Methods of teaching playing the instrument. Formation of mechanical science skills at the initial stage of training in the button accordion class

instrumental music making(playing musical instruments) - a type of musical activity in which children play various musical instruments. The importance of instrumental music-making for the musical and general development of children can hardly be overestimated. Teachers such as K.Orf, B.Teplov, T.Tyutyunnikova, E.Medvedeva and others noted that in the process of playing instruments, musical abilities develop and, above all, all types of musical ear: pitch, meter-rhythmic, harmonic, timbre, dynamic , a sense of musical form. In addition, instrumental music-making is an important source of comprehension of the system of means of musical expression, knowledge of musical phenomena and patterns. It contributes to the development of subtlety and emotionality of feelings.

Where does the acquaintance and development of this or that musical instrument begin?

The theory of the teacher-musician Lyudmila Valentinovna Shkolyar was taken as the basis of this work, which divided musical activity into the following types:

• listener activity (perception);
• activities of the performer (performing),
• activity of the composer (creativity).

In music lessons, these types of musical activities are present in an inseparable trinity and are usually carried out according to the following scheme: perception - performance - creativity, that is, the perception of music precedes other types. It also accompanies the performance and creativity of children. The ratio of reproducing and creative actions varies, depending on the age of the children, the degree of mental retardation, and the very type of musical activity.

D. B. Kabalevsy argued that those who cannot hear music will never learn how to perform (play) it really well. Therefore, initially students in music classes turn into listeners. First, children listen to the sounds of the world around them: the sounds of nature, city streets, houses. Then they learn to distinguish between wooden, metal, glass sounds made by ordinary objects. Then there was an acquaintance with musical instruments: their types, appearance, sound, methods of extracting sound. At this stage of the work, the children studied not only factory-made tools, but also learned how to make them with their own hands. The guys created homemade percussion instruments: drums - ordinary and Indian , wooden sticks, xylophones, beaters, bells; noise instruments - musical mallets, musical slingshots , japanese instrument - bambusi, shamblers; homemade stringed musical instruments - psaltery, guitar (see Figure 1). Schoolchildren played them, listened to the sounds they make. During this period, there was an acquaintance with the properties of sound: pitch (high and low sounds), rhythm (long and short sounds), dynamics (loud and quiet sounds), timbre (different coloring of sounds). To consolidate these musical and auditory ideas of students about sounds, various musical and didactic games with instruments were used: "Musical riddles" (children guess the sound of a musical instrument), "Musical lotto" (children determine the direction of the melody up or down by the sound of the instrument) small experiments with sounds were carried out: for example, water was poured into several glasses to different levels. With a glass rod, the children successively knocked on all the glasses and listened to their sound. As a result, it was concluded that the more empty the glass, the higher the sound. Based on this experience, the guys played Russian folk melodies on glasses "In the garden, in the garden", "Like under a hill, under a mountain", "Oh, you canopy, my canopy."

The next type of musical activity is performance. The children played homemade noise instruments, and later real ones. Musical and didactic games "Rhythmic echo" (children repeat a given rhythmic pattern on a musical instrument), "Melodic echo" (children repeat a given melodic pattern on a musical instrument) were used.

When learning to play percussion musical instruments: bongs, rattles, a triangle, various figures were used as notes: stars, rhombuses, rectangles. Each corresponded to a batch of one instrument (see Figure 2). The guys looked at the graphic score, determined in what order they needed to play. It turned out to be a very well-coordinated, noise orchestra.

When teaching other musical instruments, such as tinted bells, was used notation color system, that is, the notes were replaced by colored triangles. The duration of the sounds was indicated as follows: long sounds - with large triangles, short ones - with small sizes (see Figure 3). When learning to play the wind harmonica, colored squares were pasted on the keys, as well as on a sheet of notebook in a certain sequence. The child looked at this notebook and played the instrument according to the notes. Thus, the guys learned and performed the New Year's melody "A Christmas tree was born in the forest", the Russian folk melody "Oh, I got up early", the patriotic song "Katyusha". After learning to play acoustic musical instruments, the guys got acquainted with an electronic musical instrument - a MIDI synthesizer (a synthesizer that is connected to a computer), which allowed them to experiment with electronic sounds. For schoolchildren, a wide range of sound and combination of various musical instruments opens up. Did the music editor help with this?GaragBand. For the development of musical notation, the color system of recording notes + its name was also used.

Acquiring performing skills in playing noise, musical acoustic and electronic instruments, many students have a need for creative improvisations. This is the highest level of development of musical activity - composer's activity. The children were asked to create the simplest songs according to the given texts, the simplest marches, lullabies, and dance songs. Then they wrote down the made-up melodies using a color notation system or various graphic images. "Sound a fairy tale, a poem." For example, at the reading competition "Native Land", pupils of the 4th grade voiced a poem about nature with the help of musical instruments: the sounds of rain were depicted with the help of wooden sticks, the ringing of a stream with the help of a rumba, the rustle of leaves - with the rustle of corrugated paper. Some guys tried to compose music and record it on a computer using a MIDI synthesizer. So, a student of the 8th grade, Evgenia Danilochkina, composed and recorded on a computer her composition called "Gust" (Appendix 1).

In the process of creative activity, the individuality of each child was manifested, his self-expression took place, the children experienced pleasure from their own music-making, thus, an emotionally positive attitude towards music was formed.

Such is the system of work on teaching students of a correctional boarding school to play various musical instruments.

Introduction

The method of learning to play wind instruments is an integral part of the musical pedagogical science that considers the general patterns of the learning process on various wind instruments. Russian pedagogical science in the field of performance on wind instruments has no more than 80 years. She reached new frontiers by assuming and developing further all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad.

Composer Gedicke wrote: the technique of playing wind instruments has advanced so much that if the best performers, especially on brass, who lived 50-70 years ago, heard our wind players, they would not believe their ears and would say that this is impossible.

