Multi-lesson '' Guidelines for the work of the classical guitar ensemble.

The purpose of the lesson: Formation and development of performance skills of playing the guitar at the initial stage of training.

Lesson type: Combined

Tasks:
1. Educational. To teach the student to master various methods of sound extraction within the works studied at this stage
2. Developing. Development of general outlook, ear for music, memory, attention, thinking, improvement of guitar playing techniques.
3. Educators. Education of the culture of performance of the studied works, patience and perseverance in overcoming difficulties.
4. Health saving. Compliance with the correct landing, setting of hands, conducting physical education.

Lesson form: Individual

Methods:
- method of practical demonstration;
- method of verbal explanation.

Educational and material equipment: guitar, footrest, chairs, sheet music, student's workbook.

Lesson plan:

1. Organizational moment, introductory speech (methodological note).

2. Checking homework.

Game of positional exercises;
- playing the C-dur scale with the use of rehearsal of fingers i-m, m-i;
- work on the sketch;
- playing previously learned pieces;
- holding a physical education session

3. Work on a new game technique - double tirando.

4. Homework, lesson analysis.

During the classes.

Methodological reference: the first lesson at a music school is a great event in a child's life. He not only gets acquainted with the teacher and the instrument, but also takes the first steps into the world of music. The further attitude of the student to the classes depends on how successful this meeting will be. Therefore, the first lessons must be built in such a way that the student receives many vivid impressions and positive emotions. It is necessary for the child to get used to the new environment for him. To do this, the teacher must win him over: play familiar melodies in the lesson, offer to sing a familiar song - this will help establish contact, create a creative atmosphere. It is necessary to prepare the student for the fact that music lessons are not only pleasure, but also painstaking daily work. If the lessons are interesting, the child imperceptibly overcomes many of the difficulties of the initial learning - technical, rhythmic, intonation. Such classes are much more effective in developing the creative abilities of the child, increase his self-confidence.

Game of positional exercises. At the initial stage of training, in order to develop the student's primary motor skills, special exercises are needed that prepare him to perform technical tasks. Particular attention is the student's landing, the position of the instrument, the position of the hands.
Playing the scale C-dur apoyando technique, using rehearsals of fingers i-m, m-i. The main task is the exact alternation of the fingers of the right hand when moving up and down.
The development of a guitarist's technique is impossible without work on etudes.
Kalinin V. Etude E-dur. Work on the accuracy of the fingering of the left hand, the quality of the sound in the chords being played.
Playing previously learned pieces, pointing out the disadvantages and advantages of the game:
Krasev M. "Herringbone"
Kalinin V. "Waltz"
Conducting a physical activity:
"Spider". Exercise for warming up the fingers of both hands.
"Humpty Dumpty". The exercise is performed while standing. Raise both arms up and down through the sides, slightly tilting the torso forward.
"Soldier and Bear". It is performed while sitting on a chair. At the command "Soldier", straighten your back and sit motionless, like a tin soldier. At the command “Bear cub”, relax and round your back like a soft bear cub.
Working on a new way of playing- double tirando in V. Kalinin's play "Polka". To prepare for its execution, we play an exercise on open strings with double notes. Then we analyze the work: size, key, key signs, musical text, rhythmic pattern and begin its performance.

Homework.
Continue to work on exercises, scales and etudes. Repeat the pieces "Christmas Tree", "Waltz" - to improve the quality of the performing skills of playing the guitar.
"Polka" - practice a new technique, it is better to navigate the musical text.

Lesson analysis:
The result of the lesson showed that the goals and objectives set by the teacher were achieved:
- clarity and clarity of tasks assigned to students;
- a variety of musical material that contributes to the development of the student's creative abilities;
- creation of figurative series (comparisons, associations);
- presentation of theoretical concepts in the context of a musical image;
- auditory control of the performed works by students;

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL EDUCATION FOR CHILDREN

CHILDREN'S MUSIC SCHOOL

SCHOLKOVSKY MUNICIPAL DISTRICT OF THE MOSCOW REGION

METHODOLOGICAL MESSAGE

on the topic

"Features of working with beginners in the guitar class"

teacher of folk instruments

Shchyolkovo

Guitarists embarked on the path of professional pedagogical activity relatively recently, when pianists and violinists already had centuries-old performing and pedagogical traditions, an extensive concert and educational repertoire, and methodological literature. Using the experience gained by other instrumentalists allowed guitarists to achieve great success in a short time and move from amateur home music to concert performance, from self-learning to play by ear to a professional education system. But for the further development and improvement of performing skills, it was necessary to create highly artistic original literature and teaching methods that take into account all the features and specifics of the instrument. Currently, the repertoire of guitarists already has a significant number of original compositions that are diverse and interesting in content and form. There is a process of creating schools, teaching aids and educational literature for the guitar. Suffice it to name the works of G. Fetisov. N. Kalinina, V. Agafoshina. Programs have been developed for all levels of training in the guitar class. The quality of training guitarists in music schools, colleges, institutes and conservatories has improved. Methodical rooms and departments of universities are constantly working to improve the skills of teachers-guitarists.

At the same time, pedagogical practice does not have sufficient experience when working with children of 5.6 years of age, is not free from significant shortcomings, many of which are associated with a violation of the principles of didactics. A typical phenomenon was the non-compliance with the didactic principle of accessibility - in particular, the so-called "overestimation of the repertoire". It should be emphasized that the violation of the principle of accessibility in the initial period of training leads to the most serious consequences, which are difficult, and sometimes impossible, to correct at later stages of training.

Raising this question, we anticipate the bewilderment of many experts: “Should we talk about obvious things?” But the whole trouble lies in the fact that the principle of accessibility is recognized more often only in words. In practice, the program is often overestimated, and not only in the specialty, but also in the ensemble, accompanist class and orchestra. The reasons for this phenomenon are different, and eliminating them is not as easy as it seems at first glance. Let's analyze the five main, in our opinion, reasons:

1. Formal attitude to lesson plans, drawing up plans without taking into account the individual characteristics of the student. Sometimes this is due to the fact that the teacher simply does not know the methodology for drawing up individual plans or has not studied the educational material. Insufficient control on the part of the heads of guitar departments in educational institutions aggravates the situation.

2. Erroneous definition of the complexity of the work. Often the teacher pays attention only to the technical difficulties of the work, without thinking about the complexity of the main thing - the content.

3. Deliberate complication of the program due to a kind of pedagogical ambition. When discussing exam results, such teachers, prone to externality, often say: “My student played a difficult program, so he deserves the highest mark,” not realizing that such reasoning reveals ignorance of elementary principles for selecting educational material and performance evaluation criteria.

