In the first lesson of the Recorder for Beginners tutorial, we covered the basics of the recorder in detail and you are ready to grab your recorder and kick it. Commendable! And, before taking the recorder in hand, let's number the fingers on the hands.
We will not do anything supernatural. There will still be ten fingers on the hands.
But we will give them numbers as in the figure:
numbering of fingers for location on the pipe
On the Svirelka website, we will adhere to this numbering of fingers, because the Svirelka is suitable for learning to play different longitudinal flutes. And in playing these flutes, a different number of fingers are involved. The recorder, for example, is played with nine fingers - the little finger of the left hand (fifth finger) does not participate in the game. On a chromatic nozzle, all ten fingers are involved. In general, we numbered the fingers and now we take the recorder in our hands.
Recorder for beginners. Hand position
The left hand is located on top, the right hand is below (unless otherwise indicated, then we take all longitudinal flutes like this):
hands on recorder
We place our fingers on the recorder:
- With the first finger, close the only hole at the bottom of the recorder.
- The second, third and fourth fingers are located on the top three holes.
- The fifth finger rests whenever you play the recorder.
- The sixth finger supports the recorder from below. Although he didn’t get the holes, but without him the recorder would have an unstable position or, in general, would have fallen out of his hands ...
- The seventh, eighth, ninth and tenth fingers cover the remaining four holes of the recorder.
On some recorders, the bottom two holes are doubled. That is, instead of one hole for the ninth and tenth fingers, two holes of different diameters are made. That's good! We tightly close them all as shown in the figure:
position of fingers on the recorder
Pay attention to the position of the elbows. We spread our elbows to the sides, do not press them, we take them away from the body so that you can freely move your arms when playing the recorder.
Now important information for the "recorder for beginners" section!
Close the holes on the recorder with pads slightly bent fingers. No need to put your fingers in "hammers" like on the keys of a piano. On the recorder, the fingers are straightened. So stretch your fingers! And no tension. Keep your fingers free. The main thing is the complete closure of the hole. If the hole is not closed tightly with your finger, air will enter the hole and the sound of the recorder will change. You will hear this immediately. By the way, even if you put pressure on the holes of the recorder with all the dope, but at the same time the holes are not completely closed, the game will not work. Therefore, reread this paragraph again and understand - we hold our fingers freely, bend a little and tightly close the note holes of the recorder with “pads”.
There is no difficulty in closing the holes on the pipe.
All you need is a workout. Coordination of breathing and fingers training. Breathing is smooth, the fingers are slightly bent (straightened) tightly close the holes without tension. At the moments when the fingers close or open the holes, the breath stops. Otherwise, the notes will be smeared. There will be a nasty hissing / whistling sound.
Actually, it's longer to explain. At the first lesson of our tutorial, a video was shown where you could see the correct position of the fingers of a young recorder. Now look how a professional recorder does it. Watch the entry until the end. She is short. All attention is on the recorder's fingers and on his mouth. See how he places his fingers and how he inhales air during pauses:
If you understand how to put your fingers on the recorder correctly, put a like:
Pick up a pipe and start practicing. From the simplest melodies. "Svirelka" is simply irreplaceable here.
And remember that the fingers on the recorder are placed like this:
fingers on recorder hole
On the recorder, on the sopilka, on the flute and on other longitudinal flutes, we put our fingers like this!
Notice the thumbs. If they are located on the note holes of the recorder, then they are also placed directly (at an angle of 45 degrees), and not with a “hammer”. Hammer on the recorder, it's always a marriage in the game!
Without exception, all professional musicians play scales. Is always. And so do you. Even when you feel like you're perfect at the recorder, keep playing the scales. Both diatonic and chromatic. Necessarily!
Lesson summary recorder for beginners»:
1. Fingers are freely positioned with pads on the holes of the recorder, completely covering them.
2. Regularly (better every day) play scales, even if it seems to you that recorder for beginners it's a past stage. Notes of scales can be found on the Svirelka website.
| For the most impatient who want to play the recorder, immediately watch the lesson from the "Music for All" project from Yakutia. This lesson shows you how to hold a recorder and make musical sounds from it. Lesson taught by Lena: Thanks Lena! We are waiting for new lessons!Please note that in the video, the fingers that do not cover the holes on the recorder are strongly raised above the instrument. Here it is quite acceptable to better see the position of those fingers that are involved in the game. You, while learning and in the future when playing, must adhere to the method - the fingers are located above their holes and are only slightly raised above them. And yet, the video shows the first notes on the recorder. This is a little ahead of our tutorial, but it is perfectly acceptable for you to try playing them. They are simple. You will succeed! |
Now we begin to extract the first sounds from the recorder.
Go to page:
Lesson 3
Musical pause.
Petya is 4 years old. Look for inspiration. Recorder for beginners:
Go to page:
Lesson 3
Recorder for beginners
Leave your comment:
Lesson 2 : 19 comments
- Natalia
Hello, please advise the model of the instrument for a girl, left-handed, 7 years old, just starting
- Dmitry
I would like to learn how to play wind instruments, at least at the level of a beginner.
Didn't know how to get on. The self-instruction manual for beginners that's it! - Basil
Do you have a similar program for learning the Pan flute?
- Olga
We started using the program.
In general, a child (6 years old) is learning to play, and at the same time I (mother). We play the soprano recorder (not baroque) if I'm not confusing anything.
I really liked the program, at first the child just played the notes, then at a slow pace they turned on the performance in the program, now we are honing our skills and gradually increasing the pace. Very, very cool.
