Solfeggio harmony. Harmony in solfeggio lessons at a music school

Summary of the lesson "Parallel keys in D major - B minor" for students of the 2nd grade of the instrumental department of the Children's Music School (DShI) on the subject "Solfeggio"

Butorina E.I., teacher of theoretical disciplines
Place of work: MBU DO "Children's School of Arts", Gornozavodsk, Perm Territory
The target audience: Grade 2 of the instrumental department of children's music school, children's art school.
Age of students: 8 - 9 years old.
Subject: solfeggio, 2nd grade, II quarter.
Lesson time: 1 hour 05 minutes.
Equipment: classroom, multimedia projector, computer (laptop), screen, speakers.
Lesson type: lesson of generalization and systematization of knowledge.
The purpose of the lesson- identification and systematization of students' knowledge on the topic "Parallel keys in D major - B minor".
Tasks:
- to test theoretical knowledge on the topic covered;
- apply the acquired theoretical knowledge in practical tasks;
- continue to develop skills of independent work, work in a group;
- to teach the creative application of knowledge in familiar and changed situations;
- continue training in methods of comparison and generalization of knowledge (creation of tables);
- develop the creative abilities of each student.
The summary of the lesson may be of interest to teachers of the subject "Solfeggio" of the Children's Music School (DShI). The choice of the topic of the lesson is justified by the thematic plan for the subject "Solfeggio" (Additional pre-professional educational program in the field of musical art "Piano", subject area Theory and History of Music for the subject "Solfeggio", editor-in-chief I.E. Domogatskaya, Moscow, 2012) , Grade 2, II quarter, lesson "Parallel keys".
For the successful conduct of the training session, a plan-outline was drawn up; a presentation has been prepared (in the text of the competition work, all slides of the presentation are designed in the form of figures); selected musical examples in D major and B minor (see "Assignments for practical work").
To fulfill the purpose and objectives of the lesson, teachers are recommended the following effective methods: the reproductive method (to identify theoretical knowledge on the topic covered) and the search method (to systematize knowledge and apply this knowledge in practical tasks). For example, when performing practical tasks, you can use the “Find a mistake” method in a previously learned musical number (“Our neighbor took the bagpipes”) and the “Musical detective” method (a fragment of E. Grieg’s play “In the cave of the mountain king” - searching for deviations in the key of D major). Students will be interested in the process of identifying the "emotional coloring" of keys using examples from classical music. For example, the key is D major - J. Haydn, sonata D major, first part, main part; P. I. Tchaikovsky, "Kamarinskaya" and "Italian Song" from the Children's Album; key in B minor - E. Grieg, "In the cave of the mountain king"; P.I. Tchaikovsky, "Winter Morning" from the Children's Album. It is equally important to draw students' attention to the use of "warm" and "cold" colors to create their own drawings that reflect the "character" of these keys.
To learn how to compare and generalize the acquired knowledge, students are invited to perform a variety of practical tasks in familiar and changed situations, to compile two tables (“Comparative table for practical work”, “Auxiliary table for practical work”). The created tables can also be used when studying other parallel keys in solfeggio lessons.
During the lesson, it is recommended to use different forms of questioning students (individual, group, frontal) depending on the types of tasks, trying to pay attention to the group as a whole and to each student. I wish all teachers of theoretical disciplines creative success! Sincerely, Elena Butorina.

During the classes

1. Organizational stage (greeting, checking preparedness for the lesson, organizing attention):
Teacher: Hello dear guys! The topic of our lesson is “Parallel Keys in D Major – B Minor”. The lesson will be full of various tasks that are aimed at achieving the main goal - to consolidate and apply knowledge on this topic. I propose to conduct the lesson as productively as possible so that it does not become a “tale of lost time”, and let the motto of our lesson be a quote from Henry Ford: “Time does not like to be wasted.” Is everyone ready? Let's start!
Slide 1 is projected onto the screen:

2. Checking homework (frontal survey):
Teacher: I propose to start the lesson by checking homework in the following way: let's compare the construction of scales in a notebook and on a presentation slide. Have you built everything correctly?
- checking the construction of the D major scale;
- checking the construction of the scale in B minor (three types);
Slide 2 is projected onto the screen:

- singing a monophonic number by heart “Our neighbor took the bagpipe” (collective work):

Teacher: Well done! Now you need to answer the following questions:
1. How many key signs are in the keys of D major and B minor?
2. What are these signs?
3. What is the distance between parallel keys?
4. Are there identical (“common”) sounds in parallel keys?
Students: answer and discuss.

