Application of elements of art therapy in music lessons. Features of musical accompaniment of classical dance lessons
Nowadays, with the fast rhythm of everyday life, parents do not always pay due attention to the development of their children. When diagnosing mental processes children, their emotional and personal sphere, more and more often there are children with medium and low levels of development. Comprehensive psychological support for children has become very relevant.
It has been noticed that every year the number of children who come to school with serious emotional and speech disorders, disorders of the musculoskeletal system is increasing. Such children can be helped not only by specialists - speech therapists, defectologists, but also by music teachers, paying attention to breathing exercises, vocal exercises and rhythmic work in their lessons. Part of the lessons can be aimed at conveying to children the importance of the rhythmic organization of our lives.
The main goal of each teacher is to maintain the psychological health of children; understand the special, sometimes fragile world of the child and, developing, strengthen it with the help of the richest potential of art. A promising area in the professional activity of a teacher is social and rehabilitation activities. Its main task is to ensure the preparation of children for a full life in society, their social adaptation.
These classes have a significant psychotherapeutic effect on the student, relieving the neuro-psychological stress caused by other lessons. It is no coincidence that according to the requirements of San PiN, music lessons, fine arts, physical culture placed after more complex subjects. Art therapy techniques used in music lessons not only preserve the health of children, but also help develop creative freedom, flight of fancy, awaken the processes of imagination and representation. Children become aware of themselves, their inner world. And it is not true that someone cannot sing, or someone has no hearing. Every child can draw or sculpt from plasticine at least a little. All these abilities can and should be developed. Drawing, especially to music, helps to comprehend and bring your inner world to a harmonious state. This is one of the available ways to harmonize the personality, relieve emotional stress, not only in the present, but also in the future.
Basic principles of art therapy exercises:
(explanatory note)
The art therapy method is most suitable for working with children and adolescents. This is an excellent method of working with children of different abilities and in groups with mixed levels, as it allows each child to act at their own level and be judged for their contribution.
Currently, art therapy is understood as the use of all types of arts. This is a method of developing and changing the conscious and unconscious aspects of the personality psyche through different forms and types of art.
In everything modern world art therapy is being used more and more actively. In total, 4 types are used.
Music therapy is the controlled use of sounds and music in human psychocorrection, which is an activity that includes reproduction, fantasizing and improvisation with the help of a human voice and selected musical instruments or listening to specially selected pieces of music.
Dance-movement therapy (choreotherapy) is a psycho-correctional use of dance and movement as a process that contributes to the integration of the emotional and physical state of the individual.
Fairy tale therapy is a method that uses a fairy tale form for personality integration, development creativity, expanding consciousness, improving interactions with the outside world.
Isotherapy - therapy with fine arts, primarily drawing
These techniques can be applied to develop communication skills and are ideal tools for building self-esteem and self-confidence (both of which underpin students' willingness to "take risks" in learning, make mistakes and try new things).
The art therapy method can be used to develop team behavior and group cohesion, it can help the child to express what he has no words for, or what he cannot voice. And it gives pleasure.
Entering school and the initial period of education causes a restructuring of the entire lifestyle and activities of the child. Educational activity requires from him a certain degree of preparedness both physiologically and socially. The observations of physiologists, psychologists and teachers show that among first-graders there are children who, due to individual psychophysiological characteristics, find it difficult to adapt to new conditions for them, only partially cope (or do not cope at all) with the work schedule and curriculum.
Some people in connection with schooling experience a large number of various difficulties and problems, inadequate mechanisms of adaptation to school are formed - school maladaptation. These children need psychological help.
When conducting art therapy classes at school, it is very important that children perceive classes from a positive point of view, and not as correctional classes for those who are lagging behind. Therefore, it is extremely important how activities are presented to children.
Lessons should be presented as follows:
Art therapy classes help to improve the image of oneself and strengthen self-esteem (this is for children);
Art therapy classes raise the status of the child or children in question (this is for parents);
Art therapy classes allow children to consider classes as part of the regular school schedule (this is for teachers).
There are many ways to apply the art therapy approach, a number of problems. How to apply it is determined by the conditions, circumstances and problems. It is important to take the time to "uncover" problems, identify goals and organize classes in accordance with them.
The use of art therapy when working with schoolchildren:
Working with children who are singled out in a class or group (increasing self-esteem, strengthening self-confidence of children who are withdrawn, vulnerable, teased, who fall behind in school, have learning difficulties or are distinguished by cultural or gender).
Transition from primary to secondary school (development of skills and strategies to cope with the demands of secondary school; emotional support).
Group cohesion (development of trust and teamwork skills in various conditions).
Troubleshooting (use of art therapy in difficult classes, groups or when working with individual children and their various problems).
Social interaction (changing dynamics, social roles, mastering social skills and developing mutual respect and understanding; working with groups of children on various issues).
Conflict resolution (to help learn to understand conflict situations).
Communication skills (improving speaking and listening skills, developing the ability to share experiences, strengthening self-confidence).
Art therapy exercises serve as a tool for exploring feelings, ideas, and events, developing interpersonal skills and relationships, building self-esteem and confidence, and creating a more confident self-image.
The features of the art therapy approach are:
- Non-judgmental perception of all works: there is no "right" or "wrong" in art therapy, and this must be clearly explained. Children need to feel safe, to know that creating images is a way of conveying their experiences, thoughts and feelings and that they will not be judged.
- Children are kind of experts. The exercises are designed in such a way that the starting point is the experience of each child. In this sense, children are "experts" about their work.
- The contribution of each of the children is important, it is important and unique. All work must be treated with equal respect, regardless of professionalism.
- Secrecy is necessary because the exercises may involve a personal level. Children's secrets must be kept.
- Story about your work. The conditions for the story and discussion of the work of the child should not be directive. You can not interpret the work of the child (this can only be done by the author himself, if desired), children cannot be forced to reveal more than they wish.
- Basic Rules. When working with a couple, group or whole class, it is desirable to establish ground rules. They must be carried out with mutual respect, appreciating the contribution of everyone, so that the environment is safe, so that all children feel good.
List of ground rules:
- Listen carefully to each other.
- Do not interrupt the speaker.
- Respect each other's opinions.
- You don't have to take an active part in the class if you don't want to.
- Everyone should feel comfortable.
- Everything said in class must remain confidential - unless otherwise decided.
Work storage methods:
It is necessary to find a way to save the work of the child, because he is proud of them. There are many ways: special folders, a book or magazine, exhibitions (which can be done individually or together).
The use in music lessons of the technique proposed by Svetlana Konstantinovna Kozhokhina in her book "Growing and Developing with the Help of Art" (10) makes it possible to link together the education of aesthetic perception of music, the development of students' performing abilities, the development of special musical abilities (musical and auditory representations, musical ear, musical memory), the ability to clearly characterize the image, and also have a corrective effect on the child's body.
Technique number 1.
Dance of joy. (to the theme "Three whales in music - dance")
Materials for work: music (any incendiary rhythms of ethnic music, classical and jazz); chiffon shawls or scarves (fabric); paints (gouache, watercolor, oil pastel), paper, brushes, water jar.
I stage. Music and movement.
We address children with the following words:
"Today we continue to meet in the Magic Land of Emotions. Music will be our helper and friend. I will now turn on amazing sounds and invite you to move. Take a chiffon fabric. You can put it on yourself, tie it in some way or just pick it up. Close your eyes, listen to the sounds and start making various movements. Let the fabric help you with this."
The fabric in this case plays the role of a conductor and a guarantor of safety. When a child throws a cloth over himself, he becomes both invisible and visible. With fabric, it is much easier for him to move to the music, to perform his dance. The child sees everything and at the same time is protected by a transparent veil. We provide the necessary amount of time for dancing. In no case do not laugh, but cheer on the child dancers. Music and body movements will help children get rid of muscle clamps and allow them to enjoy the control of their bodies.
II stage. Painting (creating creative work).
When the children finish their dance, invite them to go to the table with art materials:
"And now the colors have already been waiting for you and they want you to paint the picture that you now want to make with them. Remember your dance, music and draw the feelings that you had during the dance. Perhaps your work will be called" My dance ". What was your dance about? What did you imagine when you danced? So, start working!"
If it is difficult for children to immediately begin the first strokes and strokes, offer a few minutes to sit with their eyes closed. Let them imagine the dance, as if they see it with their inner eye. When they are ready, you can start drawing. Be sure to say that you can draw anything you want, any picture. You just need to listen to your hand and perform those hand movements that you want, and take those colors that your hand indicates.
III stage. Description of the picture.
At the end of the creative work, invite the children to come up with a name for the picture. Next, it is best to ask the children to put the drawing some (small) distance from the author and give them the opportunity to compose a story based on their picture.
If the children are reluctant or sparing, ask them leading questions. In no case do not impose your understanding children's drawing and not interpret it in your own way. Questions might be: "Is your drawing related to dance? Did you manage to convey a sense of joy and fun in your work? What colors did you depict your state of being? How do you feel now after completing the work?"
Be sure to thank the children for their work, for their efforts and sincerity. It is advisable to write down the stories told by the children on a piece of paper, putting the date, and decorate the painting and hang it on the stand.
This work will help children develop the ability to feel their body, listen to their feelings and express them with the help of movements. This good experience expanding the sensory range and developing the inner "I" of each child.
Technique number 2.
Images inspired by classical music.
- "Prelude" No. 8 by J.S. Bach;
- "Prelude" No. 4 by F. Chopin;
- "Barcarole" P.I. Tchaikovsky;
- "Pastoral" by J. Bizet;
- "Swan" by K. Saint-Saens;
- "Sentimental Waltz" P.I. Tchaikovsky.
Materials for work:
- gouache or watercolor paints,
- wax crayons,
- A3 paper,
- squirrel brushes No. 8, No. 2,
- a jar of water.
I stage. Listening to music.
We try to teach children to good classical music.
We invite children to meet with beautiful music with the following words:
"Today we will go to visit and get acquainted with magic music. We will first listen to music, and then we will depict our feelings on a sheet of paper with paints and wax crayons.
First we put a small piece (2-3 minutes).
Before listening to music, let's say that during the sound of the work he tried to imagine some pictures, images, some characters - in a word, everything that he sees and feels.
II stage. Image submitted.
Music can be listened to with both closed and open eyes. If the children want to tell what they saw during the sound. Let them do it. They may want to draw their feelings first. It is better to draw small objects and images with wax pencils, and then use a large squirrel brush to lay color sensations from the music. Sometimes it can be abstract outlines and images. The main thing is that children learn to feel the music, and then transfer their feelings on paper. Finally, give the children a chance to speak.
After the children have completed everything, be sure to say the name of the piece of music and who wrote it. It is better to do this at the end of the lesson so that the words of the adult do not in any way affect the feelings and sensations of the children.
Art therapy forms help to create conditions under which a number of important tasks are solved:
Awareness of the presence of different emotional states in children and the ability to express their emotions and feelings;
Developing the ability to experiment with different art materials;
The ability to create works of art from ordinary objects that surround us;
Development and strengthening of the inner "I";
Help for parents with "special" children and children with signs of giftedness;
Getting more information about children with simple tests;
Additional opportunity to develop the psychological foundations of personality;
Development of creativity;
Disclosure of important sensory channels of the child.