It is also believed that one work, exceeding capacity student, must be included in the program for its "growth". Thus, not only difficult, but also inaccessible for the student at this stage work, which, as a result, is not learned, gets into the repertoire. But the trouble is not only this: as a rule, by the time of the exam, the entire program remains understudied. It should be noted that the most capable students most often suffer from an overestimated program for this reason.

4. The desire of students to play certain works that are inaccessible to them, and the “pliability” of teachers, motivating it by the fact that the student will quickly learn the work that he likes, that he will study more and achieve more. Such reasoning, of course, is not without foundation, but if the student's abilities are completely incommensurable with the difficulties of a given play, then he will not be able to overcome them.

5. Musical helplessness of the teacher, inability to work on the musical content of the work. Here is what V. Avratiner writes about this in his work “Methodological Materials on Pedagogy”: “Practice shows that work on the musical content of a work (the maximum identification of the means of musical expression necessary for a given work) is more difficult for some teachers than work on technical difficulties. Such a “teacher” sometimes has nothing to say to his student if technically the play is not difficult and the student has overcome the technical difficulties. In an effort to cover up his pedagogical helplessness, the teacher goes to overestimate the program, making it a kind of means of self-defense.

But whatever the reasons for the complication of the program, its consequences are disastrous. A guitarist who begins to learn a piece that is inaccessible to him, first of all, cannot cope with technical difficulties. Parsing, learning the text by memory takes him too much time, making it impossible to analyze the form and content of the work, to work out the sound production, nuances, strokes, etc. The student postpones all this work to a later period, when he understands the text of the work sufficiently. Being a prisoner of a work beyond his strength, the bayan player does not have time to catch all the mistakes at the initial stage of training, and then it is already difficult for him to get rid of them, as he gets used to the imperfect sound and no longer notices the errors of his performance.

Of course, the student's musical abilities play an important role in mastering the performing arts. But even a talented person, if he devotes all his time only to learning complex pieces, working on technical difficulties, will not reach a high level of performance. Talent requires a very careful attitude to yourself. An experienced teacher will nurture, grow talent from lesson to lesson, year after year, and not ruin it with exorbitant difficulties.

The guitarist works on an unbearable work with great intensity, with extreme tension. As a result of such work, quality loss is inevitable. The concept of "loss of quality" is very capacious: it implies inaccurate execution of strokes, nuances, errors of a rhythmic nature, style errors and, ultimately, an incorrect, distorted creation of an artistic image. But, perhaps, the quality of sound production suffers first of all, and it is of paramount importance for a performing musician.

Violating the principle of accessibility, the teacher unwittingly reduces the work to “training”. Having received a work that is too complex, the student learns only the text for three to four weeks. A month and a half passes, the student still confuses notes, harmony, fingering, is not able to follow the sequence of presentation of the material, and the teacher already begins to work with him on the artistic features of the piece. But the student cannot fulfill the requirements of the teacher, moreover, he is already tired of the play. Interest in classes in general decreases, and he reluctantly sits at home at the instrument. And so the teacher, in order to help the student, begins to learn the work with him in the lesson, doing, in fact, his homework. A week or two before a public performance (test, exam), the student's diary is still full of teacher's notes: "Play without mistakes"; "Play with nuances"; “Do not confuse fingers,” etc. Such instructions and requirements have the force of a doctor’s words addressed to a seriously ill person: “Don’t get sick!”

After the inaccessible program is “prepared”, that is, learned somehow by memory, the student, and with him the teacher, shortly before the performance, is seized by feverish excitement. They are tormented by one question: will it be possible to play without stopping?

Many famous musicians have written about the excitement of performing in public. This phenomenon is extremely complex and still far from being studied. But it can be said with certainty that one of the reasons for the excitement lies in the exorbitant difficulty of the work.

Employees of the biocybernetics laboratory of the Institute of Cybernetics of the Academy of Sciences of the Ukrainian SSR D. Galenko and V. Starinets, in collaboration with screenwriter I. Sabelnikov, created the film "Formula of Emotions". It tells about the “miracle” of emotions, which are a reserve mechanism that helps out in crucial moments, mobilizes all the forces, hidden resources of a person. But there are also emotions that lead to disaster. Their category includes "excitement-panic" (P. Jacobson's term), which covers a musician performing a program inaccessible to him. Doctor of Medical Sciences Professor P. Simonov claims that negative emotions can arise from lack of information. With regard to this case, this means the insufficiency of funds to achieve the artistic goal. Naturally, such a performance is doomed to failure. Here is what G. Kogan says about this: “... the game loses control, the performer “carries” like a chip along the waves, his movements are compressed, his memory changes, he crumple, smears, confuses in the most unexpected places.

So, on the one hand, without creative excitement, without positive emotions, there can be no real performance on the stage. Emotion creates the lift that a true artist needs to create, and not be limited to indifferent, artisanal work. On the other hand, negative emotions caused by a mismatch between ends and means can lead to failure.

Sometimes an unsuccessful performance causes serious consequences: the student begins to feel insecure on the stage, even playing pieces that are quite accessible and well learned, he loses his temper about the thought that something will happen now, that he will forget, confuse, etc. “They worry because they are afraid to forget, they forget because they worry.” This phenomenon is progressing, concert activity becomes a torment for the musician, and he is forced to stop it.

We have already said that one of the reasons for the violation of the principle of accessibility is the insufficient attention of the teacher to planning the work of each student. Pedagogical practice has developed various forms of planning depending on the subject of study. A plan of any form is built primarily on the basis of the curriculum. The biggest mistake is made by those accordion teachers who, relying on their pedagogical experience, do not look into the program for years. In addition to the program, individual planning is based on taking into account the individual characteristics of the student. Different educational institutions have adopted different forms of planning. Sometimes plans come down to just listing plays and sketches, and what guides the teacher in selecting works for a given student is not indicated. In our opinion, the following form of an individual plan should be taken as a basis:

1. Brief description of the student at the beginning of the semester.

It should include an assessment of musical data, the level of musical and general development, mental and physiological characteristics of the student.

2. Individual task for half a year.

It should be based on the characteristics of the student and the general task of learning set out in the program, be feasible and specific - that is, determine the amount of knowledge, skills and abilities that the student should acquire.

3. Instructional material and musical works that will contribute to the fulfillment of this task.

The purpose of working on instructional material - scales, arpedo-

zhio, exercises, etudes - the following will be: “1) the development of a certain type of technique; 2) preparing the student to overcome the technical difficulties of the work. In the first case, the goal is the versatile technical development of the student ... In the second case, you need to take sketches containing the type of technique and those elements of movements that are found in the work.

