Methodical development on music on the topic: Education of emotional and figurative thinking of students. Work on the expressive performance of a piece of music

An open lesson was held with a 2nd grade student Vladimir Terekhin.

Lesson topic:"Means of Musical Expression".

The purpose of the lesson: mastering the expressive means of music at the initial stage of education.

Tasks:

Educational: on the example of diverse pieces and exercises, to study various means of musical expression (melody, tempo, dynamic shades, etc.).

Developing: form a creative approach to the use of expressive means in music.

Educational: develop emotional-figurative perception.

Lesson type: combined.

Methods used: comparisons, games, visual method, observation and listening, analytical.

Lesson structure

I. Beginning of the lesson

1. Organizational stage
a) greeting
b) communication of the purpose and progress of work in the lesson

II. Main part of the lesson

1. Theoretical part
2. Work on Bukhvostov's play "Forget-Me-Not"
3. A set of technical exercises
4. Work on the R.I.P. “Like at our gates” arr. Az. Ivanova

III. The final stage

1. Evaluation
2. Homework
3. End of the lesson

The main part of the lesson.

The teacher talks to the student about the topic. Each art has its own special language, its own means of expression. Music has its own special language, the language of sounds. And she also has her own means of expression. Melody as the basis of a musical work. Motives, phrases, sentences. The simplest musical form.

The student is invited to play Bukhvostov's play "Forget-Me-Not". The teacher notes that the student feels how the melody should sound, but does not perform it properly. You should find expressive means of execution that will help to cope with the problem. During the conversation, the role of the rhythmic pattern and the upward movement of the melody, the role of dynamic shades in the first phrase of the play are clarified. The student is invited to work out the dynamic plan of this part, paying attention to the movement of the fur.

It must be remembered that the graceful, melodious melody of this piece will sound expressive only if the bellows are moved calmly and evenly, without making sharp movements with the bellows when transferring shades. The musical phrase must be performed in one breath. The change in the movement of the fur should coincide with the beginning of the musical phrase.

The teacher asks the student to play, paying attention to the way the fur is driven.

The musical, expressive performance of phrases depends not only on the observance of dynamic shades, nuances, the correct change in the movement of the fur, but also on the tempo. The student is asked questions about the role of tempo and the genre of the play is clarified: waltz. So the pace should be like this. to emphasize the dance character of the play. The conclusion is fixed practically: the student plays several phrases on the instrument at the pace of the waltz.

The teacher proceeds to work on the next fragment, showing how it sounds. Together with the student, the passage is analyzed, sequences are found when the melodic line moves down. The teacher asks to play this fragment, observing dynamic shades.

Next, it turns out what the climax of the work is. The climax is prepared by a gradual increase in tension. This increase in tension is achieved by the general movement of the sounds of the melody upwards, by increasing the volume of the sound. The work on the climactic passage is shown.

The teacher advises to work out at home those expressive means of performance that were discussed in the lesson: work on the climactic passage, try to make the play sound like a single whole.

The next stage of the lesson: the teacher asks the student to play a set of technical exercises. which will help to cope with the technical difficulties that arise when working on the Russian folk song “Like at our gates”.

The student plays the G major scale, short arpeggios with legato, staccato strokes, chords, an exercise in thirds with different strokes. The teacher pays great attention to working on arpeggiated passages, because for the student, this is a new type of technique that is present in the play "Like ours at the gate."

Then the teacher proceeds to work on the Russian folk song "Like ours at the gate." The character of this play is completely opposite to the character of the play Forget-Me-Not. The teacher finds out what musical genres the student has already met in the course of musical literature and, having found out that this is a song, dance and march, asks the student to determine the genre that underlies the work. The student answers that it is a dance song. The teacher clarifies that this is an adaptation of a Russian folk song, and such adaptations are most often based on the principle of variation.

We call variations a certain musical form of a work and its part, which consists of a presentation of a theme and a number of its modified repetitions. The first part of the play "Like at our gates" is a theme, the basis for variations.

The teacher shows the work on the first part of the work, drawing the student's attention to repeating fragments, strokes that help convey the nature of the play, phrasing. Much attention is paid to work on the left-hand part.

The second part of this piece is the first variation. It is built on arpeggiated passages. The teacher and the student work on arpeggios, combining them in four sounds.

The third part is the second variation. The theme is played in the left hand part. Such a presentation is unusual for the student, so this work is given great attention.

At home, the student is invited to work on arpeggiated passages and work out the theme in the left hand.
During the entire period of work on plays, one must remember that every sound, every melodic construction should serve to express the character of the work.

An open lesson of a combined type, designed for junior students studying piano.
Recommended for both pre-professional students. educational program, and for children involved in the general developmental program.

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Municipal budgetary institution of additional education "Children's art school No. 1 in Rasskazovo"

piano department

Public lesson

Lecturer at MBUDO "Children's Music School No. 1 of the city of Rasskazovo"

in the piano class of Fursova I.V.