The history of the creation of the instrument.
The flute is one of the oldest wind instruments. In ancient times, the term "flute" meant most wind instruments, but almost all of these instruments were not related to the flute that we see today. A less distant predecessor of the "flute with a tip" (longitudinal flute) was a flageolet - a simple pipe with a small number of valves.
There is an assumption that the birthplace of the transverse flute is Asia. In the Middle Ages, the flute penetrated the west, where it spread everywhere. Initially, it was in the form of a piece of reed, equipped with six sound holes and one for blowing.
In this form, it is very popular in Germany, where it is gradually being transformed and in all European languages it is called the "German flute". The flute gains fame as a concert independent instrument in France, where local musicians turn it into a truly orchestral instrument along with a straight flute.
The old German flute had a rather impressive volume, covering with all the chromatic gaps two and a half octaves - from D first to third. The lowest sound of this flute was obtained by shaking the entire air column contained in the instrument's tube, while all subsequent ones, within the lower chromatic octave, were formed by gradually shortening it. Thus, all the sounds that were part of the D-major diatonic scale corresponded to the main holes or holes of the old German flute, and all intermediate (chromatic) steps were obtained using a forked or "forked grip". With this method of extracting sound, these intermediate steps did not come out very clean, and soon separate holes were made for them, covered with valves.
The new basis for the device of the flute was first developed by William Gordon (1791-1839), a Scot, officer of the Swiss guard of the French king Charles 10. After the overthrow of the king and the dissolution of the guard, Gordon devoted himself entirely to improving the flute, but did not have time to bring his idea to completion.
Theobald Boehm (1794-1881) took advantage of his work. In 1832 he designed a conical flute with open valves. This instrument model was successful in France and England, but was still not perfect. Constant experimentation led to the creation in 1847 of the cylindrical structure of the flute, which is still used today. Bem also developed a valve system, achieved an improvement in the sound quality of the instrument, and expanded the range. Now the flute began to sound within 3 octaves.
Approximately in the same form, the flute exists to this day.
First flute lessons. The setting of the executive apparatus.
The modern flute consists of three parts:
- the upper part is called the "head";
- middle - "body";
- lower - "knee".
The flute ranges from do(c) or si(h) of the first octave to do(c) of the fourth, experienced flute players can play notes up to mi(e) of the fourth octave, but they are quite difficult to play and have a sharp, piercing sound.
Currently, the flute is one of the most common wind instruments, especially popular among children and parents. Now children start playing the flute quite early, at the age of 7-10 years. During these years, the child's body is still weak and not formed, has not strengthened the muscular system. Therefore, it is very important to treat the first steps of the child on the flute with special care and attention.
The respiratory muscles, lips, tongue, fingers, taken by themselves, are not yet a performing apparatus. They become such only as a result of mastering performing skills. To do this, they must unite into a single complex called the propulsion apparatus. The motor apparatus is an instrument of human consciousness, its continuation. It is impossible to fully develop the performing qualities of the motor apparatus without developing, first of all, the musical thinking of the performer himself.
The performing apparatus is a system of the corresponding motor organs of a person, equipped with performing skills and being a functional organ of musical consciousness. The executive apparatus consists of the following components:
- Musical thinking.
- Auditory and motor sensations.
- Propulsion apparatus.
- Performing breath.
- Lip work.
- Language articulation.
- Finger coordination.
The main task of the teacher is to lead a small student into the world of music and introduce him to the instrument so that the child does not experience discomfort, stiffness and inconvenience. It is very important not to forget the main rule that Peter-Lukas Graf wrote about: “The flute is only one part of your instrument. When you play the flute, your body is also involved (respiratory organs, lips, tongue, throat, hands).”
So, how to approach the extraction of the first sound?
The performer's body is as important an instrument as the flute. That is what defines the right, beautiful sound. The position of the body, breathing and ear pads - all together are responsible for good sound extraction.
Before extracting the sound, it is necessary to prepare the body for the lesson. For the proper functioning of the performing apparatus, you need to make sure that the weight is distributed evenly on both legs, the back is straight. Even posture should be kept under special control, stoop interferes with proper breathing, leads to constriction. It is difficult for a small child to control his body; when playing an instrument, you can straighten your spine, leaning your back against the wall.
The correct position of the body is the most important condition for good breath control, it is the basis of correct setting, it has a great influence on all areas of sound production.
In order for the shoulders, arms and breathing to remain free, you need to follow a few rules:
- The legs should be shoulder-width apart, but in such a way that the left leg is slightly forward.
- The gaze should be directed in front of you.
- The head is freely balanced on the spine.
- The neck is free.
- The knees are slightly springy.
The main thing is that the child's body is in a natural position.
Before giving a child an instrument, you need to explain to him the principles of breathing, do a few exercises, since control over a uniform air flow is very important for proper sound extraction.
When playing all wind instruments, the performer must use chest-abdominal (mixed) breathing. Only with mixed breathing is it possible to maximize the use of all respiratory muscles that contribute to the implementation of a full, deep breath and a long, actively controlled exhalation, which is one of the main conditions in the formation and conduct of sound. Improper muscle work affects the sound and its conduct. The external intercostal muscles and the diaphragm are involved in the performing breath. Learning to control breathing should first be done without an instrument.