The artistic part of the repertoire should include various works of folk art, Russian and Western classics, Soviet and foreign composers. All works must have undoubted artistic value.

4. Final part.

It is formed at the end of the semester and represents an assessment of the results of the work. Based on these findings, the teacher sets a new pedagogical task for the next six months.

Such an individual plan will make it possible to implement the principle sequences learning.

The success of the student is directly dependent on the skill and art of the teacher. As pedagogical practice has shown, there are four categories of music teachers: 1) performers-teachers, or, which is almost the same thing, teachers-performers; 2) performers-non-teachers; 3) non-performing teachers; 4) non-performing teachers. One of the biggest shortcomings of young teachers is the inability to transfer their knowledge and performance skills to students. There are many good musicians among them, whose only problem is their lack of teaching experience. The role of a deep, systematic study of teaching methods cannot be underestimated.

What is the key to success as a teacher? First of all, the availability and consistency of requirements and instructions addressed to the student. The relationship between these two principles of didactics is especially evident at the initial stage of education.

At the very first lessons, the student faces many questions: the device of the instrument and keyboards, recording sounds, the position of the accordionist and setting the instrument, the position of the hands, the concept of the duration of the sound, the measure and its size, functions, etc. Inexperienced teacher requires the student to follow several instructions at once. Although each of them separately does not cause difficulties, but the violation of the principle of sequence makes them impossible, because the student cannot focus his attention on a large number of objects and perceive everything at the same time. The art of the teacher in this case will be the ability to instantly analyze the lesson and find what interferes with the student's perception.

Sometimes quite accessible material becomes inaccessible due to the fact that the teacher, having failed to complete the previous task, begins to make new demands on the student. As a result, significant gaps form in the student's knowledge, and he ceases to understand the instructions of the teacher. The lesson in such cases usually goes as follows: the teacher often interrupts the student's game, talks a lot, and the student, having a vague idea of ​​what needs to be done, and getting used to the comments, no longer listens to his words.

One of the necessary qualities of a student is the ability to work independently at home. It can be argued with good reason that this determines the growth of a young musician and serves as a guarantee of his successful work in the future. The task of the teacher is to teach them to work on the work on their own. In this regard, the accessibility, feasibility of homework is of paramount importance. It is necessary to take into account the following: the amount of material, the deadline, the complexity of the task and the student's performance. A mismatch between one of these data and the rest makes the job unavailable.

Failure to complete homework is a distress signal, and the teacher is obliged to find out the reasons for this. But first of all, he must ask himself the question: Did you do your homework?" Teachers too often accuse students of laziness, disorganization. And imagine the state of a student who worked hard at home, but came to class unprepared. And there are far from rare cases when a teacher, instead of mentally giving himself a "deuce", with an unwavering hand, displays it in a student's diary!

Giving affordable work at home is a great pedagogical art. The specificity of homework is essential. An experienced teacher formulates the task in such a way that in the lesson it is easy to determine how much and how the student was engaged. Can, for example, a teacher evaluate the work of a student if the diary says: “Play more confidently, without mistakes”; "Play rhythmically, don't speed up" or even "Play with nuances"? Repeated reminders of the correct performance will not bring any benefit - the student must hear and realize his mistakes. To do this, it is necessary to simplify the task: to offer to play a small passage or even a few measures at a slow pace. And only after the errors disappear, can the student be allowed to continue working at home.

An important section of the lesson is checking the completion of homework. The teacher should give the student the opportunity to “speak out” completely, without interrupting the game with comments. Having found out to the end how well the homework has been mastered, he will be able to build further work on the work. Unfortunately, it happens otherwise: the teacher stops the student at the very first bars and works on them for a whole lesson. As a result, it remains unclear how the task was completed and what should be paid attention to in the first place.

Along with the ability to listen to the student, the teacher must also have the ability to hear him. Often, in the process of working on a work, the teacher experiences an imperceptible shift in ideas, and he begins to take the desired sound for the real one, without noticing the difficulties that the student is experiencing. During the lesson, such a teacher makes up for the shortcomings of the student's playing by conducting, singing or words, and only at the exam, not being able to "help" the student, he discovers that his performance is far from flawless. It may happen that, having got used to the imperfect sound, the teacher will not hear it at the exam either. This is one of the reasons why, while quite well versed in the game of “foreign” students, teachers do not always critically perceive the performance of their own.

A few words about accessibility of the application.

If the teacher often has to enter the same entry in the student’s diary6 “Do not confuse fingers,” this should cause him anxiety and make him think about the reasons for not following the instructions. First of all, we need to review the requirements in the previous lessons. Maybe the student was asked to play at a fast pace, not available to him at this stage. During the performance, the student confused his fingers; the resulting fingering instability then turned into a steady confusion and became the cause of non-rhythmic playing, errors and stops. The situation can be corrected only by returning the student to the tempo available to him and checking the fingering at a slow pace. In addition, the performing apparatus of each accordion player has its own physiological characteristics, and the teacher must know this in order to choose the most emotional fingering for a given student.

So, we found out that not only the complication of the program, but also the deviation from the main didactic guidelines when learning a work can lead to a violation of the principle of accessibility. At the same time, another and another conclusion, somewhat paradoxical at first glance, is undoubted: there are almost no unperformable works - the question is only in the period of preparation and methods of working on them.

The ability to make the material accessible is one of the main conditions for the successful work of a teacher. This is teaching skill and art.

Bibliography:

1. G. Fetisov. Questions of guitar pedagogy.

2. V. Avratiner. Methodical materials on pedagogy, vol. 1M,

Ministry of Culture of the RSFSR, 1970 Page 18.

3. L. Barenboim. Questions of piano pedagogy and performance. L.,

Music, 1969

4. G. Kogan. At the gates of mastery. M., "Soviet composer", 1961.

5. V. Domogatsky. Seven levels of mastery. Questions of guitar technique.

6. M. Feigin. Individuality of the student and the art of the teacher. M., "Music",

There are two forms of learning: teacher-led classroom sessions and independent homework. 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”. Yu.P. Kuzin "ABC guitarist". Ch. Duncan "The Art of Playing the Guitar". "Organization of homework at the piano" by M.E. Bessarabova. The general principles of teaching are also suitable for the system of additional education, so much can be taken into service and adapted in relation to additional education in the guitar class.
Learning to play the six-string guitar

The success of learning depends on how the classes 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 it so that the performed musical work does not reflect the language of musical notation, but represents some artistic phenomenon. The guitar class has existed in the DDT of the Petrogradsky district of St. Petersburg for more than ten years. Over the years, many children have mastered the basics of guitar art, getting acquainted with the works of composers from different eras and countries, developing and improving their musical and creative abilities.