« Work on the means of musical expression in the piano class»

Rasskazovo

2016

The purpose of the lesson:

• Educational:

Formation and consolidation of knowledge about the means of musical expression;

Consolidation of knowledge of musical terminology;

Characteristics of the performed piano music.

• Developing:

Development of analytical abilities in the field of musical thinking;

Develop the ability to highlight the main thing in working on a piece of music;

• Educational:

Contribute to the harmonious education of the individual;

Contribute to the education of aesthetic artistic taste;

Raising a caring attitude to work;

Lesson type : combined lesson.

Lesson Form : open private lesson.

Lesson Methods: verbal, practical, research.

Learning technologiesKeywords: personality - oriented learning, technology of active learning.

Lesson steps:

• Organizing time.

Emotional mood, the presentation of students, the message of the topic of the lesson.

• Introduction to the topic.

A conversation about the features of music as one of the arts, an analysis of what means of expression music conveys the emotional state of a person.

• Main part.

Work with students on plays... Work on intonation, sound extraction, musical form.

Viewing the cartoon "Pictures at an Exhibition" Analysis of musical accompaniment by students.

• Summing up the lesson.

During the classes:

The peculiarity of music is that it can convey with great immediacy and power the emotional state of a person, all the richness of feelings and shades that exist in real life.

Due to the fact that music is a temporary art form (unlike painting, sculpture), it has the ability to convey changes in moods, experiences, dynamics of emotional and psychological states. Each piece of music thus has a certain "sensual program".

There is program music. There are pictorial moments here, and such a pictorial work has an emotional coloring. The chirping of birds can be both alarmed and friendly, the sound of the waves can be peaceful and menacing. Therefore, expressiveness is always inherent in music, and figurativeness is of secondary importance.

The performer, being an intermediary between the listener and the composer, must revive, voice the musical work, creatively comprehend it and express the thoughts and feelings that the composer sought to convey.

What is musical expressiveness based on?

The means of musical expression include: tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation. The musical image is created by a certain combination of means of musical expression. For example, a formidable character is conveyed with the help of forte dynamics, a low register, a restrained tempo. The expressiveness of the language of music is in many respects similar to the expressiveness of speech. There are many similarities between music and speech. Musical sounds, like speech, are perceived by the ear. With the help of the voice, the emotional states of a person are transmitted: laughter, crying, anxiety, joy, tenderness, etc. Intonation coloring in speech is transmitted using timbre, pitch, voice strength, speech tempo, accents, pauses. Musical intonation has the same expressive possibilities.

Speech intonation expresses, first of all, the feelings, moods, thoughts of the speaker, as well as musical intonation. So, a person’s excited speech is distinguished by a fast pace, continuity or the presence of small pauses, an increase in pitch, and the presence of accents. Music that conveys confusion usually has the same traits. The mournful speech of a person, like mournful music (quiet, slow), is interrupted by pauses, exclamations.

BV Asafiev used the term intonation in two meanings. The first is the smallest expressive and semantic particle, "grain-intonation", "cell" of the image. For example, the intonation of two descending sounds with an emphasis on the first (minor second interval) usually expresses pain, sigh, crying, and an upward jump in the melody by four sounds (per fourth) with an emphasis on the second sound is an active beginning.

The second meaning of the term is used in a broad sense: as an intonation equal to the length of a musical work. In this sense, music does not exist outside of intonation. Musical form is the process of changing intonations.

Musical form in a broad sense is the totality of all musical means expressing content. In a narrower sense, the structure of a musical work, the ratio of its individual parts and sections within the part, that is, the structure of the work.

The temporal nature of music makes it possible to convey the processes of development, all kinds of changes. To understand the meaning of the work, to feel it, it is necessary to follow the development of musical images.

Let us characterize some types of music - musical genres.Music expressiveness form

Broadly, music can be divided into vocal and instrumental. Vocal music is associated with the word, the poetic text. Its varieties are solo, ensemble and choral music. In instrumental music, the content is expressed more generally. Its varieties include solo, ensemble and orchestral music.

But the division of music only into vocal and instrumental is very conditional. There is a wide variety of genres of folk and classical music.

Posted on

Main part:

Kiseleva Vika 1 class.performs the play "The Cuckoo Waltz" This program play depicts a cuckoo. Develops the child's imagination, as well as introduces the waltz genre. The waltz dictates its own characteristics of performance - support and movement to the strong beat of the triple dance. When learning this work, it is necessary to work out each intonation separately from the entire texture, build each phrase. The part of the left hand-accompaniment is also worth teaching separately.

Krivktseva Karina Grade 2performs the play by V Korovitsin "Cat Vasily". This is a program play that depicts the purring and plasticity of a cat. For this purpose, a number of methods of musical expressiveness are used - multi-layered texture, soft, purring intonations, timbre coloring corresponding to the image, etc.

