Analysis of the lesson in the children's music school. Piano Lesson Methodology
Open lesson teacher DSHI them. A.A. Pantykina Shvetsova M.N.
The date of the: 18.11.2012
Present: Deryabina T.V., Zakirova G.G. Ivanova I.Anatol.
Lesson topic: Development of technical skills in the initial period of training on the example of scales and other elements of technology.
Methodological support of the lesson:
G.M. Tsypin, Learning to play the piano, M., Enlightenment, 1984
S.E. Feinberg, Pianoism as art, M., Klassika-XXI, 2003
Konrad Wolf, Lessons from Schnabel. M, Classic - XXI. 2006
I. Hoffman, Piano game. Answers to questions about the piano game, M., Classics-XXI. 2002
S.V. Grokhotov. How to teach to play the piano. First steps, M.. Classic - XXI,
2005
The purpose of the lesson: Creating conditions for the successful development of scales and other elements of technology.
Tasks:
To ensure the psychological well-being of the student in the classroom, contributing to a better perception of the material.
Use various exercises to master scales, chords and arpeggios.
To achieve high-quality performance of scales and other elements of technology.
Encourage the student to reflect, self-control and introspection.
Lesson Plan
Methodical message
Working on the scale in C major . chords and arpeggios.
Working on scales
Mastering legato exercises.
Mastering exercises for placing the first finger
Playing the scale separately with each hand and with both hands in divergent motion from one sound.
Work on chords
Mastering finger exercises.
Playing chords separately with each hand for two octaves.
.
Mastering legato exercises in three sounds.
Mastering legato exercises for four sounds.
Playing arpeggios of three sounds separately with each hand for two octaves.
Playing arpeggios of four notes separately with each hand for two octaves.
Working on long arpeggios.
Mastering the exercise of placing the first finger.
Mastering exercises for positional play.
Playing arpeggios separately with each hand for two octaves.
III The result of all work: Play the C major scale for two octaves separately with each hand, with two hands in a divergent movement from one sound, chords for two octaves separately with each hand; short arpeggios for two octaves separately with each hand; long arpeggios for two octaves separately with each hand.
Our hands are not built in parallel, but symmetrically, so even an advanced pianist finds it difficult to play the same thing with the right and left hands through an octave or two - therefore, it is not advisable to start playing the scale in a direct movement. When we learn the scale, we must play with each hand separately, with the right hand starting from the bottom up, and with the left hand from top to bottom. When playing with two hands, one must start in the opposite movement earlier than in the direct one. This will not be a great difficulty for the student, since he began to play the scale when the sounds of which it consists were learned earlier.
The scale should be played at a moderate pace, since only then is it possible to control the legato. Always prepared fingers, intelligible pronunciation and competent insertion of the first finger. For a confident performance of the scale, you should pay attention to the fact that the fourth finger always has its place. Each time, setting the scale, the teacher determines the position of the fourth finger in the right and left hands. Attentive attitude to fingering brings up accuracy, accuracy in performance.
Working on the major scale, in parallel, start mastering chords and arpeggios. These are the necessary elements of technique that develop stability, good support in the fingers, positional play, the location of the fingers in the tonic triad and its inversions. The student begins to hear first two voices (thirds of the tonic triad with 1-3 fingers, 3-5 fingers), then three-voices (chords of the tonic triad with 1-3-5 fingers). The upper voice is often poorly heard in the chords. To do this, the weight of the hand must be directed to 5 and., Inclining the brush to it. After mastering the chords of the tonic triad, include its inversion in the work. Then play short and long arpeggios.
Starting work on scales and other elements of technique, the student encounters difficulty in putting the first finger. Often the student strains the first finger or adapts unsuccessfully to its lining. Late on the key or a sharp pressing of it leads to uneven play of scales. It is also difficult to perform legato, in scale and arpeggio, equalize chord voices, play with a support, and maintain a melodic line.
Therefore, it is necessary to develop exercises to help the student. ,
The exercise must be appropriate for the task at hand. It is necessary to overcome the difficulties encountered.
The exercise should be easier and simpler than the difficulty being overcome.
It is advisable to make the exercise as short as possible.
Properly organized exercise achieves results in a short time.
In the exercise, the difficulty to be overcome should be facilitated. The goal should be
easily achievable. It is necessary to develop such exercises that are impeccably successful.
Lesson content
II Work on scales, chords and arpeggios with a first grade student Katya Schukina.
1. Work on scales
From working thief lay down a tov exercise eni I:
a) Play and sing with the words of a sequence of two sounds, three sounds and
five fingers, right hand, then left hand.
b) Complicate five-finger exercises.
From work p ODK fingering the first finger:
a) On the cover of the instrument: put your hand and “bring” the free first
finger to the second, third, fourth and fifth fingers of the right and left hands.
b) On the keyboard: Lean on the fifth finger, and with the rounded first one, freely “step” along the keys. With a flexible hand, very light eighth notes that sound against the background of a long sound, (see Appendix)
c) Exercise "Droplets": Rely on the third finger in a note to sharp, then F sharp, and with the first finger it is easy to play every eighth note staccato alternating sounds lower - higher. (see Attachment)
d) Exercise for laying on black keys: First, beat a group of two, then three black keys. Repeat each link several times in different octaves with the right and left hands. Bring the first finger under the palm in time, helping the brush move in the right direction. Listen to the evenness of the melodic line, (see Appendix)
e) Exercise for laying on the white keys: from each step of the scale, play five notes in order with the right hand up, and with the left hand down, placing the first finger after the third. Control the clarity of pronunciation and the evenness of the melodic line, (see Appendix)
Play the C major scale with your right hand one octave, then two octaves. Same with the left hand. In a divergent movement from one sound "to" to one, then to two octaves. To control the evenness of the sound when placing the first finger, the development of a melodic line, the combination of sounds in legato.
Work on chords
work out the opo ru pal tsev in exercises.
a) Play the thirds of the tonic triad with the first - third fingers, the third - fifth fingers in different octaves with the right, then with the left hand.
b) Play fifths with the first - fifth fingers in different octaves with the right hand, then with the left hand.
P odgoths play a chord, listen at voices in exercises
a) The student should play thirds of the tonic triad with the first or third fingers, and with the third - with the fifth fingers.
b) Play fifths with the first-fifth fingers in different octaves separately with each hand. Listen and sing voices.
c) Play a chord. The teacher is the lower and middle voice, the student is the upper one and vice versa.
d) Play the tonic triad with the first-third-fifth fingers alternately with the delay of each sound. Listen to the sound of voices. Play chords in different octaves. Then master the inversions of the tonic triad, memorizing the fingering.
