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.

Images of the harmonic languages ​​of music

(plan - summary of the integrated lesson on the subject "Solfeggio".

Age of participants - 5th grade, 10-12 years old)

Dutova O.A.

additional education teacher

MOU DOD "DSHI r.p. Thelma

R. p. Telma, Usolsky district, Irkutsk region

Lesson outline

Teacher: Dutova Olga Anatolievna

Subject: solfeggio

Lesson topic: Emotional-figurative perception of harmonic language in solfeggio lessons.

Conduct form: collective

Lesson type: lesson to improve knowledge and skills

The purpose of the lesson: Show different methods of working on the development of harmonic hearing in solfeggio lessons through emotional and figurative perception.

Tasks:

Educational:

Consolidation of knowledge about the theoretical rules for building chords;

Acquaintance with the basic laws of the harmonic language;

Mastering the skill of competent recording of chords;

Mastering the ability to carry out harmonic analysis of musical text;

Mastering the skills of genre variation;

Formation of initial skills of vocal improvisation;

Strengthening the ability to conduct auditory analysis.

Developing:

- development of musical memory, attention, imagination;

Development of internal, harmonic hearing.

Educational:

- development of a communicative culture of behavior and communication;

Education of emotional responsiveness.

Methods:

- visual-figurative;

- verbal;

- analytical;

- explanatory and illustrative;

- problematic - search.

Implemented pedagogical technologies:

Person-oriented (developing education);

Information and communication;

Subject-oriented;

Group activity.

Equipment: piano; board with magnets.

Visual aids: Colored cards depicting the King, Queen, Princess and courtiers.

Handout:

Cards with chord designations (T53, T6, T64; S53, S6, S64; D53, D6, D64) number of sets by the number of students;

Cards - notes;

Album sheets in A3 format with the image of a musical staff and a treble clef according to the number of students;

Poetry sheets for each student.

Note material:

Lesson Plan

1. Organizational moment. Greeting, the message of the title of the topic and the purpose of the lesson.

2. Main body

Conversation about harmony.

Intonation tuning in D major.

Repetition of the basic laws of the harmonic language, the definition of the "color" of chords.

Harmonic analysis of musical text.

Playing a chord chain in another genre - in the polka genre.

Auditory work and recording of the chord chain by ear.

Vocal improvisation on a chord chain.

3. Final part

Summing up: formulation of the conclusion, grading.

Homework formulation - composing a melody for a given chord sequence in different genres: polka, waltz, march.

Reflection of students.

Lesson summary

There are visuals on the board.

Teacher:

Hello guys! Today we are going on a fabulous journey. In the vast country of Music there is a large Kingdom of Harmony. I wonder who lives in this kingdom? Let's remember what harmony is?

Students:

These are chords, chord progression, chord chains.

Teacher:

What is a chord?

Students:

A chord is a combination of three or more sounds.

Teacher:

Guys, what chords do you know?

Students:

Triad, seventh chord, second chord:

Teacher:

The Kingdom of Harmony is big, today we will be transported to the Castle of Three-Sound Chords. Remember what chords of three sounds you know?

Students:

Triad, sixth chord and quarter-sextchord.

Teacher:

We open the heavy door of the castle and immediately see the announcement: "Today the Day of D major is announced in the Castle of Three-Sound Chords."

So, we tune in, sing the main triads in D major.

The guys sing, the teacher attaches cards on the board with the name of the chords T53, S 53 D 53

Teacher:

So, the Tonic triad is the King, he is the ruler, he is strong, confident, the most important. The dominant triad is the Queen, she obeys only the King. The subdominant triad is the Princess, she obeys both the king and the queen. And now we sing the triads of the side steps and immediately determine the "color" of the triads.

Pupils sing and determine the "paint": II53 - minor, III53 - minor, VI53 - minor, VII53 - reduced.

The teacher on the board attach cards with the names of chords under the images of the courtiers. Together with the children, they select cards for triads of II, III, VI, VII steps.

Teacher:

So, the whole kingdom is assembled. However, triads can be used not only in the main form, but also in the form of sixth and fourth-sext chords (attaches inscriptions to the board). We must remember that you need to combine chords in a certain order: observe smooth voice leading and exclude the move

D - S. Guys, let's repeat, what is smooth voice leading?

