. The ensemble, as a form of collective creativity, fosters in each of its participants such a quality as the ability to live and create in a team, to find a common language with each other.

Ensemble music playing - as a method of comprehensive development

Methodical report by guitar teacher Pikulina G.B.

The ancient Romans believed that the root of the teaching was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge and strive for active, creative work, the root of learning changes its taste and evokes a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and joy of learning are necessary for children to be happy.

The development of cognitive interest is facilitated by such an organization of learning in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the “creation” of music, interest in art is awakened.

Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making that has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still practiced today. The pedagogical value of this type of joint music-making is not well known, and therefore it is too rarely used in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.

What are the benefits of ensemble music playing? For what reasons is it capable of stimulating the general musical development of students?

Ensemble music playing as a method of comprehensive development of students.

1. Ensemble play is a form of activity that opens up the most favorable opportunities for a comprehensive and broadfamiliarization with musical literature.The musician plays works of various artistic styles and historical eras. It should be noted that the ensemble player is in particularly advantageous conditions - along with the repertoire dedicated to the guitar itself, he can use the repertoire for other instruments, transcriptions, and arrangements. In other words, ensemble playing - constant and rapid change of new perceptions, impressions, “discoveries”, an intense influx of rich and diverse musical information.

2. Ensemble music-making creates the maximum favorable conditions to crystallize the musical and intellectual qualities of the student. Why, due to what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky “not for memorization, not for memorization, but out of the need to think, recognize, discover, comprehend, and finally, be amazed.” That's why it's special psychological attitude when practicing in an ensemble. Musical thinking improves noticeably, perception becomes more vivid, lively, sharpened, and tenacious.

3. Ensuring a continuous supply of fresh and various impressions, experiences, ensemble music-making contributes to the development of the “center of musicality” - emotional responsiveness to music.

4. The accumulation of a stock of bright, numerous auditory ideas stimulates the formation of an ear for music,artistic imagination.

5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increase musical thinking . At the crest of the emotional wave, there is a general rise in musically intellectual actions. It follows from this that ensemble playing classes are important not only as a way to expand repertoire horizons or accumulate musical-theoretical and musical-historical information, these classes contribute to the qualitative improvement of processesmusical thinking.

This form of work as ensemble music playing is very fruitful fordevelopment of creative thinking.The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parts, develops his harmonic, melodic ear, and sense of rhythm.

So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble playing that the basic principles of developmental learning are revealed with all completeness and clarity:

a) increasing the volume of performed musical material.

b) acceleration of the pace of its passage.

Thus, ensemble playing is nothing more than assimilation of maximum information in a minimum of time.

There is no need to talk about how important creative contact between teacher and student is. And it is joint ensemble music playing that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: sitting, placing hands, studying the fingerboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only maintain a love for music, but also develop an interest in music lessons. And in this situation perfect shape The work with the student will be ensemble music playing. From the very first lesson, the student is involved in active music playing. Together with the teacher, he plays simple plays that already have artistic significance.

The group learning method has both positive and negative sides. In a group, children are more interested in studying, they communicate with peers, learn not only from the teacher, but also from each other, compare their playing with the playing of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, and develop harmonic hearing. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve quality performance, since students are trained with different abilities, who also study differently. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a number of students will practically stop. If you rely on the professional quality of the game, devoting a lot of time to it, as is done in individual lessons, then the majority will quickly get bored with it and they will lose interest in studying. Therefore, the repertoire should be accessible, interesting, modern and useful, and the pace of progress should be energetic enough,

monotony must be avoided and students must be constantly interested. To check the acquired knowledge before conducting test lessons, you can use the following form of work: after the piece has been learned by heart, in addition to performing it as a group, it is useful to play it one by one by all students in small parts (for example, two measures) without stopping at the right tempo, make sure that the game was clear and loud. This technique concentrates attention, develops inner hearing, and increases the student’s responsibility. You can also use a form of work such as patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who cannot cope with the tasks; when a positive result is achieved, the teacher rewards such an assistant with an excellent grade).

The purpose and specificity of teaching children in guitar class is to educate competent music lovers, broaden their horizons, and form creativity, musical and artistic taste, and in individual lessons - the acquisition of purely professional music-making skills: playing in an ensemble, selecting by ear, sight reading.

“Ignite”, “infect” a child with the desire to master the language of music - the most important of the initial tasks of the teacher.

Guitar class is used various shapes work. Among them, ensemble music playing has special developmental potential. Collective instrumental music playing is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these activities involves the active participation of children in educational process. The joy and pleasure of playing music together from the first days of education is the key to interest in this art form - music. At the same time, each child becomes an active participant in the ensemble, regardless of the level of his abilities in this moment, which promotes psychological relaxation, freedom, and a friendly atmosphere.

Practicing teachers know that playing in an ensemble perfectly disciplines rhythm, improves the ability to sight read, and is indispensable from the point of view of developing the technical skills and abilities necessary for solo performance. Playing music together promotes the development of such qualities as attentiveness, responsibility, discipline, dedication, and collectivism. Even more important is that ensemble music playing teaches you to listen to your partner and teaches you musical thinking.

Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They played music together at anylevel of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music playing and concert performances. Bela Bartok, a Hungarian composer, teacher, and folklorist, believed that children should be introduced to ensemble music-making as early as possible, from their first steps in music.

Ensemble as an academic discipline is not always given due attention. Often, teachers use the hours allocated for playing music for individual lessons. However, nowadays it is impossible to imagine musical life without ensemble performances. This is evidenced by the performances of duets, trios, and larger ensembles at concert venues, festivals and competitions. Duets and trios of guitarists are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, rich repertoire - original works, transcriptions, transcriptions. But these are professional teams. But for school ensembles there are problems. For example, the problem of repertoire. The lack of appropriate literature for ensembles of guitarists of children's music schools slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions and arrangements of the plays they like.

It is important to start working on the ensemble from the very first lessons of the instrument. The earlier a student begins to play in an ensemble, the more competent, technical, and musician he will become.

Many special instrument teachers practice ensembles within the classroom. These can be either homogeneous or mixed ensembles. It is better to start working in an ensemble with students of the same class. In practice, we have seen that ensemble work can be divided into three stages.

So, stage I . The child acquires ensemble music-making skills already in the first lessons. Let these be pieces consisting of one or more sounds, rhythmically organized. At this time, the teacher performs the melody and accompaniment. In the process of this work, the student develops an ear for performing pieces with accompaniment, concentrates on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop.Such a performance will arouse the student’s interest in a new sound of music that is interesting and colorful. First, the student plays simple melodies on the instrument (it all depends on the student’s abilities), accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try themselves in performing pieces with elements of polyphony. Plays should be chosen that are varied in tempo, character, etc.

I know from experience that students enjoy playing in an ensemble. Therefore, the above plays can be played individually with each student, or students can be combined into duets or trios (at the discretion of the teacher, based on the capabilities of the instruments and their availability). For a duet (trio), it is important to select students who are equal in musical training and instrument proficiency. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of a work, or part of it.

The opening and closing chords or sounds must be played synchronously and cleanly, regardless of what or how they sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to take and remove the sound at the same time, pause together, and move on to the next sound. The first chord contains two functions - a joint beginning and determination of the subsequent tempo. Breathing will come to the rescue. Inhalation is the most natural and understandable signal for any musician to start playing. Just as singers take their breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players show inhalation by the beginning of the sound, violinists - by moving the bow, pianists - by “sighing” the hand and touching the key, for accordion players and accordionists - along with the movement of the hand, holding the bellows. All of the above is summarized in the conductor’s initial wave – the aftertakte. An important point is setting the desired tempo. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one signals a slow one. Therefore, it is important that the duet participants not only hear each other, but also see each other; eye contact. At the first stage, ensemble members learn to listen to the melody and the second voice, the accompaniment. The works should have a bright, memorable, simple melody, the second voice should have a clear rhythm. The art of listening and hearing your partners is a very difficult matter. After all, most of the attention is directed to reading notes. Another important detail is the ability to read the rhythmic pattern. If a student reads the rhythm without going beyond the meter, then he is ready to play in an ensemble, since the loss of a strong beat leads to collapse and stopping. If the team is ready, first performances are possible, for example at parent meeting or a class concert.