Play chords: tonic triad with inversions separately by each hand for two octaves. Control the sound of all chord voices.
Working on short arpeggios
Otrab about play legato in exercises:
a) Play arpeggios of three notes. The hand "breathes" after each link
b) Play arpeggios of three sounds with a unifying movement of the brush from the first finger to the fifth finger. Lead the melodic line up, then down. (See Attachment)
c) Play arpeggios of four notes, removing your hand after each link.
d) Play arpeggios with light accents of three notes to take the stress off the first finger. (See Attachment)
Play short arpeggios of four notes separately with each hand for two octaves. Control the evenness of the sound, legato connection.
I. Technique is a general concept that includes scales, arpeggios, chords, double notes, octaves, touches of all kinds, legato, staccato, as well as dynamic shades. All this is necessary for the formation of a complete technique.
All the technique of the classical period, and even the romantics, is saturated with scale-like sequences or its individual types, as well as arpeggios. You need to be prepared for this. Students who have not gone through the school of scales will noticeably lag behind in technical development. Without a conscious and purposeful development of technique, it is impossible to achieve any results in the art of playing the piano. Therefore, the formation of technical skills and abilities of students - pianists should be dealt with already at the initial stage of training.
One of the most important tasks is to develop the student's spatial accuracy of the finger apparatus, that is, the ability to accurately, cleanly and accurately hit the desired keys with his fingers. Often one has to observe cases of sloppy, as they say, "dirty game." Therefore, the teacher must first of all not allow any inaccuracies in the student's game.
Work on technology should be carried out systematically. Already in the initial period of training, the student gets acquainted with various types of exercises, which gradually develop his versatile technical skills.
First, this is a cycle of non legato exercises. Here a good feeling of the keyboard is brought up, the correct movements are assimilated, the stability of the fingers, and most importantly, the student gradually gets used to controlling the sound of each key pressed by ear.
Gradually, the tasks become more difficult and exercises on non legato are replaced by exercises on legato. The main task at this stage is the ability to smoothly connect sounds, to achieve an audible legato.
You should start by connecting two sounds 2-3 p.. 3-4 p.. 1-2 p., 4-5 p. Then three sounds 2-3-4 p., 1-2-3 p., 3 4-5 p.
Such exercises my students play and sing with words.
The final legato exercise is five-finger sequences. They are the basis for starting the study of scales. Having mastered the five-finger exercises, the student will learn how to accurately put fingers in the keys, combine sounds on legato, and lead a melodic line.
Gammas are the next stage of work on exercises. Here legato playing skills are consolidated and developed, the smoothness and evenness of the melodic line is developed, finger fluency develops, the student gradually begins to get acquainted with the basic patterns of fingering, technical formulas, etc.
Scales should be played only when the student already knows them perfectly, so that he can sing with his voice. Without hesitation, he can build any scale on the keyboard from each note with one finger. Only when he knows the scales can he start playing them.
Usually they start with the C major scale, then play the G major scale and continue like that. adding one character. From a pianistic point of view, it is much easier for a student to play a scale with black keys, as this contributes to a comfortable position on the keyboard (long fingers on black keys). In this case, the hand lies naturally.
But often they begin to study scales in the order of the fifth circle. Learning the C major scale is easier than learning the scale with many sharps. It is better to start playing the scale with the first and second or first and third fingers, keeping the hand closer to the black keys so that the student does not have to fidget with his hand. When he plays any of the major scales fairly freely at a moderate pace with two fingers, you can gradually begin to apply the usual more complex fingering. Having mastered the major scale, separately with each hand, include performance with two hands in the work.
Working on long arpeggios
work out podk ladyvani e first finger.
a) Play the sounds of the tonic triad in the first and second octaves alternately on the legato with the first and third fingers (C-SOL-C), placing the first finger under the palm separately with each hand.
b) Play the sounds of the tonic quarter-sext chord alternately on the legato in the first and second octaves with the first and fourth fingers, placing the first finger under the palm of your hand separately with each hand
Worked out practice positional play in an exercise n yah:
a) Play with the delay of the sound “to” with the first finger. Accurately hit the next “do” sound with your first finger. Quickly move the hand closer to the keyboard.
b) Transfer hands from position to position, bringing the first finger under the palm, first to the third, then to the fourth fingers.
c) Show the technique of “sliding” from position to position without observing legato at the moment of transition from the third or fourth fingers to the first (positional game).
Play long arpeggios separately with each hand for two octaves. To control the evenness of the sound when placing the first finger, the development of a melodic line, the combination of sounds in legato.
Summary of all work : Play the C major scale two octaves separately with each hand, with both hands in a diverging movement from one sound, chords two octaves separately with each hand; short arpeggios for two octaves separately with each hand; long arpeggios for two octaves separately with each hand.
Feedback on an open lesson
teacher DSHI Shvetsova M.N.
Date of the lesson: 11/18/2009
The lesson was held with a first grade student Katya Schukina.
The lesson conducted by the teacher Shvetsova M.N. was quite well organized and planned. The teacher clearly observed the planned lesson plan; clearly formulated the purpose of the lesson, tasks; has a good command of the material of the lesson, which confirms the methodical message.
To reveal the topic of the lesson, the teacher selected the necessary material. The teacher clearly explained the need for each task. A variety of exercises have been selected to prepare for the performance of scales.
M.N. Shvetsova stimulates the student in the classroom, moderately encourages and encourages, uses the method of personal demonstration, helps, suggests how to cope with the difficulties that have arisen.
The development of technical skills, during the period of primary education, develops in the student perseverance, diligence, determination, and a desire to achieve the intended goals.
Ivanova I. A.
The skills acquired in the lesson, as well as their development in the course of subsequent lessons, are necessary for the technical growth of the student, the successful performance of the concert program.
FEEDBACK ABOUT THE LESSON
The theme of the lesson "Development of technical skills in the initial period of training on the example of scales and other elements of technology" is disclosed quite fully. The goals and objectives of the lesson were achieved through a change in activities and a change in tasks.
The teacher in his work with the student uses a lot of preparatory game exercises, creative approaches to tasks. During the lesson, an extensive methodological message was heard, step-by-step work with a preparatory class student on the C major scale, chords, long and short arpeggios was shown. Many visual materials were used. The tone of the teacher is friendly, calm, which contributes to the active participation of the student in the learning process.
The teacher fulfilled the teaching, developmental and educational goals set in this lesson.
Teacher
Zakirova G.G.A specialty lesson in a music school is a special kind of activity, not like lessons in a general education school, because this is an individual lesson of a teacher with a student, the purpose of which is to master playing a musical instrument, instill a love for music, reveal creative abilities, expand one's horizons and, as a result, increase intelligence.