Classes at the instrument allow students to accelerate the practical development of the basics of musical literacy, which makes it possible to play in various types of ensembles in the future. Develop an inner ear for music, learn to select melodies by ear, accompany the voice.

With all the 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 the musical text, read the notes correctly, while observing accidentals, fingerings, nuances, solving the problems of metrorhythm, tempo. Consider the correct ratio of melody and accompaniment. Listen, intotone and sing musical phrases and sentences with the fingers of your right hand. Constantly monitor the coordination of both hands. It is obvious that 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 in learning and practical assimilation on the guitar fretboard.

Organization of guitar lessons.

Classes in an additional education institution in a class with a teacher make up a relatively small part of the time (45 minutes) per week. This is not enough for a confident, deep assimilation of educational material. It is very important to organize your homework properly. The task of classwork 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 the performing arts. In this child, the help of parents is absolutely necessary, especially if the child is of primary school age. It is important to teach the student to work independently.
Initial period of study
It should be remembered that abstract thinking in a child of 7-8 years is not yet completely formed. Therefore, in homework with an instrument, one must first of all focus on imaginative thinking, development is one of the leading principles of musical education. All independent work should proceed in continuous auditory control. Periodically, you should conduct control lessons that imitate homework. The teacher should not interfere in the process, observe, occasionally making comments. It is important to establish contact with parents, to get acquainted with their living conditions, to help establish a firm order for the student. Since any piece of music always carries emotional and figurative content, it is considered appropriate to alternate school and musical homework, for example, Russian language-music, mathematics-music, etc. This principle of preparing homework allows you to evenly combine the load and rest in turn. With this schedule, the duration of classes between lessons can last 15-20 minutes. The proposed mode of work will save time and allow you to more rationally build homework.

Organization of the movements of the guitarist

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 parents, since children of 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 parents during the first lessons. First you need to master the arpeggio technique on the guitar. The fingers of the right hand should see and hear. The movement of the fingers of the right hand is easier to analyze when they are not associated with the left hand. The simplest arpeggio rising p.i.m.a. The thumb of the right hand plays with a support (apoyando), at this moment all three fingers of the index, middle, and ring fingers 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 extract the sound. Fixation of the string between the fingertip and the nail ensures the most efficient transmission of forces, 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. The minimum pressure on the strings prevents them from being overloaded, slowing down the appearance of fatigue. The vertical position of the finger is achieved by touching the string on the fretboard closer to the nail. It is advisable to practice with a metronome, and in order to develop a sense of the pulse, you need to tune the metronome to the second beat. Exercises and scales require constant attention to controlled and uncontrolled articulation, when the ear controls and does not control the speed of execution at the fastest pace. It is very important to hear the upbeat rhythmically and melodically, mentally connect it with the next downbeat, consider it as a springboard to the downbeat. It is important that the student follow the movements of both hands during the game, articulation between the right and left hand is very important. The fingers of the right hand are prepared, placed in advance on the necessary strings, the fingers of the left hand find the note, the fingers of the right hand extract the sound. The thumb of the right hand 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, mind control gives way to acquired reflexes. It is very important to develop the technique of the right hand, the more time to prepare the sound, the deeper the 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 keen sense of metro rhythm as the basis of any piece of music. For expressive performance, in addition to timbre, accelerations and decelerations of the tempo, you need to learn how to draw sound and rhythm out of the guitar. This can be done with the help of hand movements, mentally focusing on such an exercise, the left hand, pressing the string on the fingerboard, makes a hidden movement to the left side, 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 a very interesting moment in the performance technique of outstanding guitarists, on this topic I want to write my next work, dedicated to the analysis of the performance skills of leading guitarists. One of the methods of developing a sense of the metro rhythm is to work with the account by ear, especially at the initial stage of training, gradually the student develops an internal feeling of the metro rhythm. The account scheme that I use looks like this. A whole note is considered Ta-a-a-a, a half note is Ta - a, a quarter note is Ta,

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

Methodological advice to teachers of the guitar class.

For successful learning, try to find psychological contact with the student from the first lessons. Don't try to only work with gifted children. Each child is an individuality, a personality, the art of a teacher is to make any student become an excellent performer, acquire a steady interest in music lessons, which can last a lifetime. To do this, it is necessary to draw up such a mode of homework for the student, in which the alternation of school and musical subjects is observed, to teach the child to practice the instrument every day. During the first months of training, if possible, parents should be present at the lesson so that they can then monitor homework. From the first steps of training, teach the student to work independently with the instrument. Strictly observe the hygienic and physiological conditions for the child's classes. Use a comfortable hard chair of the required height, a support for the left leg to avoid curvature of the spine. Maintain silence during class. Pay close attention to the physical and emotional state of the student. Attend annual concerts and competitions in a place with parents. To constantly form in the child the need to listen to classical music and analyze what he hears. To teach children how to behave on stage, exit, bow, departure. Work confidently, with respect and love for the student, the guitar, the music. Constantly review your lessons.

Municipal budget educational organization

Additional education

"Children's educational and health center "Crystal"

Master Class

"Methods and techniques for learning to play the classical guitar"

Compiled by: Neudakhin D.S., teacher

Uvarovo, 2017

Lesson topic: "Methods and techniques of teaching to play the classical guitar"

Form of occupation: master class.

Goals: To give a general idea of ​​the method of teaching the initial skills of playing the instrument.

Tasks:

1. Transfer the accumulated experience to teachers.

2. Familiarity with methods and techniques.

Lesson equipment:

Notes

Guitar

Chair

Stand (for left leg)

Master class plan

1. Organizational moment

2. Introductory conversation

3.Practical work

4. Conclusion

Master class progress:

In a world of diverse music (such as it is now), there is a lot of music, but few good musicians. A good musician is now "worth its weight in gold." This is noticeable on the big stage, and here, in a small town, especially. A good, professional musician can be heard from the first notes, and simply, if you look at how he holds the guitar in his hands. I think you will agree with me.

In my work with students, I, like other teachers, aim for some result. By this result I have - a meaningful and clear guitar playing in a classical and in a vocal-instrumental ensemble.

The first technique I developed is a special set of exercises aimed at mastering the initial skills in landing, musical counting, memorizing a rhythmic pattern, setting the right and left hands, and honing the amplitude of finger movement.

For example: (visual demonstration of three developed exercises).

Exercise 1

This exercise is aimed at developing the thumb of the right hand.

Exercise 2

This exercise is aimed at developing the index, middle, ring finger of the right hand.