It should be recognized that the theory of teaching methods on wind instruments as part of pedagogical science among other methods is the youngest. Each generation of woodwinders contributes to the technique. The method of teaching on any instrument is part of pedagogy.

Word methodology Greek origin translated into Russian - way to something. A technique is a set of methods, i.e. methods of performing any work. (research, educational). In the narrow sense of the word, a methodology is a way of teaching a particular subject based on the analysis and generalization of the best teachers, musicians and performers.

The methodology studies the patterns and techniques of individual learning. The technique contributes to the education of a general musical culture, broadens the horizons of performers. The technique is closer to the specialty. An outstanding performer and teacher who laid the foundation for the development of the Soviet methodology was Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was the first work put on a scientific basis.

In his work, he formulated the principles that became the main ones in the methodical school on wind instruments:

1. The development of technical skills in students should go hand in hand with artistic development.
2. In the process of the student's work on a piece of music, it is necessary to achieve its conscious assimilation and then it will be stronger.
3. The basis of the correct setting should be the knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.

The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations of the performing process on wind instruments.

Musical performance is an active creative process based on the complex psycho-physiological activity of a musician.

You should know this wording as our father. Underline this wording directly. The player of any instrument must coordinate the actions of a number of components:

• vision,
• hearing,
• memory,
• motor feeling,
• musical aesthetic performances,
• volitional effort.

This is also a very important point. It is this variety of psycho-physiological actions performed by the musician in the process of playing that determines the complexity of the musical performance technique.

The further path of scientific substantiation of the musical-performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist academician I.P. Pavlov about higher nervous activity, about the inseparable connection of all life processes, the teaching about the cerebral cortex as the material basis of mental activity helped advanced musicians change the approach to substantiating performing technique.

Educators and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the cerebral cortex are coordinated human activity is carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex.

Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation which underlies the formation of conditioned reflexes;
2. internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulate all human life.

The process of playing a musical instrument as one of the types of human labor activity.

Do not forget that you work - this is your work.

Studying at a music college is like work. This is a number of complex coordinated functions: (visual, auditory, motor, volitional) carried out on the basis of conditioned reflexes of the second signaling system of the brain.

Let's try to imagine how this happens practically in the process of playing the instrument.

When looking at musical signs, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, the primary signals are instantly transformed into a visual representation of the musical text. Through thinking, the musician determines the position of the notes on the staff, the duration of the sounds, their loudness, and so on. The visual perception of sound by the player is usually associated with auditory representations. The excitation of the visual centers spreading captures the auditory area of ​​the cortex, which helps the musician not only to see the sound, but also to hear, that is, to feel its height, volume, timbre, and the like. The auditory representations that have arisen inside immediately evoke in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers.

This is how the propulsion system is carried out, as a result of which sound is born.

Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing feedback physiological connections, is transmitted to the auditory line of the cortex and ensures the appropriate perception of the performed sounds, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain.

Musical sign - idea of ​​sound - musculoskeletal system - performing movement - real sounding - auditory analysis. In the course of this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound extraction applied to playing any musical instrument, however, performance on wind instruments still has a number of specific features.

Acoustic foundations of sound formation on wind instruments

Unlike keyboard, bow and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, skin for percussion) all wind instruments belong to instruments with a gaseous sounding body.

The reason for the appearance of sound here is the fluctuations of the air column of air caused by the special actions of pathogens. The specifics of sound formation on wind instruments depends on the device of the instruments. Modern musical acoustics divides all wind instruments into three groups:

• first group labeal from the Latin wordlaba (lip) they are also called whistling (all types of pipes, flutes, some organ pipes belong),
• second group reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns),
• third group with a funnel-shaped mouthpiece they are usually called copper(all types of cornets, trumpets, horns, trombones, tubas, horns, fanfares).

How is sound formed?

On the flute, which is an instrument with a gaseous exciter, the sound is formed as a result of the friction of the exhaled air stream against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air jet periodically changes, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter form sounds with the help of vibrations of special reed plates (reeds). The oscillatory process on these tools is regulated by the actions of two interacting forces: translational movement of the exhaled air stream and the elastic force of the cane.

The exhaled stream of air bends the thin part of the cane outward, and the force of its elasticity causes the reed plate to return to its original position. These movements of the reed (reed) provide an intermittent jerky entry of air into the channel of the instrument, where a reciprocal oscillation of the air column occurs, therefore sound is born.

Even greater originality is the appearance of sound on wind instruments with a funnel-shaped mouthpiece. Here, the role of a solid oscillating sound exciter is played by the central areas of the lips covered by the mouthpiece.

As soon as the exhaled stream of air enters the narrow labial fissure, it immediately causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure, create a periodic jerky movement of air into the mouthpiece of the instrument. The result of this is the successive condensation or rarefaction of air in the channel of the instrument, which ensures the appearance of sound.

Having considered the acoustic foundations of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic oscillation of the air column enclosed in the instrument caused by the specific movements of various devices and sound exciters.

At the same time, oscillatory movements of the air jet, reed plates or lips are possible only if the various components of the performing apparatus are coordinated.

The development of musical abilities in the process of educating a professional musician

Despite approximately equal mental abilities and physical development of students, we have different results of their learning. The analysis of these phenomena indicates that in the preparation of the performer, the intuitive principle, that is, the presence of natural abilities, becomes decisive. V.M. Teplov in his work "Psychology of musical abilities" musical literature 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There can be no abilities that would not develop in the process of education and training.

What do we mean when we talk about musical ability or musical inclinations?

First of all, we mean musicality. This successful definition was made by Alekseev in his method of learning to play the piano. "A musical person should be called a person who feels the beauty and expressiveness of music, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content". Musicality develops in the process of correct, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the studied works, illustrating his explanations with a display on an instrument or a recording.

The complex of the concept of musicality includes a number of necessary components, namely:

1. ear for music,
2. music memory,
3. musical rhythmic feeling.

Ear for music

Ear for music is a complex phenomenon that includes such concepts as:

• pitch (intonation),
• melodic (modal),
• harmonic,
• inner hearing.