3. Preparing students for work at the main stage (teamwork).
Teacher: Before starting practical work (the main stage of the lesson), let's do the following: search for "common" sounds in parallel keys: D major - B minor (natural); D major - B minor (harmonic view); D major - B minor (melodic form).
Students: On each of the subsequent slides, students find the same (“common”) sounds between the two keys, answer the question: “How many common sounds are there between D major and the natural form of B minor?”
Slide 3 is projected onto the screen:

The correct answer is 7 "common sounds.
Slide 4 is projected onto the screen:

The correct answer is 6 common sounds.
Slide number 5 is projected onto the screen:

The correct answer is 5 common sounds.
Teacher: The next task you have to do is the following: you see familiar chords on the screen. Are they built correctly? Are there any "common" sounds in the main triads of D major and B minor?
Have students answer the following questions:
1. What are the main triads of the mode?
2. From what steps are they built?
3. For what form of work in the lesson will they be useful?
Slide number 6 is projected onto the screen:

4. The main stage of work (application of knowledge and skills in practical work):
- determine the types of minor in monophonic numbers No. 1, No. 2, No. 3 (individual work); "Assignments for practical work", No. 1;
- correct the melodic "errors" in the monophonic number "Our neighbor took the bagpipes" (individual work):

- play a musical fragment of E. Grieg's play "In the Cave of the Mountain King" and determine in which measure there is a deviation to a different key (collective work "musical detective"); determine the change of key with an indication of the measure;
Slide number 7 is projected onto the screen:

The correct answer is a deviation in D major in bar 4.
- determine the tonal plan of the melody of Masha's song from the cartoon Geese-Swans (words by A. Kovalenkov, music by Yu. Nikolsky, 1947);
Slide number 8 is projected onto the screen (the correct answer is the effect of the animation "departure"):

- harmonize the first verse of the song "Steam Engine" (joint work of the teacher and students).
Slides No. 9, No. 10 are projected onto the screen:
The song "Rides, rides a steam locomotive" (words by S. Ernesaks, Russian text by V. Tatarinov, music by G. Ernesaks)

5. Systematization and generalization of knowledge and skills (consolidation of theoretical knowledge, compilation of tables):
- revealing the emotional coloring of keys on musical examples: determining the nature of musical works in D major (P.I. Tchaikovsky, "Italian Song", "Kamarinskaya"; J. Haydn, sonata in D major, first movement, main part) and B minor ( P. I. Tchaikovsky, "Winter Morning"); teamwork:
Slide number 11 is projected onto the screen:

Slide number 12 is projected onto the screen:

Note: music fragments must be prepared in advance and inserted into the presentation.
- which of the proposed words can convey the emotional coloring of D major, and which - B minor?
Slide number 13 is projected onto the screen:

- determination of the color scale of D major and B minor;
Slide number 14 is projected onto the screen:

- comparison of keys;
- compiling a comparative table for performing practical tasks (teamwork);
Slide number 15 is projected onto the screen:

- compiling an auxiliary table for practical work (teamwork):
Slide number 16 is projected onto the screen:

6. Control and self-control of knowledge and methods of action:
- checking the completed tasks by the children (a neighbor on the desk), then by the teacher.
7. Correction of knowledge and methods of action:
- search for errors in the implementation of practical work;
- determination of the algorithm of actions for independent achievement of the correct result.
8. Information about homework, briefing on its implementation:
- determine the "mood" of the text of the second verse of the song "Steam Engine" (the author of the text for the second verse is Butorina E.I.);
- write the melody of the second verse in B minor (re-structured melody) with subsequent harmonization and performance;
- draw a picture for the song "Steam Engine" in major and minor versions, taking into account warm and cold colors.
Slides No. 17, No. 18 are projected onto the screen:

9. Summing up the results of the training session:
Evaluation of activities by the students themselves and the teacher (how actively they worked in the lesson; whether all the tasks were completed, how independently; what turned out well and what needs additional refinement; what theoretical knowledge needs to be corrected):
Slide 19 is projected onto the screen:

Outline of an open lesson in solfeggio in grade 2 III quarter, 1 lesson Developed by a teacher of theoretical disciplines of the Toburdanovskaya Children's School of Art Filippova Natalia Vasilievna S. Toburdanovo-2009 1 Theme of the lesson: repetition of the material covered. Lesson plan:  Vocal-intonation skills. Singing on the material of the passed intervals (chants, intervals - seconds, thirds, quarts, fifths; sequences)  Repetition: parallel keys. Three types of minor. Working with the key in D minor.  Rhythmic warm-up  Crossword theory  Homework Lesson contents: 1. The lesson begins with singing chants on the material of the passed intervals. 2 We recall the concept of "Sequence". The motif of the sequence is written on the board. We sing an ascending sequence with notes: Then a descending one: We sing solfeggio, then with the words the song “Sequence”: 3 Solfegging of musical examples for a sequence: d) 4 2. Recall what parallel keys are on the material of the song “PARALLEL TONES” What types of minor do we know? Singing songs in minor key. 5 Work in the key of D minor. By the circle of fifths we find F major. Parallel to F major is D minor. a) We write in a notebook and sing three types of D minor and triads. b) Singing steps on the cards. Variations: natural minor o I-III-V-IV-III-II-I o I-II-III-I-V-VI-V-I o V-III-II-I-II-VII-↓I o V-VI- V-III-II-VII-↓I harmonic and melodic I-III-II-I-VII#↓-I I-V-III-I-II-I-VII#↓-I V-VI-V-VII#- I I-V-VI#-VII#-I I-III-V-VI#-VII#-I 6 c) Acquaintance with the new song "Lullaby" (Appendix 1) phonogram - Further in the form of a dictation. The teacher plays a melody, the students sing the rhythm with rhythmic syllables and build the rhythm with cards. -We write notes, sing solfeggio with a phonogram. -Choose harmony. -Singing to the backing track. 3. Rhythmic warm-up. -rhythmic card exercises. (At the discretion of the teacher) - Task: come up with your own rhythm 4. Theory in a crossword puzzle. We recall the theoretical material covered by the example of this crossword puzzle. 7 5. Homework: -Sing three types of D minor and triads -Song "Lullaby" - sing with notes and with words, play an instrument, select harmony. 8 Illustration material for the lesson. Appendix 1 9 Explanation for the lesson. The main objective of this lesson is to repeat the material of the 1st half of the year, because the lesson is held after the winter holidays. You need to remember what you have learned. The lesson includes the following sections:  Vocal and intonation skills. Singing chants for the intervals covered: from m. 2 to part 5  Repetition of the concepts of "Parallel keys" and minor of 3 types. Acquaintance with the key of D minor. Singing step chains.  The tonality of D minor is fixed on the example of the song "Lullaby". Here there is a complete analysis of expressive means: the nature of music, rhythm, melodic movement. Recording a song with notes is carried out in the form of a dictation. There is also a selection of harmony for further playing the instrument.  Rhythmic warm-up is carried out according to various options at the choice of the teacher. For example, working out various rhythm figurations on cards. Writing your own rhythm. You can use noise instruments.  Crossword theory. Students answer the theoretical questions covered in previous lessons. This type of work is attractive for children. Bottom line: all passing material is accompanied by musical chants, and not boring memorization of rules and concepts. ten

In this article you will learn why some students of music do not like harmony, why it is so important to love these teachings and practice them regularly, and what results are achieved by those who approach the study of these disciplines with prudence, patience and humility.

Many musicians admit that during the years of their studies they disliked theoretical disciplines, simply considering them superfluous, unnecessary subjects in the program. As a rule, in a music school, solfeggio takes over such a crown: due to the saturation of the school solfeggio course, students of music schools (especially truants) often do not have time in this subject.

At the school, the situation is changing: here solfeggio appears in a “transformed” form and is liked by most students, and all former indignations fall on harmony - a subject that is not clear to those who did not cope with elementary theory in the first year. Of course, one cannot say that such statistics are accurate and characterize the attitude of the majority of students towards learning, but one thing is for sure: the situation of underestimation of musical theoretical disciplines is extremely common.

Why is this happening? The main reason is ordinary laziness, or, if you call it more decently, laboriousness. Courses in elementary music theory and harmony are based on a very rich program that needs to be mastered in an extremely small number of hours. From here comes the intensive nature of training and a large load on each lesson. None of the topics can be left without elaboration, otherwise you will not understand everything that follows, which certainly happens to those who allow themselves to skip classes or not do homework.

The accumulation of gaps in knowledge and the constant postponing of solving urgent problems until later leads to complete confusion, which only the most desperate student will move to clean up (and will gain a lot as a result). Thus, laziness leads to blocking the professional growth of a pupil or student due to the inclusion of inhibitory principles, for example, of the following type: “Why disassemble what is not clear - it is better to reject it” or “Harmony is complete nonsense and no one except extravagant theorists needs it ".