COMPLETION:
The power inherent in music is able to influence the physiological processes of the body, both in the motor and vegetative systems of the child. If music is a pleasure, then the cardiovascular system reacts as follows: the pulse slows down, blood pressure decreases, blood vessels expand. If the music is unpleasant, then the heartbeat quickens, the pressure rises. Bright, rhythmic music causes children to involuntarily move to the beat with their hand or head. Unconscious movements can be quite diverse. Music can awaken rich inner visual images in a child, cause strong feelings. And in some cases even olfactory sensations. Music and correctional classes in combination with other types of work in the classroom are very important and relevant today. Music lessons contribute to the development of memory, imagination, perception and speech. In general, music helps the child develop harmoniously, enriching his inner world. All this forms a successful and strong person.
LITERATURE.
1. Vorozhtsova O.A. Music and play in child psychotherapy. M.: Publishing House of the Institute of Psychotherapy, 2004.
2. Vygotsky L.S. Psychology of art. St. Petersburg: Azbuka, 2000.
3. Vygotsky L.S. Imagination and creativity in childhood. M.: 1991.
5. Dmitrieva L.G., Chernoivanenko N.M. Methods of musical education at school. M.: Ed. center "Academy", 2000.
6. Kiseleva M.V. Art therapy in practical psychology and social work. St. Petersburg: Speech, 2007.
7. Kozhokhina S.K. We grow and develop with the help of art. St. Petersburg: Speech, 2006.
8. Kopytin A.I., Svistovskaya E.E. Art therapy for children and adolescents. Moscow: Kogito-Centre, 2007.
9. Kotysheva E.N. Musical psycho-correction of children with disabilities. St. Petersburg: Speech; M.: Sfera, 2010.
10. Kuprina N.G. Ecology of the musical and sound sphere modern child. M.: Academy, 2007.
11. Medvedeva E.A., Levchenko I.Yu., Komisarova L.N., Dobrovolskaya T.A. Art pedagogy and art therapy in special education. M.: Academy, 2001.
12. Osipova A.A. General psychocorrection. M.: Sfera, 2002.
13. Smolina E.A. Modern music lesson. Yaroslavl: Academy of Development, 2007.
14. Tkacheva V.V. Harmonization of intra-family relations: father, mother, I are a friendly family. M.: Ed. Gnome and D, 2000.
Use of creative tasks in music lessons.
The task of creative development of schoolchildren is to purposefully and systematically develop the necessary abilities: original, imaginative thinking, imagination, emotional responsiveness; and also to form the need for creativity and communication with art. The teacher should help the student to understand the feelings and thoughts of the author, to master the language of art as a means of expressing his own attitude to certain aspects of life.
Children's creativity is inexhaustible. The role of the teacher is to create an atmosphere of absence of fear, to awaken fantasy in him, to strengthen the creative freedom inherent in age and self-confidence.
To reveal the creative abilities of children, I use active forms and methods: conversations, games, competitions, search experiments, creative tasks, etc.
Creative tasks in music lessons contribute to the overall creative development of the individual, which, in turn, fosters responsiveness, artistic imagination, figurative-associative thinking, activates memory, observation, intuition, forms the inner world of the child, affects the thinking, speech, imagination, activity of the child. Creative tasks make it possible to rely widely on the subjective experience of the child and are quite consonant with the concept of LOO (personally oriented learning).
In order for creative tasks to be of a developmental nature, to contribute to education, training, they must be applied in a problematic form. It is important to create search situations conducive to an independent search for answers and ways of activity. Like any creativity, the creativity of children cannot be limited only by the process of creation. It certainly requires communication about what has been created, that is, its execution and perception.
Primary school students can themselves (and with their parents at home) compose poems or a story about the music they heard at the lesson, draw a picture for it, pick up poems by famous poets. When passing the topic of folk music, the guys compose jokes, ditties on the given topics.
Reception "Find the missing word."
So, we ask the children to find a word that would complement the list of adjacent ones to confirm the keyword (for example, in the fifth grade, the first topic of the semester is “What would happen to music if there were no literature?”).
Romance is ... and music (literature).
Ballet is… dance and music (literature).
Opera is ... ... music, dance, theater (literature, fine arts or applied arts).
This assignment can be done either orally or in writing. It actively contributes to the development of thinking in the process of searching for associative links.
Another technique aimed at the same process is "find an unnecessary word."
Students are invited to find the superfluous from a number of logically interconnected words, in this task it is also necessary to combine both educational material and creative activity aimed at developing associative thinking.
So, for example, in the same fifth grade, the second topic of the semester is called: “What would happen to literature if there was no music?”
Students are given a chain musical words that would disappear from literary works if there were no music. When the teacher lists these words, the students are given the condition: raise their hand or say the word “no” in case of a “mistake” by the teacher:
Song, note, piano, plastic, conductor, string, string, orchestra, etc.
Reception visual improvisation.
Children's musical impressions can be reinforced by children's fine arts- drawings on the plots of musical works, modeling characters from plasticine musical fairy tales, design of programs and posters of concerts, drawing technique - I hear, I see, I draw.
In music lessons, from the first grade, students are often given the task of drawing a piece they hear. It is very important what visual images the music evoked in a small listener, what the child cannot yet express in words, he will be able to show in the drawing. The drawing technique is very useful in analyzing and diagnosing a student. The developed version of the drawing technique is used from the first grade to the eighth. creative works allow you to see the ability to draw, i.e. work creatively, compare drawings by color, and therefore more accurately determine the emotional attitude to what is heard and depicted.
A) The color of the picture plays a huge role. Dark tones, cold (dark brown, blue, etc.) are considered a manifestation of negative emotions, i.e. negative attitude to the depicted, light, warm colors (yellow, red, etc.) are considered a manifestation of positive emotions, i.e. positive attitude towards what is depicted.
B) The thoroughness and accuracy of the details of the drawing - with a positive attitude, with a negative one - is drawn deliberately carelessly.
C) Creative or formal attitude to the drawing: the dynamism of the drawing, the freedom of composition of the drawing, the presence of a plot, its completeness. The creative attitude to the drawing is determined by the presence of the above characteristics. It indicates a positive emotional attitude towards the depicted. The absence of these characteristics indicates a negative attitude towards the depicted.
Guys love it very much work with cards:
Image of instruments (when listening to a play, the guys identify the sounding instrument and write its name);
Cards of images (music is cheerful - "the sun is smiling", music is sad - "the sun is sad").
When playing, the guys raise the desired card.
For children in grades 5-8 can be applied in the classroom project method.
Projects were created: the newspaper "Modern Performers", collage "Favorite Songs". With the help of media technologies, the music lesson becomes more colorful and informative! There is only one task - to draw the children's attention to a piece of music, to hear and discuss their impressions with them, to beat them creatively, for example: to show pantomime, to draw a picture - an impression, to arrange a game "Pros and Cons". Where each team defends either a positive or critical view of the piece heard.
A variant of the "Kaleidoscope" of creative tasks for working with an instrumental work.
As an artistic image, we chose the musical work of G.V. Sviridov "Autumn" from the musical illustrations for the story of A.S. Pushkin "The Snowstorm".
The children were offered the following kaleidoscope of creative tasks:
looking at the portrait of Sviridov to tell about him.
listen to a piano piece
choose from the provided poems, the most appropriate to the nature of this work
rhythmic recitation to the selected poem, its voicing.
compare piano performance and orchestral performance.
draw four rectangles, label them "Winter", "Spring", "Autumn", "Summer". Color each rectangle with one color that best suits this time of year. Or use not just one color, but combinations of different colors. Looking at the pictures, sing "winter", "summer", "spring", "autumn" tunes.
choose the instruments that you heard when sounding “Autumn”, explain why you chose these instruments.
choose from the proposed pictures, the most appropriate to the musical language of the work in question.
compose a rhythmic accompaniment to the piece.
compare this work with the work of G.V. Sviridov "Spring".
recall and name the composers who wrote works about the seasons.
Analysis of the work on the work of G.V. Sviridov "Autumn"
At the beginning of the lesson, the children were asked to look at the portrait of the composer and talk about him. The teacher carefully offered leading questions that helped the children express their thoughts. “Children, here is a portrait of a man in front of you, but we don’t know who he is, what his name is, who he was by profession, at what time he lived ...”. The children immediately answer that this person is a composer, since they are in a music lesson and it is not difficult to guess about this. For clothes, hair, appearance we determine that the composer lives in our time. Further, it is proposed to fantasize about his life, what it was, difficult or carefree and joyful. Almost all children imagine the life of a composer difficult and bitter - this is due to their previous experience of meeting composers (Beethoven, Mozart). It is proposed to get acquainted with the composer, give his name and support the children that all their guesses were correct. We say that the composer was very fond of nature and wrote many works under the influence of natural phenomena.
Children are invited to color four rectangles in accordance with the seasons, with those combinations of colors that, in their opinion, most fully reflect the mood of a particular season. The following colors mainly prevailed: winter - white or white-blue, spring - green, blue, summer - bright combinations of green, red, yellow, autumn - yellow, red.
Further, it was proposed to listen to Sviridov's work "Autumn" in piano presentation. Determine his character. All children noted that the work of a sad, dreary, sad character. The teacher asks the children to name the piece. Most of the children gave the answer - "Autumn", explaining that the melody resembles the fall of leaves from the trees, nature's farewell to the blooming and warm summer.
The next task was to look at the instruments (see Appendix No. 8) and say which ones they would choose for this piece if it sounded in an orchestral performance. The children chose the following instruments: harp, violin, flute, cello, triangle.
Then it is proposed to listen to the orchestral performance. Children animatedly perceived that the timbres of instruments sounded, from those that they named. We encourage the children that the thoughts of the composer and the children coincided. "You and I have also been in the role of a composer." We say that not only many composers turned to the image of autumn in their works, but also many poets and artists dedicated their creations to this season.
Poems are read (see Appendix No. 6), and the children are invited to choose the work of Sviridov that best suits the character. All children, without exception, chose N. Gumilyov's poem "Autumn Song". The children noted that the poem also has a dreary, farewell mood.
It is proposed by the next task to look at your image of autumn in color, and compare whether it corresponds to the listened work. The whole class chooses the most successful color combinations.
We find out that it turns out that autumn can be different, this is evidenced by the fact that we depicted it in different ways, but how the artists depicted it, let's choose the most suitable landscape for G. Sviridov's work "Autumn" (see Appendix No. 7). The opinions of the children were divided between the landscapes of I.I. Levitan and V.D. Polenov “Golden Autumn”. But most of the children chose the painting by I.I. Levitan. The children explained their choice by the fact that soft colors prevail in Levitan's landscape, which convey sadness and melancholy.
Next, the children are invited to try to convey the nature of the work with plastic hand movements. The children's movements were dominated by smooth downward swaying movements that convey the fall of leaves from trees.
As homework, the children were asked to remember the composers and their works, which depict pictures of nature. Many children remembered the composer E. Grieg and his work “Morning”, as they recently got acquainted with him at music lessons, several people called the work of A. Vivaldi “The Seasons”.
We see that children are easily involved in the process of working on one work, if it proceeds in this way. Children are constantly creative search, are involved in different types of activities, and on the basis of this work alone, work is underway in several areas. Work on the means of musical expression, their relationship with the personality of the composer and with life in general, these are active methods of syntonation with color, word, gesture, comparison with works of different types of art, getting used to the position of a composer, an artist. Children develop creative imagination, an unlimited flight of fantasy is observed, while the role of the teacher is limited, he is not an informer, he is in the position of a regulator who directs the reasoning and thoughts of children along the right path, not fettering them in freedom, but only helping their expression.