Here you should work out each intonation, each motive at a slow pace. Intonation is a sense of distance between intervals. The melody depends on the relationship of the notes to each other. To perform means to “live through” every intonation and bring every musical thought to its logical conclusion. Working on intonation makes the student listen to himself, his game. Intonation contributes to the liberation of the motor apparatus - there is a breath of the hand, flexibility, plasticity.

For pianists, intonation is determined by the multifaceted texture, not only horizontally, but also vertically. What you need to pay attention to when working on the invoice:

1. observe the dynamic relationship between voices and layers of texture.

2. it is important that the background helps the melody. Pay attention to the fact that long sounds change their expressive meaning from changing chords.

3. true expressiveness depends on the sound distance. The accompaniment enriches the melody, but does not mix with it.

Three principles are important in creating a form: repetition, contrast, development (variation).

In this piece, a musical phrase repeated twice in a row replaces a stop, this helps to listen more deeply, to remember the melody. Between repetitions, a contrasting theme is heard. The role of such repetitions is very great: they form the basis of musical dramaturgy, as they allow to assert the primacy of the image.

There is a contrasting episode between the repeated sections, and a simple tripartite is formed. Repetition is associated with the principle of contrast, which allows you to shade the repetition. Contrast helps to express the change of moods in music, it sounds like opposition

The contrast is associated with another principle of shaping - development. The theme itself consists of two contrasting elements and this gives rise to conflict, the possibility of their collision, development.

Gudkova Ksenia 2 classperforms the work of the composer Partskhaladze "Round dance". This is a program piece based on a chord texture. Change of mode and tonality, dynamic diversity, characteristic intonations paint the image of Russian folk dance. Particular attention should be paid to the quality of the performance of chords. To do this, under strict sound control, you need to study them separately and only after that combine them into motives and phrases, directing the student to think horizontally. Pay attention to the change of key - major and parallel minor. Make the most of the richest range of musical expressiveness to create the image of a provocative dance.

Sablina Evelina 2 classperforms Yu Litovko's work "The Piece". This work has a pronounced vocal orientation. The main requirement in working on this work is to identify and emphasize the vocal nature of the piano melos. Mentally select it from the general texture. Bring it to life with dynamic shades. Find in the sound of the instrument the expressiveness and musical warmth inherent in the human voice. Achieve a unifying movement when performing the main melodic line.

Summarizing. Self-reflection.

For the development of a student - a pianist, work on intonation is of great importance. Learning to "sing" on an instrument is important from the first lessons of training. Feel the instrument, be able to play expressively, control the sound quality.

Pupils are able to list and formulate the main means of musical expression. They try to listen to their game and control the quality of performance. They understood the nature of the work, genre, style. They took an active part in the analysis and research of musical material.

Organization: MOU DOD Children's Music School, Longyugan village

Location: YNAO, Longyugan village

The purpose of the lesson: fixing the concept of means of musical expressiveness on the material of exercises, scale and studied works.

Lesson objectives:

Educational:

Consolidation of the studied theoretical knowledge (stroke, mode, tempo, rhythm, melody, dynamics);

Consolidation of the concept of means of musical expression in an interesting form for the child;

Formation of practical skills (playing with legato, staccato strokes, performing a work at a given tempo).

Developing:

Movement coordination;

Hearing development;

Activation of figurative thinking through various activities. Educational:

Raising a love for music;

Education of emotional responsiveness to music;

Cultivating perseverance and composure.

Lesson type: combined (deepening, consolidation of knowledge).

Methodical methods:

Verbal, visual, practical;

Activation of hearing, appeal to the musical perception of the student;

Direct and suggestive forms of influence;

Techniques of control and self-control;

Development of figurative thinking.

Teaching methods:

Perspective;

Practical;

Reproductive.

Equipment: digital piano "Roland", 2 banquettes, computer, table "means of musical expression", drawings, pictures, musical aids, Portrait of L. Vann Beethoven and A. Pushkin.

Application of pedagogical technologies:

1. Health saving:

Through the development of the muscles of the fingers, the development of fine motor skills occurs, which has a positive effect on memory. A child - a musician is more organized;

Rational organization of the lesson: the inclusion of game moments, physical education, eye gymnastics, muscle relaxation exercises, the exercise "Funny notes" and "Talking fingers";

Alternating different types of learning activities (playing scales, exercises, repeating learned pieces, listening to music).

2. Game:

Technology implies the organization of gaming activities aimed at searching, processing and assimilation of educational information. It is good to use it during the initial training period. The inclusion of gaming moments in the educational process increases the interest of students in piano lessons, activates their creative activity. The teacher creates a so-called "success situation" in the lesson, which increases the motivation for learning, maintains interest and passion for playing the instrument, and evokes positive emotions.