Meanwhile, the study of music theory in its various forms plays a huge role in the development of a musician. So, solfeggio classes are aimed at the formation and training of the most important professional instrument of a musician - his ear for music. The two main components of solfeggio - singing from notes and recognizing by ear - help to master two main skills:

- to see the notes and understand what kind of music is recorded in them;

- to hear the music and know how to record it with notes.

Elementary theory could be called the ABC of music, and harmony its physics. If knowledge of theory allows us to define and analyze any particles that make up music, then harmony reveals the principles of the relationship of all these particles, tells how music is arranged from the inside, how it is organized in space and time.

Look through several biographies of any composers of the past, you will definitely find mentions of those people who taught them general bass (harmony) and counterpoint (polyphony). In the matter of training composers, it was these teachings that were considered the most important and necessary. Now this knowledge gives a musician a solid foundation in his daily work: he knows exactly how to pick up chords for songs, how to harmonize any melody, how to shape his musical thoughts, how not to play or sing a false note, how to memorize a musical text very well. quickly, etc.

Now you know why it is so important to practice harmony and solfeggio with full dedication if you decide to become a real musician. It remains to add that studying solfeggio and harmony is pleasant, exciting and interesting.

If you liked the article, click the "Like" button and send it to your contact or facebook page so that your friends can also read it. You can leave your feedback and criticism on this article in the comments.

Pylaeva Natalia Vyacheslavovna, teacher of history and theory of music, MBOU DOD "Rylskaya Children's Art School".

Open lesson on solfeggio on the topic: Fixing chords from sound and in key with students

4th grade piano department.

Topic: “Preparation for the final examination. Anchoring

of the material covered - chords from the sound and in the key.

The purpose of the lesson: to summarize the knowledge of students on the topic "Chords" using

all types of exercises (vocal - intonational, rhythmic, auditory, creative).

Tasks:

1) Educational: fixing the extensive topic “Chords from sound

and in key” through various types of exercises.

2) Educational: prepare students for a more active,

conscious writing of control work on the subsequent

lesson.

3) Developing: development of logical thinking and skills

navigate through the material with the help of exercises

test-logical orientation.

During the classes:

I) Organizational moment.

II) chant. Used as a chant

material built as homework, plus

fret setting.

Work in the key of E-dur:

a) three types of scales;

b) singing a sequence of steps:

I-III-V-IV-VI-V-IV-II-III-I ;

I-VI-V-VI-II -III-II -V-IV-VII-I

c) singing T3/5, S3/5, D3/5 with appeals.

The first student begins to sing T3 / 5, the rest of the chords are all sung

one after the other in turn. Work is underway on internal

hearing, concentration and intonation.

III) Topic: "Fixing chords from sound and in key"

1) Fixing chords from the sound.

a) theoretical survey using tests - cards:

B3/5 consists of: b3+b3;

b3+m3;

m3 + b3.

Connect the chords with their correct composition: Uv3 / 5 m3 + m3

B6/4 h4+ m3

M6 b3+ b3

B3/5 b3+ ch4

Um3/5 ch4+ b3

М6/4 b3+m3

D7 is built on: 2 steps;

7 steps;

5 steps;

4 steps.

b) Exercise based on ex. from Workbook Kalinina, 4

class, page 20,№ 9.

Put the necessary sharps and flats in the chord "blanks":

1 option:

Option 2:

3 option:

From each option, one student comes to the board and decides, the rest

can help if he is in doubt. Then all students sing their

options.

c) Build the listed chords from the given sounds up and down:

each student goes to the board and comments on the construction, indicating

chord composition.

d) build a chain of chords from the specified sound, given the given

direction and taking the last sound of the previous chord as

first next. Assignment at the blackboard, students go out in turn

alone.

Sing along the built task.

2) Consolidation of the theme "Chords in key".

a) Kalinina, class 4, p. 23, exercise 6

Write in the melody the sounds that form the indicated chords:

Clap the rhythmic patterns of all melodies.

b) Build a chord progression in E-dur:

Learn the sequence in three voices.

IV) Auditory dictation in writing (intervals, chords, scales):

a) 1) h5;

2) melodic minor;

3) B6/4;

4) natural major;

5) m7;

6) UV3/5.

b) sequences of chords (playing in E-dur. From one time

write down the bass, from the second sign the chords.

1. T6-S3/5-T6/4-S6-D7-T3/5-S6/4-T3/5

2. T3/5-D6-T3/5-T6-S3/5-S6-K6/4-D3/5-D7-T3/5

V) Reading from the sheet. G. Fridkin “Sight-reading in the classroom

solfeggio",№ 250, p. 49.