At stage II We develop the knowledge, skills and abilities acquired at stage I. We also comprehend the depths of ensemble music playing. In the process of this work, the student develops an ear for performing pieces with accompaniment, concentrates on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, unity of ensemble strokes, thoughtful performance and, most importantly, develop. the main thing is the feeling ensemble, a sense of responsibility for a common cause. The repertoire consists of pop miniatures along with classical works. Such a repertoire awakens interest and prepares for new work and performances.

Stage III . This stage corresponds to the upper grades (6-7), when the curriculum does not provide for hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, abilities and skills, both in solo performance and in ensemble performance, they are capable of more complex, spectacular plays. In this case, the duet (or trio) is able to solve more complex artistic problems.

For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by bringing in additional instruments. It could be a piano flute, a violin. Such extensions can “color” the work and make it bright. This method is suitable for concert performances and will make any piece, even the simplest one, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet participants hear all the nuances of the musical text.

For performances, you need to accumulate a repertoire of different genres. Since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.

It is no secret that enrollment in music schools has become significantly younger. More and more often, parents are thinking about the early development of their child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services.

And if previously only children with musical abilities or career-oriented people went to school, or as it was believed, only children with musical abilities or career-oriented people should go to school, today a music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, are coming to the guitar class. But even 10-15 years ago, educational standards prescribed that children aged 10-12 years old should be allowed to play the guitar, justifying it by the fact that due to the peculiarities of landing and setting, not all students early age can cope with this task, tools for height - 2/4 or 3/4 were simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable from the results of recent all-Russian and international competitions. And of course, in this case, as a rule, standard training schemes do not work.

Of course, each teacher decides for himself “what” and “how” to teach his students. A lesson is the creativity of two people, a teacher and a student, otherwise it can be called co-creation. And it is the teacher, having created his own original system of training and education, who will be able to take into account and develop individual possibilities student, will give the child the opportunity to realize his creative abilities as widely as possible, and teach him to think outside the box in the future.

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MUNICIPAL EDUCATIONAL INSTITUTION

ADDITIONAL CHILDREN'S EDUCATION

"GUARDS CHILDREN'S MUSIC SCHOOL"

Report

The initial stage of learning to play the guitar

Young children.

Prepared

Children's Music School teacher

G. Gvardeisk

Kozitskaya E.M.

Gvardeysk

2011

1 .Introduction………………………………………………………1

2.1. Coordination of movements, landing and staging………………………….3

2.2.Note reading or I draw music……………………………………..6

2.2.Metro - rhythmic pulsation……………………………………………………..7

2.4. Various little things or “the wind playing in the strings”………………………8

3. Conclusion……………………………………………………………...8

4 References………………………………………………………10

It is no secret that enrollment in music schools has become significantly younger. More and more often, parents are thinking about the early development of their child. In this situation, music schools, in accordance with the times, are forced to expand the scope of their educational services. And if previously only children with musical abilities or career-oriented people went to school, or as it was believed, only children with musical abilities or career-oriented people should go to school, today a music school offers the whole spectrum of aesthetic development. Increasingly, children of 7-8 years old, and sometimes even preschool age, are coming to the guitar class. But even 10-15 years ago, educational standards prescribed that children aged 10-12 years old should be allowed to play the guitar, justifying it by the fact that due to the peculiarities of landing and setting, not all students at an early age can cope with this task, instruments according to height - 2/ 4 or 3/4 was simply not available. Today, teaching methods, training programs and competitive requirements are changing, this is especially noticeable from the results of recent all-Russian and international competitions.

And of course, in this case, as a rule, standard training schemes do not work. But how can we determine the degree of a child’s learning ability and should everyone be accepted into a music school? During entrance exams, which in itself is stressful, the child may simply withdraw. And some people do not develop abilities because they are not developed. In a few minutes it is impossible to determine the true depth of a given child’s capabilities.

Working with children at an early age is very interesting and you cannot refuse it. Violinists and especially pianists, whose schools followed a less thorny path of development than the guitar school in Russia, have a wealth of experience in this regard and can boast of having already created and tested methods for teaching the instrument, their development for children even at the age of three, not to mention preschool or primary school age.

This is the age when the child is not only spontaneously and freely active, but also an important period during which children acquire skills that allow them to later master the world of adults. At the age of 7–9 years, active brain development occurs. Music promotes the integration of the brain hemispheres and improves its activity - for example, those associated with linguistics, mathematics, creative thinking, since the movement of the hand accelerates the maturation of not only the sensorimotor zones of the brain, but also the speech center. During this period, the child actively comprehends his actions through feelings. A teacher needs to think outside the box, since only in a state of heightened interest and emotional upsurge is a child able to focus his attention on a specific task, piece of music, object, and remember an event with all the details and nuances. The desire to relive a pleasant state for him (contact with an instrument, communication with a teacher) can serve as his strongest motive for activity, an incentive for musical lessons.
Another condition that speaks in favor of learning to play the guitar at an earlier age than 10-12 years is the fact that the child’s ligaments and muscles are the most soft and pliable, despite the fact that by the age of 5-6 years the musculoskeletal the system is already fully formed, this process is completely completed by the age of 11-12 and muscle mobility decreases.
I would like to repeat again - the guitar is a specific instrument, and despite the apparent ease of mastering the instrument, a number of problems immediately arise, especially for children younger age. This includes the inability to reach the neck, pain when pressing the strings, and therefore poor quality sound. Of course, all this can cause nervousness in the child, and here the main task of the teacher is to help the student overcome difficulties so that the first sensations do not become the child’s last desire. Much depends on the child’s personal qualities, on the level of his musical perception, intellectual development and physical data, but a reasonable, caring attitude towards the child, an unforced learning process, creativity will help the teacher to fully reveal the student’s personal potential and his creative individuality.
Today I am not talking about any specific age, my developments can be applied both at an early age and in primary school, depending on the student’s data, his age, the techniques will change taking into account age-related psychology. You can agree or disagree with psychologists, but it is noted that during his life a person overcomes several stages of development, and each new stage necessarily begins with a crisis. " Critical periods» are characterized by a high degree of sensitivity and plasticity of the brain. If an encounter with music falls during such a period, then, like a bright flash, the event is “captured” or “impressed,” as the Russian geneticist V.P. Efroimson called it. This is the most active influence environment for the most sensitive period of development and sometimes determining the entire subsequent life of a person. Such periods occur at 1 year, then very powerfully at 3-4 years and at 7 years, as for early childhood. If you find yourself in this period, you will be lucky; if not, you just need to work smartly despite the pressure. But that's my personal opinion.

Having taken a child into my class for the first time at the age of 6.5 years, I encountered the first difficulties. The child could read, but the usual musical terminology simply did not work in this case. Two more 7-year-old students entered the school here. And I began to look for new, as it seemed to me then, solutions. But as life tells us, “Everything new is well-forgotten old!” I turned to the literature on rhythm and found a lot interesting developments from pianists, borrowed something from solfeggio textbooks by the author Kalinin, and of course looked for material from fellow guitarists. The most important thing remained - to adapt all the material for the guitar. And then I want to say the words genius pianist I. Hoffman: “No rule or advice given to one can suit anyone else, unless these rules and advice pass through the sieve of his own mind and undergo such changes that will make them suitable for this case ».

So, here are some of my experiences. I want to immediately make a reservation that creative process, the search for interesting forms of presenting material is not over yet

and I think something new will appear constantly, since every childcarries its own questions, problems and interests.

The main thing is that you are interested in doing this. You can’t expect quick results, but there will be a lot of pleasure from communicating with kids, positive emotions from their innovative thinking, and from common victories and discoveries.