Download:
Preview:
Municipal budgetary educational institution
additional education for children
Children's Music School No. 3 in Volzhsky
Methodological report
«
»
prepared
teacher
Bliznyuk Elena Vladimirovna
Volzhsky
2015
METHODOLOGY FOR CARRYING OUT A PIANO LESSON
Various forms of teaching. The sequence of work with the student.
The lesson is the main form of organizing educational and educational work and is a time-limited, organized system of education, educational interaction between the teacher and students, which results in the assimilation of knowledge by children, the formation of skills and abilities, the development of their abilities and the improvement of the experience of the teacher.
A specialty lesson in a music school is a special kind of activity, not like lessons in a general education school, because this is an individual lesson of a teacher with a student, the purpose of which is to master playing a musical instrument, instill a love for music, reveal creative abilities, expand one's horizons and, as a result, increase intelligence.
The forms of the lesson are extremely diverse. In many ways, they are determined by the individuality of the teacher - his methodological views, tastes, habits.
Types of lessons. The following types of lessons are used in schools: theoretical lesson, practical lesson, independent work, lecture, conversation, seminar, excursion, concert, film lesson, conference, collective analysis, control lessons. The more options from this variety will be used by the teacher-musician in the lessons of the specialty, the longer the student's interest in the instrument will be maintained.
Lesson types. Any lesson should be devoted to the completion of a task. Depending on the setting of these tasks, lessons can be divided into the following types:
Lesson dedicated to the study of new material,
lesson - correction of errors,
lesson - consolidation of what has been passed,
combined lesson.
The last type is the most suitable for a music school.
What is the best way to start a lesson - with an exercise, etudes or artistic repertoire, and if with works, then what genre? It is usually helpful to work on what is most important at this stage and what can take relatively longer to work on first. If you need to go through a large repertoire, it is advisable to study in detail part of the works in one lesson, and the rest in the next. Reading music and playing scales is best spent somewhere in the middle of the lesson to refresh the student's attention.
Conducting a lesson
Lesson structure.The structure of the lesson (organization of educational work) is of fundamental importance, since it largely determines the effectiveness of training, its effectiveness.
Of course, there is no single recipe here and cannot be. The content of the lesson and its structure depend on many factors. From the goal of piano education - professionally oriented or conducted within the framework of general music education. From whether the piano is a special or additional instrument.
The content of the lesson, its form and flow are also determined by the individual style of the teacher. At the same time, the latter engages in different ways not only with different students. Techniques and methods of work, means of didactic influence do not remain unchanged during classes with the same student. Here the age of the student, the degree of his preparedness, his personal qualities matter - whether he is talented or incapable, diligent or lazy.
The organization of the lesson depends on many other things: to whom it is given - a well-known student or a beginner, when it is held - at the beginning of the semester or, say, closer to the reporting performance, what repertoire is being worked on.
And besides all these differences, it is really impossible to reduce the living, sometimes unpredictable, freely woven matter of the lesson to a certain matrix. And yet in each lesson there are stable components, proven techniques are used that have been tested in the activities of many generations of pianist teachers.
Typical lesson structure:
Checking homework (finding out shortcomings, summing up previous work),
Continuation of work (elimination of shortcomings using already known or new techniques or approaches),
Summing up the results of the work (assessment of the student's readiness for the lesson and his activity in the lesson), recording homework.
Checking the job.
How should homework be checked?
The method of so-called "passing corrections" was condemned many times and quite rightly in the literature, in which the teacher, listening to the student, begins to interrupt him and give instructions. As a rule, it is necessary to listen to the end of everything that the student brought to the lesson. The student, psychologically attuning to the fact that it is necessary to play without stopping, gets used to concentrating all his strength on this task and thus develops important performing qualities in himself. Listening to a student, it is necessary to remember well all the features of his game and point out its advantages and disadvantages. The ability to listen is a necessary component of the technique of pedagogical work, a sign of both pedagogical talent and mastery. Listening carefully to the student, the teacher makes an express analysis of his game. Comparing it with what he demonstrated in previous lessons, the teacher determines how much the student has advanced in mastering the work, what are the prospects for the “maturation” of the thing. Listening, one must have time to notice, generalize and systematize shortcomings, establish the cause of failures, think about how to help the student, and, if necessary, once again correct the planned action plan.
When evaluating a student's game, one should not turn into a registrar of shortcomings, noting only errors and mistakes. It is necessary to be able to hear the merits of the student's performance, to catch his own idea in the still imperfect transmission and help to realize it.
Do not overburden the student's attention with too many remarks. An experienced teacher draws, first of all, the student's attention to the most important thing - to the general nature of the performance, to the most important details, to gross errors. The lesson uses a variety of methods to help the student understand the nature of the music being played and achieve the desired results. Most often, this is the teacher playing the entire composition or excerpts and verbal explanations.
Performance by the teacher.
Playing works is important because the content of any, even the simplest, work cannot be fully conveyed in words or in any other way. However, it is necessary to immediately note that the performance by the teacher in the class of the compositions being studied is by no means always useful. Too frequent performance or obligatory playing of each new piece can slow down the development of the student's initiative. The question of how to play in the classroom can be answered in a general way - perhaps better. A good performance will enrich the student with vivid artistic impressions and serve as an incentive for his further independent work. Much more often, the performance of the teacher is at an insufficiently high level. Some teachers allow themselves not to prepare for classes, apparently believing that their authority gives them the right to show “in general terms”, with a large number of errors, or limit themselves to the performance of individual simple passages. Oddly enough, some teachers consider it possible, sitting next to a student, to “show” him certain phrases in the wrong register, and most importantly, without paying attention to the sound quality. In some cases, teachers deliberately show individual places, deliberately exaggerating the shortcomings of student performance in order to make them more prominent. This method of working can be of some benefit, but it should not be used often. It is useful to perform compositions in their entirety at the initial stage of its study in order to interest the student. The performance of the work before the start of work takes place mainly in the children's school and, moreover, in the lower grades. This is often of great benefit, as it is sometimes difficult for a child to understand certain compositions on his own. From the very first steps of learning, it is necessary to give students systematic tasks for self-acquaintance with the work in order to develop their initiative.
Verbal explanations and other forms of work with the student.