To give an analysis of the tonal plan, size, phrasing;

Determine the sounds of which chords the melody goes on;

Clap a rhythmic pattern with the name of the notes;

Sing a number with conducting,

Pick an accompaniment

Transpose in d-moll, sing with conducting.

VI) Oral dictation with analysis. E-dur. J. Metallidi, A. Pertsovskaya

"Dictations"№ 185, p. 33(v.1-4).

1. Analysis, determination by which sounds of which chords the dictation goes.

2. Singing dictation with notes.

3. Complete the dictation, the second sentence in writing.

VII) Homework.

1. Compose the second version of the end of the dictation, pick up

accompaniment.

2. № 250, p.49 transpose to h-moll

Bibliography:

1. Kalinina "Workbook" Grade 4.

2. Metallidi Zh., Pertsovskaya A. "Musical dictations", L., "Music", 1982.

3. Fridkin.G. Sight Reading in Solfeggio Lessons.

Solfeggio Lesson "Harmonic Major and Minor. Relationship of Elements"

I offer a summary of the solfeggio lesson in the 4th grade of the Children's Art School for pianists. The lesson is a study aimed at summarizing the experience of theoretical analysis of musical works.
Lesson outline.
Topic: Harmonic major and minor. The relationship of elements in the keys of the same name
Type of lesson: Lesson - research
Lesson Objectives:
1. Summarize the previously obtained information about the structure of major and minor.
2. Draw conclusions about the change in the elements of modes during the interaction of major and minor.
Lesson objectives:
Training:
1. To introduce students to the harmonic major, D7, tritones in harmonic modes.
2. Compare the height position of the major and minor degrees in harmonic and natural forms, examine the elements of the modes and identify their change associated with a change in the height structure of the mode.
3. Repeat the previously studied information about major and minor, formulate conclusions on the comparative characteristics of the elements.
4. Teach to identify signs in minor keys in different ways.
5. Develop the skill of identifying by ear the harmonic and melodic types of major and minor, tritones, chains of chords in natural and harmonic major.
Educational:
Ability to work in a group, help each other in finding a solution to the problem.
Motivate interest in research.
Lesson equipment:
Projector, computer, piano, music center.
Reader on auditory analysis at solfeggio lessons (compiled by Shekhtman L.S.)
Sheet music: J.S. Bach HTK Volume I, prelude in A minor.

Lesson stages

Organizational moment, setting goals, motivation of educational activities
A small introductory word about the genre of the lesson - research as the most active type of activity in the study of new material.
The teacher introduces the topic of the lesson and discusses the wording with the students. The meaning of each musical term in the formulation of the topic of the lesson is clarified.
Students explain the meaning of familiar terms (harmonic minor, keys of the same name, passed elements of the mode - stable and unstable steps, main triads of the mode, tritones), highlight unfamiliar terms (harmonic major).
Together with the students, the teacher forms the objectives of the lesson
What are we going to do in class today? – Explore harmonic major, compare elements.
What do we need to know to make this happen? - Those elements of modes that were previously studied in solfeggio lessons.
The teacher divides the children into two groups, designating them as two research laboratories, appoints a senior "researcher" in each group.

Actualization of knowledge, skills necessary for creative application and assimilation of new material
The teacher offers to analyze several pairs of the same keys and find steps that differ in height in each pair.
Slides 2 - 7.
As a result of the analysis, students conclude that in each pair, steps III, VI and VII are different in height.
The teacher draws the attention of the children to the fact that keys with a different number of characters were analyzed. Further, a brief historical background is given - about the existence in the past of the natural system and the later, tempered system. Slide 8 - a portrait of J.S. Bach, the composer who created 2 volumes of the HTC and supported the theory of equal temperament.
The teacher offers to listen to the prelude in A minor from the first volume of the CTC and gives the task to the groups: to determine the mode at the beginning of the work and at the end.
It sounds like a prelude in A minor.
Students identify A minor at the beginning of the prelude and A major at the end of the prelude, which gives the keys of the same name.
The teacher gives a task for research in groups: the first group analyzes the beginning of the prelude by notes and must find signs of A minor; the second group analyzes the end of the prelude and must find signs of A major. slide 9.
After 3 minutes, the groups give an answer: A minor has no signs at the key, the sign G #, which appears at the beginning, “belongs” to the major of the same name as the VII degree. In A minor, this sign can be explained as a step change in the harmonic form of the minor. The second group comes to the conclusion that the appearance of the sound C # (III degree) at the end of the prelude changes A minor to A major.
The teacher once again draws attention to the increase in the seventh step in the harmonic minor as an element of the natural major.