Little secrets of Senorita Guitars

Teaching young children has its own characteristics, the main one of which is the widespread use of game forms. Due to his psychological characteristics, a child cannot work for the future, for a long-term result. He embodies the impression of reality in the game, as the most understandable activity for him. The game makes the learning process more fun and understandable, helps to reveal children’s abilities more fully and identify problems.

Coordination of movements, landing, staging.

If we compare the loads on children in primary school and preschool age at the present time and at least in the last decade, or better yet two decades ago, then the comparison will not be in favor of today. The desire of parents to develop their children is sometimes “tragic” in nature, since the child attends several clubs and sections at once and still goes to kindergarten. Of course, there is nothing wrong with this, but you should not overload the child’s body beyond measure. As a result of long studies and the lack of mobility necessary for a child’s body, many children by the age of 7 already have problems with the musculoskeletal system, hypo or, conversely, hyper muscle tone. And even in adulthood, our lives, overloaded with mental and physical stress, usually lead to stiffness in the neck and shoulders, and problems with the spine.

The guitar is one of the most “inconvenient” musical instruments in terms of landing. Unlike the harp, piano, trumpet, violin and a number of other instruments, when playing which the performer sits upright and his back is in a symmetrical position, the guitar condemns the guitarist to a position that distorts the upper body. Another cause of tension is a static position. In contact with our body, the guitar fetters us, the guitarist seems to “flow around” the guitar with his body, the body is tilted forward, which leads to an increase in the load on the spine. A constant tilt of the upper part of the body forward, hunched shoulders are a manifestation of poor posture, while the chest is compressed and the fulcrum of the body shifts. As a result, the back is in a constantly tense state. Children usually immediately sit down incorrectly, and even if you constantly make comments to the student, he will react for a short time and change the sitting position to his usual one. At first, the child cannot independently control the sitting process, since he has not yet developed the correct sensations. Therefore, the teacher must develop the correct posture as vital and comfortable for the student.

These questions great attention the talented teacher, violinist V. Mazel, devoted in his works, for example, in the work “The Musician and His Hands,” where you can learn a lot of useful things.

To help the child more easily master the instrument and feel his body, I also started doing some exercises with the children to develop hand freedom, joint flexibility, strengthen the finger muscles, and also relieve tension from the back muscles, which often arises during the lesson. These exercises can be called whatever you like, the main thing is that the basic form of the game is preserved, and you can come up with the image yourself.

Typically, any motor process consists of three phases: 1. preparation of action (concentration of attention on certain groups muscles); 2. specific action (the muscle work itself); 3.relaxation after the action. It is believed that the last phase is the most difficult to regulate. All exercises performed with children are aimed at enabling the child to feel tension and relaxation, i.e. develop “motor intuition” as V. Mazel calls it.

Today I will give a small number of examples of exercises that I do in class. In reality the range is much more varied. At the moment, there is a lot of literature and it is not difficult to replenish your stock with new exercises.

"New and broken doll» 1. sit like a doll in a display case (from 2-20 seconds) like in a display case with a straight back, then relax for 5-10 seconds. Run several times.

2. The “doll” swings with a straight, tense back back and forth, then the winding ends, the doll stops - the back relaxes.

"Robot" or "Living Tree"- the torso is relaxed and bent in half - the tree is sleeping, but small leaves begin to move (only the fingers work), then larger branches sway (the hands work), then the elbow, forearm and all the hands are involved. We raise our torso up - the tree has woken up and, raising our arms up, we do full circular movements, while breathing correctly. Up - inhale, down - exhale. When the “tree” falls asleep, we do everything in the reverse order,” “Robot” is similar to the “tree”, in terms of mood. Boys prefer to do an exercise about a robot, and a girl about a magic tree. The child perceives his entire arm from hand to shoulder; this exercise gives him the opportunity to understand and feel all parts of the arm separately. It can be difficult at first, but gradually the skills come.

"Boxing" - We strike in the air with our full hand from the shoulder.

"Birds"- We depict the wingspan with our full hand.

Now exercises to develop motor abilities of the fingers. The musician's hand is a creator, an instrument for expressing creative thought. But the hand, the area of ​​the hand and fingers, is the least protected in the hand system and is most susceptible to overexertion. Teachers working with young children should pay special attention to organizing the actions of the hand and fingers, since it is this part of the hand that forms the most subtle and precise movements, performing a huge amount of work in producing sound.

"Puppy" ("Kitten")- using soft movements with a round brush, we depict how a puppy buries a bone. Very often, during play, the child does not control the position of the arm, or rather the hand, and most often the muscles become clamped. I immediately remind you how soft the kitten’s paw is, the reaction is immediate - the position of the hand is corrected, since the emotional background is close to the child.

"BINOCULS" or "Glasses"- each finger in turn steps on the thumb with a pad. We can say that these binoculars remove the image according to the degree of transition of the fingers from the index to the little finger, and bring it closer in the transition from the little finger to the index.

"Dudochka" - like “Glasses”, only simultaneously playing with both hands, as if on a pipe. Both exercises again help with positioning the right hand.

"Octopus" - first he learns to walk with each leg (one toe at a time), march, then in pairs. The options can be varied, from simple to complex: 1-2, 2-3, 3-4. 4-5; 1-4, 2-3; 1-3, 2-4. The exercise is very difficult, it doesn’t work right away, and you don’t need to demand its exact execution, it will get better and better over time.

"Hanger" - the child puts his fingers on the table, but with the feeling that he has hung his hands on them. Now you can swing your elbows freely. Compare: a hanger is a hand, fingers are a hook.

During the period without music education I also practice the following exercises:

When playing on open strings fingering p-i-m-a, pronouncing the words of the song being performed, we alternately connect the fingers of the right and left hands, as if they were saying hello.

The same can be done when playing on open strings when fingering

p-i-m-a-m-i. Thus, we focus the child’s attention on the sequence of finger play. The main thing is that poems should not be complicated, memorable, interesting for a child and suitable for the size of the play, that is, two or three quarters.

Fortunately, quite a lot of collections for classes on this topic are now being published. Having tried many exercises in training, I select those that are acceptable to me. Recently I came across the most, in my opinion, easy to use - “Musical gymnastics for fingers” St. Petersburg, 2008. Thanks to the compilers for the useful and interesting educational material.

Musical notation or I draw music.

I use a magnetic board in my practice. Insulation tape

I depict a staff of music. Multi-colored magnets serve as notes. Let's get acquainted with the strings and each string has its own color. At first, I let each child represent his string with his own color, but then I became convinced that it was more convenient to help with his choice. When choosing a specific color, we immediately determine the pitch of the string. So the first string “E” is yellow - bright like the sun, which is higher than everyone else and the notes on it are the highest. The second string “B” is a blue sky where the sun is shining. The third string “G” is green grass, it is lower than the sun and sky. The “D” string is the red fox, “A” is the purple or white puddle from which the fox drinks and all this is on the black ground, the “E” note is the sixth string, which is the lowest. And of course, we draw a picture on this topic. We generally draw a lot at the initial stage. We transfer all impressions, new concepts, pieces from the still unclear world of music to the more understandable world of drawing.