Y. Dolzhikov. Methodology. 1. Technique of performing breathing. Publishing house "DEKA-VS". Moscow 2004.
First of all, you need to learn how to breathe in three steps: putting your hand on your stomach, fill the lower part of the lungs, feeling how the abdominal muscles repel it. Then fill the middle part with air, expanding the ribs. And finally, fill the upper part of the lungs, pushing forward the upper part of the chest. In this case, you need to ensure that the shoulders do not rise. The child must learn to take such a breath slowly and continuously, feeling how the air is evenly distributed in all parts of the lungs.
To make the principles of breathing more understandable to a small student, you need to pay a lot of attention not only to the correct inhalation, but also to exhalation. A long, prolonged exhalation should be mastered in visual exercises that allow you to control the air stream. Here is some of them:
- Put a piece of cotton wool on the table and blow on it so that it moves around the table in different directions. This will require different air energy each time.
- Exhale all the air completely, wait a few seconds until the body itself tells you to inhale. Inhalation should be slow, as described above. Then exhale slowly, listening for the sound of the air to be even.
- Take a deep breath and hold the air in your lungs for a few seconds. Then, folding your lips as if for a whistle (pronouncing the letter “u”), forcefully release a stream of air onto your palm without puffing out your cheeks. The palm is needed in order to feel the blown air stream, to control its uniformity.
- Taking a thin paper handkerchief, attach it to the wall. Also take a deep breath and fold your lips for a whistle to blow on the handkerchief so that the air stream keeps the handkerchief against the wall for as long as possible.
Similar sensations await the child while playing the flute.
After mastering the setting of the body and the basics of chest breathing, you should start setting up the embouchure.
Blowing on a paper handkerchief, we have thus already begun to prepare the ear pads.
The lips are the most important performing organ when playing the flute. The timbre of the instrument, fullness, and depth of sound depend on the correct setting of the embouchure.
Immediately before extracting the first sounds, it is necessary to explain to the student how to properly form an air stream of air.
One of the main tasks of the embouchure is to create such a gap in the lips through which air would effectively enter the flute. Here are a few simple rules to follow for proper sound extraction:
- The jaw should be slightly lowered at the distance of the bitten little finger.
- The lips pronounce the letter "u", while they fold into a small trunk, as it were.
- The upper lip directs the air stream to the outer edge of the inlet.
- Lips are free, touch the instrument easily.
The jet of air should resemble a jet blown from a straw. As an illustrative example, you can invite the student to blow through a straw on his hand, and then, with the same sensations, blow without it.
The movement of the lower jaw can change the direction of the air stream, but the gap in the lips must retain its shape.
You can invite the child to blow on his hand, changing the direction of the jet (up, down). In this case, you need to control the uniform flow of air.
Finally, we got to the sound extraction itself.
In no case should a student be given a whole instrument at once. The child may become confused, it will be very difficult for him to control all his sensations, and to follow the correct position of the body, hands, lips and performing breathing.
The head, or rather the inner edge of the opening of the "sponges" is applied to the so-called line between the chin and the lip. The hole should be in the middle of the lip, that is, under the tip of the nose. The hole should be about 1/3 closed and 2/3 left open to fill with air coming out of the inlet.
After all the preparations outlined above, you should try to make a sound on the head. Using the correct inhalation and exhalation, you should try to make a long, even sound. As a rule, not everyone succeeds in extracting the first sound the first time, sometimes it takes several lessons.
To play on the head and learn to make clear sounds, it was more fun for the child, you can add elements of the game to the lesson. For example, if you tap the opening of the tube with your index finger, you can imitate the "cry of an Indian." And if you move your finger inside the tube, you can change the pitch of the sound, an imitation of a siren will occur, or if you completely close the hole of the tube with the palm of your right hand, you will get a low dull sound.
Only after the child has mastered all the above techniques, and playing the flute head will be easy for him, and the sound will be clear, without a spike, you can proceed to articulation.
The most famous and widespread syllables of articulation in performing practice are: tu, ta, te, ti, du, yes, du, de. At the initial stage, it is better to use the one and the other. You can learn to play simple songs on one sound (for example, “Andrew is a sparrow”), or by changing the pitch with your palm, play songs on two sounds (for example, “Cuckoo”).
After the child has mastered all of the above, you can start practicing on a whole, assembled flute.
So that the student can control the basics of correct staging, it is better to practice in front of a mirror.
The main principle of the correct position of the hands during the game is based on balance. In order for the student's body not to be clamped, arms, elbows, shoulders and lips to remain free, one must remember about the reference points of the flute (the places on which the flute rests).
The main reference point is the index finger of the left hand. The correct position of the finger and setting of the hand will allow you to rationally distribute the power of the left hand to support the flute.
The index finger should look like the English letter "S" and substituted slightly under the flute, it should be leaning against the body of the flute with its side, not the inside.
The thumb of the left hand is freely extended, the other fingers of the left hand are rounded, and are in close proximity to the valves.
The next reference point is the thumb of the right hand. It should be in a straight position approximately under the index finger, while it should be placed slightly behind the flute tube. The function of the thumb is to support the flute from below. The remaining fingers of the right hand should be slightly rounded and close to the valves. When setting hands, the main task of the teacher is to ensure that the student does not press his fingers on the valves and does not pinch his hands. Finding a good and comfortable hand position in the early stages of flute practice is not an easy task. Only when the position of the body, head, neck and hands are in balance will the flute not slip off the chin and the fingers will remain free.
Now you can gradually learn the notes and songs. The main thing is to continue working on strengthening breathing, embouchure and developing finger fluency. At the initial stage of training, you should not rush to complicate the material being studied, the load should be within the power of a small student.