The second way of disclosing the content is verbal explanations. The teacher should be able to talk about music, moreover, perhaps more figuratively, more poetically, more exciting. Verbal explanations and figurative comparisons reach their goal only when they are close and understandable to the student. When working with advanced students, it is usually more appropriate to use separate figurative comparisons regarding the nature of the sound, various details, or the concept of the whole. When working with students, it is important to touch upon the issues of the composer's style. Advanced students should be introduced to materials that reveal the artistic views of the author, the era in which the essay was created. By revealing the most significant features of the composer's work while working on a work, the teacher helps the student subsequently solve similar problems in other works by the same author.
It must be remembered that the lesson is not a monologue of the teacher. If he were three times Chrysostom, be able to speak convincingly, intelligibly and vividly, his speeches will not bring the desired benefit if the student's silence is the answer. It is necessary to talk to the student not only for feedback with him. The lesson should be a dialogue. Of course, the dialogue between the teacher and the student is constantly conducted in the language of music, but the “conversation” of two pianos is not enough, an exchange of thoughts, feelings, thoughts about and in connection with the works being studied is also needed.
The ability to talk about music helps to comprehend its difficult language. Nathan Perelman notes: “Only a correctly found word-extract is capable, having dissolved, to give a desirable character to the performed, for example: anxious, jubilant, sad, triumphant, shy, proud, etc.” Anton Rubinshtein, according to the memoirs of I. Hoffmann, liked to demand from his students that they be able to designate the nature of the play, and not just one or two, but a whole series of verbal definitions.
A well-aimed word can also express the essence of a technique, convey the nature of the movement, point to the necessary muscle sensations. Recall the expressions “a finger grows through a key”, “play like a test”, “pierce a key with a finger”, etc. The message coming from a successfully found expression sometimes gives more than a show behind the instrument.
Along with the performance, some teachers also resort to other ways of revealing the content of the work, for example, to emotionally influence the student with the help of “conducting”. The significance of this method of work is that it enables the teacher to directly influence the student during the performance.
Assignment and mark.
The last component of the lesson is the formulation of a new task, the provision of homework, independent work of the student. This is perhaps the most important part of the lesson, in which the threads converge from everything that the lesson was filled with. If the teacher carefully listened to the student's game when he showed him the result of his efforts, if he managed to determine the main direction in the work on the program and skillfully introduced new material, it will not be difficult to explain what needs to be done at home. The task should be feasible, understandable and interesting for the student.
You must be sure that the student clearly understands not only the amount of material to be learned, but also the nature of the work on it. To this end, and also to fix in the child's memory the most significant of what was said to him, it is useful to ask appropriate questions at the end of the lesson. Diary entries serve the same purpose. Some teachers, when working with kids, write in large block letters so that the child himself can read the task; this teaches from the first steps to greater independence and helps to improve the quality of homework.
Given the great educational value of marks, the teacher must be quite sure that the student understands why he received this or that point.
Bibliography
- Alekseev A.D. Piano teaching methodology. Ed. 2nd, add., M .: Muzyka, 1971.
- Babansky Yu.K. Optimization of the educational process. M.: Education, 1982.
- Barenboim L.A. The path to music. Ed. 2nd, add., L .: Sov. composer, 1979.
- Bunin V.V. Pedagogy S.E. Feinberg. M.: Music, 2000.
- Galperin P.Ya. Actual problems of developmental psychology. M.: Publishing House of Moscow State University, 1978.
- Ginzburg L.S. About working on a piece of music. - 4th ed., add., M .: Muzyka, 1981.
- Hoffman I. Piano game. Questions and answers. M., Art, 1938.
- Kogan G.M. At the gates of mastery: Psychological prerequisites for the success of pianistic work. M.: Sov. composer, 1961.
- Kryukova V.V. Music pedagogy, - Rostov-on-Don, 2002.
- Liberman E.Ya. Creative work of the pianist with the author's text. M.: Music, 1988.
- Milich B.E. Education of a student - a pianist. M.: Kifara, 2002.
- Neuhaus G.G. On the art of piano playing. Ed. 2nd, - M., Muzgiz, 1961.
- Perelman N.E. in the piano class. Short discussions. - M .: Classics-XXI, 2011.
- Timakin E.M. The education of a pianist. Ed. 2nd. M.: Sov. composer, 1989.
- Shchapov A.P. Piano lesson at a music school and college. – M.: Klassika-XXI, 2009.
I myself graduated from a music school (and then a college and a conservatory). Now, as an adult professional musician, I sincerely don’t understand why Bach’s works are included in the compulsory school curriculum? Especially HTK, preludes and fugues. Things that are difficult for a child to understand, they are not interesting to learn and perform, especially in the lower grades.
As for the preferences of the child himself, it is better to listen to them. My parents, for example, for some reason decided that I had the ability to compose, and sent me to additional classes in composition. I hated these lessons with all my heart, the teacher was very enthusiastic, she talked a lot and was ready to study for days, but she did not know how to carry the children with her. I went through the entire school composition course, because. I was a very obedient child, but I still remember these lessons with horror, but I never learned to compose, and I have no desire to compose (and never did). I can improvise, but I do it only when absolutely necessary, when there are no necessary notes at work.
Comment on the article "Your child is a student of a music school. Part 1"
But if the child is studying at the regional music school in the piano class. Thank you all so much for the discussion and advice! They helped me a lot and expanded my picture of the world. And they go there after the district music school? And you can go there throughout the year ...
Discussion
The author of the question, you want to be 100% sure that your daughter will make the right choice and live comfortably. No it! I myself work in this area. All life on a penny. But there was always work. She worked with passion. Plus, that the load is not for the whole day. What is important for a woman. But it's hard to survive alone. It is necessary that the husband dragged. But on the other hand, the girlfriend is an economist and is also barely dragging herself) but will she become great or not, who knows? Maybe he'll change his hand? You just have to not decide for your daughter, but make it clear that this is not a choice and anything can happen. And also so. What will you regret for the rest of your life if you don't do it? And what is more important for you, do what you love or look for money. However, the latter is also doubtful.
07/29/2018 08:36:09, TasamayaI graduated from Merzlyakovka in the violin class, entered the conservatory, but then I overplayed my hand and had to give up music. It happens ... So, after college, I worked in different teams for a penny salary. It was in the 90s. The salary of an orchestra artist was equal to a transport ticket.
After a misfortune with her hand, she prepared with a tutor for 2 months and entered a good technical university.
admission to music school. Musical education. Let's go to the music. school. What can be at the entrance? My daughter is 11 years old, she once studied for 2 years at the piano and quit (isn’t it such a competition for your school or for children of this age or on the piano?