CREATIVE TASKS IN MUSIC LESSONS
Russian music - folk and composer
To deepen and consolidate the material covered, as well as to reveal the creative abilities of students on the topic: “Russian music - folk and composer”, I use the following tasks:
Draw an illustration for any Russian folk song or work by Russian composers
draw color associations
Pick up or compose ditties
Craft noise instruments
Come up with movements for an ornamental round dance
Write an essay on the topic: “How do I feel about Russian folk music?”
Compiling and solving crossword puzzles
Execution of test tasks
Tasks for comparison (general and difference)
Compliance tasks, etc.
Examples of creative tasks.
Exercise:
draw color associations for the sound of folk instruments - balalaika, spoons, accordion, rattles, flute, noise boxes, orchestra of folk instruments.
Exercise(preparation for the final lesson on the section) - research work:
Theme: Russian folk instruments
1 group - gusli, balalaika
Group 2 - flute, horn, zhaleyka
Group 3 - rattles, spoons
4 group - button accordion, accordion
What it is?
The history of the emergence of tools.
Pick up or compose riddles, poems.
Issue work in the form of an abstract, album, booklet (optional).
The goals and objectives of the creative task: the formation of the ability to independently obtain information, the ability to conduct research; deepening students' understanding of Russians folk instruments; instill interest in the subject through the implementation of search activities.
The task "Collect a word"
Pick a word and explain what it means.
Card 1
Card 2
Card 3
Task "Comparison"
Compare by drawing musical instruments by setting:
A) common signs(musical instruments, strings)
b) difference (balalaika - stringed plucked, violin - stringed bow; each instrument has its own timbre; external signs- shape, location in relation to the body of the performer during the game)
Cards -
1. violin - balalaika
2. harp - harp
3. pipe - horn
4. spoons - drum
Exercise « Superfluous word»
Cards -
a) violin, flute, horn, trumpet, piano
b) waltz, lady, hymn, kamarinskaya, polka
c) pianist, trumpeter, flutist, composer, guitar player
d) balalaika, spoons, rattles, saxophone, accordion
d) lullabies variety, gaming, labor, ritual
Crossword
"Genres of Russian folk songs"
1. With their calm movement, soft play of sounds, these songs seem to caress, lull.
2. This genre of Russian folk song is flourishing at the present time; any phenomenon of modernity finds a quick response in it.
3. In the old days, these songs were sung at any moment when there was a need to pour out one's soul, one's feelings.
4. The main content of this genre of songs is an appeal to nature, birds, animals, singing them is usually simple.
5. These songs accompanied and displayed hard labour peasants and workers.
6. Important events of life were accompanied by rituals. What are the names of the songs that sound during the ceremony.
7. These are usually narrative songs. They glorify the defenders of the Motherland, reflect the events associated with the struggle of the Russian people for freedom.
Make your own crossword puzzle on the topic: "Genres of Russian folk songs."
Test
1. A piece of music performed by an instrument-soloist accompanied by an orchestra -
a) a concert
b) cantata
2. The form of a piece of music in which there is a theme and its changes -
a) tripartite
b) variations
3. How to call in one word " folk art» -
a) folklore
b) win
c) chant
4. A rather large piece of music that is performed by Symphony Orchestra -
a) cantata
b) symphony
5. What is the name of the solemn song that glorifies the greatness, the power of their country; a song that is a symbol of the state, as well as a flag, coat of arms -
-1-INTRODUCTION
The art of dance cannot exist without music. As a rule, the choreographer and the musician (accompanist) work in close collaboration. Children not only receive physical development but also musical. The harmonious development of children in the choreographic class largely depends on how correctly, expressively and artistically the pianist performs music, conveys its content to children. Clear phrasing, bright dynamic shades, nuances help children hear the music, better feel the nature of the movement and embody it in dance. Music and dance are their foundation aesthetic education.
All classes in the choreographic class: training, rehearsal, staging - are closely related to the musical education of children.
There are four age groups in our ensemble "Surprise": preparatory, junior, middle and senior. Accordingly, the musical material must be selected, taking into account the age-related characteristics of children's perception. The basis of the musical accompaniment of lessons in the preparatory group is children's musical classical material, music from animated films and children's popular songs. The older the children, the more opportunities to include classical and folk music in the accompaniment of lessons, to create a highly aesthetic musical aura of classes. In choreography classes, students are introduced to samples of folk, classical and modern music. Thus, their musical culture is formed, their ear for music and figurative thinking, which help to perceive music and choreography in unity. It is necessary to introduce pupils to the music of such great composers as Tchaikovsky, Glinka, Beethoven, Chopin, Brahms, Liszt, Schumann, Schubert, Strauss, Prokofiev, Khachaturian, Shchedrin and others.
Music different peoples of the world, included in the repertoire, enriches the inner world of children, enables pupils to join a huge layer of musical cultures, to feel and perceive the diversity and beauty of the music of our vast world.
Particular importance should be given to the inclusion of works by Kazakh composers and Kazakh folk music to form an aesthetic taste and foster love, respect and interest in native Kazakh musical culture.
The ability of an accompanist to arrange popular music is also of great importance. The inclusion of these arrangements in the repertoire not only enriches the musical atmosphere, but also contributes to the development of the imagination and creative activity of children.
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Choreography lessons are based on musical material from beginning to end. Bows, introductions, completion of exercises, transition from one exercise to another should be musically designed so that students get used to associating movements with music. The musical design of the lesson should instill in students a conscious attitude to a musical work - the ability to hear a musical phrase, navigate the nature of music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, makes general idea about the work, defines its character.
Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, metro-rhythm. Music accompanies movements and defines their essence. The task of the accompanist is to develop "musicality" dance moves.
METHODOLOGICAL REQUIREMENTS FOR CHOREOGRAPHY ACCOMPANITORS
In the process of teaching choreography, the following tasks of musical education are carried out:
Development of musical perception of the metrorhythm;
- Rhythmic execution of movements to music, the ability to perceive them in unity;
- The ability to coordinate the nature of the movement with the nature of the music;
- Development of imagination, artistic and creative abilities;
- Increasing students' interest in music, developing the ability to emotionally perceive
her;
- Expanding the musical horizons of children.
The duties of the accompanist of the choreographic class include:
Repertory selection of musical works for classes;
- Acquaintance with new methods of "moving to the music";
- Knowledge of choreographic terminology;
When selecting musical fragments, it is necessary to consider:
- character;
- pace:
- metrorhythm (size, accents and rhythmic pattern);
- the form of musical works (one-part, two-part, three-part, introduction, conclusion).
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Music to accompany dance exercises must be constantly replenished and diversified. The constant sounding of the same march or waltz in the lessons leads to a mechanical, non-emotional performance of the exercises by the dancers. Too frequent change of accompaniment scatters the attention of students, does not contribute to the assimilation and memorization of movements.
Musical development in choreography lessons is carried out by music itself.
To develop the "musicality" of the performance of the dance movement, the following methods of work are used:
Visual-auditory (listening to music while showing movements by the teacher);
- verbal (the teacher helps to understand the content of the musical work, stimulates the imagination, promotes the manifestation of creative activity);
- practical (concrete activity in the form of systematic exercises).
In terms of musical education, the accompanist has the opportunity to teach children the following:
Highlight the main thing in music;
- convey by movement a different intonational meaning (rhythmic, melodic, dynamic beginning)
The main musical idea embedded in the work is the melody, the basis of music. The most important element of music is rhythm. Feature- in the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo - speed - is the same in both music and dance. Dancing children should know, understand, define all these characteristics. This is already the basis of musical literacy. Rhythm, melody, meter, harmony, tempo, timbre - make up the language of music. The sense of perception of music develops in children during the connection of movement and musical phrase. (beginning and ending). The beginning of the melody is the beginning of the movement. The end of the melody is the end of the movement. The ability to fit into a musical phrase is brought up.
The main stages of introducing children to musical accompaniment in dance lessons:
Stage 1 - familiarizing children with musical fragments, developing the ability to listen and emotionally respond to the feelings expressed in them, be able to accurately perform preparation during the introduction. The teacher - choreographer shows the movements to the musical accompaniment (one - two lessons)
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Stage 2 - execution of the movement in accordance with the nature of the music, in-depth perception and transmission of the mood of the music in movement, coordination of hearing and the nature of the movement. At this stage, all inaccuracies in performance are identified, errors are corrected, and techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material in accordance with the requirements.
Stage 3 - emotionally - expressive performance of movements, the development of independent creative activity of children. At this stage, everything that was worked out at the second stage is fixed. The way tasks are performed is automated. Students consciously perform the tasks assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, pupils acquire the ability to listen to music, memorize and recognize it.
Features of the methodology of the initial stage is the learning of exercises in slow pace(one movement per beat).
All exercise movements are divided into slow and fast, with a clear rhythm and smoothly sliding. And musical fragments are selected according to the same principle:
slow (in sizes 4/4, 2/4); with syncopated rhythm (in 2/4, 3/4, 4/4 time signatures), at a moderate tempo (in 2/4 and 3/4 time signatures).
At the initial stage, attention should be paid to improvisational musical transitions (links) after every four measures (in the form of two or four chords), which are used to change positions.
It is necessary to remember about squareness, i.e. one movement is done in a cross for 4 measures, then there is a change of position. The musical fragment is divided into phrases, each of which consists of four measures. A complete combination is 4 musical phrases and thus a complete musical construction of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 measures, but it must be musically complete.
The introduction to each exercise, for which the hands “open” - preparation - at the initial stage can be deployed for 8 or more measures, and then short - for 2 or 4 measures.
At the initial stage, the exercises are learned to a strong share. And as they are memorized, a step is needed, especially for the exercises battements tendus, battements tendus jetes, battements frappes, petit battements. Therefore, you immediately need to select two versions of music for them, with an emphasis on the strong and weak beats, with a small rhythmic pattern.
Movements in which the leg ejection is accentuated are selected
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musical fragments with an emphasis on the first beat, or it can be
emphasize exaggeratedly on your own. This applies primarily to grand battements jetes.
At the initial stage of learning, when a musical fragment with a small rhythmic pattern is taken, it makes sense to decompose it into larger durations, but so that the character of the music is preserved.
The tempos of the selected musical fragments should vary. Often the tempo is accelerated due to the fact that at the beginning one movement is done for one measure, then only for strong beats. Thus, under the same piece of music, the movement can be performed both quickly and at a slow pace.
For simple combinations, simple musical fragments with a clear rhythm and melody should be given. In cases where more complex sizes are used, the combination by squares is performed by ¾, the tempo is accelerated, but the nature of the music must correspond to the movements (smooth, lyrical or sharp).
Musical material becomes more difficult with each year of study. But it is always necessary to remember about squareness, tempo, size, lead-in, rhythmic pattern, corresponding to the nature of this movement.
PECULIARITIES OF THE WORK OF THE ACCOMPAPER
IN CHOREOGRAPHIC COLLECTIVES OF OUT-SCHOOL INSTITUTIONS.
In many out-of-school educational institutions there are choreographic groups of various kinds: variety, classical, folk-stage, modern dance, sports ballroom dancing, etc. The main task of which, ultimately, is not professional training dancers, although this task also faces teachers, but the correct structuring of children's free time, the organization of their leisure, the creative development of pupils, the optimization of their physical culture and spiritual growth, with the aim of harmonious development of the individual. That is, these teams perform rather not a professional, but an educational function.