Each of these aspects of musical ear is of great importance in training and in performing practice. It is absolutely necessary for the performer to have a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in pitch taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. In the orchestra, a performer is valued who listens well to his group, actively participates in it without disturbing the ensemble. The ability to hear imaginary sounds, write them down on paper and operate with them is called internal hearing. Musical ear develops in the course of a musician's activity. It is necessary to ensure that all work with the instrument proceeds with tireless monitoring of hearing.

The lack of students that they do not control their instrument playing by ear. This is the main disadvantage of independent work of students. A teacher in the specialty must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner hearing

In addition to solfeggio lessons and doing homework in this subject, a teacher in the specialty requires the performance from memory of previously familiar or newly heard musical passages ( picking by ear), transposing familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this.

It is useful to teach students to analyze their own or other performance, critically evaluating them. That's why you have to go to concerts not only in your specialty: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists.

To develop a melodic ear, it is necessary to systematically work on a cantilena (slow piece). Cantilena (slow piece) also develops endurance because there is a big load on the lips, you take a lot of breath. Improving harmonic ear, it is useful to analyze the texture of the musical work being studied, to play more in an ensemble, in an orchestra. Texture is a Latin word in a figurative sense of a device, the structure of a musical fabric.

A well-developed musical ear is the most important condition for the development of musical memory.

musical memory- this is a synthetic concept that includes auditory, visual, motor, logical. Musical memory also lends itself to development. It is important for a musician to have developed at least three types of memory:

• the first auditory serving as the basis for successful work in any field of musical art,
• the second is logical, connected with the understanding of the content of the work and the laws of development of musical thought,
• the third kind of motor is extremely important for instrumental performers.

For many, visual memory plays an important role in the memorization process. When working on the development of the student's memory, remember: the system of memorizing music is very important, the student must take into account that music flows in time, in the creation of a work as something whole, it is possible, provided that its parts are kept in memory. As a result of frequent performance, memorization can be intentional. Memorization can also be intentional when individual passages are specifically memorized, and then the entire work as a whole.

Here it is necessary to know the form of the work, its harmonic structure. When learning, it is important to be aware of the similarity, repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of the learned piece of music: recording the memorized music without using an instrument (notes), transposing the melody to a different key and the ability to start playing from anywhere. The ability to start performances from any place testifies to the performer's deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments

Usually, the following concepts are referred to the expressive means of a performer on wind instruments: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogy, articulation, phrasing, dynamics, nuance.

Agogics- This is a slight deviation from the pace. Vocalists and wind instruments performers refer here in the same way: performing breathing. Pianists include: pedal, touch.

Touché is a specific way of performing. Stringers include: strokes, vibrato, fingering, finger technique.

Wind instrument performers These funds also include: technique of lips, tongue, double staccato, frulyato, glissando. Although the double staccato is a technique. And frulyato and glissando already belong to the strokes. All this suggests that there is no single clear and distinct approach to defining the concepts of performing means or expressive means.

Performing means and expressive means are two sides of a single creative process. We rank as performing means everything that is connected with the technological side of performance. The technological side is the state of the instrument, mouthpiece, reed; setting the body, head, hands, embouchure; performing breathing technique, language technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels, consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional).

Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performance tools is sound. The expressiveness of the sound as a means of the performing embodiment of the melody more fully determines the strength of the emotional impact of music.

The player must master a beautiful sound, that is, make the sound of the instrument clear, juicy and dynamically diverse.

At the same time, the nature of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of the sound, the purity of intonation is of particular importance. The finer and better the musician's ear is developed, the less errors he will make when intoning during the game. Technical skill is an important performing tool.

A wind instrument player's technical skills are made up of various elements: well-developed performing breathing, elasticity and mobility of the lips, mobility of the tongue, speed and coordination of finger movement. Each of the wind instruments has its own special concepts of the most complex elements of performing technique.

For a group of woodwind instruments, the technique of finger movement is very complex. That for the copper group is the possession of the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the ability of the player to correctly determine the structure of a musical work (motives, phrases, sentences, periods), correctly establish and perform caesuras, identify and embody climaxes, correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of a work.

An important component of musical phrasing is dynamics.

The skillful use of dynamic shades when playing significantly enlivens the musical performance, deprives it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terratnaya dynamics, which includes a gradual increase or decrease in sound ( ppp, pp, mp, mf, f, ff ), the second type of dynamics is called contrast dynamics, which consists in a sharp opposition to the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (forte for some, and mezzo forte for others), so the musician is given the right to supplement or expand these shades.

A very essential element of musical phrasing is agogy- this is a little noticeable change in the speed of movement (deviation from the pace). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance).

Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performing tools can be divided into three main groups:

• first means related to sound quality (timbre, intonation, vibration),
• second a group of means of a technical order (finger fluency, breathing technique, tongue technique),
• third a group of means of general musical expression (musical phrasing, dynamics, agogics, strokes, fingering).

Such a division is conditional, since there is a very close organic relationship between the performing means in music. However, an expressive sound serves as an indicator of a certain technical skill.

musical phrasing- this is the simultaneous possession of both sound and technical skills. A characteristic feature of all the performing means of a musician is not only their close relationship, but also their complete subordination to artistic goals, artistic tasks.

Performing apparatus and sound extraction technique on wind instruments

Analyzing the sound extraction technology on wind instruments, we can establish that it is composed of:

1. visual-auditory representations: first you see a note, you internally heard this note;
2. performing breath: after you understand what this note is and where it sounds approximately (in your head), you take a breath. This is the performance breath.
3. special work of the muscles of the lips and face: you need to put the lips and muscles in order to take this note
4. specific tongue movements: that is, which tongue is hard, soft or double;
5. coordinated finger movement: what kind of fingering and so on ...
6. continuous auditory analysis: these are all moments to the last, they are all subject to auditory analysis (continuous)

These components are inextricably linked with each other by complex neuromuscular activity and constitute the musician's performing apparatus.