Exercise 3

This exercise is aimed at developing the amplitude of movement of the fingers of the right and left hands. Helps to bring them together. Teaches you how to position correctly.

The second sections in the development of initial skills are scales. In this case, I do not fill the heads of students with two major and two minor scales laid down in other curricula, but I give them only one major, but in two positions. This is the C major scale, which is easy to remember by ear, because it is - do, re, mi, fa ... so familiar to every child. This scale, as I said, I give in two positions:

• First, we call it open because it contains many open strings.
• The second position is closed.

As a result of studying these two scales, the student can navigate within seven guitar frets, inclusive. Yes, and we learn the scale itself in an unusual way. In order to encourage the child to work independently, to study the notes on the fretboard, and not to repeat words and to visually show the notes, the teacher has developed a method for studying notes by playing in position. I explain to the students how to find notes in position, and then we play an unusual game “Guess the note” with them. The game goes like this:(explaining the rules of the game).

The student shows the guessed note with the help of the teacher's three statements (position number, string number, finger number).

After this game, the student himself finds the notes on the fretboard with the help of the material written in his musical notebook. It is very interesting, I advise all colleagues.

In parallel with education in practice, there is also theoretical education. In theory, at the first lesson, like everyone else - history, the device of the instrument, getting to know each other closer. I will tell you the main topics (certainly not all, as they are adjusted in the course of training, depending on the development of the student) of the theoretical part taught by me:

• History, tool device.
• Writing a musical staff is for learning and memorizing (if a pupil of a younger age, I have it up to 10 years old, then I give one octave, then a second, etc.). We learn the small octave only up to the note mi, not lower. Thus, the lower aisle of the instrument's tessitura is memorized.
• Open strings on a guitar with their location on the stave.
• Duration of notes with a score in two quarters.
• Pause with counting.
• Accidentals with a definition.
• Signs of increasing durations.
• Division of notes, grouping in music.
• Repetition in music.
• Size in music.
• Fingers of the right and left hands.
• After studying the entire theoretical part, a control check. In my opinion, this is absolutely enough to proceed to the analysis of notes from a sheet without loading the child.

Let's get back to gamma. After learning and practicing, the scale is given in this way: the student plays it 5 times in a row in the forward and reverse direction, at an average memorized pace. Only three errors and no more are allowed. Thus, the skills of performing skills and behavior on stage begin to be fixed.

For the New Year holiday, our association hosts the first event, where all students, of course, there are exceptions, play on the stage of our institution on their own. But the most interesting and significant event of our association takes place at the end of February. This is the guitar bend zone festival. Everyone takes part in it with great pleasure. Every year we wait and receive guests. I am pleased to invite you to participate in this festival. "Guitar Bend" is about communication, experience and many different genres of music.

Conclusion: By applying these techniques in learning to play the guitar, it is possible in one month to move on to learning pieces and reading from the sight.

methodical work

Methodical work "Working with scales in the guitar class" was prepared by Gubenko Konstantin Sergeevich
2
Content
Introduction……………………………………………………………………...3 1 One-part scales……………………………………. left hand………………………..….16 5 The sequence of studying scales in children’s music school….18 Conclusion…………………………………………………………………………..24 List of sources used………………………………………..26
3
Introduction
It's no secret that every guitarist dreams and aspires to play fast, loud and clear, impressing listeners with his virtuoso technique, especially in scale passages. For some musicians, this is easy (natural data), others develop the technique over the years of hard work (acquired skills), and some do not manage to master these virtuoso qualities at all (laziness or mediocrity). Scale-like passages in one form or another in works for classical guitar are quite common, for example, in Spanish (flamenco) and classical works (Sor, Giuliani, Aguado, Legnani, etc.), as well as etudes and virtuoso pieces. It is well known that it is useful to play scales, but for some reason not everyone does it with pleasure. Meanwhile, if you play them wisely, it turns into a creative and exciting process. When the scale is mastered, its performance captures the energy of movement. Let's remember that sledding or skiing from a mountain, riding a bicycle are routine but exciting activities, and after all, playing scales is also a solution to a chess problem, a puzzle. Let's figure out what work on scales can give and how exactly you need to work on them. The fact is that scales are the simplest technical formulas. They are interesting not in themselves, but in their simplicity and versatility. Learning a scale of just a few notes is easy, but by doing a variety of tasks, we can learn a lot. Thus, it is possible to learn technique in its purest form, bypassing the specific difficulties of mastering the musical text, the style of performance, the difficulty of switching attention from one task to another, which
4 must inevitably meet in a work of art, the main goal of which is to create a musical image. So, from what has been said, it is clear that it is important not just to learn the scale and play it. Only by knowing what to work on, how to work, what to focus on, can one benefit from playing scales. This is the first aspect - technical. The second aspect is theoretical. It turns out that in real life these two groups of problems become competitors. Few people manage to find a balance between them. Both musical theory and technique, contrary to the philistine point of view, require precise, specific and detailed knowledge, active inclusion of memory and attention. It is difficult for the teacher, and especially the child himself, to single out what must not be overlooked, what to control whether this knowledge is really deposited in the memory or just become familiar and become familiar, but not relevant. The purpose of this work: to study and analyze the problem of working on instructive material in the methodological literature; consider the main theoretical approaches to the study of scales in the guitar class, as well as develop a sequence for studying scales in a children's music school.
1 Single voice scales
Scales at all times have been one of the most important tools for the technical development of a performing musician of any specialty. The technique of playing a guitarist is no exception. In each methodological manual, we will find monophonic scales in all keys, most often in the fingering of A. Segovia, with a small, as a rule, annotation about the benefits of playing scales. At the same time, it should be noted that at the moment there are no unified fingering rules for playing scales on the guitar. The search for rational fingering in the scales has significantly relegated the main question to the background: why are they still played? More often
5 the answer sounds like this: to develop fluency and playing technique for scale passages. If we talk about the first, then today it is no longer a secret for anyone that fluency is a natural gift that can be developed if it is available. However, it is unlikely that it will be possible to significantly increase the speed of movement of the fingers, if this is not given by nature. When studying the fingering techniques used by A. Segovia in his famous Scales, doubts arise regarding the second statement. After all, scale figurations in musical works are extremely rarely performed by the fingering indicated in this manual. It seems that A. Segovia's Scales are designed to develop and strengthen the skill of an organized, confident game, coordination of the actions of the fingers of both hands. With the help of scales, one of the most difficult components of guitar playing technique is also worked out - transitions from string to string, mastering the full range of the guitar, the skill of playing in keys with a different number of sharps and flats. Knowledge of fingering and free orientation on the fingerboard is a necessary basis for the development of performing technique, besides, playing scales contributes to fixing the correct muscle sensations, developing primary fluency and coordination of the actions of both hands. From the very beginning of mastering scales, students need to set certain tasks for the quality of their performance, especially when it comes to vocational training. Such initial requirements relate to the clarity and evenness of the sound of scales. First of all, they are associated with the problem of coordinating the actions of the fingers of the right and left hands. The guitar is a plucked instrument, and the duration of its sound is limited, since the vibrations of the string die out rather quickly. In addition, the string is instantly muted if the finger of the left hand is lifted or the finger of the right hand touches it. This explains the great difficulty in achieving a coherent game and the need for constant control over the actions of the fingers of both hands.
6 Achieving clarity and evenness in the performance of scales at the first stage is based on working out the coordination of movements of the fingers of both hands. The ways of its development are contained in the game of scales both with the simplest groupings of durations (duoli, triplets, quartoli) and with the involvement of more complex rhythmic figures: a dotted rhythm, an eighth - two sixteenths and their variants. Of course, it is also important to work on the alternation of all pairs of fingers of the right hand:
i-m
,
m-a
,
i-a
. It is carried out in parallel with the solution of coordination and rhythmic tasks. In addition, it is mandatory to use two methods of sound extraction -
tirando
And
apoyando
. For the control performance of scales on tests in technique, you can use any pre-agreed options. As the performance level of the student grows, the requirements for the quality of performance of scales increase. Before the student it is necessary to set more complex tasks - articulatory, dynamic, timbre. Gradually gamma becomes the material for artistic work. In the future, when working with scales, tasks become more complicated and vary: more complex rhythmic figures, a wide variety of dynamic and articulatory techniques can be used. It should be noted that legato on the guitar is rather arbitrary, but we use this term to denote the most coherent playing. One can only speak of varying degrees of dismemberment, rather than the coherence of sounds. In addition, at fast tempos, the line between staccato and legato is almost erased, and in these conditions the main thing is the feeling of difference from each other, at least symbolically. The performance of scales in the technique test not only (and not so much) stimulates the technical growth of the student, but, first of all, helps to identify gaps in technical training, shortcomings that hinder further development, and, at the same time, ways to correct mistakes and achieve new heights of mastery.
7 The specificity of guitar fingering is that not only the left, but also the right hand has it. At the same time, the functions and movements of the left and right hands differ significantly from each other, which requires special attention to the combination of their fingerings. We will cover the issues of guitar applique for the right and left hands in the next chapters of this work.
2 Fingering options for the fingers of the right hand
When it comes to guitar fingering, it is usually the left hand that is meant, since it is in this that most problems with finger selection occur more often. As for the right, this topic is raised infrequently due to a certain generally recognized clarity of it. However, there is one issue that I would like to highlight. We are talking about the alternation of fingers in scale-like passages. As a rule, in scales and scale passages, many guitarists use the usual (standard) fingering of the right hand fingers. The principle of "standard" fingering is the alternation of two fingers of the right hand
i-m
or
m-i
. If the passage is not played quickly or if it is short, there is usually no problem. All notes sound clear and sounded. When the tempo increases, the guitarist may have a problem: the fingers seem to “weave” in the strings. But because of these "difficulties" it is not at all necessary to refuse to play a work or to perform it more slowly than it should be. Consider several principles and options for using fingering in the right hand using the example of scale
C major
in the fingering of Andres Segovia, which is now a textbook.
Gamma C-dur (fingering by A. Segovia)