This makes its own adjustments to the methodology and practice of the work of teachers. In particular, there is no special selection of students upon admission to the team for any specific physiological parameters (height, weight, texture, stretching, plastic,
turnout, etc.), as in specialized educational institutions. There is no evaluation system in summing up the results of classes. There is no casting, in any form, in the selection of speakers at concerts. That is, the most positive psychological environment is created for any member of the choreographic team, regardless of their capabilities and abilities.
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The number of classes (2 - 3 per week) and the time of classes (45 minutes) are strictly regulated so as not to tire the children. Physical activity should be proportionate and, one might say, comfortable for any child.
But at the same time, a regular highly artistic concert result of the classes is necessary - a powerful incentive for the interest of children and their parents in continuing their education in a choreographic group.
These and others challenging tasks each teacher of choreography in out-of-school educational institutions decides in his own way.
Nina Viktorovna Kazakova - head of the choreographic ensemble "Surprise" of the House of Schoolchildren No. 3, in which I work as an accompanist, is the author of various methodological developments, which she embodies in her work as a choreographer - teacher - out-of-school student. My task as an accompanist, in close contact, in collaboration with the teacher, is to help optimally translate these pedagogical developments into the practice of working with children.
The method of teaching in the four age groups of the choreographic ensemble "Surprise" of the House of Schoolchildren (preschool, junior, middle and senior) requires the concertmaster to have a targeted approach to the selection of musical material for each of them.
In particular, in the preparatory and younger groups of children, the method of N.V. Kazakova “Dance is a game as a form of teaching preschoolers and younger schoolchildren” is implemented, where all the training material is given in a playful way, whether it is a warm-up, warming up various muscle groups, exercises for eversion of the ankle and hip joints, stretching, jumping combinations, exercises for plasticity and flexibility, various theoretical material, dance compositions, dance and creative improv ization and even safety rules at home and on the street. After all, play is a natural process for a child. The teacher skillfully turns the lesson into a sequence, a chain of acting sketches, where the creative, spiritual and physical potential of each child is embodied, realized and gradually develops.
The task of the accompanist is to select the maximum bright music for these games. The possibilities for this are enormous: this and popular music from cartoons and feature films for children (it evokes certain associations in the child that help in creating this image), this is classical music for children, popular favorite children's songs and improvisations of the accompanist himself, which help in each case to better understand and embody the character of the image.
In the process of work, one gets acquainted with the music and the rhythmic pattern of the march, polka, waltz, mazurka, polonaise using simple musical examples. For the development of figurative thinking, small, accessible musical examples are selected, bright in character and musical coloring.
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In particular, below is a plan for musical accompaniment of one of the classes preparatory group ensemble "Surprise" according to the "Dance-game" system.
OPTION OF THE PLAN OF MUSICAL SUPPORT
CLASSES OF THE PREPARATORY GROUP
March. The children enter the room.
Character cheerful, cheerful. Size 4/4. Tempo Allegro ma non troppo
Yu Chichkov. March "Physical education - cheers!"
Bow.
The character is solemn, upbeat. Size 3/4, 4/4. Tempo Moderato
D.Verdi "Duettino" from the opera "Un ball in masquerade"
Fun charger. Workout on the spot. Exercises for various muscle groups.
The character is cheerful, cheerful. Size 2/4. Allegretto tempo
V.. Shainsky "Smile". Music from the cartoon "Baby Raccoon".
Yu.Entin. "Sperm whale"
Let's go on a trip to the fabulous islands. Circle workout. Exercises for various muscle groups.
Character cheerful, cheerful. Size 2/4. Tempo Allegro
Improvisation on music. from the cartoon "Well, wait a minute!"
Bird Island. Dance combinations in a circle.
Chicken dance. Dance sketch. Development of artistry. Movement in pairs.
The character is light, cheerful. Size 2/4. The pace is moving.
Improvisation to the music "Poultry Farm" from the cartoon "Just you wait!"
Cockerel. High step.
The character is combative, solemn. Size 2/4. Tempo Moderato
E. Grieg. "Festive day in Troldhaugen"
Sparrows. Dance run. Consolidation of the concept of "line of dance"
The character is cheerful, cheerful. Size 2/4. Presto tempo
"Ecoses" Music. L. Beethoven
Penguins. Dance sketch. The development of artistry, emancipation.
The character is cheerful, calm. Size 2/4. Andantino tempo.
Improvisation on the theme of the song "Penguins"
Plie “Sunshine”.Exercise for eversion in the hip joint. Consolidation of theoretical knowledge of the positions of hands and feet. Exercise for the muscles of the ankle and thigh.
The character is smooth, calm. Size 3/4. Andante ma non troppo tempo
and Morozov. Waltz "Magic Dream" from the ballet "Doctor Aibolit"
Flower field. dance composition"Flowers". An exercise to improve the plasticity of the hands.
The character is lyrical, tender. Size 3/4. Tempo alla valse
L. Hamidi "Kazakh waltz"
Let's ride a horse. Jump combo.
The character is courageous, sharp. Size 2/4. Tempo Allegro
"Kara Zhorga" Music. L. Hamidi
We sail to the land of the elves. "Boat". Exercise to develop the flexibility of the spine and strengthen the abdominal muscles.
The character is viscous, lyrical. Size 2/4. Andante tempo
E. Krylatov. "Lullaby of the bear" from the cartoon "Umka"
Sunbathing on the beach. Exercise for stretching the muscles of the thigh and eversion in the hip joint.
Character cheerful, cheerful. Size 2/4. Moderato temp.
G. Gladkov "Song of the Lion and the Turtle" from the cartoon "How the Lion and the Turtle sang a song"
Butterflies and elves. Getting to know the waltz step
The character is upbeat, festive. Size ¾. Allegro moderato tempo.
L.Delib "Waltz of the Flowers"
Dragonflies and ants. Dance etude, built on musical and dance contrast. Exercise for the development of acting skills, strengthening the knee joint, ankle, calf muscles and foot muscles. Easy run and step crouch.
The character is light, flying. Size 2/4. Piu lento tempo
R. Schumann "Butterflies"
The character is heavy, courageous. Size 2/4. Allegro moderato tempo.
P. Tchaikovsky. Variations from the ballet Sleeping Beauty.
We sail to the island of toys.
Wave, algae. Exercise for the plasticity of the back, neck, arms
The character is smooth, soft, flowing. Size 3/4. Tempo Lento
Bukhara dance "Lazgi"
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Sea Horses. Jump combo. Exercise for the development and strengthening of the calf muscles and muscles of the foot and thigh.
Character is playful. Size 2/4. Tempo Allegretto con moto
P. Krasev. "Gallop"
Island of toys. Dolls. Battementes tendus forward, battements tendus jetes forward.
The character is toy, mechanical. Size 4/4. Tempo Moderato/
I. Kovner. "Puppet Dance"
Dance with toys - dolls dance and sleep. Work with attributes, movement in pairs. Introduction to polka movements.
The character is playful, playful.. Size 2/4. Alla polka ma moderato tempo.
And Spadevecchia. Polka "Good Beetle" from the movie "Cinderella"
The nature of the lullaby, soft, lulling. Size 2/4. Andante tempo.
Improvisation on a Russian theme. nar. chalk. "Lullaby".
Balls. Jump combo. Exercise for eversion in the hip joint, strengthening the abdominal muscles and legs.
Character cheerful, cheerful. Size 2/4. Allegro tempo.
A. Kruglov "New Year's Polka"
We return home.
The game "Pedestrians and drivers" Consolidation of knowledge of the rules of the road. Fractional step and march step. Consolidation of the concept of movement along the line of dance and against the line of dance.
The character is marching, festive. Size 4/4. Tempo alla marcia
I. Dunaevsky. "March funny guys.»
Character cheerful, cheerful. Size 2/4. Allegretto tempo.
Improvisation on a Russian theme. nar. songs "Oh, you canopy, my canopy"
The journey is over.
March. Exit the children from the hall.
A. Ostrovsky "Solar Circle"
A lesson in the junior, middle, senior groups of a choreographic ensemble usually consists of four parts:
the first part is a warm-up or warm-up,
the second part is an exercise at the machine and in the middle,
the third part is the study of the vocabulary of dance movements,
the fourth part - rehearsals and productions of specific dances. 9
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WARM-UP.
Warming up or warming up is a very important part of the choreography lesson. Its purpose is to prepare the muscles of the whole body for more complex exercises, psychologically and emotionally prepare the student for the lesson, and help children better navigate the dance hall.
Warm-up, like no other stage of the lesson, opens wide opportunities for the creative imagination of the teacher - choreographer. There are many options for warm-up exercises. Conventionally, they can be divided into several groups: warm-up at the barre, warm-up in the center of the hall facing the mirror, warm-up in a circle, warm-up on the floor, psychological auto-training, jazz-style warm-up.
Such a variety of warm-up complexes poses its own creative tasks for the accompanist.
In particular, most choreographers prefer to warm up at the barre in 2/4 time, allegro moderato tempo. Cheerful, cheerful music of an energetic character fits most warm-up exercises, as a rule, they are the same in character and tempo. There is no need to constantly change the musical accompaniment, as this distracts students. If the warm-up is long enough, then you can pick up several one-dimensional works, but give them in fairly large fragments. Warm-up at the barre is usually practiced in the middle and older groups of ensembles, when children feel comfortable enough near the barre. Popular pop melodies are most suitable for this type of warm-up. Potpourri of well-known songs to children help them emotionally tune in to the lesson. Rhythmically, they are usually simple, melodies catchy.
Some choreographers prefer to warm up at the barre in size 3|4, moderato tempo. In this case, light waltz, cheerful music will help to carry out this part of the lesson. This may be the majority of I. Strauss's waltzes.
Psychological warm-up is very original. For example, Alena Alexandrovna Gapchuk practices such a warm-up in the classroom in the choreographic ensemble "Orange". This warm-up - a kind of auto-training - is usually short in duration. It helps children to tune in to the lesson, quickly concentrate, get ready, which is necessary for future artists. Musical accompaniment of a “neutral” character in 3/4 time, without a pronounced accentuation, with a simple, measured, even, calm rhythmic pattern and a fairly simple melodic line is perfect for this type of exercise. Waltz by I. Strauss "You, only you" from the operetta "Flying
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mouse”, “Waltz of the Flowers” from the ballet “Naila” by L. Delibes and other works of a similar plan are well suited for this type of warm-up.
In the warm-up on the ground facing the mirror, in addition to general strengthening, warm-up exercises for the head, shoulder girdle, musculoskeletal system, ankle, foot, various jump combinations, elements of oriental dance are often introduced, contributing to the development of softness, plasticity, emancipation
movements. Oriental music will help students master this type of exercise. “Oriental dance” by A. Dvoskin, Bukhara dance “Lazgi”, “Pamir dance” and other music of this kind will help children feel the color more accurately and convey the nature of the movement.
A warm-up in a circle is a complex of alternating different moves and jumps. Despite their great diversity, the nature of these movements is approximately the same. Therefore, light, cheerful, marching, cheerful music is the best suited to this type of warm-up. These can be songs from cartoons, movies, popular children's songs that children love. The requirements for musical material are a clear squareness, a clear, simple metro-rhythm. Melodies with an upbeat, time signature 2/4, tempo allegro moderato are better suited. The nature of the accompaniment should be universal: various step combinations and various jumps should easily fit under it.