There will be a question: What are the components of sound extraction technology? These are the components of 6 pieces you will have to name.

The most important is the lip apparatus. The question will be: what is a mouthpiece? All these formulations should be known as our father.

Lip apparatus- this is a system of muscles of the labial and facial, mucous membrane of the lips and mouth, salivary glands. The combination of these elements is called the lip apparatus. The lip apparatus is sometimes called differently embouchure.

The concept of embouchures is used in connection with all wind instruments, but is interpreted in different ways: some believe that it means the mouth or mouthpiece, others that it refers to the labial fissure.

According to the Moscow 1966 edition of the encyclopedic musical dictionary, the word embouchure French and has two concepts:

• the first way to fold the lips and tongue when playing wind instruments. Thus, it is possible to accurately determine this position, the degree of elasticity of the labial and facial muscles of the performer, their training, endurance, strength, flexibility and mobility when playing is called the embouchure.
• And the second definition in this dictionary is: it's the same as a mouthpiece.

Systematic training for the performer is of paramount importance. The development of the labial apparatus should be carried out in two planes. The first plane: this is the development of the labial muscles, that is, the development of strength, endurance of the labial, facial muscles. After you have developed the beauty of sound appears, its own peculiar timbre, intonation quality of sound. For this purpose, you need to play whole notes on a full breath for 20-30 minutes.

Performing breath. His essence. Meaning. And development methods

The breathing technique of a performer on wind instruments is, first of all, a sound mastery technique that includes the whole variety of timbre, dynamics, strokes and articulation. If the breath is well set by sound, one can immediately judge that a person has a timbre, dynamics, articulation. The culture of sounding implies the presence of a certain school of breathing.

If the language plays a decisive role in the origin of sound, then in the conduct of sound it belongs to the air stream exhaled by the performer into the instrument. The nature of the air jet is corrected, in addition to the muscles of respiration, by the labial muscles, the muscles of the tongue. And all of them together are controlled by hearing. Conventionally, performing breathing can be compared with a violinist's bow.

Performing breathing is an active expressive means in the arsenal of a wind player.

The professional breathing of a performer on wind instruments is determined primarily by the conscious and purposeful control of the respiratory muscles, which fully work during inhalation and exhalation. Muscles are involved in the respiratory mechanism inhalation and exhalation. The performer's breathing technique depends on the skillful use of these antagonist muscles.

Inspiratory muscles include: diaphragm and external intercostals.

The expiratory muscles include: abdominals and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through the development and training of the respiratory muscles. Exhalation in interaction with lips, tongue, fingers plays a primary role in the formation of sound, in its conduct and in various types of its manifestation in technology.

A well-placed exhalation not only affects the sound quality and versatile technical capabilities, but also opens up wide scope for the activity of other components of the performing apparatus: lips, tongue, fingers. Two phases of breathing (inhalation and exhalation) can be used in different ways in the performing process.

In the natural physiological breathing of a person, inhalation is an active act in which the lungs expand, the ribs rise up, the dome of the diaphragm goes down. Exhalation, on the contrary, is a passive act: the lung cavity, chest and diaphragm return to their original position. During physiological breathing, the cycle proceeds: inhale, exhale, pause. Professional performing breathing is subject to the consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale - long (long).

Quality exhalation also depends on the correct and full inhalation.

The professional inhalation of the horn should be short full and noisy. It has a number of specific differences from normal human physiological respiration.

• First, it requires maximum use of lung capacity (3500-4000 milliliters of air). With physiological respiration, the volume is 500 milliliters.
• Secondly, during professional breathing, the load on the respiratory muscles increases. It is many times greater than with a calm vital breath.
• Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in time, that is, rhythmic breathing.

A person in a calm state makes 16-18 respiratory cycles in one minute. The oven reduces the number of breaths to 3, 8 per minute. Under natural conditions, a person breathes through the nose. When playing wind instruments mainly with the mouth with little help from the nose. This ensures the fullness of inspiration and its noiselessness.

Breathing when playing wind instruments should be taken through the corners of the mouth with little help from the nose. Inhalation through the mouth allows you to quickly and quietly replenish the lungs with air. When inhaling, the external and intercostal muscles of the chest and diaphragm are involved. Therefore, the uniform filling of the lungs with air and the expansion in all directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body. Together with breathing, it makes 18 oscillations per minute while moving 4 centimeters up and 4 centimeters down. The diaphragm does a great job. Like a perfect pressure pump, the diaphragm, with its entire impressive area, descends when inhaling, compressing the liver, spleen, and intestines, enlivening the abdominal circulation.

When inhaling, the lungs should be filled with air from the bottom to the top, like a vessel with water in which the liquid from the beginning covers the bottom and, leaning on it, fills the vessel to the top. Thus, a so-called air column is formed in the lungs, which rests on the bottom of the lungs, on its base, that is, on the diaphragm.

There will be a question: What is the difference between human and performing breath?

You will say that the breath of a wind instrument performer is not rhythmic, and the second option is that the breath is stagnant. Operated breathing is the correct set breathing of the horn player.

Typical disadvantages of staging for beginner musicians

If we imagine the process of learning a musician in the form of a gradually building building, then the production will play the role of a foundation. Proper staging serves as the basis on which the development of the musician's performing skills is based.

The practice of teaching young, novice musicians shows that attention should be paid to staging from the very first steps. The most typical deficiencies in beginner musicians are related to the incorrect position of the instrument, hands, fingers and head.

For flute players, the most characteristic is the inclined position of the instrument instead of the necessary straight one, which is a consequence of the lowering of the right hand. To correct this shortcoming, the teacher must ensure that the student keeps the elbow of the right hand slightly raised during the game. In this case, both hands will be at the same horizontal level and the flute will lie flat.

Beginner oboists often hold the instrument too high, which is partly due to their excessive chin-down. Correcting such a shortcoming is not difficult - you just need to monitor the correct position of the head and hands, which should not be raised much up.