Playing a wind instrument requires good coordination, simultaneous work of breathing, tongue, fingers, embouchure.
You also need to be physically fit to use the instrument. To make classes more productive, the child needs to engage in physical education. The swimming pool is very suitable for the development of the respiratory organs, muscles and posture.
From the point of view of training, the work of the executive apparatus is as follows:
- The teacher, in the course of classes, achieves purposeful movements from the student, based on his own ideas about the nature of the sound of the instrument and the muscle efforts associated with it. A complex skill is formed from auditory and muscle sensations, deposited in memory, the skill is converted into a representation.
- Figurative perception (visual or auditory) calls from memory the corresponding representation, which calls to action the formed skill - the sound is extracted.
- There is an auditory and motor analysis of the extracted sound and, on its basis, the necessary adjustment of the skill.
In other words, you must first imagine the note or sequence being played, then carefully prepare the performing apparatus and find the appropriate playing sensations. Only then does it have an objective opportunity to extract the controlled sound or sequence.
The work and development of the executive apparatus is possible only as a whole. Accurate intonation, freedom and melodiousness of sound are natural criteria for its correct operation.
Lessons with young students, their first acquaintance with the instrument, the first steps should be interesting and exciting. In order for the work on the initial statement to proceed successfully, the teacher must interest the student, captivate, not lose the main thing for the little things, know the path along which he must lead the student. So, it is necessary not only to imagine the end result, but also to know firmly how to achieve this.
Used Books:
- Rogal-Livitsky "Modern Orchestra".
- Peter-Lukas Graf "20 Basic Exercises".
- Yuri Dolzhikov "Flutist's music folder. Notebook 1. Methodology, exercises, studies.
- Barbara Giesler-Haase "The Magic Flute" - a technique for beginners.
) we talked about scales in general. Today I want to specifically address the issue of working on gamma - how to work with it in order to achieve your goals. As you remember, the main ones are evenness, clarity and fluency. But, first, let's figure out which scales will be "pioneers" in your musical life as a pianist. In school programs, the first is the study of the C major scale. It holds the lead due to the lack of signs - that is, it is played on white keys. However, despite the imaginary simplicity, the scale is not very convenient pianistically. There is such a thing as the "Chopin formula", according to which the scale of B major provides the most convenient hand position. If you place your fingers, starting from its subdominant - mi-fa#-sol#-la#-si, then the hand acquires the most natural position - the levers (1 and 5 fingers) are lowered - they lie on the white keys; and the middle fingers form a natural dome. To confirm this thesis, I would like to quote the words of the famous Russian pianist and teacher Lev Oborin: “The hand feels most natural when the first and fifth fingers lie on the white keys, and the second, third and fourth fingers on the black keys. This position, once recommended by Chopin, is the most practical for developing a natural hand position. Having mastered it, you can move on to less convenient positions ... "
So, for starters, you can practice on this Chopin formula, playing it lightly non-legato with the participation of the brush. When the formula is mastered, we begin to study the entire scale of B major, and then move on to the rest of the scales.
You can choose a different order for studying scales - by fifths: Do - Sol - Re - La - Mi, etc. What this method gives is the study of the tonal system of music. Having worked through all the scales in a circle of fifths, you will understand all the keys and consolidate the theory with practice.
You can also play the scale in which the work being learned is written. Here, the advantage is that the characters in the scale are already known, and the fingers themselves will fall on the desired keys. And if the work contains scale-like passages, then the more the scale will be appropriate and useful at this stage.
I want to note that in tandem with a major, a parallel minor is played, that is, one that lies a minor third below it.
Now, let's talk about the technical difficulties in scales.
The first thing you need to pay attention to is the fingering. Correctly learned sequence of fingers is the key to fast and even play. I have already outlined all the principles of fingering in a previous article. In the same article, you will also find the types of scales that need to be played. But in order to move on to them, first you need to learn the main view well, because this is the skeleton for all types.
The most problematic moment is, as you already know, putting the first finger. Here I want to turn to the psychological attitude of the Russian pianist and teacher G. G. Neuhaus: “the concept of putting the first finger under the hand” should be replaced with “a more viable and natural concept of shifting the hand over the first finger.” After all, it is psychologically easier to move your hand through the first finger than to put it under the palm of your hand ...
And here is the exercise he recommends: when playing the C major scale, we stop at the sound of mi, keeping the key in the lowered position. The next sound - Fa - is played alternately with the fourth and first fingers. A similar stop at the 7th step (si), after which the next si do is played either with the fifth or with the first fingers:
Another exercise that G. G. Neuhaus advises is to isolate in the scale scale only those sounds that have to be underlay:
Another teacher and pianist V. Safonov offers the following variant of working on this problem: taking the traditional five-finger exercise, play it not with all fingers in a row, but by successively moving the thumb:
This exercise will help to achieve independence and coordination of the fingers and learn how to carry out laying and shifting.
You can try fingering variations - play the whole scale 1-2,1-2; 1-3,1-3, and 1-4,1-4.
It is important to keep an eye on your hand while laying. Very often, the elbow and the entire forearm are too “turned out” along with the first finger. This must be avoided, and to ensure that the forearm and elbow seem to draw a straight line, without kinks and bends.
In order to coordinate the work of both hands, as well as for rhythmic clarity, I recommend doing accents of four sounds in a scale of four octaves, moreover, in all forms. But, the accent should not turn into a loud knock, standing still, and ending any forward movement. The accent, both in the scale and in any work, is the place from which you need to push off in order to move. Here the accent is performed with a wave of the finger, at a moderate volume.