At first, during the pre-note period, the same colored magnets will help you perform the simplest melodies when mastering bass strings - 4, 5, 6. For example, let’s take the well-known children’s song “The steam locomotive is traveling, the steam locomotive is traveling,” the child plays the bass (rhythm or pulse), lay out a sequence of strikes on the strings with colored magnets, and the teacher plays a melody. While practicing, not boringly by the way, hitting the strings with your finger “p”. Songs are best performed in A major, since the main functions of T, D, S fall on the open strings of the guitar. The song has many verses and the child will play it several times; each verse creates an image of different animals riding on a locomotive - a bunny without a ticket, a brave driver, a puppy, ducklings. Thus, the song includes not only the playing moment, but the first acquaintance with the tempo, character and dynamics of the music being performed. At this time, it is too early to demand phrasing and flexible nuances from the student, but he can express the general character, if not by playing, then in the way that is familiar to him - with his voice. It is important that he chooses how he performs music and this is his artistic intention. One day, in a music store, I came across Vera Donskikh’s author’s collection “I Draw Music” and “Draw Music with a Picture,” which also used a system of colored notes. This saved me the trouble of copying notes into the students' notebooks. The collections turned out to be interesting, bright and understandable to children. Now we take a piece to study, figure out what string is played on which string, and the child paints the notes in certain colors, which he responds to very well during the game. In order not to get used to color and not to become helpless when writing in black and white, I also use simple songs from collections when playing the instrument, when the notes have already been learned. The author’s collection “Plays for Beginners” by L. Ivanova, as well as “Young Guitarist” by V. Kalinin, is very convenient in this sense.

If any difficulties arise with the musical text, we can lay out a separate difficult element of the piece on the board, so that the child understands the information better visually.

Also, when you first get acquainted with the guitar, on the back of the board, and they are usually double-sided, you can also make tablature with insulating tape. And while you are playing on open strings, place magnets according to the string and its color, you can also make the tablature colored.

A magnetic board helps in solving many issues. When studying a scale, you can lay it out with notes of two colors, for example red and green. There can be many options for defining color, for example:

1. red-green in turn, we sing the scale, the red notes are sung by the teacher - the green notes are sung by the student, and vice versa;

2.we lay out a scale of two identical notes at once: green, green - red, red: we sing two notes in turn by color, or up the teacher sings one color, down they change colors;

3.we build a scale from “do” to “do” - we sing it, then we move one note up and sing from “re” to “re”, from “mi” to “mi” and so on.

Also, when introducing the concept of pitch, you can put two notes in an octave on the board, for example, “do” of the first octave and next to “do” the second octave, sing up to the word “E-ho”, reaching your voice from bottom to top and to the word “ U-fell" from top to bottom. Usually “Echo” from top to bottom doesn’t work very well for children.

There will be as many options as your imagination tells you.

Metro - rhythmic pulsation.

Of course, this important work, the development of the metro - the rhythmic sense, must begin from the first lessons. I mostly work according to standard schemes. I will not rewrite well-known dogmas for everyone. Exercises for reading poetry and clapping rhythm are simply a must. I explain what a pulse is and how it differs from rhythm. Of course, a comparison from life helps - the mother walks smoothly, her steps are long, and the baby next to him, in order not to lag behind, takes two steps.
One day, clapping the rhythm of a poem about soldiers, my student and I decided to march, but it turned out that it was difficult for a child to control his legs and arms at the same time. So, along with clapping, I began to use “stomping” of poetry.

When preparing a solution to one problem, it is imperative to think through how it will work to solve subsequent ones. Only in this case can we consider that the time of the initial stage of training has been fully used.

Various little things in or “the wind playing in the strings.”

I thought for a long time about how to define the next series of questions - fingering, the words that I use in the lesson when children talk, in general, all those little things without which it is sometimes impossible to explain to a child, things that are elementary for us and not entirely clear to him. You be the judge, but we are very comfortable with our little secrets and new magic words. Of course, this is not my “know-how”, and every teacher, if he wants to achieve results, comes up with his own little tricks. Here are ours:

For a small child, the designation of fingers, that is, fingering, is simply dead sounds. In the left hand there are numbers and everything is somehow clear with them, but what is “p-i-m-a”, especially if you don’t learn a foreign language?! For a little man, mom and dad are the main people and their social roles, he perceives them very well. That's why:

"p" - dad

"I" - and

"m" - mother

"a" - and I?

This is how we designated the fingers on the right hand. It becomes very clear why the thumb of the right hand is always in front - because “Dad” is the strongest and most important. The first experiments with taking two sounds at the same time are also simplified with this terminology. For example: if we make a sound with our fingers “p” and “m”, this is dad-mama, etc. Moreover, when two sounds (or more - a chord) are played, the already well-structured positioning of the right hand when playing one sound in turn is immediately disrupted. Usually, the movement of the brush goes to the side - this is not correct. In order to draw the student’s attention to this point, I usually say that we are playing “Greedy”

that is, we take all the sound into the palm of our hand, to ourselves, “we are greedy,” and not “throw it away” to the side.

Problems often arise in the left hand - in placing the finger on the fret. Children, as a rule, place it at the beginning of the fret, and not at the nut. I explain that the bar is a ladder; in order to jump from step to step you need to stand closer to the edge. At first, of course, we often remember the “song on the ladder,” but gradually the student gets used to it and the hand is in the correct position, close to the position of the position.

Conclusion.

In conclusion, I would like to say that when working with children of preschool or primary school age, we often have to invent new forms of teaching. But this is precisely what is interesting - searching and solving problematic issues. After all, the main task is to make learning to play an instrument lively, interesting, exciting and useful. And the child’s emotionality, enthusiasm and openness will give you true gratitude. Not yet spoiled by the thought of “what others will think,” children, as a rule, communicate very directly with you in the lesson, sometimes surprising you with the novelty of their thoughts, impressions of the lesson, or simply stumping you with their question. Of course, each teacher decides for himself “what” and “how” to teach his students, but we must remember that a lesson is the creativity of two people, the teacher and the student, otherwise it can be called co-creation, where the teacher plays a dominant role. And it is the teacher, having created his own original system of training and education, who will be able to take into account and develop individual capabilities student, will give the child the opportunity to realize his creative abilities as widely as possible and teach him to think outside the box in the future.

And lastly......Having decided to put my little discoveries on paper, I realized that it was much more difficult than just working from lesson to lesson. During the preparation, I read so much literature of a musical and pedagogical orientation, a lot of forgotten things were resurrected in my memory, new knowledge appeared, that now I say: “It’s not all in vain!” How much experience has been accumulated over the centuries, how much we still don’t know. If my work is useful to someone, I will be very happy. I don’t pretend to be original, because “everything new is well forgotten old” and of course, “No rule or advice given to one can suit anyone else, unless these rules and advice pass through the sieve of his own mind and are not subject to such changes as will make them suitable for the given occasion.” With these words of the brilliant pianist of the 20th century I. Hoffmann, I will finish my work.

Bibliography:

1. Donskikh V. “I draw music”, “Composer”, S-P, 2006.
2. Zhukov G. N. Fundamentals of general professional pedagogy. Tutorial. Moscow, 2005.
3. Intelson L.B.Lectures on general psychology. "AST Publishing House", M. 2000.
4. “How to teach to play the guitar” Publishing house “Classics XX1”, M. 2006
5. Kogan G. “At the gates of mastery” Soviet composer, M. 1977.
6. Kozlov V. “Little secrets of Senorita Guitar”, CJSC “Avtograf Printing House”, Chelyabinsk, 1998.
7. Mazel V. “The Musician and His Hands” book one, “Composer” S-P. 2003.
8. Mazel V. “the musician and his hands”, book two, “Composer” S-P. 2006.
9. “Musical gymnastics for fingers” St. Petersburg, 2008.
10. Pedagogy of creativity. issue 2, “Union of Artists”, St. Petersburg, 2004
11. Smirnova G.I. Guidelines. Intensive piano course. "Allegro", M., 2003.
12. Urshalmi I. “The Path to Freedom”, Music magazine “Guitar” No. 1, 1991.
13. Shipovalenko I.N. "Age-related psychology", "Gardariki", 2005
14. Yudovina-Golperina T.B. “At the piano without tears, or I - children's teacher""Union of Artists" St. Petersburg, 2002.
15. Yanevich S.A. "Let's Play" Development musical abilities in children 4-6 years old. "Union of Artists", St. Petersburg, 2007.