A clarinet player most often shifts the instrument somewhat to the side, and more often to the right than to the left, or they give the instrument an incorrect vertical position (they hold it too close to the body) or, on the contrary, raise it excessively. Such deviations from the norm (if they are not due to any individual characteristics of the musician) should not take place because this leaves a certain imprint on the character of the sound. It is known from practice that when the clarinet is tilted down, the sound becomes liquid and dull, and when it is raised excessively upwards, it becomes coarser.

For brass players, the incorrect position of the instrument is as follows: they press with the phalanges of the fingers, but you need to press with the pads of the fingers; when playing the cornet, the pipe is held by the ring. When playing, you do not need to hold on to the ring. The ring is held only when turning notes, or when you need to insert a mute. Beginning horn players often hold the bell of the instrument incorrectly: either lower it too far down, or, on the contrary, turn it too much up. It is not uncommon for trombonists to give the instrument the wrong position by holding the slide down.

The disadvantages of setting associated with the position of the fingers on the instrument can be quite different:

When playing woodwind players, the fingers very often rise high, are moved unnecessarily to the side, in addition, they lie on the instrument not in a rounded bent, but in a purely straight position, which causes their excessive tension. An incorrect head position is manifested in the fact that some musicians lower their heads down at the time of the game, as a result of which the chin also drops, causing additional tension in the neck and chin muscles.

Such an inclined position of the head can be found among performers on various wind instruments, but most often it occurs: trumpeters, oboists, clarinetists, horn players. The tilt of the head to the side (to the right) is especially common among flute players for whom it has become a tradition and a bad habit.

With the beginning of learning on the instrument, it is necessary to relentlessly monitor the correctness of the staging techniques of the player. At the same time, it is necessary to ensure that the student not only knows certain methods of rational setting, but also understands the expediency of their practical application.

It is possible to weaken control over the staging when the correct staging techniques turn into accurately learned and consolidated skills for students.

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1 Outline of the open lesson of the teacher Gorobtsova Galina Vyacheslavovna in the piano class. The lesson was conducted with Georgy Gorobtsov, a 3rd grade student of the General Aesthetic Department. A variable-adapted program on the subject "Special Piano" was used. All sections that are applied in the lesson help to solve the main tasks. Topic of the lesson: "Formation of skills in reading notes from a sheet." The purpose of the lesson: Development of musical horizons, activation of thinking, hearing, coordination when reading music from a sheet. Tasks: educational - mastering by the student of theoretical knowledge and practical skills; developing Type of occupation: - development of musical graphics; - development of coordination; - development of a musical eye; - development of rhythmic skills; - metrorhythmic organization of performance; - acquisition of auditory control skills. A lesson in consolidating and systematizing knowledge and skills. Teaching methods and technologies: - visual; - verbal; - practical; - emotionally cognitive; - generalization methods; - gaming technologies; - health - saving technologies. Lesson equipment: - musical instrument; - musical material; - teaching aids; - didactic material.

2 Lesson plan I. Organizational stage. a) greeting, psychological mood of the student; b) the message of the topic of the lesson and its tasks. II. Main part. 1. Mastering the musical alphabet 2. Exercises for the development of coordination 3. Mastering musical notation 4. Rhythmic exercises 5. Developing the skill of "look-hear" ahead 6. Formation of the skill of quickly memorizing the text "photographing" 7. Ensemble music-making III. Final part Summing up (evaluating the effectiveness of the lesson). Homework. Course of lesson II. Main part The formation of skills in reading music from a sheet is associated with the consistent solution of a whole range of practical and pedagogical tasks. With regular sight reading, the student’s musical horizons expand, their ear for music develops, thinking develops, the task of organizing the pianistic apparatus becomes easier, quick orientation on the keyboard is developed, complex motor skills develop, the basis for accompanist practice and playing in an ensemble is formed. Where does the formation of sheet music reading skills begin? From acquaintance with the musical alphabet. I use three circles of the musical alphabet in my work: - the first circle is seven note sequences arranged in order, where each of the seven notes can be the first. We pronounce the first circle of the musical alphabet from the given sounds. -the second circle of the musical alphabet is "terts" sequences, where each of the notes can also be the first. We pronounce the second circle of the musical alphabet from the given sounds. - Today we will get acquainted with the third circle of the musical alphabet, these are “quarter” sequences. Question to the student: tell me, what is a “quart”? Answer: A quart is an interval with a width of four steps. - Now you will play and name the notes, stepping through this interval from the “to” key of the first octave until you get to the “to” of the fourth octave. And then, you will go back in reverse order, continuing to name each played key. The student plays and pronounces the third circle of the musical alphabet. - I have a card in which all the options for the third round are written, at home you will continue to study it on it. Actions related to motor skills are the most elementary link in the formation of sheet music reading skills. The formation of such an orientation, the development of the visual representation of the piano keyboard, begins in the process of studying scales and exercises. We learn the scale with a non legato technique of one octave, and then we play with different strokes, without looking at the hands. It is best to choose a scale using black keys such as: D, A, E, B major, and later minor: C, G, D. It is the black keys that will serve as a reliable guide for fingers that are deprived of the support of vision.