Discussion
received)
is this a competition for your school or for children of this age or for the piano? SUCH - in the sense that it is necessary to prepare aimingly? I just read different forums and got the impression that there is not much excitement. But maybe I misunderstood something of course! It is often written about the piano that there is usually a shortage and in September they gain additionally. If so, then why worry. Or is it different in different schools? and there are, of course, some cool ones, where everyone wants and there is more competition. I wonder how difficult it is to enter the music school. We go at random - they will take it - excellent! No - well, what can you do, maybe next year we will try again. But we are 6 years old and, in principle, we are ready to consider almost any instrument, not necessarily very popular. What are our chances of getting in? And although we don’t seem to count on anything, but personally, the closer to the point, the more I understand that I WOULD LIKE after all :-) But the guy, I must admit, is not particularly musical. At least compared to the younger one, I see that the younger one is an artist, and the older one is a pure techie, but still I WOULD LIKE :-)
Benefits in music school?. Development, training. Other children. Are there any privileges or benefits for admission and study at a music school for state-funded places? With cerebral palsy on a flute is it real?
Discussion
Our music school has a special 4-year program for children with special needs. Find out - maybe you have? The second option is to negotiate individually with the teacher right now, who is ready to take the child. If the teacher takes it, then they will accept it into the school.
Listening in a music school. Education, development. A child from 7 to 10. Raising a child from 7 to 10 years old: school, relationships with classmates, parents and Girls, with whom do children study at a music school, how was the audition?
Discussion
20.05.2018 17:26:29, School of Musicalready recorded?
we could choose an instrument only after listening.
Parents were not allowed to audition. in the words of a child:
sang a song (interfering with the snow with a spoon), asked to repeat the rhythm (tap) and turning away to name how many keys on the piano they pressed (1 or two)
At the music school, she is strongly persuaded to enter. My husband and I are not happy. Thanks everyone for the advice and opinions. Exceptionally listened to everyone. We go to music school. According to the program of the so-called. "preparatory department".
Discussion
My story: twenty years ago. When I finished music. school (not at all intending to become a musician) I, as well as your daughter, was offered to enter a music school. Because I had to enter only after 1 year, then a teacher from the school volunteered to study with me this year. At the end of May, everyone discussed, chose a program, dz. for the summer .... Over the summer, I almost never sat down at the instrument, and so. in the autumn the issue was resolved by itself.
Maybe you can also digress a little from this topic. If the daughter feels cravings, then in the fall it will be possible to prioritize, and if she doesn’t even remember about music, maybe this is not her calling.
Yes, your instrument is over very common, in this context it would be better to have something more rare. The boss’s eldest daughter, for example, went this way, she is graduating from Gnesinka this year. But she has a harp. She studied at a very showy comprehensive school, left it I entered the Gnessin School, I don’t remember in which class, then I entered the Gnessin Higher School. So, the former classmates who looked down on her and graduated from all kinds of MGIMO and HSE, now notice, not without anger, that they are much less successful in life than she The girl is studying, but she is already working seriously and earns very well.
We go to music school. The daughter unexpectedly showed a desire to take up music. ask about musical education. Music school - choral department. You are very frivolous about entering a specialized school like the Central Music School. clarinet...
Discussion
The boarding school is for non-residents. Muscovites live all at home. Yes, and nonresident, who came with their parents and rent apartments, also live at home. A boarding school is not an obligation, but just a way out for those who have nowhere to live :))))
I mean CMS. In Moscow there is SSMSH them. The Gnesins are also a ten-year-old, on the same principle as the Central Music School, only no boarding schools.
But in general, you need to go to a specific teacher, and not to a specific school. It may well turn out that a real teacher for your child does not work at all in the Central Music School and not in Gnesinka ....
Think about this aspect too.
You are very frivolous about entering a specialized school like the Central Music School. At 9 years old, without enhanced training in solfeggio and instrument, it is unrealistic to do. At 4-5 years old, if a child with absolute pitch and very smart, you can do everything that later requires very serious preparation. Travel to teachers for consultations, if someone likes a child, you can prepare for exams. Geeks from different countries and cities enter the Central Music School for very serious exams all June, in the Gnesinka it is simpler in form, but the requirements are the same. All these efforts can be made only if the child sees no other way in life than music, and you understand that this is the system of education he needs. Wind players have very high demands on sound quality. Last year, my son did not enter because of the insufficiently bright sound (transverse flute, 8 years old). We have been working on sound all year, getting ready, despite the fact that the data is very good, we are not at all sure of success.
The transverse flute is the most common instrument, in terms of income it is better to choose something less popular. In general, it is better to look for a teacher who will please both you and the child.
Music school - choral department. Education, development. Child from 7 to 10. Music school. Section: Education, development (application to a music school when a child Mistakes of parents in music school: choice of school, teacher, musical instrument ...
Discussion
My son entered Haydn in the choral department at the age of 6.5, but was not accepted because of his age. And for a year, while I went to the preparatory department, I decided to study the instrument + choir once a week. Finishing 2nd grade now.
The choir department is very strong, and as they say there is the strictest discipline, it is tight with the possibility of even skipping classes sometimes. Then, in boys, the voice begins to mutate at the age of 12.
Therefore, I am for the instrument, especially since the choice is large. A very good brass teacher in an old building. The boys play the saxophone wonderfully.
I recommend that you go to counseling with your child. In addition to the fact that he will see the class where the entrance exams will be held, teachers will analyze examples of tasks: clap the rhythm, repeat the played note with your voice.
Good luck to you!
School them. Haydn is a very good school. She is well known and in good standing in Moscow.
Mine studies at a music college not far from the school. Haydn, 3 bus stops, also in Novokosino, and we attended this school. There is a strong string department. I don't know about the chorus.
But actually, it’s not far from you, on Vykhino, it seems, the Children’s Art School named after them. Balakirev. There is an amazing choir department there, one of our acquaintances is studying there, they are terribly delighted with the school, and with the atmosphere, and with the choir itself. If it’s convenient for you to go there, it’s better to try Balakirevka.
Raising a child from 7 to 10 years old: school, relationships with classmates, parents and I really want to hear opinions on whether to send my youngest daughter to a music school at 4-5 years old if a child with absolute pitch and very smart can do, all that ...
Discussion
music school is a very big load, if you are sure that you don’t want to make a musical star out of your daughter, don’t
you before the start of classes in music. the school is almost a year old, maybe try to start hiring a private teacher, let him work out while at home according to a light program, and my daughter decides whether she likes it or not, if she likes it, then from next year go full-time to music. school
Piano competition?! In our school, everyone is taken there :-) this is the simplest instrument, IMHO, even those who just want to develop their absent hearing go there.
Auditions in music schools at the end of April - May. I don’t know what they did with the child at the audition, they were taken away and after 2 hours they were released to their parents :-) the daughter said that they asked to sing a song, tap the given rhythm, repeat the note played on the piano, then a combination of notes, examined hands.