Students:

Common chord sounds remain in place.

Teacher:

And now let's see in what order the King, the Queen and the courtiers of the castle of Three-sound chords lined up in front of us. Let's do a Harmonic Analysis - the definition of the chords of the second half of the period in the Sonatina in D major, composer Pleyel.

One student comes out to play the instrument.

Teacher:

Guys, according to the musical notation, we sign each chord, we find cadence turnover(definition hangs on the board)

The students complete the task.

Teacher:

Where is the cadence revolution used and what chords does it consist of?

Students:

The cadence turnover is used to complete the entire musical work, its parts or a separate period.

The cadence consists of T-S-D-T or T-S-T-D-T.

The teacher together with the children check the correctness of the harmonic analysis.

Teacher:

Okay guys, now let's move on to the next task. Now we need to play this polka chord progression.

The student plays a signed polka chord chain.

Teacher:

And now the auditory work. It is necessary to write down the chord chain in D major by ear.

The teacher plays a chord progression

T53 - D6 - VI53 - III6 - S53 - K64 - D6 - T53

Teacher:

Guys, I play, and you show and then write down the note that is in the bass and the notation of the chords. Then we decipher, paint all the chords with notes and sing according to the voices, then the three-voice.

Students by ear determine the note that is in the bass, show it on the cards, then write down the bass and the notation of the chords, then build the chords. One student goes to the blackboard and completes the task.

Teacher:

Guys are great. You have successfully completed the task. The next task will be this: We need to play this sequence of chords in the waltz genre, and we will try to compose a melody for it. Before you is a poem, mentally, to yourself, with your inner ear, sing a melody to a given chord progression.

One student plays, the rest sing inaudibly - to themselves.

Poetry

Up and down where the air is clean
A yellow leaf is falling.
In an old castle, by candlelight,
The pianist is playing.

Teacher:

Who would like to show what happened?

One student plays, the other sings.

Teacher:

With this interesting vocal improvisation, we will say goodbye to the Kingdom of Harmony. Homework today will be as follows: to compose an instrumental melody in different genres for this chord sequence: polka, waltz, march and write it down in a notebook.

This concludes our lesson. Guys, let's make a conclusion about what we did today in the lesson (there is a conversation about the methods of developing harmonic hearing that we used in the lesson). Thus, it can be said. That the goal of today's lesson has been achieved, the tasks have been completed.

Thanks to all. Goodbye.

List of sources of information and illustrations:

Literature:

1. Belaya N.V. Music notation: elementary music theory - games in the lessons, part 1 - St. Petersburg: Composer, 1999 - 42 p.

2. Oskolova E.L. Solfeggio, part 1 - M .: Vlados, 2002.- 208C.

3. Fridkin G. A practical guide to musical literacy - M .: Music. 1981.- 271C.

4. Frolova Yu. Solfeggio Grade 5 - Rostov - on - Don: phoenix, 2033.- 111C.

Websites on the Internet:

1. http://www.all-2music.com/solfedgio_forms_ryzhkov.html

3. http://www.shatkovsky.ru/urok_solfedjio.htm

Illustrations:

1. http://images.yandex.ru/yandsearch?text

2. http://vasenka-garasenka.forum2x2.ru/t93-topic

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 theoreticians 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.

I even understand why people write music without being interested in notes at all. There are many such arrangers. This is a ubiquitous problem, on any music portals there are people who write notes at random ... no idea chords, harmony and musical notation. They say, "Nooo, sheet music is not for me." The whole problem is that harmony - och. complex science. Many children graduate from music school without a clear understanding of harmony. Fat tutorials will not save the situation either - because. they scare away with their lyrics, everything seems very complicated.
In fact, everything is much simpler! You can get acquainted with musical harmony and learn how to add chords by reading one of my lessons.. It is enough to read this lesson to write music at the level of world hits! After all, if you look into the hit parade - there are compositions made up of 3-4 chords. Nothing complicated.