Embracing movements also play an important role. Imagine that your forearm is a train, and your fingers are people who missed it. These images clearly explain the movements that should be present in the game of scales: The whole hand draws a line and goes ahead of the fingers, that is, the fingers obey the hand. Dynamics can help this movement. Here it is simple: up - crescendo, down - diminuendo. You can imagine the same train that travels from afar, caught up with you and left. Thus, you will kill two birds with one stone - and the movements will appear, and the gamma will become bright and interesting.
To understand the rhythmic clarity and dynamic brightness, play the scale with different rhythmic formulas - triplets, dotted rhythm, syncopations; and in different dynamic gradations - from pianissimo to fortissimo. And playing at different paces will allow you to avoid dull flirting, and at the same time determine your technical limit.
A separate layer in the game of scales is occupied by arpeggios. Here the tasks are the same, but the technical problems are different. But we will talk about this in the next article.
When copying, reprinting the material or part of it, an active hyperlink at the beginning and at the end of the article to the site http: // site is required.
I will never forget bringing home my first recorder. Already wrote about how pereklinilo buy it.
The first thing I encountered was the question: How to play it?
In films and cartoons, a person blows a pipe and alternately closes the holes on the body.
In life, everything is just as simple, but a little different.
1. How to hold the recorder while playing
All tutorials, websites, etc. agree that you need to blow while standing, holding the recorder at an angle of 45 degrees to the ground.
The reason here is not only convenience. The sound of the recorder does not come from the far end, but from the mouthpiece (the hole near the mouth) at approximately the same 45 degrees.
45 + 45 = 90
Those. sound in this position propagates forward from you to the listener.
2. Posture of hands and fingers
The recorder is played with only 8 fingers. Here is such a feature.
With 4 fingers from each hand.
Left hand holds the part of the flute closest to the face. Her thumb covers the only bottom hole, and the rest (except the little finger) closes the top 3.
THE LITTLE FINGER OF THE LEFT HAND IS NOT USED! It can find other uses. For example, tie a small flag and wave it, drawing additional attention to your very extraordinary person during the game. Or, like me, use it as an additional recorder holder.
Thumb right hand supports the recorder from below, and 4 others cover the 4 remaining holes.
If the holes are closed securely, by blowing into the mouthpiece you will hear the note Do (for tenor and soprano).
In the picture, I do not keep my right little finger on the valve, which means it will be Re.
3. How to cover holes
The holes are closed with fingertips. You don't have to push with all your might. A closed hole should not allow air to pass through, but nothing more.
You can press the hole with all the dope, but at the same time close it only by 80%. The sound will be disgusting.
Cover the hole COMPLETELY. Fingers, during the game, rise and fall. You need to train them so that they do not rise too far from the hole, but descend securely covering it!
4. How to blow
You need to blow so that you get a clear sound. The air pressure must be DECREASED from the top notes to the bottom.
Therefore, it is very useful for the first days to play only the scales until you get good closing of the holes from the fingers, and from the lungs and mouth - complete control of the force of exhalation, depending on the pitch of the note.
5. How to play melodies
Melodies can be selected by ear, if it is developed.
If not yet developed enough, you need to learn two things:
- musical notation
- Fingerings
What it is, I'll tell you some other time. In the meantime, practice holding and blowing.
Explanatory note 3
Main objectives of the program 4
Program novelty 5
General tasks for each activity 6
Expected results 12
Guidelines 13
Explanatory note
This program is designed for group music playing of children. In the proposed form, it is intended for children of primary school age. At the first stage, it comes down mainly to mastering the instrument - the recorder. The main task of the teacher is to support the child’s interest in the lesson so that he can easily acquire the skills of playing the recorder, be able to learn the piece himself at the existing musical level, read sheet music, and also play in a duet or ensemble of recorder flutes, perform simple pieces individually.
The period of early preschool age is most favorable for the aesthetic development of the child. A child carries the impressions of childhood through his whole life. The world of music, musical activity is very close to children. In the perception of music, evaluation, creativity, the child sees his own significance. One of the urgent problems of pedagogy is the problem of developing the creative qualities of the individual. Their formation, the musical development of the child should be carried out naturally and naturally. Helping children to feel the beauty and power of the impact of music is a difficult task. This program partially solves this problem, makes it easier. The main thing is the development of the sensory-emotional sphere of the child in conjunction with the moral and intellectual, the creation of harmony between the individual and the general; search for new ways of communication between the teacher and the child. An adult in communication with a child should be guided by love for the pupil and enthusiasm. The main principle of emotional involvement is the ability to “infect” another person with emotions through their own expression, the ability to be an actor and a teacher at the same time.
Having no primary musical skills, children quickly learn to play the recorder. There is no need to divide them into groups according to the degree of development of musical abilities.
The main difficulties are in the setting of the performing breath and the setting of the fingers. If, when setting up performing breathing, children overcome difficulties by performing breathing exercises, and also thanks to the teacher's explanation of the nature of physiological breathing, the difference between physiological and performing breathing, then setting the fingers takes a little longer. The difficulty lies in teaching the child to "apply" his fingers to the holes of the recorder, covering them with pads, and not with his fingertips. In this case, it is necessary to ensure that the hands are not clamped, and the fingers accurately close the holes.
The main form of educational and educational work is the lesson. Classes are held twice a week for 25 minutes. At the lesson, the teacher combines verbal explanation and performance of the work in whole or in part, which increases the interest, attention and activity of the student.