Preliminary preparation:

Work on the gamma;

Learning musical works;

Repertoire lesson plan:

1. Gamma C major

2. L. Mozart "Minuet"

3. A. Rubbach "Sparrow"

4. N. Rimsky-Korsakov "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" (audition)

5.P. I. Tchaikovsky "Doll's illness" (audition)

6. C. Saint-Saens plays from the cycle "Carnival of the Animals" (listening)

Lesson plan:

1. Organizational moment;

2. Warm up. Exercises aimed at freedom of the motor apparatus, finger gymnastics;

3. Work with musical material;

4. Consolidation of the material covered using gaming technology (card game, drawings, pictures);

5. Listening to music;

6. Summary of the lesson

7. Homework

During the classes:

1. Organizational moment. Greetings. Landing at the instrument Sounding the topic of the lesson, tasks.

2. Warm up. Exercises aimed at the freedom of the motor apparatus, finger gymnastics, consolidating the non legato skill in studying the scale in C major. Strengthening the 2nd and 4th fingers with a supported sound with the right and left hands. As we play, we sing along:

Do, re, mi, fa, salt, la, si -
The cat was in a taxi.
Re, mi, fa, salt, la, si, do -
And the dog is on the subway.
Mi, fa, salt, la, si, do, re -
Someone is walking in the yard.
Fa, salt, la, si, do, re, mi -
These are my horses.
Sol, la, si, do, re, mi, fa -
Feed them for now.
La, si, do, re, mi, fa, salt -
They ate all the beans.
Si, do, re, mi, fa, salt, la -
There is no longer a thought.
Do, re, mi, fa, salt, la, si -
That's all my poetry.

Exercise " Talking Fingers.

Remember the verse:

Hocus pocus, tralee wali

A mouse rides on a dump truck.

What are you, this, mouse,

Are you looking down on us?

Speak - tap the rhyme with such fingers:

"Well done, Alena! Now let's repeat the scale in C major. We play with each hand separately in 2 octaves in a direct movement. Then we diversify the game: we play quickly on staccato - “as if raindrops are falling”, we play slowly and legato - “as if we are pulling a thread from a ball”.

3. After repeating the scale, we proceed to work on the musical material.

Alena, what piece are you going to perform now?

What composer wrote this piece?

Leopold Mozart.

Leopold? Did I misheard? Maybe Wolfgang Amadeus?

No, Leopold, this is little Mozart's dad.

That's right, Leopold Mozart, Austrian violinist, composer and musician, father and teacher of the great Wolfgang Amadeus Mozart.

I show a portrait of the composer.

What is a "minuet"?

Right. This is an old French graceful dance, so named because of its small steps on low toes. Minuet pair dance. Look at the reproduction of the engraving Minuet at the court of Louis XIV. What beautiful ladies and gentlemen. They are dressed in elegant, puffy dresses. Cavaliers in curly wigs, they are wearing camisoles embroidered with gold. They bowed in respectful obeisance to their ladies. The ladies are all beautiful and delightful, puffy skirts and corsets that tighten the waist. do not allow them to run and jump, so their movements are smooth, graceful, they also bowed in a curtsey. The movements of the minuet were built mainly on bows and curtsies. Although the dancers perform the minuet smoothly and rather slowly, the music of the minuet must be performed moderately quickly.

Let's try to play the "Minuet" as if we are in that magnificent palace and play for the king himself. And around us are courtiers who will dance to your music!

The student performs the work.

Do you think the composer managed to convey the image of dancing couples? What musical means of expression?

As if the right hand is a lady, and the left is a gentleman.

Right. The move in measure 4 in the left hand (T, D, T) is very reminiscent of a graceful bow. The pace is moderate. The music is like a dialogue, at first their movements are joint, then the gentleman enters insistently, look, in measure 5 f and accents, as if he asks something from the lady, and she answers him with the modesty characteristic of a lady: her party sounds on diminuendo. Another question-answer, and now they are dancing together again. The moves in the right hand with the steps are very reminiscent of turns.

Sign language was very common in the 18th century. Even without communicating with each other with words, people could agree on something by dancing or exchanging glances.

Therefore, we will spend a physical education session today, as if we were ladies of the court! Nadezhda Kogan has such a comic poem:

Like a spell from a fairy tale
I remember this from childhood:
Looking into the corner, at the nose, at the object,
This is how you build eyes.

The old ladies will tell you:
There is no stronger weapon.
Look - into the corner, at the nose, at the object -
And Dantes and Pushkin were smitten.

Come on and let's shoot with our eyes! And in the role of the "subject" we will have a teddy bear.

Exercise for the eyes: move the eyes (to the right, on the nose, in front of you).

Exercise for the liberation of the muscles of the neck, arms, shoulder girdle: rising on your toes, slowly and smoothly, along with a sigh, raise relaxed arms up. Then it is easy to spread your arms to the sides and, together with the exhalation, freely leaning forward, it is difficult to drop the relaxed arms down. The arms swing freely until they stop.

Alena, what is the name of your next work?

Sparrow.

Fulfill, please.