Municipal government educational institution additional education children "Children's music school No. 1 named after. Yu.H. Temirkanova" Nalchik urban district All-Russian Festival of Pedagogical Creativity (2015-2016 academic year) Nomination: Additional education for children and schoolchildren

Methodological development on the topic:

“On the issue of developing a guitarist’s technique”

Methodology – performance analysis sketches by E. Baev Developed by the teacher of the people's department Lopatina I.G. Nalchik 2015 Content

Introduction

On the issue of developing a guitarist’s technique (studies)……

1. About modern trends in the development of guitar technology

2. Methodological and performance analysis of E. Baev’s textbook “School of Guitar Technique”...

Creative path (biography, main areas of activity)…

Technical repertoire (studies) for children's music school students with methodological recommendations...

Conclusion…

Bibliography…

Application…………

Introduction

“The greater your technical arsenal, the more you can do with music.
This is beyond doubt"

M. Barrueco

Six string guitar - one of the oldest musical instruments. The origins of the guitar go back centuries, and its

rich story dates back tens of centuries and passes through many historical and cultural eras. The past 20th century has witnessed the revival and true flowering of the art of playing the guitar. Concerts of guitarists attract full houses on all continents. It has found its place in chamber and symphonic works by the world's greatest composers. Guitar sheet music is published in huge quantities. Highly professional performing arts schools have emerged in many countries. Interest in the guitar continues to grow everywhere. Even in African and South Asian countries, which have their own distinctive musical culture. It is noteworthy that for many musical cultures the guitar is a traditional instrument, because many musical genres (especially flamenco, latin music, as well as my own work experience.
The purpose of the development is to review and analyze the educational and methodological manual by E. Baev “School of Guitar Technique” and prove that his methodology is an important and relevant contribution to modern guitar pedagogy.

Therefore, the question arises about developing technical skills among guitar players. Serious attention is paid to technical problems and methods for solving them at all stages of training.

The proposed development is based on the school of E. Baev, an analysis of the views of leading teachers and performers in Russia on the methodology of technical training, as well as their own work experience.

The purpose of the development is to review and analyze the educational and methodological manual by E. Baev “School of Guitar Technique” and prove that his methodology is an important and relevant contribution to modern guitar pedagogy.

The target setting determined a number of tasks posed during the development process: 1) Consider the views of modern guitar pedagogy on the issue of developing the technical skills of guitar performers. 3) Give methodological recommendations for the performance of the instructional repertoire (etudes) of E. Baev. These tasks determined the structure of the methodological development, which includes the following sections: Introduction; main section, consisting of two subparagraphs; Conclusion; Bibliography; Application. The central place in the work is occupied by the section “On the question of the formation of a guitarist’s technique,” ​​which is devoted to the study of one of

the most pressing problems

modern techniques learning to play the six-string guitar: conditions for the formation of technical skills of a guitarist-performer. The main section is divided into subsections. modern guitarist - performer and teacher Evgeniy Baev. A brief biographical information is given, which is necessary to understand how the concept of E. Baev was formed. The main elements of the author's methodology, which are set out in his manual and on the pages of the author's website, are considered. The work on etudes and their significance in the formation of a guitarist’s technique is considered. It also analyzes what is innovative in E. Baev’s methodological system, how relevant is what he brings to modern guitar pedagogy

On the issue of developing a guitarist's technique (studies)

1. About modern trends in the development of guitar technology.

Despite the fact that the guitar is becoming increasingly popular among music lovers, being a relatively recently established “independent concert unit” on the stage, it has become the object of close attention and study by professionals.

Guitar pedagogy in our country has gone through an active development path over the past 20-30 years, but remains too young compared to the leading instruments of our time, the violin and piano. (This explains the lack of fundamental methodological research).

Schools and tutorials for playing the six-string guitar

A large number have been published and reprinted Schools and self-teachers. The most popular schools for playing the six-string guitar are P. Agafoshin, E. Pujolya, M. Karkassi.
Most of these Schools contain numerous and useful methodological instructions that have retained their significance to this day. But they do not contain a complete and comprehensive presentation of teaching methods, the system of training and education of the performer - guitarist.

After all, as you know, school is a demonstration of a specific teaching method, an experience. And most of the authors of Schools of past years limited themselves to outlining the basics of landing and positioning of hands and fingers, some purely artistic instructions and descriptions of individual playing techniques. At the same time, methods for developing guitar playing technique have been developed haphazardly and are clearly not sufficiently covered. Therefore, from most Schools of past years, teachers draw mainly musical material, rather than methodological thought. And for a long time now, the problem of the most advanced and high-quality teaching of guitar playing has been relevant for guitar teachers. Finding the best school of playing, comprehensively covering all types of 6 techniques and technologies for the most effective methods of teaching playing, is one of the most important things for guitar teachers. It is no secret that when teaching students, a teacher often uses exclusively his personal experience , recalling my own impressions of the first lessons with my teacher - the same sequence of actions, the same exercises, the same repertoire. At the same time, it is completely ignored that such an imitative technique may be absolutely unsuitable for of this student, not to mention the fact that time does not stand still, and guitar pedagogy, being in

active development

, could have gone far ahead. Thus, at present, serious attention is being paid all over the world to technical problems and methods for solving them at all stages of education. Indeed, in order to fully convey the emotional content of music, any musician-performer must master the technique, have a certain set of already formed technical skills in playing his instrument. The elements of gaming technology include: focus on guitar neck contact with strings; sound production; accentuation; strokes; coordination of various types of movements; auditory-motor advance; concentration; persistence and versatility of attention; psychotechnics.

Constant improvement of individual elements of performing technique helps to bring it to a high level of skill. In the past, many teachers believed that the instrumentalist's technique was formed only through the study of exercises, scales and etudes, which should always be the focus of his attention. Mastery of one or another gaming technique was most often carried out through mechanical training, by repeatedly repeating problematic passages. Guitar pedagogy often followed the path of technical “training”, mechanical exercises, and increasing the number of hours spent on the instrument. Difficulties in mastering certain gaming skills led to an exaggeration of the role of the technical side of performance. As a result, pedagogical systems arose that were flawed at their very core: from the first steps of education they violated the principle of the unity of the artistic and technical development of a musician. In modern music pedagogy The psychotechnical school is becoming increasingly widespread, based on the auditory method, where mechanical exercises give way to conscious work on propulsion technology For the technical development of the performer, modern progressive pedagogy considers working on all types of instructional material: scales, exercises, etudes. With regular technical work, which takes up about a third of the working time, all components of the motor system (speed / speed of movements /, agility, strength and endurance) are maintained at a constantly high level, the learning process becomes more rational, 8 the learning process is reduced in time musical pieces through daily learning, persistent repetition of the same musical formulas. U young performer a so-called mobile skill is formed. Those. When a student has learned one piece well, he has developed a simple skill. Long-term work on other works leads to the formation of new simple skills. When playing large quantity scales, exercises, with conscientious study large number Etudes gradually develop a flexible skill that allows you to solve complex technical problems without much preliminary preparation, when the previous method and the “method of analogies” work. This path leads to the technique required by the modern high level of development of guitar art. However, if a student concentrates all his efforts on studying only works of art, and his technical studies take place “from test to test,” this path seems futile. After all, what is brought to concert stage– this is only the top of the “iceberg” of performing work, the main (“underwater”) part of it is daily work on instructive, technical material. And here the student can safely take risks, without fear of “chattering” the study being studied, since, unlike work of art, he is not brought on stage.

It is well known that a sketch is not just an exercise in one or another type of technique. Initially, etudes were intended to improve the technical skills of playing the instrument, but with development this genre acquired artistic significance, began to be interpreted as a bright virtuoso piece or a miniature like a prelude. Thus, etudes can be divided into two types: instructional, that is, exercises designed into plays, and concert. 9 The performance of the latter is, rather, an indicator of the technical level already achieved, rather than a means of achieving it. While instructive sketches are of great value for the development of technology. The techniques contained in the etudes are an invaluable treasure for guitarists.