Learning new material
The teacher shows on the projector Slide 10 two options for recording a melody from M.I. Glinka's opera "Life for the Tsar" (a fragment of Antonida's Romance), listen to this melody and choose the correct recording option from the two proposed.
After listening, students choose option 2.
The teacher draws attention to the different modal coloring of the third bar in examples 1 and 2, explains the use of the minor key as emphasizing the emotional tension in the words "bitter grief". Slide 11.
The conclusion is formulated: in order to emphasize the emotional meaning of the word, the composer borrows a lowered VI degree from minor to major. The rule for the formation of the harmonic type of major is written in the notebook.
Singing a fragment from the opera by M.I. Glinka with accompaniment.
After singing the melody with accompaniment, a harmonic analysis of this fragment is made. The teacher draws the students' attention to a chord with a modified sound (G-flat) and asks them to give it a name.
Students define this chord as a minor subdominant and, together with the teacher, conclude that the minor subdominant is an element of the natural minor in the harmonic major of the same name.

The teacher invites students to listen to a fragment of the Sonata by F. Schubert and determine by ear the minor subdominant chord that is used in the work.
After listening, students determine the S53harm. in the second sentence.
One of the students shows this chord among the chords of the harmonic sequence Slide 12., then all students name the chords in the chain in order up to S53 harmonics .. Slide 13.
Singing the lower voice of the harmonic sequence (the teacher plays the upper voices on the piano).
The teacher asks the students to highlight any unfamiliar chords or symbols in the chain.
Students pay attention to the seventh measure of the harmonic sequence. As a result of the analysis, it turns out that the chord of 4 sounds is dominant, in structure it is one third more than the dominant triad, the extreme sounds form a seventh. The teacher introduces the concept of "dominant seventh chord". The teacher also explains the meaning of the designation K64 in the final harmonic revolution.
The teacher gives a task for research: what elements can be found in D7?
After listening to all the answers, the teacher focuses the students' attention on mind 5, which is part of the chord. Since students already know the newt resolution rule, they easily memorize the D7 resolution rule.

Group work
The teacher invites students in groups to explore the scale of harmonic major (group 1) and harmonic minor (group 2). Students must build a scale, find a segment of 3 tones in it and answer the question, which steps are involved in the formation of tritones in harmonic modes.
The first group concludes that the tritone in the harmonic major is on the segment II-VIg steps. This rule corresponds to the rule for constructing tritones in natural minor.
The second group concludes that the tritone in the harmonic minor is formed on the segment IV-VIIg of the step. This rule corresponds to the rule for constructing tritones in natural major.
The teacher helps to formulate a conclusion: a change in steps in harmonic modes entails a change and the formation of new elements borrowed in the keys of the same name. Frets - major and minor, are approaching, enriched with new expressive means.

Primary test of mastery of knowledge. Primary consolidation of knowledge. Control and self-test of knowledge
Slide 14. The teacher gives the task to compare the scales of D major and D minor in harmonic forms, to find similarities and differences.
Students find that all steps coincide in height, except for III - in major it is high, and in minor it is low.
The teacher draws the students' attention to the fact that the third step is an indicator of the coloring of the mode. slide 15.
Slide 16. The teacher gives the task to students to put signs in harmonic modes, based on the scales of the same keys in their natural form.
Students easily change the steps, borrowing signs according to the scheme of their scales of the same keys. (answer Slide 17).
Slide 18. - confirmation of what was covered in the lesson using other keys as an example.
The teacher explains to the students the way to determine the signs through the keys of the same name. Since the natural major and minor of the same name always differ by 3 signs, it is possible to derive a formula for determining the signs in the minor through the keys of the same name:
With dur - 3 characters = with moll
It is very convenient to represent this on a numerical ray. Flats go to minus, sharps go to plus. If there are 4 sharps in the major (4 - 3 \u003d 1), then in the minor of the same name there is 1 sharp. If there is 1 sharp in major (1 - 3 \u003d -2), then in the minor of the same name there are 2 flats.

Summing up the lesson, reflection
Students say what they learned in the lesson, repeat new terms.
Reflection - Who was it easy? Difficult? Is everything clear? Who wants to know more?

Homework (optional):
1. In the works of the specialty, find the elements that were discussed in the lesson.
2. Briefly formulate the main conclusions of the lesson in a few sentences.