The performance of the play "Sparrow" by A. Rubbach

What is the nature of the work?

Funny.

Of course, because sparrows are very mobile, nimble, small birds.

Show a picture of a sparrow.

Let's take a closer look at what colors, i.e. By what means of musical expression did the composer convey the character in the work, how can we immediately determine that this is a sparrow, and not an eagle, for example?

We take turns playing with our hands, as if a sparrow is jumping.

Of course! After all, sparrows do not walk on the ground, they jump, and jumping will also emphasize such a touch as staccato.

Then we determine the mode, tempo, dynamics.

4. Consolidation of the material covered (expressive means in music) using game technology (cards, drawings, pictures).

And now you will have this task. I will let you listen to the works, and you determine what means of musical expression are used here.

1 work: sounds A. Rimsky-Korsakov "Flight of the Bumblebee"

2nd work: P.I. Tchaikovsky sounds “The disease of the doll”. During the sounding of works, the student puts on the table cards with means of musical expression, which, in his opinion, correspond to this piece of music. The results of the game are then reviewed and discussed.

Today we learned that, it turns out, you can draw not only with colors, but also with sounds. Try to guess a number of animals and show them in the pictures.

Sounds C. Saint-Saens "Royal March of the Lion"

"Chickens and Roosters"

"Cuckoo deep in the forest"

5. Summary of the lesson:

The means of musical expressiveness most directly affect the character of a musical work, its image. Noting the expressive meaning of certain means, the student's holistic perception of music becomes more complete, more conscious. An important function in the study is performed by an image and a word, they help children to feel the necessary emotional mood. Active experience of a piece of music helps the perception of music and has a positive effect on performance.

6. Homework:

Consolidation of the plays "Minuet" and "Sparrow";

Draw a picture of your choice: a dancing gentleman and a lady or a sparrow; "Winter"

Repeat the exercises “Talking fingers” and “Funny notes” with words, play the C major scale.

This concludes our lesson. We leave on a positive note.

Thank you for your attention!

Used Books:

1. Barenboim L. "The Way to Making Music", Leningrad, 1980
2. Vetlugina N. "Musical Primer", Moscow, 1986
3. Smirnova T. I. “Piano. Intensive course: methodical recommendations”; M.: RIF "Crypto-logos", 1992.
4. Timakin E. "Education of a pianist"; M .: "Soviet composer", 1984.
5. Shchapova. "Piano lesson at a music school and college"; M.: "Classics XXI", 2009.

Kislyakova Inga Veniaminovna
Job title: piano teacher
Educational institution: MBOU DO "Children's School of Arts"
Locality: city ​​of Khanty-Mansiysk Khanty-Mansi Autonomous Okrug-Yugra
Material name: Outline of an open lesson
Subject:"Work on the means of musical expression in plays"
Publication date: 30.10.2018
Chapter: additional education

PLAN - SUMMARY OF AN OPEN LESSON

“Work on the means of musical expression in the plays of P.

Tchaikovsky "Disease of the Doll" and D.B. Kabalevsky "Clowns".

Teacher: Kislyakova Inga Veniaminovna

Name

institutions: Municipal budgetary institution of additional

Education "Children's School of Arts" Khanty-Mansiysk

Student: Den Ellin(9 years old), 3rd year of study, specialty piano "Reading music with

Student characteristics: the student has good musical data:

rhythmic stability, long-term musical memory, good

adaptable gaming machine. Differs in attentiveness, good

hard work, perseverance and the desire to achieve high results. On

active in classes, tries to work with dedication, willingly studies new musical

material.

Topic of the lesson: Work on the means of musical expression in plays

“Doll Disease” and “Clowns.

Topic of the educational program: Work on plays

Chapter

educational

program: Awareness

students

character,

executable

works.

Accumulation

musical and auditory,

technical

organizational

learning

works.

Studying

various

character.

Degree of difficulty: medium.

Regulations of the training session: 40 minutes

Target

lesson: development

creative

attitude

development

technical

Conscious

application

student

musical

expressiveness

creation

artistic

works.

Further

the formation of pianistic skills.

Lesson objectives:

Tutorials:

Actualization of the student's knowledge on the topic "means of musical expression";

Search and analysis of means of musical expression in P. Tchaikovsky's plays "Illness

dolls”, D. Kabalevsky “Clowns”;

Continued formation of practical skills (techniques

sound extraction: legato, staccato;)

Practicing rhythmic accuracy, tempo stability, articulatory clarity

execution.

Pedaling

Developing:

Development of musical thinking skills, creative imagination;

Metrorhythmic feeling, intelligence of memory, attention;

Expanding musical horizons;

Educational:

Cultivating perseverance in overcoming difficulties, understanding the need

work on technique, meaningfulness when working on scales, exercises, etudes .

Formation of artistic taste, acquaintance with the best examples of children's music;

Stimulating the student's desire for public speaking.