3 The student is invited to play any of the named scales with non legato and staccato strokes. At the same time, we try to concentrate all his attention on sound and articulation. From the very first lessons, there is a mastering of musical graphics with the study of two keys at the same time, and we number each line in both the treble and bass clef with the numbers 1,2,3,4 and 5. The additional line of the note “to” of the first octave received the number zero. Contrary to tradition, bass clef lines are counted from top to bottom. - Find and play the key that is written on the fourth line in the treble clef; on the first line in the bass clef; zero line with the right hand, between the fifth and fourth in the bass clef with the left hand at the same time. - And now play the fa key of the second octave and say on which ruler it is written; key mi of a small octave and name its location on the stave. Playing according to notes presents new difficulties for the child. It is advisable to reduce the range of problems to a minimum. Playing at the initial stage with one finger allows you to concentrate on the correct extraction of sound, the pieces should not be complicated, the child should play, looking at the notes. - Now we will play the Pathfinder exercise (from the study guide “To Music with Joy” by O. Getalova and I. Vizna.) And if in the past lessons you “followed the trail” either in the violin or in the bass clef, then today we will take exercises using two keys at the same time. Question: What note will you start the game on? Answer: from note to. - Your task is to look at the notes, determine where and how the melody is moving: in leaps, stepwise movement up or down. It is known that metrorhythmic skills develop in children much faster and easier than pitch skills, so some teachers do not pay enough attention to metrorhythmic education. In order to make it easy for students to navigate in rhythm, rhythmic difficulties were not created when reading notes from a sheet, it is advisable to use special rhythmic exercises, isolating and separately working out the ratios of various rhythmic figures. At the initial stage of training, two rhythmic figures are sufficient (half and two quarters, or a quarter and two eighths). Question: if I walk in quarters and you in eighths, how many times faster should you move? Answer: twice. - Let's walk you in eighths, and I in quarters. - And now let's change, I'm the eighth, and you're the fourth. Question: in the last lesson, you and I sang the song “Our Kitten” with words. What are the durations here?

4 Answer: quarter and half. - Have you noticed that the words help you feel the rhythmic pattern of this song? Tap the rhythm by pronouncing rhythmic syllables. - And now let's analyze the Russian folk song "Karavai". Question: What is the size of the song? Answer: 4/4 Question: look carefully at the first bar, what can you say about it? Answer: it has two beats instead of four, which means it's an overbeat. Q: Do you remember what a backbeat is?

5 Answer: In the play, the measure once lived, The very first measure was, But a misfortune happened to him, Tore into two parts. The beat of this beginning, Behind the whole play stood up. And the end of the same measure Climbed into the beginning, became the lead-in. Therefore, now the account is kept in it the other way around. - I will play the accompaniment, and you slap the rhythm of the melody: It is advisable to start directly reading works from sight at the beginning of training with an easier task of reading the melody (playing with claps, voice, etc.). It is also possible to use special exercises: The teacher plays a piece, and the student says the notes aloud:

6 The teacher starts playing the phrase, the student continues it, naming the notes aloud, but maintaining the continuity of the movement. Thus, the ability to carefully follow the notes and “look and hear” ahead is developed. Among the exercises that develop the skill of accelerated perception of the text, the so-called photographing plays an important role. The student is shown a piece of text (motive, phrase, sentence), which he must remember, mentally present in sound and play. At the time of execution, the student reads and memorizes the next fragment. First fragment: Second fragment: It is very useful to use ensemble forms of music-making at all stages of education. Such a game introduces the student to relatively complex sounds that are inaccessible to him in solo performance, disciplines the will, trains attention, helps to feel the rhythmic movement of music. - Now you and I will sight-read an ensemble called "Toy Bear". Try to look ahead, listen carefully to the second part, follow the rhythmic development of the piece.

7 III. Final part The formation of the skill of quick parsing and reading of musical text is closely interconnected with the general musical and pianistic development of the child. The best results of the skill of sight reading are achieved when this skill is formed from the first steps of the pianist's training. Experience shows that even weak students, systematically playing from a sheet, move forward much faster and more confidently. They develop an interest in playing the instrument. The teacher should use all available opportunities to instill in his student a love for sight reading, independent music making. Question: What did you learn in today's lesson? Answer: the third circle of the musical alphabet, got acquainted with new songs. Homework to repeat the first, second and learn the third circle of the musical alphabet, play scales and read from sight. Evaluation of the work done by the student: has the goal of the lesson been achieved (mastering the skills of reading from a sheet?) Have you begun to understand better how to work at home?

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Federal Agency for Culture and Cinematography

Saratov State Conservatory named after

Department of Special Piano

Working programm

"METHOD OF TEACHING THE GAME

ON THE INSTRUMENT"

Specialty 070101

"Instrumental performance" (piano)

Saratov, 2006

The program is designed in accordance with

The work program was developed on the basis of a standard program,

approved by the Ministry of Culture of the USSR, 1977.

Compiled by:

Professor of the Department of Special Piano at the Saratov State Conservatory. , Ph.D. in History of Arts,

Reviewers:

, Candidate of Art History, Professor

, Candidate of Pedagogical Sciences, Associate Professor

Explanatory note

Goals and objectives of the course

Goals of the university course, methods of teaching to play the piano in modern conditions consist in educating a generalist trained to conduct a special class in a music school (college, lyceum), piano classes for vocalists and instrumentalists, concertmaster and chamber classes, methodology, pedagogical practice, for teaching piano in music schools and cultural and educational institutions. This course is designed to provide students with the knowledge, skills and abilities necessary for this work, to form in them an integral system of views on the musical and pedagogical process, to promote the development of interest in pedagogical work, the need to consider it from the standpoint of modern requirements for advanced cultural figures.

The methodology course is successively connected with other disciplines of the pedagogical cycle studied at the university and college, and, without duplicating them, solves the problems of theory and practice of teaching in relation to piano teaching at a higher level. When reading the course, the experience gained by students in a special class is generalized and systematized, and their knowledge in the field of the history and theory of performance and pedagogy, gleaned in the course of the history of piano art, continues to deepen. Particular attention is paid to achieving an organic unity between the course of methodology and the pedagogical practice of students.

Music pedagogy is a complex area of ​​modern culture, where the co-creation, cooperation teacher and students. The proposed forms and methods of organizing the educational process are focused on identifying the independent position of students. The effectiveness of mobile forms of contact between a teacher and students is emphasized, which create a potential field for the manifestation and development of students' personal qualities. Seminars are built using elements of game situations, including preliminary interviews, discussion discussions, control summing up. The system of test questions serves the same purpose, allowing to find out the need and sufficiency of the knowledge gained by students in the learning process. The theoretical information obtained is projected onto a specific composition or onto the process of individual pianists' lessons. The attention of students is directed to the fact that they must learn to operate with modern terms and concepts, introduce them into the practice of performing and pedagogical work.