Very peculiar, original is the warm-up in the jazz style, practiced in the ensemble "Orange" by A.A. Gapchuk. Musical accompaniment should also be organic. Preferred size 2/4. Tempo moderano. Underlining the strong beat. The rhythmic pattern can be quite interesting, original syncopated, which is typical for jazz. Pieces in the style of rock, jazz - rock: “Meeting” by I. Poklad, “Fast time” by A. Zlotnik, “Moonlight” by I. Poklad and other similar works will help solve the problem of musical accompaniment of this warm-up.
A special place in the warm-up is occupied by exercises on rugs on the floor. This is an alternation of exercises that are different in nature and intensity, including various jumping combinations, and exercises for plasticity and flexibility, and general strengthening exercises, and exercises that promote the development of eversion and stretching. Since the exercises are diverse, the musical accompaniment should also be varied, emphasizing the nature of each specific movement.
Below is a variant of this kind of warm-up from the lesson of Nina Viktorovna Kazakova, head of the choreographic ensemble "Surprise".
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VARIANT OF THE PLAN OF MUSICAL SUPPORT OF THE WARM-UP COMPLEX ON RUGS FOR CHILDREN OF JUNIOR AND MIDDLE GROUPS.
Jump rope combination:
A. Starokadomsky. "Jolly Travelers"
Sitting on the mat:
"Battements tendus on the floor" - footwork - extended and shortened foot:
I. Brahms "Petrushka"
“Draw the sun” - rotation with feet:
I. Morozov. "Swallow Variation" from the ballet "Doctor Aibolit"
"Booklet" - put the body on outstretched legs, then bend back, throwing back your head:
N. Rakov "Concert waltz"
Jump combination on the mat:
R. Pauls "Kashalotik"
Sitting on the mat:
"Butterfly flies" - the position of the legs - foot in the foot, an eversion exercise:
L. Delibes "Waltz of the Clock" from the ballet "Coppelia"
"Ball", "fountain", "wave" and other hand exercises. Legs in the lotus position:
"Waltz of the Tulips"
Standing on the mat:
"Rotation of the hoop", "eight" and other movements of the hips:
I. Dvoskin. "East Dance"
Jump combo:
B. Tchaikovsky. Music for the film "Seryozha"
Lying on stomach:
"Boat", "swallow" - exercises for the development of abdominal muscles:
G. Gladkov "Serenade of the Troubadour" from the cartoon "The Bremen Town Musicians"
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"Basket" - an exercise for the flexibility of the spine and strengthening the muscles of the back:
"Beautiful away"
"Kitty" - plastic exercise:
L.Delib. Divertimento from the ballet "Coppelia"
"Soldier" - exercise for the development of thigh muscles:
G. Gladkov "Song of Friends"
Jump combo:
L. Hamidi "Kokpar"
Lying on your back:
"Bicycle" - an exercise to strengthen the abdominal press:
B. Saveliev. “We will survive this trouble” from the cartoon “Summer of the Cat Leopold”
"Split" - stretching:
Improvisation on the theme of the song "When the drops of summer rain drops" from the film "Joke"
Jump combo:
R. Pauls "Dance on the drum".
After the warm-up exercises that make up the first part of the lesson, an exercise usually follows at the barre and in the middle, which is an obligatory part of the lesson, especially in the middle and older groups.
EXERCISE AT THE MACHINE AND IN THE MIDDLE
Systematic training in classical, folk-stage, variety dance certainly includes learning the classical exercise. It occupies the main part of the lesson (exercise at the stick - machine, exercise in the middle - adagio and allegro). In the system of additional choreographic education, there is no way to give this exercise in full, but nevertheless, learning the fundamental exercises is of great importance. Exercise contributes to the formation correct setting body, head, arms, legs, development and strengthening of muscles, musculo-ligamentous apparatus, development of eversion, strengthening of the musculoskeletal system, improvement of coordination of movements. In the process of these lessons, children gain knowledge about the rhythmic organization, sizes, musical images that they embody in dances and etudes.
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In the dance and choreographic ensemble "Surprise", led by N.V. Kazakova, elements of exercise in a playful way (exercises "Sun", "Doll", "Balls" and many others) are introduced already in the first year of education for preschoolers. Gradually, this acquaintance expands, the tasks become more complicated. The introduction of learning the elements of exercise at the machine - a stick begins as the children are ready for this. This usually happens towards the middle of the school year in the younger age group. The number of exercise exercises being learned gradually increases, the combinations become more complicated.
Musical accompaniment also changes from simple to complex, while its character is preserved, since the character of this movement is preserved. The musical accompaniment of the exercise should be varied, both in melody and in rhythm.
When a new movement or its elements is being studied, the rhythm should be a simple melody, understandable, accessible. Then, in the process of work, the musical material becomes more complicated.
POSSIBLE OPTIONS FOR MUSICAL ACCOMPANITION OF CLASSICAL EXERCISE FOR DIFFERENT AGE GROUPS
Plie - subdivided into demi-plie (half squat) and grand-plie (full squat). Performed in all positions. The nature of the movement is smooth, slow. C. Size - 3/4, 4/4. The nature of the musical accompaniment is calm, measured. The pace is moderato or adagio. The rhythmic pattern is even. It is desirable to have a push.
Junior group: I. Morozov. Waltz "Magic Dream" from the ballet "Doctor Aibolit"
Middle group: L. Beethoven. "Farewell to the Piano"
Senior group: F. Chopin. Nocturne E - flat major.
Battements tendus - from the first or fifth positions, the extended working leg is brought forward (to the side or back) and becomes back into position. The character is clear, energetic, cheerful. Size 2/4. Allegro or allegretto tempo. Of great importance is the rhythmic pattern, squareness. The lead-in and its accentuation are desirable for the accuracy of performance and the transfer of the nature of the movement. At the initial stage, the movement is done at a slow pace in 2/4, 4/4, then at a fast pace in 2/4.
Junior group - Belarusian polka "Yanka"
Middle group - I. Brahms.
Senior group - E. Grieg. Norwegian dance.
Battemets tendus jetes - from the first or fifth position, the extended working leg is thrown forward, to the side or back and put back into position. Size 2/4. The tempo is allegro. A clear rhythmic pattern, if possible, syncopated.
Emphasis on the weak beat. Squareness. The presence of a push is necessary. At the initial stage, the tempo in 2/4 time is slow, then fast.
Junior group - E. Grieg. Halling.
Middle group - L. Beethoven. Ecossaise.
Senior group - S. Smith. Tarantella.
Rond de jambe par terre - the working leg draws a circle on the floor with an outstretched toe. The nature of the movement is smooth, continuous. Size 2/4, 3/4, 4/4. The character of the melody is smooth, with an emphasis on the first beat.. The tempo is andante. In the younger and middle groups, an extended introduction is needed to prepare the movement - preparation. At the initial stage, one movement is done for one beat, then the pace of movement accelerates.
The younger group is M. Glinka. "Farewell Waltz"
The middle group is Yu. Slonov. Waltz from the collection "As You Like It"
Senior group - S. Rachmaninov. Waltz in A - major
Battements fondues - "melting" batman. The supporting leg performs a smooth demi-plie, while the working leg is brought to the supporting ankle. When the supporting leg is extended, the working leg opens forward, or to the side, or back. The nature of the movement is coherent, smooth. Size 2/4, 3/4, 4/4. The nature of the melody is smooth
non-accented, without syncope, even. The pace is largo, adagio and andante. In the younger and middle groups, an extended introduction is needed to prepare for the movement - preparation. Metrorhythmic decomposition is required at the initial stage, in this case one movement is made for 1 beat, thus slowing down the pace of movement. Gradually, the tempo accelerates and both movements are done on one beat.
The younger group is A. Lyadov. Waltz in G major.
The middle group is L. Arditi. Waltz in D major.
Senior group - L. Delibes. Waltz in E-flat major from the ballet "Coppelia"
Battements frappes - "shock" batman. The foot of the working leg hits the ankle of the supporting leg and with a sharp movement opens forward (to the side or back) with the toe to the floor. Size 2/4. The tempo is allegro. Clear and fine rhythm. Rhythmic pattern is desirable from small durations, better on staccato. It is desirable to have a push. An extended introduction is needed to prepare the leg for movement - preparation. At the initial stage, a metro is made - a rhythmic expansion: one movement per one measure. Then, as
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usually, the tempo of the movement is accelerated, and both movements are done by one measure, in the older groups by half a measure. Often combined with other exercise movements.
The younger group - I. Morozov. Polka from the ballet "Doctor Aibolit"
The middle group is I. Dunaevsky. Dance of six girls from the suite "Return".
Senior group - A. Rubinshtein. Polka "Bohemia".
Rond de jambe en l`air - a working leg raised low to the side, bending and unbending at the knee, describes a small circle. The nature of the movement is smooth, uniform. Size 2/4, 3/4, 4/4. The nature of the music is smooth. Tempo - adagio, squareness. The rhythmic pattern is not very important. Possible hitch. At the initial stage, decomposition into larger durations is not necessary, since the pace is slow. Gradually, the pace of movement accelerates, the character becomes more airy. The movement is complex, it is learned in older groups on the basis of the “worked out” rond de jambe par terre and battements fondues.
Senior group - R. Glier Waltz in A major.
Battements releve lent - slowly raising the leg 90 degrees forward, to the side, back.
Battements developpes - "unfolding, opening" batman. The working leg is raised with a toe to the supporting knee, stretched as high as possible into the air forward, to the side, back. The nature of these movements is smooth. First, they are learned separately, then an elementary adagio is composed of them, which includes a number of other movements (port de bras, passe and a number of others), as well as all the poses of classical dance. All main sizes are possible, including 6/8. Learned only in the senior group.
Senior group - F. Mendelssohn. Romance "On the Wings of Poetry".
Petits battements sur le cou-de-pied - small batmans at the ankle. The working leg, not fully unbending at the knee, with the foot hits the supporting leg on the ankle alternately in front and behind. The nature of the movement is sharp, jerky. Size 2/4 or 4/4. The nature of the melody is light, playful. Metrorhythm with small durations, preferably on staccato.
The movement is learned in the middle and senior groups with sufficient preparedness of the students.
Middle group - I. Morozov "Swallow Variation" from the ballet "Doctor Aibolit"
Senior group - L.Delib. Divertimento from the ballet "Sylvia".
Grand battements jetes - a big batman with a throw. From the first or fifth positions, the extended working leg is thrown high forward
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(to the side or back). The character of the movement is jerky, energetic. Size 2/4, 3/4. The nature of the musical accompaniment is cheerful, energetic, spurring. Tempo from allegretto to allegro moderato. Clear squareness. The rhythmic pattern plays a big role, better with the desire for a strong beat, with an emphasis on the strong beat. It is desirable to have a push.
At the initial stage, expansion into larger durations is possible. Movement learning usually begins in the middle group, depending on the readiness of the students.
Middle group - D. Shostakovich. "Festive Waltz" in D major.
Senior group - I Brahms. Hungarian dance number 7.
Pas de burre - movements from the dance of the storm. Clear stepping from foot to foot, performed on half-toes. The character of the movement is chased, clear. Size 2/4. The character of the melody is energetic, cheerful. A clear metro rhythm, squareness. Good field escort. Usually the movement is introduced at the end of the year in the middle group, with sufficient preparedness of the children, and in the older group.