If you are not going to tsdmsh, then do it without preparation, if the child had the data.
In the questionnaire, I wrote our wishes for the instrument, but based on the results of listening, the teachers themselves will give you recommendations.
A child without certain desires will play any instrument if the teacher is good :-) So look at the teachers.
The teacher is important (I chose and persuaded for a long time to be taken). We have no options, I myself graduated from this school. My daughter started at five, it's a bit early (I just realized that), but communicating with a good person twice a week is not only a musical "load". Our girlfriend hated the piano, now with delight "blows the tune" (recorder, start with it). See for yourself at the school, teachers, how interesting they are to you, there are very creative individuals who are fond of students and those who have classes later have to wait a long time for their lesson ... this is also important. Unnecessary, forgetting to warn if they get sick, and my mother ran away from work, brought the child ... and in vain. All aspects are important.
The piano is a universal instrument, but their theoretical disciplines are also more solid in comparison with the populists-instrumentalists-choirs. First class in two places - mmm... Can you handle it? You have to drive, you have to.
Happily!
Explain to me why a child needs a music school? I don't understand. My husband can't explain. child is only 6 years old, school, first Why does a child need a comprehensive school? Well, if you really want to study, find teachers for your child, let them come a couple of times ...
Discussion
well, there is me, who studied for 5 years at home with teachers, and there is my girlfriend, who studied at a music school for 4 years ... heaven and earth ... I can, after years, only sack a fawn-fawn , although if you take the notes, I’ll figure it out, of course ... and she plays a bunch of pieces from memory and easily selects both the melody and chords ...
so it’s more effective after all in a music school where there is both solfeggio and a choir ... learning music without solfeggio is generally pampering, in my opinion ...
and at home, except for the development of hearing and motor skills, you can do ...
Those wishing to learn Chinese (MGIMO) were first asked who graduated from music. school, and my brother was a leading dancer in an amateur ensemble of Russian Nar. dance, said that music education helped.
Plan - abstract of an open lesson
in the specialty "piano" with a student of the 1st year of study
Performed: Ilyina Irina Ivanovna
piano teacher
MBOUDOD "School of arts p. N. Lapsary, Cheboksary
Lesson topic:
« Mastering the means of musical expression at the initial stage of education»
Lesson type: combined
The purpose of the lesson: to consolidate the concept of means of musical expression on the material of the studied works.
Lesson objectives:
Educational:
To consolidate the studied theoretical knowledge (strokes, mode, tempo, rhythm, melody, dynamics),
Continue the formation of practical skills (playing with legato, staccato strokes; working with dynamic shades, performing a work at a given tempo);
Developing:
hearing development,
movement coordination,
Activate imaginative musical thinking through various activities.
Educators:Cultivate a love for music
Cultivate aesthetic taste,
Cultivate perseverance, composure.
Methodical methods:
Verbal, visual, practical;
Activation of hearing, appeal to the musical perception of the student;
Direct and suggestive forms of influence.
Development of thinking
Equipment : piano, 2 chairs, table "means of musical expression". Drawings, pictures, musical aids. Portrait of K. Reinecke and A. Pushkin. Notebook
Application of pedagogical technologies
:Health saving:
The muscles of the fingers develop, which positively affects the memory, which will develop more intensively.
Rational organization of the lesson: physical education, the inclusion of game moments, gymnastics for the eyes, muscle relaxation exercises, the Rainbow and Talking Fingers exercise
The alternation of various types of educational activities (playing scales, exercises is replaced by repetition of learned pieces and listening to music).
Preliminary preparation:
Learning musical works;
Working on the gamma
Repertoire lesson plan:
1. Gamma C major
2.M. Krutitsky "Winter"
3. K. Reinecke "Schercino"
4.D. Kabalevsky "Clowns" (audition)
5.P. I. Tchaikovsky "Old French song" (listening)
6. G. Galynin plays from the cycle "At the Zoo" (listening)
Lesson plan:
1. Organizational moment
2. Warm up. Exercises aimed at freedom of the motor apparatus, finger gymnastics
3. Working with musical material
4. Consolidation of the material covered - expressive means in music - using game technology (card game, drawings, pictures)
5. Summary of the lesson
6. Homework
During the classes:
1 . Organizing time. Greetings. Sounding the topic of the lesson, tasks. Tool landing
2. Warm up.
Exercise "Rainbow"
Arc exercises over the keyboard with subsequent immersions in it. The exercise develops a free orientation on the keyboard and a muscular sense of distance. Hands are carried in an arcing movement freely and smoothly. One can imagine how a transparent droplet rolls down the rainbow and falls loudly into a deep lake.
Draw it above the keyboard, and let the ends of the rainbow sound, saying:
Oh you rainbow-arc
Meadows lie beneath you.
In the sky you hung like a yoke.
I am so beautiful
I'll draw in half a minute.
First draw with your right hand, then with your left. And now let's try together with both hands. Repeat this exercise at home.
An 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?
Shh! Shh! Shh!
Speak - tap the rhyme with such fingers:
1 1 2 2 1 1 3 3
1 1 4 4 1 1 5 5
1 1 2 2 1 1 3
1 1 4 4 1 1 5
Finger game: "Magic scarf"
Teacher:
I have a swallow -
He ate the whole scarf, here!
Immediately became at the swallow
Belly like a hippopotamus!
We takea small handkerchief by the corner and completely take it into the palm of your hand, using the fingers of only one hand. The other hand does not help. First with one hand, then with the other.
Next, we check the student’s knowledge of the “C major” scale with each hand separately in 2 octaves in a direct movement and with two hands in a divergent movement. Then we diversify the playing of the scale with subtexts and at different tempos: “I play the scale loudly and I play it well”, “Now I play it fast - I will get a mark of “five”. Play the scale with the 1st and 2nd fingers (first finger exercise).
3 . Working with musical material.
Teacher: What piece will you perform for us now?
Student: M. Krutitsky "Winter"
Teacher: Tell me, what is the nature of the play?
Student: Sad, a little agitated.
Teacher: What do you imagine when you perform this piece?
Student:: Cold winter, dark forest.
Teacher: What is nature like in winter?
Student responses.
Teacher: At first glance, it is monotonous: everything is snow and cold. But no: then a crackling frost will hit, then a thaw. And what a different winter day! Now - sparkling, sunny, sonorous, then - gloomy, soft, quiet ...
Winter is perhaps the most magical time of the year. She gives the most beloved holidays, the most cheerful amusements, the most interesting tales in long, mysterious evenings.