Methods: analytical, emotionally sensitive,

developing

logical

associative thinking, moral and aesthetic knowledge

Form of the lesson: combined lesson, theoretical and practical

Lesson organization form: individual lesson.

Lesson schedule: 40 minutes.

Activities in the lesson:

Listening to and performing music;

Discourses about music;

Interdisciplinary connections: actualization of theoretical knowledge listening to music, elements

student project activities.

Planned result:

at the end of the lesson, the student should be imbued with the nature of the work, work out

certain pianistic skills and consolidate them in homework.

Lesson structure:

I organizational stage:

a) greeting;

b) communication of the purpose and progress of work in the lesson.

II Main part of the lesson:

a) Brief information about the composer of the work.

b) Familiarization with a piece of music (show, short musical

theoretical analysis of the work: tonality, size, tempo, structure of the work,

rhythm pattern)

c) Work on the details.

III Final stage:

a) assessment;

b) homework.

Introduction to the work.

The choice of a piece, familiarization of the student with the piece (not only playing,

but also a conversation about his style, content, genre form, about the author of the work and his era),

reading the work, studying the musical text, analyzing and choosing means of expression,

creative embodiment, public performance - these are the main stages associated with

students studying art.

In the initial period of children's education, a musical melody should be distinguished by its simplicity.

- pictures should depict episodes in which a feeling of accessible

children, which can arouse sympathy in them.

concreteness, clarity and certainty of artistic images - qualities to a greater extent

least inherent in program music.

The imagery of the perception of the content by a young student largely contributes to

the program title of the play, which immediately orients him in the nature of the music.

The educational process provides for the acquaintance of the student with musical

works of various artistic styles and national schools; This

contributes to the comprehensive development of the student and his artistic taste; development

so-called "sense of style".

P.I. Tchaikovsky "Disease of the Doll"

The form of the work.

Simple two-part. A clear division of the play into 2 parts.

Part 1 consists of 3 sentences:

The first 2 identical sentences consist of 4 measures in which

kind of climax. Leading role - in the part of the left hand in an upward movement

bass line. The end of the phrase is a downward movement of the bass.

In the 3rd sentence (8 measures) - the leading role in the part of the right hand.

Part 2 consists of 2 sentences:

The first sentence is the general climax of the work: an upward movement in

parts of the left hand in semitones. This is confirmed by dynamic shades:

gradually increasing cresc. - f - and gradual dim.

The second sentence is the completion (Coda) - bass ostinato on the tonic. affirmation of the foundation,

calm.

The play is polyphonic in its structure: 2 independently developed voices (melody and bass)

means of expression.

Dynamics - increasing with the upward movement of the leading voice

(the climax of the phrase), fading - downward movement (the end of the phrase).

The melodic line on the weak beat is the tears of the doll. Tears are light, transparent

drops. Here you can work on the sound quality. Melody movement

Since in this work there is a smooth, gradual movement in the parties

left and right hands, then here we can talk about the linear development of phrases (i.e.

horizontal).

It is very important to take into account the linearity of development in this work, because with such

calm tempo (Moderato) melodies on a weak beat may experience stops in

every measure, resulting in a static performance.

To avoid this, you need to work with the student on each game separately:

Color the parts with timbre (l.r. - velvety, soft, smooth; pr.r. - accuracy

execution of the second beat, clarity of pronunciation, elevation above the rest

Dynamics: upward movement - cresc., downward - dim. All this accompanies

expressive performance of the play.

performance, taking into account the linear development of phrases, i.e. hear all the voices in

a single whole, therefore it is advisable to first analyze separately the game of the right and left

hands. In the melody we hear sighs, and tears, and fitful breathing. All sounds

melodies fall on the weak second beat. The left hand part is saturated

sustained basses, which students often do not sustain and do not listen to

the resulting harmonies. It is very important to pay attention to the application,

which will allow you to expressively play the bass line in legato. Successful work on

left hand in this work creates the prerequisites for the successful development

polyphonic thinking of the child.

A difficult problem for the performer is the correct ratio

melodies and accompaniment. It is especially difficult to strike the right balance between melody and

accompaniment, when the melody is entrusted to the lower voice. The performance of the play must

be emotional and at the same time strict and restrained in expressing feelings.

The tempo of the piece is moderate,

Moderato. Phrases consist of 4, 8 and 10 (climax)

cycles, which also constitutes a sufficient complexity for the thinking of a younger student.

This work is also one of the first, where the student gets acquainted with

lagging

pedaling

melody intonation and harmony changes.

composer

combination

pedagogical

melodious sound on the piano) with artistic (create an expressive musical

cantilena pieces

form the basis of the pianist's pedagogical repertoire

throughout the entire period of study. Working on cantilena miniatures beneficially

affects

development

musicality,

artistic and performing

initiatives

especially

has

pronounced

emotional

susceptibility.

The play "Doll's Disease" will be of great benefit to the student, will develop his creative

fantasy and advance pianistic technique.