Senior group - S. Vasilenko. Fragment from the ballet Mirandolina.
Exercise in the middle includes port de bras, temps lie and adagio - part of the exercises that combine slow, smooth, restrained movements that develop grace, beauty and balance, and allegro - various jumps, jump combinations and rotations.
The first, second, third port de bras are various combinations of classical dance hand positions - “hands are dancing.” The character of the movement is graceful, smooth, graceful. Size 3/4. The nature of the musical accompaniment is soft, calm, smooth. The metrorhythm is understandable, measured, square The tempo is andante, moderato.
The younger group - A. Griboyedov. Waltz in E minor.
Middle group - P. Tchaikovsky. "Romance"
Senior group - P. Tchaikovsky "Waltz of the Flowers" from the ballet "The Nutcracker".
Temps lie - continuous movement - transitions from one pose to another in a certain order. The character of the movement is smooth, soft. Size 3\4, 4/4. They begin to study this exercise in the younger group, gradually complicating and supplementing it. Tempo andante, moderato. Size 3\4, 4/4. The nature of the musical accompaniment is smooth, lyrical, gentle. The rhythmic pattern is calm, measured. Due to the slow tempo, rhythmic decomposition is not required at the initial stage.
Junior group - N. Rakov. Concert waltz.
The middle group is Minkus. Variation of the Queen of the Dryads from the ballet "Don Quixote"
Senior group - E. Grieg. Nocturne.
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Adagio are rarely learned in choreographic groups of out-of-school educational institutions, as they require very good professional preparedness of students and take a lot of time when it is scarce in fairly short classes.
The requirements for musical accompaniment when learning these exercises are the same as when learning wattements developpes and rond de jambe en l`air.
Senior group - M. Glinka. Adagio from the opera "Ruslan and Lyudmila"
Learning jumps and jump combinations in dance groups given very great attention. Jumps are divided into small and large.
Small jumps are, in particular, temps leve saute, changaments de pieds, pas echappe, pas jetes, pas de chat
Temps leve saute - small jumps in the first, second, fifth and sixth positions with legs extended and tucked in. Often performed "point by point". The nature of the movement is light, airy, playful. Size 2/4. The tempo at the initial stage is moderato, in the process of mastering the tempo accelerates and approaches allegro. The nature of the musical accompaniment is light, cheerful, urging. Small rhythmic durations. Possible hitch.
The younger group - Y. Chichkov. "Ball".
The middle group is B. Smetana. Polka E - flat major.
Senior group - P. Tchaikovsky. Variations from the ballet " Swan Lake».
Changements de pieds - a small jump from fifth position to fifth, with a change of position in the air during the jump. It can also be performed with tucked-in legs. The nature of the movement is light, collected. Size 2/4. Learning the movement begins after practicing sаutes, at the end of training in the younger group. The tempo at the initial stage is moderato, in the process of mastering the tempo accelerates and approaches allegro. The nature of the musical accompaniment is light, cheerful, urging. Small rhythmic durations. Possible hitch.
The younger group is A. Rubinshtein. Polka in E flat major.
Middle group - D. Shostakovich. Polka in A minor
Senior group - P. Gertel. Excerpt from the ballet "Vain Precaution".
Pas echappe - "jump with clearance" from the fifth position of the legs to the second. Size 4/4. The nature of the musical accompaniment is clear, measured. The tempo at the initial stage is calm, later, as the movement is mastered, the tempo accelerates. It is desirable to start the beat - two eighths. 18
The younger group is V. Runon. Polka in E major.
The middle group is Delib. Scherzo.
Senior group - Ts.Kui. Polka in E flat major
Pas jetes - a small jump from foot to foot. A rather difficult jump to learn, usually given at the end of training in the middle group. The nature of the movement is sharp, clear. Tempo 2/4. The tempo is more restrained. A lead-in is desirable, with a highlighted, accentuated first beat. Often combined with other jumps.
The middle group is A. Adan. Variations from the ballet "Giselle"
Senior group - L.Delib. Variation for soloist from the ballet "Coppelia"
Pas de chat - a jump with a throw of the legs forward or backward. The jump is very difficult technically, it is given in the senior group with good technical training of students. The character of the movement is playful, graceful. Size 2/4. The tempo is allegro moderato. The nature of the musical accompaniment is “cat-like”, graceful, playful. The metrorhythm is clear, with an emphasis on the strong beat, an upbeat is desirable.
Senior group - I. Morozov. Polka from the ballet "Doctor Aibolit"
Big jumps are, in particular, grand jets and a "flip" jump.
Grand jets - a jump with a sharp throwing of the leg forward, with the opening of the legs for a "split" in the air. The jump is difficult. Learned in the senior group. The nature of the movement is flighty, sharp, energetic. Size 2/4, better 6/8. Rhythmic pattern with a strongly accentuated downbeat, dotted rhythm is desirable. The nature of the musical accompaniment is upbeat, spurring, energetic.
Senior group - M. Glinka. Dances in Naina's castle from the opera "Ruslan and Lyudmila"
"Flipover" - a jump with a turn, rotation in the air and simultaneous jumping from foot to foot. A very difficult technical exercise. It is given in the senior group with good technique of the students. The nature of the movement is energetic. Size 3/4, 6/8. Possible hitch. Sharply accented strong beat. The nature of the musical accompaniment is cheerful, energetic, flighty.
Senior group - Minkus. Variations of the first soloist from the ballet Don Quixote, Variation of Kitri's Girlfriend from the ballet Don Quixote.
Rotations usually begin to be learned in the middle group of the ensemble. The elements of tures are introduced into the warm-up and exercise at the barre. With sufficient assimilation of the material, they begin to learn rotations separately as independent exercise. There are many types of rotation.
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Rotations can be in place, diagonally, in a circle .. The nature of the musical accompaniment does not depend on this. Usually it is 2/4 size. The pace of moderato at the initial stage of learning, and then, as the technical development progresses, acceleration to allegro, presto. The nature of the musical accompaniment is energetic, upbeat, spurring. The rhythm is clear. Squareness.
Chenes - require a neutral, even, even accompaniment, without bright accentuation and syncopation.
Middle group - A. Krasev. Gallop
L.Delib. Gallop.
Senior group - Minkus. Coda of the first act of the ballet "Don Quixote"
D. Shostakovich. Polka in D major.
Tures en dehors and en de dans require more emphasis on the downbeat. Desirable tact.
Senior group - Ts. Puni. Variation from the ballet "Le Corsair".
R. Drigo. Variation from the ballet "Humpbacked Horse".
Warm-up and exercise at the barre and in the middle make up the first half of the lesson and are a preparation for its main part - learning the vocabulary of various dance movements and, directly, dance rehearsals.
The training program in children's choreography groups, starting from preschool and younger groups, without fail includes the study of the vocabulary of polka, waltz and various variants of a dance step.
Polka is a world-famous pair dance of Czech origin. The nature of the movements is light, clear, energetic, built on the alternation of polka steps, gallops, various small jumps and rotations. Size 2/4. Allegro tempo. The nature of the musical accompaniment is cheerful, light, spurring. Desirable tact. The rhythmic and melodic pattern is memorable and simple. Mandatory squareness and accessibility, clarity of form. There is a huge number of works of a field character, but for learning you need to choose bright, popular, easy to remember, such as "Polka" by S. Rachmaninov in D major, "Polka at the Fair" by I. Dunaevsky from the movie "Kuban Cossacks" in G major, Polka "Good Beetle" by A. Spadevekkia in C major.
Waltz is a world-famous ballroom dance of German origin. The character of movements is smooth, graceful, "flying". Built on constant rotation in pairs and waltz step. Size 3/4. Moderato tempo. The nature of the musical accompaniment is calm,
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Smooth. The rhythmic pattern is measured, even, without punctuation. The melodic line is easily digestible, memorable. Clear squareness. At the initial stage of learning, a clear selection of each share, the pace is much slower. Then gradually the accents are smoothed out, the tempo accelerates. All waltzes by I. Strauss are perfect for practicing.
Variable pitch - one of the most common varieties dance step. The nature of the movement is calm, easy. Size 2/4. Tempo from andante to allegro. The nature of the musical accompaniment is calm, melodically and rhythmically clear, simple, with an emphasis on the strong beat. Squareness. Children's songs are well suited for learning, such as “Let's go to the garden by raspberries” by A. Filippenko, as well as simple and clear in melodic and rhythmic terms folk melodies: “Kamazhay”, “Will I go, will I go out” and others.
Great importance is given in the classes of choreographic out-of-school groups to the study of the vocabulary of folk dances.
POSSIBLE MUSICAL SUPPORT OF THE VOCABULARY OF THE KAZAKH DANCE.
Bows.
8 final bars of the first part of the "Kazakh Waltz" L. Hamidi
Hand movements:
wrist rotation -
"Waltz of the Tulips" author unknown
"brush drop" -
H. Tastanov "Bi Kui"
Wave-like flexion and straightening of the wrist and fingers - "snake"
"Zhambyl waltz" S. Kerimbaev
Circular movement of the brushes from the bottom up - "fountain"
L. Hamidi "Kazakh waltz"
"tumarsha" - "amulet". "triangle"
"Bir bala" - Kaz. nar. song
"shanyrak" - "roof of the yurt"
E. Brusilovsky "Gardener" 21
"tolkyn" - "wave"
Evg. Brusilovsky. "Waltz"
"sausak suykeu" - "brook"
E. Hasangaliev. "Anaga - Salem"
"kos örkesh" - "two humps"
Dauletkerey "Kos alka"
"bota koz" - "camel's eye"
L. Hamidi. "Zhazgy tanda"
"bota moiyn" - "camel's neck"
Myra. "Camel"
"embroiderer"
Evg. Brusilovsky. Kazakh dance from the opera "Kyz Zhibek". middle part
Typical leg movements:
small throws from the ankle
Beeple folk music
heel move
"Zhastar bi" folk music
small steps
Evg. Brusilovsky. The first part of "Kazakh dance" from the opera "Kyz Zhibek"
high steps
Abul "Kiiz - Basu"
big throws
Kurmangazy "Adai"
small jumps
N.Tlendiev "Baldyz"
Big jumps for boys
L. Hamidi "Kokpar"
Big jumps for girls
L. Hamidi "Bes kyz"
POSSIBLE MUSICAL SUPPORT OF RUSSIAN DANCE VOCABULARY.
Hand positions and movements:
"White-faced, round-faced red maiden" Russian folk song
Bows on the spot and with promotion:
A. Novikov "My Motherland"
Triple step:
"Will I sow the young" Russian folk song
"On the pavement street" Russian folk song
Round dance step:
A. Novikov. "Girl's round dance"
"There was a birch in the field" Russian folk song
Square step:
"Sixers" Ural quadrille
"Accordions":
"Podgornaya" Russian folk song
"Fits":
B. Karamyshev "Russian lyrical dance"
G. Ponomarenko "Ivushka"
Half squats:
“Will I go out to the river” Russian folk song
"Goose step":
"Oh, duck" Russian folk song
"Bookmark":
“Will I go, will I go out” Russian folk song
"Ball":
"Pereplyas" Russian folk dance
"Slider":
"Gusachok" Russian folk dance
Floods:
V.Zakharov "Collective Farm Polka" 23
"Fractional track":
"Christmas trees, pines" Russian folk song
"Fraction with a jump":
"Golden Bee" Russian folk song
"Korobeiniki" Russian folk song
"Family shot":
"You're a farrier, a farrier" Russian folk song
"Fraction in three legs":
“In the woods there were a lot of mosquitoes” Russian folk song
"Kyryalochki":
"Kalinka, Malinka" Russian folk song
"Ropes":
"Oh, you, zimushka - winter" Russian folk song
"winders":
G. Ponomarenko "White Snow"
"Hammers":
"My dudar, young dudar" Russian folk song
V. Zakharov "Collective Farm Polka"
"Doves":
"Kamarinskaya" Russian folk dance
"Keys":
"Penza mistress" Russian folk melody
"Crackers":
"Apple" sailor ditty
"Runner":
"Polyanka" Russian folk song
"Pancakes":
"Ah, you canopy, my canopy" Russian folk song
"Husband made me" Russian folk song
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POSSIBLE MUSICAL SUPPORT OF THE TAJIK DANCE VOCABULARY.