8
Two-finger principle
. Scale passages are played with two fingers of the right hand,
i-m
or
m-i
. This is the most common fingering technique used by almost all guitarists. Some guitarists (due to the logic of the same length of fingers and personal predispositions) use variants of the two-finger fingering, namely -
a-i
or
i-a
. Fingering is practically not used in the works.
a-m
m-a
). To develop the strength and mobility of these fingers, it is recommended to use this ligament in exercises and scales. Note that when using the little finger in the exercises in the right hand, the strength, confidence and elasticity of the finger also increase.
a
, because they are connected by a single tendon.
Three-finger principle
. Regardless of the fingering in the left hand, the three-finger fingering method is used in the right hand, namely -
a-

m-i
, less often
i-m-a
.
Combined principle
. In an upward movement in a passage or scale, the first note on the next string is played with the finger
A
. In a downward movement, the first note on the next string is played with the finger
i
. If there is an even number of notes per string (two or four), two-finger fingering is used.
9
Frauci Method
. Scales and scale passages use the thumb of the right hand. In an ascending passage, when changing strings, the last note on the previous string is played with a finger
R
. If there are two notes per string (an even number of notes), a two-finger fingering in the right hand with or without a finger is used.
R
.
"Balalaika" principle
. This is the principle of making sound with your fingers.
p-i
or
p-m
. If the phrase does not begin with a strong beat, the passage may begin with a finger
i
or
m
. Fingers can be used to emphasize strong beats.
R
. At the heart of the scale technique of playing the guitar, the most appropriate and natural fingering in the right hand should be used, namely:
m-i
, but not
i-m
;
a-m-i
, but not
i-m-a
;
p-m-i
, but not
p-i-m
. It is more convenient to play from the little finger to the big one, and not vice versa. When choosing the principle of alternating the fingers of the right hand, the question often arises, with which finger to begin the execution of one or another gamma-shaped figure. The main technical difficulty in the right hand when playing progressive motion is the transition from string to string, especially if it coincides with the so-called "crossing" of the fingers. Take, for example, the scale C-dur:
i m i m i m i m

1 0 Here is a fingering with three transitions from string to string: dore, f-sol, la-si. In the first case, the natural position is preserved (the middle finger produces a sound on a higher string), while in the other two there is a crossing: the index finger, as it were, "steps over the step", thereby somewhat breaking the comfortable position of the fingers. In practice, finger crossing in scales and passages is quite common, although not very desirable and should be avoided if possible. The only question is where and how to do it better: replace the fingering of the fingers of the left hand or the order of the right? To correct the situation in our example without changing the fingering of the left hand, you can start the scale with the middle finger, reducing the number of crossings to one. But the best option could be the following: the thumb starts, and then the index and middle fingers alternate. In this case, the feeling of convenience is fully preserved and the natural movement is not disturbed:
p i m i m i m i
Sometimes, when choosing the initial finger, it is very important to pay attention to the rhythmic and metrical structure of the passage, its location in the guitar's range, as well as the previous and subsequent material. It is impossible not to take into account the fingering of the left hand, since in some cases it dictates certain conditions. This chapter discusses only some of the possibilities of using fingering in the right hand, which can be used depending on the specific situation in the works. In the next chapter, we will consider the possibility of using sound extraction techniques when working on scales.
3 Sound extraction techniques when working on scales