An effective means of increasing the content of the educational process is the saturation of the lecture course of the methodology elements problematic, problem situations built on contradiction, that is, on the study of “contradiction in the very essence of objects”. This takes into account the fact that students should not be confronted with an unsolvable problem. It is important to find a way to resolve the contradiction between knowledge and ignorance, between the student's individual experience, which may be limited, and theory, which is a general concentrate of knowledge tested by practice, between ordinary and scientific knowledge. As a result, the student's thought is actively involved in the work, he is required to think and reason with the help of existing knowledge in order to come to new knowledge based on the generalization of already known material. As a result, students develop the ability to independently see problems in theory and practice, to be sufficiently prepared to resolve them.

Almost any topic of the methodology course can be presented in opposition to several theoretical positions and views, in the clash of alternative opinions of outstanding musicians-teachers. This form of material presentation encourages students to search for the optimal solution, increases their individual activity in determining the answer. In this case, young specialists are brought up by the very form of presenting information, the richness and ambiguity of the material under consideration. The future teacher should not mindlessly follow the standard and stereotyped path, which can lead to a "dead end" situation. The decisive factor in music pedagogy is individual aspect professional skills training. This statement does not mean a rejection of the general principles of pedagogical art, but highlights a personal profile, a personal approach to the development of students. Generally accepted and positively proven pedagogical attitudes should be refracted through the prism of individuality, the dissimilarity of different students.

This course features a priority style aspect in the musical education of students. Here, the provision on the determining significance of performing activity, which can fruitfully influence the effectiveness of the future pedagogical work of a graduate of a music university, is updated. With the understanding of stylistic guidelines and the stylistic orientation of musical art, the possibilities of understanding and deciphering the compositional methods of musical development, motivation and argumentation in the use of expressive means of performance change qualitatively.

Paying attention to the pedagogical process of educating young musicians, the issues of understanding and reproducing the author's style, working with the author's text, performing reading of musical notation, comparative analysis of editions and interpretations are highlighted so that students can purposefully work on the development of professional skills, while improving their "style education" and general musical level. In some cases, gifted students with artistic intuition feel the peculiarities of the author's style on a subconscious, mental level. As a rule, these are pianists who have broad musical erudition, who know the music of a certain author well, who have “replayed” a sufficient number of his compositions. But such a property of a student's perception of live music is rare. On the contrary, misunderstanding often occurs when the performer thinks that he plays everything that is written in the text, fulfills the tempo, dynamic, articulatory instructions of the author or (more often) the editor and does not understand what questions he may have about the composer's style or style execution. The course of methodology is designed to overcome this misunderstanding and overcome the dependent inertia of thinking of young musicians.

Recently, in the specialized literature, Rol intuitive start in the performing and teaching arts. Indeed, the personal aspect in any kind of creative activity is predestined. Understanding that, on the one hand, the special power of the impact of pedagogical skill lies in the uniqueness of the process, when it seems to those present in the class that the work “comes to life” before their eyes without any special “scientific” efforts, it would be wrong to think that artistic erudition alone , emotionality, intuition and temperament are enough to convey the meaningful meaning of a musical work. It is necessary not only to have serious and thorough knowledge in various areas of artistic creativity, but also to master certain methods, the system of education and upbringing, which makes it possible to optimally resolve issues that arise in the process of performing or pedagogical creativity.

Musical art, due to its direct emotionality and even irrationality, does not allow strict verbal equivalents to be applied to itself. As rightly noted, “music is precisely that “pure case” that is fully designed, first of all, for intuitive comprehension” and “those who communicate with music develop a special “organ” that not only adequately responds to various characteristics of sound, is not only able to decode its language, but can also understand what it says, although this understanding develops on the basis of operating non-conceptual elements» . In this case, intuition is formed in the field of the musician's artistic and imaginative thinking, it is fed by auditory representations, consisting of the memory of traditional and unusual memorable interpretations and the total volume of musical knowledge, is based on the results of one's own creative searches, and is enriched with emotional and psychophysiological impressions.

Working on a piece of music, the teacher communicates with the student, being in a completely different cultural and historical context in relation to the author of the composition. They are oriented to a different system of values, they have a different general artistic and musical education. A work created by the author in one era, but performed in another time, is perceived by a modern musician in a different associative halo. It is hardly appropriate to talk about the identity or adequacy of composer's and performer's positions in the perception of the artistic image of a musical composition in the lessons on the methodology. The objective of the course is to prepare and orient future teachers to the solution of a double problem: transferring the coordinates of the author's style and forming the individual style of the modern pianist.

Analysis and becoming new performing traditions this is also the task of the course of methodology, and therefore of the modern teacher. Working on improving the professional skills of their students, the teacher directs and corrects this process. In a certain sense, it expands the boundaries of understanding the author's text, shows its versatility, reveals more and more new meanings of its existence in the modern world. One of the cardinal tasks of the piano class is that young musicians must bring to the author's text the features of the figurative and semantic context of modern culture and the individual originality of the very manner of performance. As a result, a musical composition created in the distant or near past becomes understandable to the modern listener, enriched with a new layer of information, providing itself with genuine artistic immortality.

The way to the deepest comprehension of a musical composition lies through turning to everything valuable that has been accumulated in the history of understanding music: to urtexts and editions, to various performing readings - “sounding editions”. The predominance of one point of view to create your own interpretation or when working on it with a student in the piano class is unproductive. Undesirable and overly critical negative attitude to the individual desire of outstanding musicians to reflect their own understanding of the problems of the piano work of various composers. There is a real need to supplement the work with knowledge of performing and general cultural traditions of different historical times (“verbal editions”).

to acquire the skills of collective discussion of open lessons;

learn how to work with special literature, abstract, draw up a plan-outline, draw up the necessary documentation;

Forms and types of classes

The methodology course is conducted in the form of lectures and seminars. The first of them are devoted mainly to the consideration of theoretical problems of teaching, the second - to their practical study and solution in the learning process. Open lessons and discussions are used as active forms of learning. Independent types of classes: analysis of the repertoire, abstracting of scientific and methodological literature, drawing up various types of documentation, including repertoire plans depending on the level of development of students, “modeling” the process of classes, drawing up an outline plan, creating your own editions, attending lessons of teachers of the department of special piano

Organization of the current, intermediate and final

knowledge control.