And everyone sees winter in their own way. In A.S. Pushkin, she is a cold, magnificent beauty, like the Snow Queen.
Here is the north, catching up the clouds,
He breathed, howled - and here she is
The magical winter is coming.
Came, crumbled, in tufts,
Hung on the branches of oaks;
She lay down with wavy carpets
Among the fields, around the hills.
Winter-sorceress enchants, bewitches nature. Everything freezes, freezes, freezes under her cold breath.
Enchanted winter
Bewitched, the forest stands -
And under the snowy fringe
He shines with a wonderful life ...
The composer, like the poet, depicts nature not only with words, but with sounds.
View slides depicting winter.
The student performs the work.
Teacher: do you think the composer managed to convey the image of winter? What musical means of expression?
Student: using a minor scale, slow tempo, low register, long drawn out notes
Teacher: Yes, long half notes create a feeling of stiffness ... A gloomy melody, similar to a Russian song, unfolds slowly, sounds in a low register. What is the stroke of the play?
Student: legato
Teacher: one little boy wrote the words to this melody:
Blizzard in the yard
Sweeps.
pattern on the window
Sparkles.
Everything is covered in snow.
I'm frozen.
Do the words fit this music? Try to come up with a text for this play at home.
Fizkultminutka.
Eye exercise:move eyes (right, left, up, down)
Exercise to liberate the muscles of the neck, arms, shoulder girdle:rising on toes, slowly and smoothly, along with a sigh, raise relaxed hands 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.
An exercise: free head rotation (right, left, up, down).
Teacher: Anya, what is the name of your next work?
Student: Scherzino.
Teacher: Do you know what a schercino is?
Student: Yes. This is the name of a small work of a comic nature.
Performance of the play by the student.
Teacher: This piece was written by the German composer and pianist, conductor Carl Reinecke. He lived over a hundred years ago. (Show a portrait of the composer).
Teacher: What is the mood of the piece?
Student: Cheerful, joyful.
Teacher: Let's take a closer look at what colors, i.e. by what means of musical expression the composer conveyed the character in the work.
Teacher: Anya, what images do you have when you play "schercino"?
(Student response).
4 . Consolidation of the material covered(expressive means in music) using game technology (cards, drawings, pictures).
Teacher: And now you will have this task. I will let you listen to the works, and you determine what means of musical expression are used here.
1 work: sounds D. Kabalevsky "Clowns"
2 work: P. I. Tchaikovsky sounds “An old French song”. 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.
Teacher: You have already understood that you can draw not only with colors, but also with sounds. Try to guess a number of animals and show them in the pictures.
Sounds G. Galynin "Chizhik"
"Bunny"
"Bear"
"Swans"
"Elephant"
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. The active experience of a piece of music helps the perception of music and has a positive effect on performance.
6. Homework:
Fixing the plays "Winter" and "Schercino"
Come up with words for "Winter"
At home, repeat the exercises “Talking Fingers” and “Rainbow” with words.
Teacher: This concludes our lesson. Thank you for your attention!
Used Books:
1. Smirnova T. I. “Piano. Intensive course: methodical recommendations”; M.: RIF "Crypto-logos", 1992.
2. A. Schmidt-Shklovskaya "On the education of pianistic skills"; M.: "Classics XXI", 2013.
3. A. Shchapov "Piano lesson at a music school and college"; M .: "Classics XXI", 2009.
4. E. M. Timakin "Education of a pianist"; M .: "Soviet composer", 1984.
Open teacher piano lesson
Topic:
Lesson type:
The purpose of the lesson:
Lesson objectives:
Educational:
Developing:
- Developing a sense of rhythm
Educational:
Lesson steps:
1. Organizational stage. 1 minute
2 Main stage.
- Exercise game. 2 minutes
Positional exercises for small technique
Gamma exercises for small technique
Large technique exercises
F. Lekuppe Etude Op. 17 No. 6
F. Rybitsky "Zephyr"
- Reading from a sheet in an ensemble with a teacher. Brief analysis of musical text
3 min
- Physical education minute. Game warm-up with the ball. Application of knowledge from the field of musical terminology, repetition of intervals 2 min
- Listening to musical fragments from the symphonic suite "Peer Gynt": 4 min.
- "Morning"
- "In the Hall of the Mountain King"
Analysis of the means of expression, characterization of the images reflected in these
Works.
- Playing the piano of your favorite piece: G. Warren "Train to Chuttanaga"
2 minutes
3. The final stage. 4 min
- Summarizing
- Assessment of student work.
- Homework
Preview:
Municipal educational institution of additional education for children
"Nizhneodessk Children's Art School 25.05.2011
Self-analysis of an open piano lesson by a teacher
Kirilenko G.V. with 2nd grade student Yevgenia Skorova.
Student characteristics.
Skorova Evgenia - student of the 2nd grade of piano, 10 years old. No musical background. He has excellent musical abilities: a stable, well-developed sense of rhythm, a developed inner ear for music, a fairly extensive supply of auditory representations, and an excellent musical memory. Emotionally responsive to music, temperamental. Passionate nature. Serious, self-critical. Despite his age, he has an internal culture and intelligence. She is an excellent student in all subjects at a music school, has time for "good" and "excellent" in a secondary school, attends the language school "Lingua" and a variety dance club. Very friendly and communicative. He takes music lessons seriously, works with an instrument with enthusiasm, with full dedication. Copes with a repertoire of increased complexity. He likes to perform on stage, copes well with stage excitement. Playing techniques are mastered by her in full, her hands are free and well organized for playing the instrument. There is a slight inconvenience in the setting of the hands - a low hand, which is due to the weakness of the palmar muscles. Zhenya has already achieved a lot to correct this inconvenience, and continues to work actively on hand placement. Very responsible and hardworking, knows how to set goals and achieve them. Can work productively on his own.
Topic: An integrated approach to the musical education of a pianist student.
Lesson type: Generalization and consolidation of knowledge, skills and abilities. Application of knowledge in practice
The purpose of the lesson: Education of artistic and performing initiative and consolidation of pianistic techniques.
Lesson objectives:
Educational:
- Expand the student's musical experience
- Continue acquaintance with the music of the Norwegian composer Edvard Grieg
- To acquaint with the content of E. Grieg's symphonic suite "Peer Gynt"
- Continue to work on rational techniques for playing the piano
- Learn to read music correctly
- Continue work on the selection of melodies by ear with accompaniment
Developing:
- Development of musical-figurative thinking, expansion of musical horizons
- Development of motor-playing skills
- Developing the skill of playing notes
- Development of melodic, harmonic, pitch hearing
- Developing a sense of rhythm
- Developing listening and transposing skills
Educational:
- Raising interest and love for the subject and instrument
- Raising a sense of love and respect for classical music
- Cultivate a sense of responsibility for the results of their work
- Cultivating Self-Control Skills
- Cultivating a culture of behavior behind the instrument
Principles:
- the principle of unity of education, training, development.