Brush Rotation:
B. Gienko. "Tajik dance"
Hand movements:
"Gorno-Badakhshan dance" middle part
Heel steps:
A. Varta "Pamir dance"
Head and shoulder movements:
A. Zhubanov "Tajik dance" No. 5
Dashnavat move:
S. Urbach. "Tajik sketch"
Hull bends:
"Ufor" Pamir dance of girls
POSSIBLE MUSICAL SUPPORT OF UKRAINIAN DANCE VOCABULARY
"Tynok":
"Metelitsa" Ukrainian folk melody
"Dove":
R. Glier. "Gopak" from the opera "Taras Bulba"
"Runner":
S. Gulak - Artemovsky " Ukrainian dance from the opera Zaporozhets beyond the Danube
"Vyhilyasnik":
"Haivka" - "Vesnyanka" Ukrainian folk song
"Vakhilyasnik with suginiya":
S. Gulak - Artemovsky "Black Sea Cossack" from the opera "Zaporozhets beyond the Danube"
"Rope":
Pleskach Ukrainian folk dance 25
"Fall, fall":
"The Sun is Nyzenko" Ukrainian folk song
"Barrel":
"Gopak" - "I'm walking myself" - Ukrainian folk dance
"Crawler":
"Oh, bursting the hoop" Ukrainian folk song
Obertas:
S. Gulak - Artyomovsky "Zaporizhzhya Cossack" from the opera "Zaporozhian Cossack beyond the Danube"
The final part of the lesson is directly rehearsals, staging specific dances. Usually the dance is learned in fragments. The ability of an accompanist to select given material on the instrument makes the task much easier. After all, an accompanist is not a phonogram with a constant tempo. He can change the pace as needed. Learning usually begins at a slower, more relaxed pace. Complex movements are also easier to learn with an accompanist, since you can repeat the desired fragment many times.
CONCLUSION.
The mastery of choreography accompanist depends on the ability to accurately select musical material, knowledge of choreographic terminology, a high technical performance level, the ability to feel the nature, character, features of each movement, a very well-developed sense of meter, rhythm, tempo, the ability to select the heard musical material on the instrument, the ability to improvise.
But the main feature of the work of a choreography accompanist is the ability to play "under the feet": to synchronize the musical accompaniment and the movements of the dancer, varying the pace, rhythms depending on the given movement and the given performer. Concertmaster - assistant to the dancer. With his music, he must stimulate the performer. Making the right accentuation, often, at the initial stage, exaggeratingly highlighting the metro rhythm, help the student to competently perform this movement. To do this, you need to constantly monitor what is happening in the dance hall.
The difficulty lies in the need to quickly learn the musical material by heart, in order to “break away” from the notes and follow the performer. The difficulty also lies in the need to keep in mind a huge number of different works in order to be able to quickly find the necessary material in your arsenal.
The role of music and musical accompaniment
in rhythm lessons.
Music is one of central places during rhythmic exercises. We say: "Children should be taught to move beautifully." But in order for this to work, it is necessary to choose very good music(musical accompaniment), to educate the culture of movement on the best examples of musical creativity: P.I. Tchaikovsky, S.V. Rachmaninov, M.I. Glinka, L.V. Beethoven, A.K. Griboyedov, F. Schubert, A. Scriabin and many other Russian and foreign composers.
If in the composer's original the melody is given in too complex processing, then it can be somewhat simplified by subjecting it to an arrangement.
I try to select music that conveys diverse images: from cheerful, carefree or lyrical, from gentle to energetic, strong-willed, serious. This enriches and organizes the emotional world of the child.
I share the views of modern teachers - rhythmists, who believe that not every piece of music can become the basis for rhythmic exercises. There is a lot of great music that is completely unsuitable for playing on the move.
When building my work on musical and rhythmic education, I take into account the following:
The pace of movements(stability, switching from one pace to another, gradual acceleration or deceleration of the pace).
The nature and dynamics of movements(character of music, reflection of dynamic shades).
Form and phrasing(part, sentence, phrase).
Meter(the beginning of the measure, the beginning of the measure, the conductor's gestures on 2/4, 3/4, 4/4).
Rhythmic pattern(whole note, half note, quarter note, eighth note, sixteenth note).
Rhythm transmission(clapping, steps, running, observing pauses, syncope).
It is the melody that is the basis of the musical and motor image. First, I take material built on the simplest pieces of music (Russian folk melodies or a melody that has the simplest harmony). In such exercises, a simple musical image is conveyed by one simple movement (action).
For example, children of 3-4 years old convey images of wild and domestic animals with great interest. The task that is set before them is to begin and end the action in accordance with the deployment and completion of musical thought.
Even such a seemingly simple exercise, not all children manage to perform the first time. In order for this action to be performed by children more perfectly, in the classroom you can return to the same image several times, but in a different playful form.
The gradual complication of the musical-motor material develops the ability to perceive music with a more detailed content and a more complex form (two, three parts) as a musical story. You can reflect the music in the movements of not only animals, but also manifestations of the weather, seasons, day - night and much more.
Very often one has to hear the requests of children to repeat this or that image - this indicates that they like to perform this exercise and each time this exercise is done more expressively.
The juxtaposition of specific musical images enriches and organizes the emotional world of our pupils, and the ability to arrange their movements in time, in accordance with various meter-rhythmic structures, has a positive effect on the development of hearing.
Children are often prevented from moving by poor coordination of movements. Sometimes the rhythm and coordination of movements are disturbed in those children who do not yet know how to directly surrender to music and movement - play, dance, exercise. Children, especially in the first year of study, try to complete the task according to its external signs, and not according to its content: they try to mechanically copy the movements of the teacher or comrades, formally coordinate them with the music, etc. I try not to rush such children and not reproach them for mistakes, but I advise you to listen to music better.
I noticed that children suffering from excessive excitability, imbalance, are very fond of exercises with lyrical, thoughtful or simply soothing images.
I always pay attention to the expression on the faces of moving children, you can immediately see what the music gives.
Yulia Anatolyevna Danilova
MBOU DOD "Fedorovskaya Children's Art School"
Musical accompaniment of classical dance lessons
Introduction
The pianist's choreographic accompanist specialization is a special area of musical creativity that requires long-term training and improvement, extensive knowledge, performance skills, mastery and experience, as well as devotion to the art of ballet and those workers and creators who represent it - dancers, teachers and tutors.
According to the tradition of teaching in a modern ballet school, the teacher-choreographer and accompanist solve different tasks, but they have a common goal - the education of ballet dancers. The responsibility of the teacher in pedagogical, methodical, tutoring activities is very high. However, the training of dancers, their preparation for performances in ballet performances can only be successful if the accompanist takes a full part in what is happening. Therefore, the measure of responsibility is distributed between the teacher and the accompanist equally. And in certain situations - at an exam, a concert, a competition - when the accompanist is left alone with students or ballet dancers, helping them cope with the complex performance tasks set by the teacher, a huge responsibility rests on him.
Let's formulate the main tasks of a ballet accompanist in a classical dance lesson at school or theater group, at rehearsals and concerts. For professional work in ballet, you must:
1. to understand the specifics of choreographic accompaniment, to be aware of the role of music in various types of choreographic activities in a classical dance lesson - as subordinate to methodological and functional tasks, in a ballet performance - as equal and complete, and in certain cases, leading;
2. to have a clear idea of all the main movements of classical dance, to perceive the choreographic material consciously and professionally, to be able to memorize quite large fragments of it;
3. own an improvisational type of accompaniment, be able to understand and anticipate the logic of the interaction of music and dance, create images of movement expressive means music, reinforcing and displaying in it the content of the choreographic material;
4. have an idea about the teaching methods of various choreographic disciplines: classical, duet-classical, characteristic, historical dance, acting;
5. own an extensive repertoire, including not only ballet music, but also various piano, orchestral, vocal works Russian and foreign composers, to have an idea about the performing versions of the works of the ballet repertoire;
6. be able to learn the program in short time, to accompany from a sheet, simultaneously perceiving the movements of performers-dancers;
7. be able to work with the conductor, and in his absence, take on some of the conductor's functions, leading the entire musical part of the ballet performance;
8. be an active collaborator, ally and assistant of a teacher, choreographer, tutor, strive to create a fruitful creative atmosphere for classes;
9. to promote the development of musical ideas of teachers and students, the education of good musical taste;
10. constantly improve your professional level, improving the skills of a pianist and accompanist, enrich your knowledge, replenish your repertoire, listen and control yourself, learn from colleagues, use your own accumulated experience.
Musical fragments for classical exercise must have the following properties:
1. Squareness.
At the initial stage, it is very important that the work can be divided into squares. This means that one movement is done 4 times: with a cross - forward, sideways, back, sideways. A square consists of measures in 2/4 or 4/4 time. In the future, as the dance technique is acquired, the pace accelerates, but the squareness remains. For example, a combination of two movements in a square is composed - this is equal to a phrase of eight measures: one movement is 1 measure, or three movements in a square are equal to 12 measures. In the third year of studying the classics, this property no longer matters as much as in the first year, since children learn the exercises in their pure form, and the combinations created become more complex, and in them the movements can change out of square. Here, more complex time signatures are taken: 3/4, 6/8, etc., and a faster tempo is used.
2. A certain rhythmic pattern and tempo.
To perform movements such as Adagio, tendus, Rond de jambe, par terre, the rhythmic pattern doesn't really matter, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To execute the movement battements tendus– a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo with eighth notes; sixteenth and eighth notes must be present in the musical fragments (2/4 or 4/4 size for slow performance).
3. Presence of beats.
Any backbeat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on a strong beat, the lead time does not play a decisive role, since the movements at this stage are performed at a slow pace in squares on a strong beat ( battements tendus, battements tendus jets, battements frappe). In the future, this quality plays an important role. Any start-up, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. Zatakt can be used in all exercises, as it is easier to start the movement from it.
4. Tempo and metric features.
Size 2/4 can be used for various exercises. But the pace of performance and the technique itself are always different. Battements tendus, battements tendus jetes, battements frappes can be performed in 2/4 time in tempo allegro, moderato. And the exercises battements fondues, plie, passé par terre- in 2/4 time in tempo adagio, lento.Rond de jamb par terre can be performed in 3/4 time, that is, one movement per 1 measure. So the pace slows down to adagio(or one movement - full circle- for 4 beats. The same thing happens with the size 4/4. The tempo in this time signature can vary on different movements from lento before andantino.