When selecting sketches for his students, the teacher needs to take into account a wide range of different factors. The etudes should collectively cover as many types of techniques as possible found in guitar literature, which contributes to the formation of the foundations of a performing “school.”

There are several groups of studies for different types of equipment:

1. Arpeggio;

2. Chords and intervals.

3. Gamma-shaped passages;

4. Tremolo;

5. Technical legato and melismas.

This division, of course, is not the only one, it is not detailed enough, but this systematization already gives positive results.

It is important that the sketch offered to the student is feasible. As a general rule, a principle of increasing difficulty should be followed to ensure a gradual accumulation of technical and artistic skills. It is very useful to return to the material you have covered. But work on performance technique should always be cyclical, like a spiral, when the return to previously learned techniques occurs with constant complication. Modern pedagogy pays attention to the fact that classes aimed at developing performing technique are developmental in nature, and are not exclusively for the sake of technique alone. And in order for them to bring children joy and a desire to learn, creative 10 and individual approach

However, the music of classical guitarists does not quite take modern realities into account. Being artistically perfect, it is traditional, and this does not arouse much interest among modern students. It is also limited in quantity and does not take into account the factor of sharp rejuvenation in age (7-8 years) of beginning guitarists.

Therefore, the efforts of many teachers to expand the educational repertoire and thereby introduce a fresh stream into pedagogical process.

2. Methodological and performance analysis of E. Baev’s textbook “School of Guitar Technique”

The Russian guitarist, composer and teacher Evgeniy Anatolyevich Baev did not stand aside. Born July 15, 1952 in Pervouralsk Sverdlovsk region. In 1977 he graduated from the Ural Conservatory. M.P. Mussorgsky in guitar class with A.V. Mineev. In 1980, together with N.A. Komolyatov and A.K. Frauchi, he became one of the organizers of the opening of a guitar class at the Moscow State Pedagogical Institute. Gnesins. In 1988 he created the instrumental duet “Musical Miniatures” (violin and guitar) in Tver. He toured with him in Italy, Finland, France, Germany, Latvia, and the USA. The duo has existed for almost twenty years. E.Baev is not only one of the best guitarists in the country, but also famous composer , recognized abroad and published in Europe. E. Baev's sheet music is sold all over the world. His repertoires for music schools and conservatories, as well as his adaptations of Russian folk songs, became widely known. His guitar school is the only one recognized in Italy, the birthplace of music. Now it is distributed not only in Europe, but also in the USA, Japan, Australia and Latin America. The composer writes music for guitar, violin, viola, cello, balalaika, domra and other instruments. Was awarded a high award at International competition composers in Moscow (1999), is a diploma holder International festival in the USA (Buffalo). IN last years

As already mentioned, E. Baev is the creator of his own school of guitar playing, which arose as a result of many years (more than thirty years) of creative activity. Initially these were notebooks: “For a beginning guitarist.

Etudes and exercises”, “35 etudes for beginner guitarists”, “10 etudes for different types of technique” plus 13 treatments for different types of technique. From the combination of these notebooks, the proposed textbook “School of Guitar Technique” arose. It features 1,000 etudes - pieces written to develop the basic technical skills of beginning guitarists and grouped according to the main types of guitar technique.

The manual has 19 sections, each section contains detailed methodological comments.

The introduction examines the concept of a musician's technical skills and examines the conditions for their formation.

Thus, the author sees the unity of the auditory and motor methods as the main condition for the development of musical technology as a whole. (He is a supporter of the modern psychotechnical school). “Since a technical skill is an action that has been brought to the point of automatism and no longer requires conscious control on the part of the performer, this conscious auditory control must initially be maximized…., their musical character, which allows them to be seen as small plays and relate to their performance emotionally and personally.

The sketches in the manual are arranged according to the principle of increasing complexity. In any section aimed at developing a specific technical skill, you can select a study for both beginners and more advanced high school students. This allows the young guitarist to improve his technique throughout his studies at the Children's Music School, when work on technique becomes cyclical (like a spiral).

Having tried E. Baev’s methodology in my work, I realized that it is accessible to students of any level of technical training and is very easy to use, because It is possible to select comprehensive studies for all types of equipment for each class. The technical repertoire offered by the author evokes a huge emotional response among students, increasing their interest in classes in general and the desire to continue their learning to play such a complex instrument as the guitar. Therefore, I decided to continue my work with students using E. Baev’s method.

Today we bring to your attention sketches for various types of equipment from E. Baev’s textbook performed by students of my class. Also, methodological recommendations will be given for each etude performed.

Basic methods of sound production

Now we will present a study on a universal type of technique - the tirando technique, which can be used when playing any piece for guitar. Sketch by E. Baev “Ant”. Performed by 1st grade student. Khandogiy Anastasia.

So, E. Baev’s sketch “The Day is Passing” in the same performance.

The purpose of studying this etude, in addition to qualitatively mastering the technique of apoyando, is to develop the ability to constantly alternate the three fingers - i m a. Since often when performing apoyando, as well as tirando, guitarists use exclusively a pair of fingers - either im, or (less often) am. This significantly limits the capabilities of their technology, being a kind of brake on its development.

And, of course, it is very important to think through the fingering in such a way as to ensure the most natural transitions of the fingers of the right hand from string to string and to avoid the so-called “crossing”.
Along with high-quality mastery of tirando and apoyando techniques, it is also important to master scale passages. You can start working on them in the form of small sequences of notes in the scale.

The sketch “Flicker” is dedicated to this type of technique. It will be performed by a 2nd grade student. Khutovoy Liana.

As already mentioned, the performed etude contains elements of scale-like passages, the mastery of which requires clear coordination of both hands. Only with such operation of the gaming machine will it be possible to further perform fast passages and other complex fragments of works. In addition, working on this etude, thanks to its fingering, allows us to solve the problem of developing the strength and independence of all fingers of the left hand, especially the 4th. The next study we bring to your attention is to master the arpeggio technique. It should be noted that the composer, as in many other etudes, here denotes the tempo of the work with the word “Comodo” - comfortable, relaxed, at medium speed. This allows the player to exercise constant auditory control. Etude “Elegy” by E. Baev Performed by a 2nd grade student. Nordonaeva Amina. When playing arpeggio sounds, most often left hand

works more statically, and the right one works more dynamically. Therefore, one of the main objectives of this etude is the economical work of the right hand, the absence of “extra” movements. In particular, the guitarist needs to ensure that the hand does not twitch or bounce.

There can be many patterns of how the right hand works when performing arpeggios, even unconventional ones using the e-finger, if the structure of the hand allows (the e-finger is weaker and shorter than all the others).

The etudes in the collection provide very varied material for carefully practicing the movements of the right hand in arpeggios.
The next etude that will be performed, also to practice the technique of performing arpeggios, is called “White Cloud”. A 4th grade student is playing. Remizov Alexey. This sketch is different big amount

voices, thanks to the use of the so-called mixed arpeggio, and complicated modern harmony. In addition to all the above tasks for mastering the arpeggio technique, here we add the development of strength and endurance of the right hand, which works more dynamically than the left.

If, when mastering the arpeggio technique, the guitarist needs to exercise constant auditory control over the sequential extraction of chord sounds, then when mastering the chord technique, it is important to ensure that all its sounds merge with each other, that is, the sounds of the chord must be extracted simultaneously and with equal strength.
Many of the proposed etudes in the manual will help you practice the simultaneity of chord sounds.

One of them - “Autumn” - will sound now. E.Baev. Sketch "Autumn". Performed by a 3rd grade student. Bzheumikova Lillianna. In order to achieve the goal of studying this etude - the simultaneous sound of all sounds of the chord - the fingers a m i must be nearby, they need to feel each other, work as one finger. Then one impulse will be transmitted to the strings. However, in this regard it is important to use moderation. Pressing your fingers tightly together will put unnecessary strain on your hand. In addition, when such a game is fixed, further isolation of any of the voices within the chord will be impossible, and many polyphonic works will become inaccessible for this performer.. Visual control of the finger leading the movement along the fingerboard also helps a lot.