The main goals of the program
Pedagogical goal- to provide conditions for the development of children's creativity, to provide conditions for elementary music playing on the recorder.
educational goal- to develop the child by means of art, to form the perception of musical images and the ability to express them in singing, movement, playing musical instruments. Based on the principles of psychophysiological maturity, the laws of growth and development of school-age children, this program will allow you to move in working with children not from “adult to child”, but from “child to adulthood”.
Development goal- stimulate the cognitive processes of the child's personality. Sensation, perception, memory, thinking, imagination, enrich the emotional-volitional sphere. To expand the possibilities of the communicative side of communication in a child (non-verbal and verbal means of communication). Support the children's desire for creativity, using a positive assessment of the activity. To draw the attention of children to the possibilities through facial expressions, gestures and movements to betray various images and situations, to teach to stage songs, fairy tales, to create expressive scenes, widely using the genres of children's folklore, games - dramatizations, psychological studies. To develop in children a taste for the sound beauties of the native word. Learn to improvise on one, two - three sounds in an ensemble and individually. Introduce creative improvisations of Russian folk songs (rhythmic and melody accompaniment).
The work is carried out in all sections of the program, about 15 minutes are allotted for the recorder.
Educational goal- it is necessary to form in schoolchildren an emotionally positive attitude towards music lessons. To give children vivid musical impressions, enriching their inner world, feelings, to form moral qualities. Through musical activity when learning to play the flute, show children universal human values (love, compassion, kindness, etc.), encourage the child to implement them in their behavior, in communication with peers and loved ones. Continue to cultivate goodwill in the process of various activities; to rejoice in someone else's success in singing songs, not to be proud of one's own ability, but to help lagging behind children in mastering the recorder. To create a “teacher-student” situation, when a capable child teaches his peers what he himself has learned.
In communication with the musical, to promote the development of the child's creative potential in folk games, songs, nursery rhymes, etc. Involve children in concert activities in its various manifestations: participation in holidays and entertainment, reporting concerts in front of parents, etc.
Program novelty
FROM The point is that the system is built and based on the pedagogical concept of the German teacher - musician Carl Orff, and the program of T.A. Rokityanskaya "Every child is a musician!". The main thing in the concept of Karl Orff is elementary music making. Which is inseparable from rhythmic movement, speech, dance, gesture. Rhythm is the main technique of elementary music-making. The motor-rhythmic beginning is the original form of "instrumental" music. The body with arms and legs was and remains the first instrument of the human race. And the voice is only a part of the whole, one of the functions of the body, which moves rhythmically, makes and reproduces sounds. The pedagogical concept of Carl Orff contains the basic principle of elementary music-making: the teacher becomes a supporter of creative pedagogy, which arose as a reaction against the one-sided intellectualism of education, when the body is inactive. And against the same one-sided physical education, when the mind, feeling and thinking are inactive. The idea of harmony, inner balance, happiness is the main one in education through the unity of dance, music, singing and poetry.
General tasks for each type of activity
Speech games.
Develop speech activity in children;
Develop emotional responsiveness;
Develop the ability of speech interaction at a given pace and rhythm;
Develop active hearing;
Develop fine motor skills of fingers and large levers of the hand;
Develop muscle and tactile sensations;
Singing, singing.
To teach the correct use of intonation, tempo, volume of sounds;
Teach children to find their favorite sound and sing it;
Teach children to sing without musical accompaniment;
Speech + music.
Develop the ability to rhythmize the text of a poetic work or poetic improvisation;
Develop the ability to intonate the text;
To teach children to see the world around them, briefly talk about it;
Learn how to find musical and sound accompaniment yourself;
Traffic
To teach children to freely navigate in space, indoors;
To teach children to convey images and character with the help of the body;
To develop the creative activity of children.
Games, round dances.
Introduce children into the world of folk culture, teach them to understand it;
To draw the attention of children to such a feature of music as the language of interethnic communication, which will help solve the problems of international education;
To learn to combine singing with round dance movements of various types;
To develop in children a taste for the sound beauties of the native word, for folk songs, i.e. folklore.
Learning to play the flute.
Formation of correct breathing;
Formation of melodic and harmonic hearing;
Learn the correct positioning of the fingers;
Master the skills of extracting sounds on the recorder;
Development of a sense of rhythm;
Development of a sense of the form of a musical work;
Development of the ability to play in an ensemble, group, solo;
Ihalf a year
In the first lessons, it is very important to explain to the pupils the nature of breathing: the difference between physiological and performing breathing at a level accessible to his age. It is especially important to explain to girls the nature of their breathing: talk about the "female" and "male" types of breathing, the difference between them, the disadvantages and advantages of one type of breathing over another.
By performing breathing exercises, learn the correct performing inhalation and performing exhalation.
Practice breathing exercises:
"Wind" - inhale through the mouth, exhale through the lips folded in a tube;
"Mill" - inhale through the mouth, in a standing position, arms to the sides, exhale through the mouth with an inclination forward;
"Winnie the Pooh" - the starting position is standing, hands are pressed with palms to the stomach, inhale - inflate the stomach, exhale - retract the stomach;
"Hourglass" - the starting position is standing, one hand is pressed with the palm to the stomach, the second hand is with the palm inward in front of the face. When inhaling through the mouth, we inflate the stomach, when exhaling into the palm with a thin stream, we retract the stomach, make sure that the exhalation is long, and the movement of the diaphragm is without jerks;
Take a full, deep breath, hold it for 2-3 seconds. Then, folding your lips as if for a whistle, without puffing out your cheeks, exhale some air with force. Stop for a moment, holding the air, and exhale again a little. Repeat until all air is out of the lungs.