D. Kabalevsky "Clowns"

In the work of Dmitry Borisovich Kabalevsky, music for children occupies a special role.

His first songs are “About Petya”, “First of May”, “Bird House”, written back in the 30s.

years, still sound today. Soon after the war, one of the most popular songs appeared -

"Our land". The composer later used it as the basis for his Third Concerto for

piano dedicated to young musicians. The songs of Kabalevsky are well known among

us and abroad: "Happiness",

D.B. Kabalevsky composed in almost all musical genres. He is the author of 4 symphonies, 5

operas, operettas, instrumental concertos, quartets, cantatas, vocal cycles,

Requiem on verses by R. Rozhdestvensky, music for theatrical productions and

movies, a large number of piano pieces and songs. His music is infused

intonations and rhythms characteristic of the era of building socialism. In her

solar tones prevail, clear song melody, cheerful energy, enthusiasm,

humor, optimism.

Now we will listen to a piano piece by D.B. Kabalevsky called "Clowns" V

performed by a 3rd grade student Den Elina. This play has 3 parts. First and third parts

similar in sound. The composer, by means of musical expression, conveys

different images. With sounds he tells about two clowns - cheerful and sad. Have fun

everything is easy for a clown, but a sad one is unlucky, he does everything clumsily. We turn

attention to the fast pace, dynamic shades of music. (Sounds like a play).

Speaking about the nature of the work, it is necessary through emotions to arouse interest in

execution of a certain stroke. So, step by step 6, from measure to measure, from phrase to

phrase and there will be an image of cheerful clowns. Working on the nuances and touches

each hand separately, it is necessary to constantly monitor the work of the brush when

performance of "jumps" (left hand part), fingering and tenacity of the fingertips.

The energetic sound of the left hand, necessary for the image of galloping clowns,

needs attention. As the stroke accelerates, more force is required

sound. Therefore, it is necessary to swing either with the upper part of the hand, or

forearm. In this case, softening is done with additional brush movements. Important

immediately clarify the fingering in learning the material in the parts of both hands, this will help

complete tasks faster and better. Finishing work on a work or

separate fragments, we once again recall the image and character, mood and

history of this play. We begin our lesson by introducing the party of the left

hands, where you have to master the staccato stroke. Be sure to pay attention to

fingering. If we visually familiarize ourselves with the text, we will see that the play has 3

part form, where in the 1st and 3rd parts the part of the left hand is duplicated. Using transfer

brushes, with tenacious fingers we will determine in the races, they remind us of the jumps of clowns.

Let's repeat the "staccato" stroke on the lid of the instrument several times and listen to how

the “legs” of the artists jump elastically. Now let's transfer this exercise to the instrument and

Let's hear how these notes sound. If we talk about the 2nd part, then chords appear here.

Using a wide palm, it will be convenient for us to immediately cover all the intervals. Pay

note that the chords also use the “staccato” stroke, but will already be played

in a different way - more solid, but with a tenacious and collected brush. And here we have a stroke

“tenuto” - here the whole position is based on a chord, as if giving a “rest” to the clown when

the other continues to spin in quick dashes (16th notes). And now let's talk about

right hand parties. This is a different clown, he is more mobile, and here it is necessary

follow the fluency of the fingers - these are our 16th notes. To make them easier to understand, let's write

a short poem: I jump faster and faster, I amuse all people. I like it too

and everyone. Somersault back, somersault forward, Somersault one more time. With these funny

words with tenacious fingers several times we play based on motives, phrases. Here also

the stroke "staccato" is used - short, jerky, "cocky". It is necessary that

the hand was natural, free to play. Find a comfortable hand position. This

repeat the exercise 3-4 times on the instrument in different registers and then we will hear,

how the same motive sounds, where it is more rich and confident. Speaking clearly

syllables, words and a whole sentence, the fingers seem to want to dance themselves. Well here we are

introduced to a new dance genre. As homework, I suggest

draw your clowns and be sure to train your fingers by playing in different

pace - from slow to more lively.

Work on a piece of music is a long, step-by-step, variable reciprocating process, the effectiveness of which is checked only on the STAGE. It is possible to compare this process with the work of an actor on a complex role in the theater, with learning the text, with the search for facial expressions, plasticity, intonations, etc. But the pianist does not play for one actor, but for the whole full-voiced "performance". Working on a piece of music is an endless listening to all the details and curves, to all the details of the texture and their harmonious combination, it is the search for options for a musical image: a stroke, movement, agogics, pedals, etc. (“The student must understand that the beautiful is diverse and generous to the point of extravagance in its manifestations, while the bad is hardly distinguishable from one another, monotonous, sparingly” Neuhaus G.G.).

But before starting work on a work, it is necessary to clearly represent the artistic goal, (final result), tasks and ways to achieve the goal, not only to the teacher, but also to the student!