- principle of connection with life.
- scientific principle.
- the principle of engagement.
- the principle of activity, independence and consciousness.
Lesson steps:
1. Organizational stage. 1 minute
- Greetings. The title of the topic of the lesson. Introductory speech of the teacher with the rationale for the chosen topic.
The comprehensive development of a pianist student includes the following elements:
Education of motor-playing skills, work on technique and plasticity of movements.
Developing the skill of playing notes
The development of musical-figurative thinking, the expansion of musical horizons, the accumulation of auditory ideas.
Development of all components of musical ear
Developing a sense of rhythm
Developing listening and transposing skills
Without a good development of all these qualities, a good musician-performer cannot take place.
2 Main stage.
At this stage, various methods:
Verbal (explanation, conversation)
Visual (use of reproductions of paintings and children's drawings, portraits of the composer)
Practical (listening to music, playing an instrument, solving pianistic and artistic problems.)
Creative (selection by ear, transposition, search for means of expression for the figurative reproduction of program works)
Reproductive (reproduction of the learned text)
Game method
Music observation method
Method of emotional dramaturgy
- Exercise game. 2 minutes
At the beginning of the lesson, it is advisable to prepare your hands for playing the instrument. To do this, we play several exercises for various types of technique: positional exercises by Sh. Ganon, scale exercises, exercises for large technique (octaves, chords).
- Work on sketches. Overcoming pianistic discomfort: 10 min
F. Lekuppe Etude Op. 17 No. 6
K. Czerny (edited by Germer) Etude No. 28 1 book.
K. Czerny (edited by Germer) Etude No. 29 1 book.
K. Czerny (edited by Germer) Etude No. 5 2 tetras
F. Rybitsky "Zephyr"
During the performance of the etudes, the student was given various practical tasks: to make positional hand transfers quickly and efficiently, to observe good hand coordination in different registers (F. Lekuppe Etude op. 17 No. 6), to show good finger articulation and fluency in scale passages, mastery of hand movements (K. Czerny Etude No. 29), follow the good placement of the 1st finger and the synchronism of the sound (K. Czerny Etude No. 28), follow the timely change of the pedal and the evenness of the sound of arpeggiated figures, deep immersion of the left hand when performing individual notes of the melody ( F. Rybitsky "Zephyr"), to perform long scale passages at an average tempo without bending the wrist (K. Czerny Etude No. 5) with high quality, even and correct fingering.
The student successfully coped with all the tasks, worked thoughtfully, consciously.
- Reading from a sheet in an ensemble with a teacher. Brief analysis of musical notation 3 min
Before starting to play according to the notes, the notes of the bass clef were repeated with the student, several rhythmic exercises were done to reproduce the rhythmic pattern on the cards (separately with each hand and with both hands together).
Before playing the piece from the sheet, a brief analysis of the musical text was made: musical size, tonality, rhythmic and stroke features. The piece was then performed at medium tempo. Zhenya coped with the task brilliantly.
Playing in an ensemble when reading from a sheet mobilizes all the student's attention, does not allow to relax and stop, while the sound is brighter and more saturated than with a solo performance. This form of work is very popular with students and develops the skill of playing notes well. With weak students, one can perform not ensemble pieces, but two-handed ones, while playing the part of one hand, and entrust the student with the part of the other hand.
- Game warm-up with the ball. Application of knowledge from the field of musical terminology, repetition of intervals 2 min
Playing with the ball allowed the student to relax and switch attention.
- Selection by ear of a melody with harmonic accompaniment (T - D - T - S - T) of M. Hill's song "Happy Birthday" and its transposition in the key of the first degree of kinship. 3 min
- A conversation about the work of E. Grieg. Summary of the symphonic suite "Peer Gynt". 4 min
- Listening to musical fragments from the symphonic suite "Peer Gynt":
- “Morning”, - “In the Hall of the Mountain King” 4 min
Analysis of the means of expression, characterization of the images reflected in these works.
- View children's drawings and art reproductions illustrating pieces of music 1 min
- Music student playing the piano. fragments "Morning", "In the cave of the mountain king" in arr. S. Balandina 5 min
The student tried to convey the artistic images she perceived while listening to these works performed by a symphony orchestra. The game was emotionally colored, convincing, figurative.
- Auditory workout. Game "Guess". 2 minutes
Tasks were given for finding individual notes by ear, guessing the direction and nature of the movement of the melody, and determining intervals.
- Playing the piano of your favorite piece: G. Warren "Train to Chattanooga" 2 min
- Listening to the song "Train to Chuttanaga" on a recording. Analysis of genre affiliation, mood of the work. 2 minutes
3.Final stage 4 min
- Summarizing
- Assessment of student work.
The work was evaluated positively, the student received an excellent mark for the lesson.
- Homework: continue to work on the works, taking into account the tasks set in the lesson. Get acquainted with the "Song of Solveig" by E. Grieg in piano presentation. Optional: draw a picture for your favorite play.
During the lesson, the student was active, attentive, interested. The practical tasks set by the teacher were carried out creatively, meaningfully.
The purpose of the lesson: The education of artistic and performing initiative and the consolidation of pianistic techniques, I think, has been achieved.
- Burns, Robert - short biography
- The concept of common vocabulary and vocabulary of limited use
- Nancy Drew: The Captive Curse Walkthrough Nancy Drew Curse of Blackmoore Manor Walkthrough
- Deadpool - Troubleshooting
- Won't start How to Survive?
- What to do if bioshock infinite won't start
- Walkthrough Nancy Drew: Alibi in Ashes
- Spec Ops: The Line - game review, review Spec ops the line crashes on missions
- Room escape level 1 walkthrough
- Processing tomatoes with boric acid How much will 2 grams of boric acid
- Cucumber Grass (Borago)
- Bioinsecticide Lepidocid: purpose, properties and application procedure Lepidocide waiting period
- How to change the language to Russian in steam
- Dendrobium noble: room care
- Morphology of plants general concepts - document
- Planting, propagation and care of bamboo at home, photo Growing bamboo from seeds
- How to strengthen the cellular signal for the Internet in the country
- Sanskrit reveals the forgotten meaning of Russian words (2 photos)
- The oldest language Sanskrit programming language of the future Dead language Sanskrit
- Who has dominion over all the earth?