1 1 Playing scales is an integral part of technical mastery. Many guitarists play passages either only
tirando
, or only
apoyando
. Because of this, some passages are excellent for them, while others sound less convincing. It is important for the performer to adjust himself to the perception of the passage as part of an artistic whole and to treat this technique calmly and judiciously. Any scale can be played
tirando
,
apoyando
or with one left hand (legato). You need to master all the ways, then for each passage you can find the optimal method of performance. For example, the final passage of “Variations on a Theme of Mozart” by F. Sor can be performed: 
tirando
using fingers
i-m
; 
tirando
using fingers
p-m-i
; 
apoyando
using fingers
i-m
; 
apoyando
using fingers
a-m-i
;  legato with the left hand, playing the first sound on each string with the right. Each method has its own advantages. The performer must apply the most convenient option for the performance of each particular passage.
Tirando
- excellent reception, inferior
apoyando
only in the density and loudness of sound.
Tirando
it is more effective to use in short passages of 4-10 sounds. Long passages (more than 12 sounds) played
tirando
, have less sound volume and sound integrity than if they were performed
apoyando
. Ideal use case
tirando
is, for example, a passage from “Variations on a Theme of Mozart” by F. Sor:
1 2 It does not require the loudest possible sound, only a small crescendo. You can also play with this fingering: This option is possible if the performer adds a finger without any problems
A
to the passage performed
tirando
. During the execution of the scale by reception
tirando
the brush remains motionless. For greater stability, thumb (
R
) is placed on any string, for example, the third or fourth. It must be remembered that the movements of the fingers when
tirando
more economical than
apoyando
. Fingers, like springs, automatically return to the string after the sound is extracted, which occurs without tension. In this case, there is a feeling of string tension. Thus, maximum freedom and high speed of movement of the fingers is achieved. It should be taken into account that when performing a passage by the reception
tirando
not on the first string, adjacent strings may be affected. Therefore, the execution of this technique requires special efficiency in the movement of the fingers. playing
tirando
, usually use the fingering
i-m
. This is very convenient, since several movements in a row with the same finger slow down the execution of the passage. There is a game system
tirando
three fingers (
p-i-m
). For example:
1 3 However, constant use of the finger
p
in scales it is extremely inefficient, since the thumb is, as it were, in a different plane compared to the index and middle fingers. This is reflected in the sound and rhythmic evenness of the performed passage. The bass strings are usually played with the thumb. The main thing when training reception
tirando
in the performance of scales - do not strain the brush unnecessarily, monitor the correctness of movements, bringing their possession to automatism. Advantages of playing passages by reception
apoyando
the following: a thicker and richer sound, a large dynamic scale, a higher tempo of performance. Reception
apoyando
it is better to play longer passages. When playing
apoyando
you can use either two fingers (
i-m
), or three (
a-m-i
). The second option is more efficient, as it makes the finger work.
A
on par with others. Gamma performed by reception
apoyando
with three fingers, sounds more solid and allows for more tempo. However, with this performance, rhythmic failure may occur. Instead of: It may turn out: This error can be avoided if, when mastering
apoyando
three fingers to play only quartoles. At first, this is not very convenient, since the accented note is played each time with a new fingering, but over time this inconvenience is overcome.
1 4 When playing
apoyando
It is very important to clearly feel the transition from one string to another. The range of motion of the fingers is greater than
tirando
- it makes things a little easier. For better finger development, you can alternate fingering formulas:
a-i-m
,
i-m-a
,
m-a-i
. But these fingerings are used only in exercises, while there are many performing options, using the most convenient and effective ones. Usage
apoyando
with three fingers makes his own adjustments to the fingering of the right hand. As a rule, the performer tries to have exactly three sounds on one string (according to the fingering
a-m-i
). This greatly facilitates the use of this technique. For example, a "standard" C-dur scale fingering is as follows: When using three fingers, it might be: This kind of fingering forces the guitarist to pay particular attention to the evenness of the scale. So, a high-quality performance result can arise with the conscious perception of the musical fabric, the analysis of technical errors, the search for convenient, effective fingering options and constant auditory control. In the next chapter, we will look at possible problems that may arise when choosing the fingerings of a guitarist's left hand fingers.
1 5
4 Left finger fingering problems
The problem of fingering is one of the most difficult in musical pedagogy. A useful, rational selection of fingers largely determines the performance success on any musical instrument. However, we can safely say that this is perhaps the guitarist's most painful issue, which radically affects all aspects of the performance: semantic content and artistic expression, musical style, touches, physical comfort, manner and aesthetics of playing. In scale-like passages, choosing the fingers of the left hand gives the guitarist a lot of trouble, since there are usually several options for playing, and it can be difficult to choose the best one. A significant difficulty is moving from one position to another. The easiest thing to do when changing positions is to move through an open string, while remembering convenient fingering, dynamic and timbre alignment of the sound. Changing positions by sliding is possible, most often when moving to close distances (within one or two frets). The greatest difficulty is presented by a direct transition with a jump on one string, which is impossible to do without when playing in high positions and in chromatic passages. Picking up fingers, guided by the tasks of artistic expression, is the most important fingering principle, while the fingering of the left hand should not be difficult to perform without good reason. Sometimes just a slight change of fingers allows you to play some fragments easier, calmer and more confident. Therefore, from the first years of training, it is necessary to educate in students a conscious attitude towards fingering, gradually introducing them to the basic principles of its construction. Under these conditions, it is very important to awaken in the student the desire for fingering creativity, to teach him to understand the intricacies of the correct placement of fingers. Moreover, it is necessary in every possible way to encourage interest in
1 6 theoretical substantiation of this or that choice and at the same time develop a kind of "flair for fingers". At the first stages of learning, the student, as a rule, uses ready-made fingering, which simplifies and shortens the learning process. However, it is necessary to draw the student's attention to certain technical difficulties that can be solved by replacing the fingers, to the possibility of performing one or another fragment with various fingering options or, on the contrary, with only one, it is important to encourage him to “listen” to his fingers, while simultaneously evaluating the sound picture of the work as a whole, its style and artistic features.
5 The sequence of studying scales in a children's music school