5. Metro-rhythmic features.
At the initial stage, small durations can be played twice as long, but the nature of the melody should not be distorted. As you learn the movements, the pace accelerates. At the initial stage, when the movement is being learned, the accompanist plays at a slow tempo; as the tempo is learned, the tempo accelerates. The same thing happens with preparation and when making a combination of pos.
Accompaniment to exercise.
For the musical accompaniment of a dance lesson, ballet, dance, opera, piano and symphonic music is usually widely used. In the complex of professional tasks of a choreographic accompanist educational institution includes the selection of musical material and the compilation of musical compositions for performance at open lessons, class concerts, exams in classical, duet-classical, characteristic, historical dance. The more, the more diverse the performing repertoire of an accompanist, the more fruitful his activity. The high level of pianistic skill will allow him to constantly enrich his repertoire, use virtuoso works in the lesson, exam. The accompanist is helped to decide on the search and selection of repertoire by special literature containing recommendations on this issue (for example, books by L. Ladygin, E. Sawyer), a large number of anthologies to accompany choreography lessons published in our country and abroad.
Let us list and characterize the main elements of exercise at the ballet barre. Professionally and in detail, the exercise is considered in works on the methodology of classical dance - A. Vaganova, N. Tarasov, V. Kostrovitskaya and others.
The order of execution of movements in a class is almost always the same (we only note that petite Battement in the male class is more often performed after Adagio, and not in front of him, as is customary in the female class). The accompanist should be aware that no movement can be started simultaneously by a group of people (without a rehearsal or a conductor) unless a metrical reading is previously set. Therefore, the accompanist almost always plays a short introduction ( preparation) or several lead notes. To the signs of individual elements of the "choreic group" (that is, movements performed from a strong beat), off-bar notes most often have nothing to do, since they are less common in further motives. They correspond to a slight anticipatory movement of the hands - "sigh".
We will specifically stipulate that almost all movements of the exercise can be performed in specific combinations twice as soon (for example, with conditional "eighths"), some movements - four times ("sixteenths").
1. Plie - smooth, slow squatting, performed, as a rule, in two or four conditional "quarters". The beginning of the movement falls on a strong beat. Schematically rhythmic formula plie it is quite difficult to depict, one can only characterize the generally accepted textural stereotype of musical display - this is the genre formula of nocturne, elegy, lyrical opera aria and a similar musical work of cantilena nature (example 6). Plie can be performed in four "quarters" or somewhat faster (during two "quarters"), as well as in the form of a combination of two options, which can be reflected in the structure of the musical construction 2 + 2 + 4 (example 1) (appendix 2).
2. Battement tendu - step-like sliding of the leg forward, to the side or back and returning it back. The generally accepted way of performing the movement is the first phase (sliding the foot) - due to the measure, the second (returning) - to the strong beat. Rhythm formula battement tendu(picture 1):
(example 2)
Despite the fact that the dancer, performing this movement, does not move in space, the general impression of him is that of a step-like person, associated with gait. The main genre variants of musical reflections tendu- march, gavotte, country dance. To display this group of movements, bass-chord accompaniment is typical, but not necessary. There may be options for a different pace of performance from a leisurely walk with step-by-step movement in bass (example 3) to an accelerated version of a cheerful joyful procession (example 4). All the above examples are united by the use of the iambic formula of motifs of bipartite size.
3. Battement tendu jet - leg throw at 25º or 45º with an emphasis to the side, forward or back ( jet- abandoned) and returning it back. Similar to execution Battement tendu, the first phase of the movement falls on the off-beat, the second - on the strong beat (example 5).
The rhythmic formula of the movement is similar to the previous one, but staccato is performed (Figure 2)
In some cases, only two main points are marked in the accompaniment, that is, the beginning and end of the movement. Sometimes a triplet rhythm is used to convey more liveliness to the nature of the accompaniment (using the genre rhythmic formulas of a quadrille, tarantella). The trajectory of the melodic pattern has no special functional significance, but the accompanying main movement pointe, balance are often displayed as jumps in the melody.
4. Rond de jambe par terre - smooth circular movement of the leg (the leg draws a rond, a semicircle on the floor). The initial phase of the movement (the beginning of the ronda) is performed due to the measure, the moment of passing the first position (that is, the moment when the feet connect) coincides with the downbeat.
This continuous movement (from the group of rondos) is one of the few that are performed “off the beat”. The nature of this element is dual - it is a smooth alloyed movement, actively directed towards the goal - the end point of the semicircle, the strong beat (example 6).
Sign rond de jamb par terre(picture 3):
The property of directed activity is enhanced if the rond is performed quickly, repeatedly or combined in combination with active swing movements ( Grand rond). Grand rond- an extremely energetic movement, the leg draws a circle, simultaneously with a 90º throw. The throw can be performed both on a strong beat and because of the measure. port de bras- smooth movements of the arms, head, body, as a rule, are included in the combination rond de jamb par terre, being her concluding part. The beginning of the execution of these movements is with a strong beat.
5. Battement fondu (fondu- "melt" in French) - a smooth movement, squatting with the legs moving to the side, forward or backward from the ankle position. Gentle crouching and rising is often shown in a melody pattern (example 7).
It has already been noted that the musical fondu characterized by a merged choreic motif. Schematic sign of movement (Figure 4):
6. Battement frappe - the leg hits the other and returns to its original position ( frappe means "to hit" in French. The beat corresponds to the off-bar beat. Movement sign (Figure 5):
iambic motif frappe predominantly ascending intonation demonstrates a pronounced activity of movement (example 8).
At a fast pace, the first sound of the motive may be skipped.
Double frappe– double strike (example 9).
7. Rond de jambe en l air - a circular movement of the foot in the air, performed due to the beat (similarly rond de jambe par terre). The ending of the round is accentuated and coincides with the strong beat. Typical traffic sign (Figure 6):
(example 10).
8. Petite Battement ("little batman") - small movements of the same amplitude (flexion and extension) of the leg near the ankle, distinct and uniform. One petite Battement consists of four movements of phases - the first and third phases (bending the leg, getting it into position at the ankle) coincide in the first case - with the off-beat, in the second - with the strong beat. To convey lightness, delicacy, upper case is used (example 11).
Rhythm formula petite battement(picture 7):
Battement battu- an even smaller movement (a series of quick, short blows to the heel - recall Pushkin's line about Istomina "... and beats the leg with a quick leg"). Battu performed so fast and small that light blows are perceived as a vibration - a trill in musical display. Sometimes very fast legato passages are used, when the sounds of the melody merge into a line (complementing the principle of articulatory combination). The generally accepted sign of movement is a trill.
9. Adagio - a group of various slow and smooth elements, performed, as a rule, starting with a strong beat. In the later stages of training in combination Adagio energetic swinging and rotational movements are included, when performed in the middle of the hall, jumps are also included. The main traffic sign is similar plie. The musical accompaniment of the Adagio is two kind of guiding threads: one (as a rule, a melody) - in large beats, milestones of metric pulsation, the other (voices accompanying the melody) - in smaller rhythmic durations. Textured layers must be differentiated for perception (otherwise the accompanist may hear the teacher-choreographer’s not very approving remark “everything floats and merges with you”). This explains not only the traditional preference for a clearly expressed homophonic-harmonic texture (characteristic of any dance music), but also the main feature of a typical rhythmic sign. Adagio(picture 8):
(example 12).
10. Grand Battement jet - throw the leg at 90 ° and restrained its return back. The throw is performed due to the measure, the second phase of the movement is performed on a strong beat (example 13).
Complex traffic sign (Figure 9):
Grand Battement jet, as well as other types of swing movements of large amplitude - Grand rond, Grand fouette- are performed with active effort and are characterized in musical display by a dense mass of sound (texture and dynamics).
11. Rotation. Rotation elements can be used in combination with any movement, but are more common in active combinations. Often the beginning of the pirouette falls on the strong beat, but the "motif of rotation" combines the pirouette and the previous ones. preparation And plie. Thus, the iambic motif of musical accompaniment does not completely coincide with the movement, but accompanies it.
12. Allegro . The "jumping" part of the lesson is the focus of the polyrhythmic, polyarticulatory relationships of dance and music, which implies a very high degree of preparedness of the accompanist.
The complex of tasks to be solved here can be reduced to three main ones: the choice of a musical meter, the creation of visual effects of flight, airiness, springboard, and the achievement of synchronization of performance.
In many cases, the choice of a certain metric pulsation is determined by the time spent on the execution of a particular jump. "Short" little jumps are more often associated with two-beat time signatures. More extended, taking a little longer time, high jumps - with a triple.
Jumps are given in the class in ascending order: small, medium, large. According to the increase in jump size musical accompaniment changes, passing (often, but not always) the following stages: from 2/4th polka-like, short breath - to 6/8 with a clearly expressed tripartite pulsation or 2/4th march-like character, then to a three-lobed waltz, and in certain cases - a two-lobed gallop-like (“ballet coda”).
The group of small jumps include echappe, changement de pieds, assemble, jet, glissade, the so-called drifts, that is, jumps, during which one leg is brought behind the other. The group of medium jumps includes the following movements: sissonne fermee, sissonne ouverte faille jet with promotion, cabriolet 45 °, etc. Large flight jumps include Grand jet, Grand jet enterlace and other types Grand jet, Grand assemble, saut de basque, Grand pas de chat and others (example 14).
Conclusion
A classical dance lesson is a kind of kaleidoscope, a mosaic of choreographic combinations, different in character, performance technology and types. During the lesson, the accompanist performs up to 40-50 musical constructions simple two-three-part non-reprise or reprise form. From a musical point of view, the suite principle of construction is closest to this compositional structure. The versatility of the plastic material, the contrasting juxtaposition of the characters of choreographic combinations and etudes can be emphasized by the variety of keys, metrics, rhythmic patterns, intonations, textures of the accompaniment. Moreover, the general compositional scheme of the lesson allows you to build a certain dynamically directed and closed form, the culmination of which, as a rule, is the Big Adagio in the middle, and the lively tempo section Allegro- the final part.
The result of the work on the selection of works for an open show, performance at an exam or class concert should be a well-arranged and uniform in style suite-divertissement musical composition. The tonal plan, the circle of intonations, the comparison of metro-rhythmic structures, the tempo plan must be thought out and verified. Such a suite can be assembled from the works of one or a number of close style direction composers. Most often these are representatives of the romantic direction, authors of theatrical opera and ballet music, such as P. Tchaikovsky, A. Glazunov, L. Delibes, A. Adam, J. Bizet, C. Gounod, J. Meyerbeer and others. In addition to reading books, the accompanist in his repertoire searches can refer to ballet, orchestral, vocal and piano works, opera music, opera divertissements. As a rule, the work on creating a composition is done in close creative contact with the choreographer, and the built form reflects the joint result of the efforts of cooperation.
References
1. Ballet Concertmaster: Musical accompaniment of a classical dance lesson. Work with the repertoire" - St. Petersburg, 2005.
2. "Coordination of musical and choreographic material in the process of musical accompaniment of a classical dance lesson" Vestnik ARB im. - St. Petersburg, 1999.
3. "On the musical content of the educational forms of dance" Method. allowance / Moscow state. conservatory - M, 1993.
4., “Analysis of musical works. Elements of music and methods of analysis of small forms” – M. Sov. composer, 1978.
5. "Creative and pedagogical aspects of the activities of the accompanist of the children's art school" Graduation work http://works. /59/100056/index. html, 2008.
6. "On the psychology of musical perception" - M. Muzyka, 1972.