To teach pupils the correct positioning of fingers, lips, tongue, sound production on a recorder.
Recorder staging:
We put the student in front of a large wall mirror so that he can see his own reflection, if possible, in full growth. Starting position: feet shoulder width apart; resting on a leg that is more comfortable for the child; hands hold the recorder, not pressing it to the body and not lifting it high up, the silhouette of the student forms a stylized letter "F". The position of the hands on the recorder: left hand above, right hand below.
Sound production on the recorder with a stroke of "deteshe":
Notes are extracted by hitting the tip or the back of the tongue against the inlet of the instrument on the syllables "tu" or "ta". Draw the student's attention to the separation of sounds with the tongue, and not by interrupting the exhalation, because. when separating notes by breathing, the sound is fuzzy, “smeared”. It is necessary to ensure that when performing a melodic pattern, the fingers exactly coincide with the blow of the tongue.
When the sound production by the “deteshe” technique has been worked out, we proceed to the arrangement of the fingers on the recorder.
Placement of the fingers on the instrument:
As a rule, children "put" their fingers on the holes with their tips, which leads to their incomplete closure. Explain to the child that it is necessary to close the holes with the middle of the fingertips, while the hands should not be pinched, and the fingers should, if possible, be placed at right angles to the recorder. This will ensure that the holes of the recorder are completely covered and lead to accurate pitch intonation of the notes. The child should be comfortable holding the recorder. Important: the little fingers of both hands, in a slightly rounded position, are located above the front of the recorder. It is incorrect to lower the little fingers, bending them under the barrel of the instrument or lifting them up.
Draw the attention of the child to the sign caesura specified in the music notation (comma or tick). Caesura - the moment of change of breath (we take a breath).
Placement of the four fingers of the left hand on the top of the recorder (thumb, index, middle and ring). Extraction of notes "si", "la" and "salt" of the first octave. Learning pieces using these notes.
An approximate list of pieces to consolidate the studied notes: "Andrew the Sparrow", "Ding-dong", "A hare walks in the garden", "Cockerel", "Woodpecker", "Ku-ku".
The placement of the four fingers of the right hand (thumb, index, middle and ring). Extraction of notes "fa", "mi" and "re" of the first octave. Learning pieces using these notes. Playing with accompaniment.
An approximate list of pieces to consolidate the studied notes: “Do not fly, nightingale”, “As under our gates”, “Savka and Grishka”, “Kitty”.
The student is invited to pick up the melodies passed by ear from the sound offered by the teacher.
Consolidation of the skills of correct performing breathing, accurate setting of the fingers
Pay attention to the exact maintenance of the present pauses when performing pieces. Farm sign. Fermata ( fermata ) - lengthens the sound over which it is placed, conditionally by half the duration, and also allows the lengthening of the sound at the request of the performer, depending on the musical content.
An approximate list of pieces to consolidate the studied notes: “Cornflower”, “There is a horned goat”, “Ladushki”, “Like under a hill, under a mountain”, “Braid, wattle”, “Pipe”, “Under the curly apple tree”, “Yanichek” , “Is it in the garden, in the garden”, “Beetle, beetle along the way”, V. Kalinnikov “Shadow-shadow”, V. Tsytovich “Fluffy song”, A. Alexandrov “Our song is simple”, “Quick rivers”, A .Ostrovsky "ABC", "I walk with a loach", "Crane", "Shepherdess", E. Beckman "Herringbone", B. Meisel "Ship".
Overcoming the difficulty in sound extraction of the note "to" the first octave. Draw the student's attention to the exact closure of the hole with the little finger of the right hand.
An approximate list of pieces to consolidate the studied note: "Merry Geese", "Oh, you, canopy", D. Kabalevsky "About Petya".
Sound extraction on the recorder with a stroke of "legato":
When receiving "legato", the tongue participates only in the sound extraction of the first note, the execution of subsequent notes is performed in a connected manner in one breath.
An approximate list of plays to reinforce the “legato” stroke: “Latvian folk song”, “Garden”, “A path in a damp forest”, “I walked in the meadows in the evening”.
Joint music-making of a student and a teacher (student and student) contributes to the development of the creative abilities of young musicians, speeds up the learning process, develops the student's hearing, sense of rhythm, ability to read from a sheet, instills playing skills in an ensemble.
Easy duets for recorder. The student must play the parts of both the 1st and 2nd recorder.
An approximate list of pieces for playing in an ensemble: “Hey, let's go!”, “At the gate, gate”, “Like ours at the gate”, “How our girlfriends went”, “Apple”, “Songbird”, “Baby walked ”, I. Pushechnikov “Ku-ku”, “Duet”, “Round dance”.
IIhalf a year
Consolidation of the skills of correct performing breathing, accurate setting of fingers, performance of playing techniques with strokes of "nonlegato" and "legato", selection of melodies passed by ear. Continuation of instilling the skills of joint music-making (playing in an ensemble), as well as further work when performing pieces with an accompanist.
Repetition of the plays studied in the first half of the year.
Extraction of notes “re” -, “c-sharp” -, “mi” of the second octave.
Syncopation, its exact performance. Syncopation - shifting the emphasis from a metrically stronger beat to a weak one.
Learning pieces using these notes. An approximate list of pieces to consolidate the studied notes: “Vanya walked”, “In that our yard”, “Spring”, M. Krasev “Bunny”, M. Jordanian “Song about the lapwing”.