In this sketch, the position of the left hand often changes, so it is necessary to ensure that during such transitions the hand does not change its orientation in relation to the fingerboard.

Broken double notes are often found in the guitar repertoire. As a rule, there are no additional difficulties for the left hand in this case - both fingers of each combination of notes are placed on the strings at the same time. The actions of the right hand change. The guitarist selects the appropriate algorithm. Often, the lower notes of the interval are played by the p-finger, and the upper notes are played alternately by the i and m fingers. Such algorithms should be mastered separately, practicing their precise execution on open strings.

Melismas. Regarding the performance of the following technical techniques, namely melismas, which include grace notes played on the guitar, mordents, gruppettos and trills, there is no information in the musical literature uniform standard . If in ancient music
decorations served the task of overcoming the problem of the quickly fading sound of imperfect instruments at that time, then in later times they became part of the means of expression.

We present to your attention E. Baev’s sketch “Stubborn Donkey” in the same performance.

A study was performed on mastering the execution of a short crossed out grace note. It is better to start working on such technical material without using grace notes. After mastering the rhythmic side of the work, you can begin to play the etude with grace notes. The technique of performing both grace notes and all other melismas practically coincides with the legato technique.

Everyone knows that legato is a coherent execution of sounds. But guitar legato has its own specifics - it is called “technical” so that it is not confused with “semantic” legato, which involves the smooth conduct of a musical phrase.

There are three types of legato on the guitar according to the method of execution:

1. Rising legato

2. Descending legato

3. Legato on different strings.

Now there will be an etude that uses both ascending and descending legato.

The guitarist also needs to ensure that the striking fingers are free and the strikes are sharp and accurate when performing an ascending legato. When performing a downward technique, it is important that all fingers, the work of which is necessary to play this legato, are placed on the string at the same time. I would like to add that nothing develops the strength and independence of the fingers of the left hand better than working on legato. In addition, this is a good reason to additionally check the correct positioning of the performing apparatus, because if the guitarist’s hand is not parallel to the fingerboard, but stands “like a violin,” at an angle to it, excessive arm tension will become inevitable. Legato quality will also suffer.

Barre

One of the main and most difficult guitar techniques is barre.

It is most rational to start mastering barre with the so-called small barre, or half-barre, in which the index finger presses two, three or four strings.

Mastering this technique will be facilitated by studying E. Baev’s sketch “Waves”. It will be performed by a 2nd grade student. Kuliev Astemir.

The purpose of this study is to strengthen the fingers of the left hand and prepare them for the big barre. The work of a young guitarist will be more effective if you do not put all the other fingers on the index finger. Thumb being with reverse side the fingerboard, together with the index finger, forms a kind of “clothespin”. However, it does not have to be located opposite the index finger - it can be placed diagonally, located under the middle finger, or even further towards the ring finger. In this case, the “clothespin” will be “beveled”, due to which less effort will be required by the hand to press the barre. Additionally, this thumb position can be helpful for barre movements.

After practicing the small barre in this way, it will be much easier to master the big barre.

Speaking about the technical repertoire presented in E. Baev’s manual, it is impossible to ignore the studies on mastering sound effects.

To create them, metal, glass objects, paper, foil, matches and much more can be used. One of the favorite techniques of guitarists has become the imitation of the sound of a snare drum, which is achieved by playing on two crossed strings.
The “drum” technique was performed by crossing the fifth and sixth strings, when the index finger of the right hand brings the fifth string under the sixth, and the thumb slightly lifts the sixth string up and leads it towards the fifth. Then he brings the sixth string over the fifth and “covers” this string with it.

It is possible to cross the strings only with the fingers of the left hand, but with any method of crossing the strings, you must ensure that the crossing point is strictly above the desired fret of the guitar neck, and the index finger must press both strings tightly.

Another sound effect played on the guitar is the tambourine.

Tambourine is an ancient oriental percussion instrument.

To create the effect of its sound, you need to hit the strings near the stand with the thumb of your right hand.

The sketch “Echo” is dedicated to mastering this technique. It will be performed by a 3rd grade student. Bzheumikova Lillianna. To achieve an imitation of the sound of a tambourine, it is important that the blow be sharp, the movement reminiscent of shaking water from a hand or shaking a thermometer. The right hand should be as free as possible.

The strike can be carried out “from the spot”; it does not require a special swing. During sound production, the brush may slightly slide towards the stand, similar to “smearing” the blow. The thumb should be parallel to the bone nut. The place where the strings are struck is 3-5 cm from it.
One of the most expressive techniques in guitar technology is the tremolo, which creates the illusion of the sound of two instruments. “Tremolo” literally means a “trembling” sound in music.

The development of this technique will be facilitated by working on the sketch “Barcarolle”. It will be performed by a 4th grade student. Uzhakhova Milena.

The performed etude is three-voice, where one of the voices plays a subordinate role, being an accompaniment against which the main voices move. The easiest to master the technique of playing polyphony are two-voice works in which the voices are heard “in turns.”

To play polyphonic works, a musician needs the ability to hear all voices together and each voice separately, and an understanding of the interaction of voices. The development of such hearing is facilitated by singing voices: you can sing each voice separately (without an instrument or with an instrument), you can sing one voice and play the rest, you can sing one of the voices while playing the entire piece. The time spent on this work will certainly have a positive impact on the quality of performance.

In addition, when performing polyphony, special control over the work of the fingers of the right hand is important: it is necessary to develop the ability to take a brighter or quieter sound with any of the fingers. (In the manual, the author offers exercises to develop such a skill.)

In E.baev’s textbook there is a section called “Combined Types of Techniques.” The studies included in it contain a variety of types of techniques in their combination. The degree of complexity of these sketches also varies; many require a very serious level from the performers - both technical and artistic.

The “Gypsy” etude is based on the use of such types of guitar techniques as direct, reverse and mixed arpeggios; technical legato; chord technique; polyphony. Etude “Gypsy Girl” by E. Baev will be performed by a 4th grade student. Uzhakhova Tamara.
Conclusion

In conclusion, I would like to add that the sketches presented to your attention are only a small part of the repertoire from E. Baev’s “School”, because within the time allotted for the seminar it is impossible to cover all one hundred works of the textbook. But, studying each of the speeches made today, the students worked with great enthusiasm and on a high emotional level. With this approach to seemingly “dry” instructional material, the process of mastering technical skills becomes more creative, fruitful and effective. We can safely say that the use of etudes - plays by composer E. Baev in working with students contributes to the formation of the foundations of a performing school for student guitarists. After all, his methodological system is distinguished by its convenience, accessibility and consistency in the presentation of material. In addition, it specifically highlights some issues that were not given due attention in other manuals for guitarists, in particular, the system of acquiring guitar playing skills and some principles of right-hand fingering. And since in the light modern trends In guitar technology, much attention is paid to the factor of more intense movement of the left hand along the fingerboard; therefore, the load on the right hand also increases - it requires greater precision and detail in its work. Technical material for mastering is also offered non-traditional types techniques that involve using the e-finger to play arpeggios and chords; The unconventional p-finger technique (“shuttle method”) is also covered.

In conclusion, it should be noted that in Russia the popularity of the six-string guitar is constantly growing. Guitar pedagogy is changing and actively developing, new methods of teaching the instrument are emerging.

“School” of E. Baev occupies an important place in today’s guitar pedagogical system both in our country and abroad.

The composer's technical repertoire for children and youth helps teachers of children's music schools and children's art schools in their noble pedagogical work and is able to make it easier for students to master the guitar, while consistently introducing children to good modern guitar music.

The work can be recommended as a teaching aid for teachers of children's music schools and children's art schools.

Bibliography

1. Aleksandrova M. The ABC of a guitarist. – M., 2010

2. Baev E. School of guitar technology. – M., 2011 3. Borisevich. D. Optimization of the musical and technical development of guitar students at the initial stage of training. – M., 2010 4. Gitman.A.