During a year each student is obliged to write a term paper, in which theoretical knowledge should be organically combined with their own performing and pedagogical experience. As topics for abstracts, the following can be recommended: analytical analysis and review of piano-pedagogical literature, methodological works, schools and teaching aids; performing and methodological analysis of a musical work; records of lessons in the class in the specialty with methodological comments and generalizations. In order to determine the strength of students' knowledge, consolidate educational and methodological skills, test the ability to work independently with educational literature, seminars are held on relevant topics. The duration of the seminars is determined by the thematic curriculum. At the request of the teacher or student, the course abstract can be presented in the form of a report and read at one of the seminars.

At the end of the first semester, control lesson, where the teacher gives a "preliminary" assessment based on the activity or passivity of students' work for the six months, which serves as a guide and incentive for students' subsequent work.

Results students' annual work is summed up in the exam. Students answer on an exam ticket, which includes two questions. The first is devoted to the theoretical problem of the course, the second - to the topic related to the practical development of the pedagogical repertoire and methodological literature. When answering the second question, the student must make a performing and methodological analysis of one of the works of the pedagogical repertoire of the music school, music school or university, illustrating what was said by performing fragments of the composition or the whole play.

When deriving the final grade, the quality of work and the degree of student activity in the classroom during the year are taken into account.

The structure of the thematic plan of the academic discipline

Namenova section fishing and topics	student	The number of classroom hours for full-time form of education	self-sufficiency student
		Seminars		Group. Lessons	Well. work
Methodology learning piano

THEMATIC COURSE OUTLINE

in order	Topic name	Number of hours
	Seminars	Independent work of students
	Introduction: piano technique, history and stages of development: the main trends of modern music pedagogy
	Musical ability: general, musical and special (pianistic): psychological properties of the personality, necessary for pianistic activity
	The most important problems of work pianist teacher in children's music school: first lessons: difficulties and features of work with beginners: organization of game movements: and its staging principles
	"Individual piano technique based on sound-creating will" (prodigy complex)
	Open lessons: with a novice pianist, students of junior and senior classes of music school
	Planning the learning process, drawing up individual plans, characteristics: repertoire policy as an important component pedagogical skills: teaching and organizing student homework
	Work on musical work
	performance reading
	Piano technique: artistic thinking and motor form of the pianist
	Classification of types of equipment: scales, arpeggios, octaves, chords, tremolo and trills, jumps: daily technical work pianist
	Discussion: exercise technique as a process of work on achieving performance skills
	E. Timakin "Work on technology" E. Lieberman "Work on technology"
	Forming elements performance skills in the process of working on a piece of music: sound work; ornamentation
	Fingering
	Control lesson on the material covered
	Pedal: meaning and varieties; styles and pedal
	Rhythm, meter, tempo, polyrhythm, agogics, complex rhythms: major rhythmic difficulties and errors, ways to eliminate

Association Children's Brass Band. G.Chertoka

Trumpet Ensemble

"Overtone"

Open Lesson Plan

teacher Doshlov Mikhail Rudolfovich

(Group 3, 4 years of study)

Topic: Work on plays.

Target: Work on musical text, strokes and dynamics.

Tasks:

I.Educational tasks:

1. Study the form and nature of the work.
2. Study the phrasing in the work, breathing in phrases.
3. The use of pure sound in the ensemble.
4. Explore the strokes and dynamic shades of a piece of music.

II. Development tasks:

1. To promote the development of cognitive interest in the subject.
2. Learn to analyze, compare, explain concepts.
3. Promote the development of memory.
4. Help develop independence.

III. Educational tasks:

1. To instill in students respect for elders, teachers and their peers.

2. Strengthen such personality traits as: perseverance, diligence, self-discipline.

Methodological equipment of the lesson:

• orchestra class;
• musical instruments,
• musical material;
• stave board
• tuning fork, tuner

Teaching methods:

Verbal, practical, illustration, problem situation.

Lesson type: complex application of knowledge and skills.

Lesson progress:

1. Organizational moment:

Greetings;

Checking the readiness of students for the lesson;

Communicating the lesson plan to students.

2. Learning new material:

Enharmonism in music

3. Consolidation of the material covered:

The ability to intonate as part of an ensemble

Ability to play at a given pace

Ability to perform strokes and dynamics in a work

4.Practical work.

Simultaneous sound start

Breath by phrase

Development of dynamic shades in sound science

1. Work on the musical scale

Building a chord

The concept of consonance and dissonance

Achieving accurate intonation when performing a piece of music

Change in the tension of the lips and breath, which partially raises and lowers the sound

1. Fizkultminutka.

1. Work on a piece of music: O. Langle "Duet" part 1

Introductory message of the teacher about the piece of music.

Analysis of games

Analysis of rhythmic patterns

Coherence of performance (ensemble)

Joint performance of a work

eight . Summing up the lesson:

Message from the teacher about the achievement of the objectives of the lesson;

Objective evaluation of the results of collective and individual work of students;

9. Briefing on homework.

Literature to prepare for the lesson:

• "School of Playing for Brass Band". Compiled by: N.M.Mikhailov, E.S.Aksenov, V.M.Khalilov, S.A.Surovtsev, D.A. Braslavsky.
• B. Dikov "On working on scales" Methods of teaching to play the wind instruments. Music 1966
• V. Popov “Winds. On intonation (and not only) in the orchestra.
• Dikov B. Teaching methods for playing wind instruments. M.: Music, 1973
• Levin S. Wind instruments in the history of musical culture. L.: Music, 1973
• Usov Yu. History of domestic performance on wind instruments. M.: Music, 1986