Musical notation- the science that teaches musical notation. But I think if you write electronic computer music, then the stave, scores, treble clef, ... - all this is not needed ... FL Studio does not use the stave and musical notation in its classical form, everything is much simpler there!
In this lesson I will write how to create harmony in music, I will write in simple, understandable words, with understandable pictures for example - this will be our musical notation :)

The purpose of the lesson: To show successful combinations of chords. Musical harmony is easy!

Now we will learn harmony for 3 steps :)

Step 1. The first thing you need to get acquainted with is the concepts of Minor and Major. Those. we just need to understand how they are designated.
A is an A major chord.
Am is an A minor chord.
B is B major.
bm is B minor.
C— C major
cm— C minor
In Fruity Loops they will look like this (see picture below)

If you have noticed, minor the middle note is slightly lower than major- and this is the only difference.

For the curious, I’ll tell you the designation of such an icon # - this is a sharp (the same note, only a semitone higher).
But now we will learn harmony based on the key of A-minor, which means that we will not touch the black keys (and any sharps) (except for rare exceptions, more on that later).

Step 2.
Key in A minor uses only white keys from Piano-roll, so look at our first picture (Figure 1), it means
chord
A(A major) does not suit us - it uses the black C# key.
Chord Am(A minor) uses only the white keys A, C, E - so it fits.
chords B and bm do not fit at all, because they have the third note F# (black).
Chord FROM(C-major) - fits, it's all visible from the picture.

In order not to suffer for a long time, I can say right away, here are the chords that we will use:
Am, C, Dm, Em, E, F, G.
Only 7 chords! :) God, how simple it is!!!

If you are a beginner, use only 6 chords: Am, C, Dm, Em, F, G (that's enough to write Hit on white keys! :))

All of these chords only use the white keys in piano-roll, but there is an exception...
It's a chord E (E major) - it consists of the notes Mi, Sol-sharp, Si. (in piano-roll these are notes: E G# B), but never uses the note G (white key).
Why?
The secret lies, probably, somewhere in the east... Because it is in oriental music, Arabic music, Indian music that the tonality is slightly different from Western European, by one note. Try playing an E major chord on the keyboard, these are the notes: Mi, Fa, Sol-sharp, La, Si. See the picture below.

100% you will feel some oriental motive!

Teaching harmony online lesson - the whole point on one page

And last 3rd step.
I will write right away good chord combinations, everything has long been invented, and there is no need to reinvent the wheel.
Write down these successful chord progressions for yourself, and use them to write competent music.

Am-Dm-Em-Am
Am-F-Dm-Em
Am-C-Dm-G
Am-Dm-C-G
Am-F-G-Am
Am-G-F-Em
Am-F-C-G

Am-Am-Dm-E
Am-F-Dm-E
Am-Am-F-E
Am-G-F-E
Am-F-C-E

We create our track from scratch.
And in club music everything is much more primitive, there is music for 2 chords and such combinations are popular:

Am-Am-Am-G
Am-Am-Am-E
Am-Am-Em-Em

And it's far Not all good chord progressions. I wrote the most-most successful in my opinion.
Later, you can add to this list your favorite chord combinations. But even these are enough to write a hundred musical super hits)

Now let's consolidate the material covered with a clear example in pictures. For example me create harmony on chords Am-Dm-Em-Am (see picture).

Everything is done right
chord Am- bottom note A5
chord Dm- bottom note D5
chord Em- bottom note E5

But it is not necessary to line up the chords so evenly.
If you want to avoid such sharp jumps in harmony up / down, you can make the transitions smoother. To do this, we will move a few notes up an octave (see the figure below).

In the second Dm chord, we moved 2 notes up (an octave). From the fact that we moved the note D5 to D6, and the note F5 to F6 - chord hasn't changed, it's still a Dm (D minor) chord.
Those. it is important to understand that the combination of D-F-La is a D minor chord, but the combination of F-La-Re or A-Re-F is also a D minor chord and it also sounds good and harmonious!

Download this FL track and you can hear how these chords sound. And see how they are built.

This lesson reveals fundamentals of musical harmony and just on one page. Bookmark this page, you can still come in handy if you forget something.
Write comments, and you can also share links to your tracks created for this lesson ... and we will listen, rate and give advice.