It is necessary to cultivate a conscious attitude to the musical and expressive means of the composer and performer. Education of ethical responsibility for the quality of the embodiment of the author's musical image; responsibility to the listener for the expressiveness of his musical speech, for the skill and clarity of technical implementation: for the exact tempo, for the freedom and flexibility of his apparatus, with other musical and stage requirements.

in their analysis and implementation: Genre Meter

Rhythm Mode, tonality

Harmony Texture

Timbres, registers Articulation (strokes)

Dynamics Form

Agogica, pedal, etc.

Analyze the pianist's performance tools. Their rational and psycho-emotional influence on the embodiment of the image:

I. The foundation and foundation of a pianist is the free weight of his Hand and its parts, knowledge of the laws of rational fingering, contact with the instrument, developed fluency (speed and strength of the fingers), endurance. In a word, TECHNIQUE is the main tool for a performing pianist. And no matter how bashfully they put it on the 2nd, 3rd place, without it as “without money” or as “without arms” or “without legs” - you can’t play the piano. Knowledge and effective use of the individual weight and motor-speed features of your apparatus ensures musical expressiveness and technical reliability at any pace and conditions of stage excitement during a performance.

II. Love for a given work or author, and admiration for it by both the teacher and the student is the main engine of all subsequent creative work on the work and its embodiment on stage with the help of individual performing means:

• 1) Sense of Time - keep the pulse, rhythm, meter:
  • * tempo control, tempo control and AGOGIKA (based on the understanding of intonation and harmonic gravity)
  • * the concept of "Craftsman" is the quality of sound, clarity of diction. Possession of the exact time - pulse, rhythm, meter through the author's clear articulation and motor coordination
  • * the concept of "Artist" is an aspiration, an inclination towards a through modal-harmonic development, through an inclination towards a foundation, towards K6 / 4.
  • * Formation: convexity of culminations, dynamics of large constructions - terrace periods, sections, etc.

Expressive "Intonation":

• * concepts: “Vocal sound thinning”, sound vibrations, hearing “after-sound”, tension of intervals - agogy, gravity of steps, sound transfusion;
• * weight - forceful filling of intervals, "weight levels" - auditory awareness (prehearing) of the weight of one's apparatus for a variety of microdynamics and nuances;
• * the concept of “Sound science” is an auditory strategy, or a navigational map of auditory imagination: - stratification of hearing into 3 stages: I remember “what” I have already played, I hear “what” I am playing now, and I will foresee “how” I will continue to play. Calculation of articulation and touch - touching the key.
• * Acoustic dynamics: the concept of acoustic hearing, vibrational hearing - beats of a sound wave, correlations-subordinations of these waves ("form" of vertical acoustics) and the ratio and development of the horizontal - general acoustic filling and rarefaction (horizontal form of acoustics). Acoustic orientation in different halls - hearing the reverberation of sound from the opposite wall, the "fullness" of the hall with sound, etc.
• 3) Timbre and onomatopoeia - anticipation of stroke paint (articulation) and advanced control of it, the degree of sharpness-depth and brightness of the auditory representation and physical embodiment (imitation), the role of cultural and auditory imagination (baggage) of the performer;

Stylistic, auditory informative - knowledge of the author's work (his other works), his life, biography, interests, ideas, friends, hobbies, etc. II. 5) Stage Exposure:

• * Emotional and rational "calculation" on the stage - add emotions or dampen them, what nuance of dynamics, feelings, facial expressions to add - to reduce. Auditory dynamic and articulatory control.
• * Correction of psychomotor, muscular and mental reactions to the image - emotion in different students: athletic, picnic, asthenic, gracile type. Temperament - as a way of excitation and inhibition of emotional reactions and states. Develop self-correction of psychomotor skills (See Ch. "Definition of abilities").
• * Technical viability. Development and training of the apparatus on the basis of ideomotor representations. Training of speed, fluency, strength, endurance, will.
• * Professional thinking in extreme stage conditions: prevention of the effect of "accelerated sense of time", activate "auditory control", "pre-hearing" the whole phrase through inner singing, remember the "navigator's card" - the performance plan of "inclusions" and "autopilot", about "switching" of auditory attention to the key moments of the form in the process of playing.
• * Artistry - the ability to receive additional energy on stage, "light up" and ignite the audience; a sense of proportion, harmony and naturalness in performance, the ability to cope with stage excitement, turning it into "one's" benefit. Desire to perform in front of an audience.
• 6) Positively optimize the moral (ethical) and aesthetic motivation of performance through images accessible to the age of the child (from the simple: “I want to listen to you” to the oratorical, educational function of art, etc.

There are 2 performing traditions:

• * - "Authentic" - as close as possible to the author's era, aesthetics, acoustics, timbres, dynamics, playing techniques and psychophysics of the author, his tools, etc.
• * - "Subjective-psychological" or "Creative" - ​​conveying the Spirit, the author's Idea, Idea, not pursuing the goal of playing only old instruments of the era when the author lived, etc.