There are several points of view on the performance of scales in the learning process. According to one, scales are the basis for the development of a musician's technique. Supporters of this point of view include the performance of scales in the curriculum at the earliest stages, in significant volumes, and in a wide range. In this case, the scales are often supplemented by the performance of arpeggios with movement in the same range and chords of the main steps. From the point of view of the effectiveness of teaching, in contrast to professional musical educational institutions, such an approach is of little use in a children's music school. It should be borne in mind here that playing a scale on a guitar for a beginner is technically quite a difficult task, since playing any sound on closed strings requires coordination of both hands. Therefore, monophonic scales on the guitar are comparable in complexity to the performance of scales by intervals on keyboard instruments. In addition, the guitar "keyboard" is not linear, but consists of two "coordinates" at once: strings and fret, for thinking this is a more difficult task. As a result, the lion's share of the student's efforts will be spent on learning the scale itself, and not on the technical development that the teacher assumes.
1 7 Proponents of another point of view quite rightly believe that scales are just one of the types of technical exercises, and, as a rule, not the most effective. However, a complete rejection of learning scales in elementary education is also unacceptable, because, firstly, it unreasonably violates the unity of the established teaching methodology that is successfully used on other musical instruments, and secondly, the guitar ceases to be an assistant for the student to study the material of the solfeggio course, where scales are actively given from the first year of study. You can begin the formation of scale performance skills already in the first semester on the simplest material. For the guitar, this is a one-octave A minor scale performed with the thumb in its natural form: After confidently playing the scale with the thumb, you can move on to playing with the index and middle fingers of your right hand. The material can be the C-major scale, which can be supplemented with the sounds of the tonic triad in the simplest arrangement: It should be especially noted the need to use the little finger of the left hand in the fingering for its timely development. To form a stable skill of alternating the index and middle fingers of the right hand and develop fluency, we can recommend the following sequence of playing the scale:
1 8 In the second half of the year, it is advisable to continue studying major scales in keys with one key sign: G major F major For advanced students, you can use E. Pujol's technique and expand the range of playing by a second upwards, obtaining a continuous chain to increase the endurance of the performing apparatus. At the same time, cadences can also be somewhat complicated: G major F major In the second grade, it is useful to offer students one-octave minor scales in natural, harmonic and melodic form:
1 9 a-minor natural harmonic melodic e-minor natural harmonic melodic If the task is to master the modern guitar repertoire for children (V. Kozlov, N. Koshkin, A. Vinitsky, F. Hill, etc.), the teacher should actively lead the student beyond the first position. From this point of view, major scales in common keys with a large number of key signs will be useful:
2 0 D-major or A-major or Two-octave scales can be switched to, taking into account the abilities and age of the student, only after confident and sufficiently mobile performance of one-octave ones, gradually complicating the fingering and supplementing the arpeggio in the same range: E-minor natural (harmonic) G-major
2 1 In the middle classes, students can be sequentially offered two-octave major and minor scales with more complex fingering and changing positions: B minor D major D minor
2 2 With the consistent development of skills in the performance of scales, high school students will have access to two-octave scales in the fingering of A. Segovia, and three-octave scales will be able to serve as a developmental material for advanced and professionally oriented students.
Conclusion
In this work, we examined the issues of working on monophonic scales, analyzed the options for fingering the fingers of the right hand, analyzed the methods of sound production when working on scales, identified the main problems of fingering the fingers of the left hand, and determined the sequence for studying scales in children's music school. The study of methodological literature and many years of experience in a children's music school made it possible to reveal the following: numerous and varied scales on the guitar are the best educational and training material in the education of the guitarist's performing apparatus and the development of his finger technique. As initial scales in the guitar class, it is methodically advisable to use scales with “open” strings (M. Carcassi; F. Carulli), since playing such scales contributes to the study of notes on the guitar fretboard in the main playing positions, and also due to the fact that in scales with such a fingering, the thumb of the left hand, located on the back of the neck, in scales with such fingering gets a natural opportunity to relax, rest during the sound " open" strings, which is very important for the correct initial technical equipment of the guitarist's left hand. Playing scales with "open" strings also helps to activate the auditory attention of a novice guitarist, since the natural sound of an "open" string becomes a model for the "man-made" sound of a string pressed against the fretboard. Guided by auditory sensations, the player “levels out” the dynamic and timbre sounding of the scale steps.
2 3 Scales with typical (positional) fingering are methodically effective at the later stages of a guitarist's training, with intensive study of tonalities and development of finger mobility and fluency. Scales with double notes (octaves, thirds, sixths, decims) help to strengthen the fingers of the guitarist's left hand, physically prepare his performing apparatus for playing texturally complex pieces, so they are studied in high school and professional classes. Scales are often the main links in most of the technical episodes of works of art. A student who works daily on the scales, over time, is able to bring them to a virtuoso brilliance. Scales should be played with all strokes, in all rhythmic and articulatory variants. This method allows not only to perfectly master the neck of the instrument, but also to develop the brightness and sharpness of the strokes, the most common rhythmic patterns and articulation groups.
List of sources used
1. Dobrov M. Formation and development of scale performance skills in the guitar class of the children's music school. 2. Ivanov-Kramskoy A. M. School of playing the six-string guitar. Ed. 4. - R-n-D .: Phoenix, 2004. - 152 p. 3. Newsletter "Narodnik" No. 1-58./Ed.-comp. V. Novozhilov, V. Petrov. - M .: Music, 1998-2007. 4. How to learn to play the guitar. / Comp. V. Kuznetsov. - M.: Classics-XXI, 2006. - 200 p. 5. Karkassy M. School of playing the six-string guitar. / Ed. V. M. Grigorenko. – M.: Kifara, 2002. – 148 p.
2 4 6. Katansky AV, Katansky VM School of playing the six-string guitar. Ensemble. Chord tables. Song accompaniment: Educational and methodical manual. - I .: Katansky, 2008. - 248 p. 7. Classical guitar. Issue. 1./ Comp. K. Mironov. - Krasnoyarsk: 2001. - 74 p. 8. Node Frederick. Guitar tutorial. – M.: Astrel, 2005. – 270 p. 9. Puhol E. School of playing the six-string guitar. - M.: Soviet composer, 1983. - 189 p. 10. Sor F. School of playing the guitar./ F. Sor; corrected and supplemented by the degree of complexity by N. Kost; total Ed. N. A. Ivanova-Kramskoy; per. from French A. D. Vysotsky. - R-n-D: 2007. - 165 p. 11. Teslov D. The ideal school of guitarist technique. Complete collection of instructional material./ D. Teslov. – M.: Golden guitar studio, 2008. – 224 p. 12. Teslov D. The ideal school of guitarist technique. Complete collection of instructional material. Continued / D. Teslav. – M.: Golden guitar studio, 2012. – 306 p. 13. Shumidub A. School of playing the guitar. - M.: Shumidub, 2002. - 127 p.