5. Domogatsky V. Seven steps of mastery. – M., 2004

6. Kuznetsov V. How to teach to play the guitar. – M., 2010

7. Mikhailenko N. Methods of teaching playing the six-string guitar. – Kyiv, 2003

8. Puhol E. School of playing the six-string guitar. – M., 1992

9. Shumev L. Guitarist technique. – M., 2012

Application e-mail: [email protected] | [email protected]

Methodological development

Organization homework on a six-string guitar in the system of additional education. Compiled by MetlaS.G, head of GMO guitar teachers.

There are two forms of education: classroom lessons under the guidance of a teacher and independent homework. Quite a lot of methodological works have been written for the guitar, for students of music schools and colleges. These are the works of N.P. Mikhailenko “Methods of teaching playing the six-string guitar.” Y.P. Kuzin “The ABC of a Guitarist.” Ch. Duncan “The Art of Playing the Guitar.” “Organizing homework at the piano” by M.E. Bessarabova. General principles training is also suitable for the system of additional education, so a lot can be taken into account and adapted in relation to additional education of the guitar class.

Learning to play the six-string guitar

The success of learning depends on how the lessons conducted by the teacher in the classroom and the student’s independent homework interact. Teach your child to understand music. Sounds should be not just physical, but also musical, convey beauty, and not just duration, pitch, timbre. Make sure that the piece of music performed does not reflect the language of musical notation, but represents some artistic phenomenon. The guitar class has existed in the DDT Petrograd district of St. Petersburg for more than ten years. Over the years, many children have mastered the basics of guitar art, becoming acquainted with the works of composers from different eras and countries, developing and enhancing their musical and creative abilities.

Instrument lessons allow students to accelerate the practical development of the basics of musical literacy, which makes it possible to play in ensembles in the future. different types. Develop an internal ear for music, learn to select melodies by ear, and accompany the voice.

For all its accessibility and apparent simplicity, the guitar is a rather complex instrument. A child who sits down at an instrument must solve many problems at the same time. Competently perform a musical text, read the notes correctly, while observing accidental signs, fingerings, nuances, solving problems of metrhythm and tempo. Consider the correct ratio of melody and accompaniment. Listen, intone and sing musical phrases and sentences with the fingers of the right hand. Constantly monitor the coordination of both hands. Obviously, there are many tasks when playing the guitar, and each of them represents a certain theoretical, coordination or technical complexity and requires a certain amount of time to study and practical mastery on the guitar neck.

Organization of guitar classes.

Classes at an additional education institution in a classroom with a teacher make up a relatively small part of the time (45 minutes) per week. This is not enough for confident, deep assimilation educational material. It is very important to organize your homework correctly. The goal of classroom work is to prepare the student for independent creative work. It is important for the student to understand that systematic guitar lessons are the main condition for mastering performing skills. In this case, the child absolutely needs the help of parents, especially if the child is of primary school age. It is important to teach the student to work independently.

Initial training period

It should be remembered that abstract thinking in a 7-8 year old child is not yet fully formed. Therefore, when working at home with a tool, you should first of all focus on creative thinking, development is one of the guiding principles music training. All independent work must take place under continuous auditory control. Periodically, control lessons should be conducted that simulate home lessons. The teacher should not interfere in the process, observe, and occasionally make comments. It is important to establish contact with parents, become familiar with their living conditions, and help establish firm order for the student. Since any piece of music always contains emotional and figurative content, it is considered advisable to alternate school and musical home classes, for example, Russian language-music, mathematics-music, etc. This principle of preparing homework allows you to evenly combine workload and rest in turns. With this schedule, the duration of classes between lessons can last 15-20 minutes. The proposed mode of operation will save time and allow you to organize your homework more efficiently.

Organization of the guitarist's movements

In the first weeks of training, the student learns to walk his fingers along the strings and frets. This difficult activity requires a lot of patience and attention, both on the part of the student and on the part of the parents, since children 7-8 years old are physically unable to concentrate their attention on such work for more than a few minutes. Here the student needs the help of his parents during his first classes. First, you need to master the arpeggio technique on the guitar. The fingers of the right hand should see and hear. The movements of the fingers of the right hand are easier to analyze when they are not connected to the left hand. The simplest arpeggio ascending p.i.m.a. The thumb of the right hand plays with the support (apoyando), at this moment all three fingers - index, middle, ring - are simultaneously placed on 1.2.3. string, the strings are located between the tips of the fingers and nails, lightly pressing the strings, the fingers alternately produce a sound. Fixing the string between the fingertip and the nail ensures the most effective transfer of forces and minimal play in the nail joint. The fingers of the left hand provide minimal lift over the bar, creating a minimum of effort for their movement. Minimal pressure on the strings protects them from overload and slows down the onset of fatigue. The vertical position of the finger is achieved by touching the string on the fingerboard closer to the nail. It is advisable to practice with a metronome, and in order to develop a sense of pulse, you need to tune the metronome to the second beat. Exercises and scales require constant attention behind controlled and uncontrolled articulation, when the ear controls and does not control the speed of execution at the fastest tempos. It is very important to hear the beat rhythmically and melodically, mentally connect it with the next downbeat, and consider it as a springboard to the downbeat. It is important that the student watches the movements of both hands while playing; articulation between the right and left hands is very important. The fingers of the right hand are prepared, placed in advance on the required strings, the fingers of the left hand find the note, the fingers of the right hand produce the sound. The right thumb rests on the 6th string when playing scales and exercises. The value of these exercises and activities is important as the pace increases or smaller durations appear, control of consciousness gives way to acquired reflexes. It is very important to develop right hand technique; the more time you spend preparing the sound, the deeper your control. What ultimately comes across as legato occurs with even intensity and rhythmic precision.

Working on the rhythm

Since music is an art that cannot exist outside of time, any performer needs a heightened sense of meter rhythm as the basis of any musical work. For expressive performance, in addition to timbre, acceleration and deceleration of tempo, you need to learn how to extract sound and rhythm from the guitar. This can be done with the help of hand movements, mentally focus on such an exercise, the left hand, pressing the string on the fingerboard, makes a hidden movement to the left, and the right hand at this moment - to the right, stretching the sound like a spring, creating tension, and then relaxation , it must correspond to the internal pulsation. This is very interesting point in the performing technique of outstanding guitarists, on this topic I want to write my next work, devoted to the analysis of the performing skills of leading guitarists. One of the methods of developing a sense of meter rhythm is to work with counting by ear, especially at the initial stage of learning; gradually the student develops an internal sense of meter rhythm. The account scheme I use looks like this. A whole note is considered Ta-a-a-a, a half Ta-a, a quarter note Ta,

Eighth Ta-ti, sixteenth Ta-ra-ti-ri. This scheme is simple, easy to remember, easy to pronounce.

Methodological advice for guitar class teachers.

For successful learning, try to find psychological contact with the student from the first lessons. Don't try to teach only bright children. Each child is an individuality, a personality, the art of a teacher is to ensure that any student becomes an excellent performer and acquires a sustainable interest in musical studies, which can last a lifetime. To do this, it is necessary to create a schedule for the student’s homework, in which the alternation of school and musical subjects is observed, and to accustom the child to practice the instrument every day. During the first months of training, if possible, parents should be present in class so that they can then monitor the completion of homework. From the first steps of learning, teach the student to work independently with the instrument. Strictly observe hygienic and physiological conditions for the child’s activities. Use a comfortable, hard chair of the required height and a support for your left leg to avoid curvature of the spine. Maintain silence during classes. Be attentive to the physical and emotional state of the student. Attend annual concerts and competitions in a place with parents. Constantly develop in the child the need to listen to classical music and analyze what he hears. Teach children how to behave on stage, exit, bow, departure. Work confidently, with respect and love for the student, the guitar, and the music. Constantly analyze your lessons.