Accurate execution of complex rhythmic patterns in a combination of "deteche" and "legato" strokes. Sixteenth durations. An approximate list of plays: "Ukrainian dance", A. Gedike "Zayinka", A. Vitlin "Pioneer march", "I'm sitting on a pebble", I. Dussek "Old dance".
Extraction of notes "G-sharp" ("A-flat") of the first octave. Learning pieces using these notes. Playing with accompaniment. An approximate list of pieces to consolidate the studied notes: “Orphan”, V. Gerchik “Near the Christmas Tree”.
Extracting the notes "fa" -, "salt" -, "e-flat" -, "fa-sharp" -, "sol-sharp" ("A-flat") of the second octave. Learning pieces using these notes. Playing with accompaniment. An approximate list of pieces to consolidate the studied notes: D. Kabalevsky "Our land", M. Krasev "Leaves are falling", A. Gurilev "You go home, my cow", "Bee", D. Kabalevsky "Hedgehog", P. Tchaikovsky "Kamarinskaya", D. Kabalevsky "Slow Waltz".
An approximate list of pieces for playing in the ensemble: “Everyone dance with us”, “Ivushka”, “How will I go to the fast river”, A. Toma “Evening song”, “In the field there was a birch”, “As in a forest, a forest ”, I. Pushechnikov “Two Shepherds”, L. Mozart “Duet”, A. Gretri “Dispute”, V. Gokielli “Firefly”.
Transposition of plays completed during the study period. Consolidation of playing skills in an ensemble and with an accompanist.
Learning pieces that are more complex in technical performance, musical perception. Approximate repertoire list: V. Shainsky "Smile", Y. Shaporin "Lullaby", F. Couperin "Gavot", P. Tchaikovsky "Italian Song", J.-B. Loye "Sonata" in F major (III part), H. Lippman "Dance of the Harlequin", W. Mozart "Canzoneta".
An approximate list of pieces for playing in an ensemble: “Over the fields”, “Oh, you, night”, “It’s not the wind that bends the branch”, “Don’t scold me, dear”, “Oh, you, Kalinushka”, “Kalinka”, P. Locatelli "Sonata" in D minor (I part).
Indeed, it is difficult to determine the time it will take to develop certain skills. The main thing is the direction, content and methods of teaching and development of pupils. To consolidate certain acquired skills, one should go through a large number of works of approximately the same difficulty. The complication of the passable repertoire should be done gradually.
Thus, the correct initial learning to play the recorder will create favorable opportunities for the formation of a musical and auditory presentation, the versatile and successful development of the student as a performing musician.
Expected results
As a result of classes, younger students should develop a steady interest in playing music on a recorder as a form of collective artistic activity and a need for this activity.
The forms and methods of work used will contribute to:
Formation of a sense of collectivism, cohesion and the ability to follow a common idea;
Formation of a creative attitude to the learning process, and music lessons, in particular;
Development of general musical abilities;
Formation of musical culture as a general spiritual culture of a person.
During the training period, pupils must learn the correct staging with a recorder. Overcome difficulties in placing fingers, lips, tongue.
Learn the difference between physiological and performance breathing. It is especially important to explain to girls the nature of their breathing, to talk about the "female" and "male" types of breathing, the difference between them, the disadvantages and advantages of one type of breathing over another. By performing breathing exercises, learn the correct performing inhalation and performing exhalation.
Master the fingering of the recorder, learn how to independently learn, competently and expressively perform simple pieces from the repertoire of the children's music school, select familiar melodies by ear.
Since the program does not provide intermediate control of progress and final certification, pupils are evaluated in the classes they attend, the percentage of class attendance (the presence or absence of absences from classes for a good or unjustified reason), as well as performances at parent meetings and concerts. At various concerts, pupils can show their creative and professional growth, what they have learned over the past period.
And, finally, it is necessary not to deprive the child of interest in studying at the school of arts (music school). It depends on the efforts of the teacher, his pedagogical skills. If a student attends classes with pleasure, does not miss them without a good reason, if he studies with interest, takes an active part in concert performances, this is already a huge plus for both the child and the teacher.
As B.Ya. Grach: “The work is argued when the student is interested, but it happens when one work is replaced by another, when one task is replaced by another, when difficulties are overcome without excessive voltage. Only in this case, good results bring joy to the student. Everything that doesn’t work out upsets the student, and failures often lead to injuries” (“Basic methodological provisions of the initial period of learning to play the piano” Moscow-Leningrad, 1965, “Music”).
Guidelines
Each child in the process of creativity has his own goal, and not a collective one. The teacher appreciates the development of each child, while showing love, forgiveness, and patience. The unrevealed abilities and individuality of each child develops gradually, rationally according to the laws of nature. The teacher should not destroy the nature of the child, but give impetus to its development. The principles of elementary music-making are especially useful for children who have general underdevelopment or children with phonetic and phonemic speech disorders. Great importance in corrective work with schoolchildren is given to games with the word, rhythm, speech games, logorhythmics. Sounding gestures accompany the child's speech, it concentrates his attention, develops rhythm and meter. With the help of music, movement, speech, musical ear, musical memory, a sense of rhythm, and imagination develop. Children are given the opportunity to express themselves through creative ingenuity. Rhythmic movements are closely associated with all types of activities in the program, which develop a number of psychological qualities of the child: the ability to control oneself, quickly and accurately respond to signals, navigate in space and in a team.
The child "enters the music" through collective entertaining games associated with declaring, pantomime, rhythmic exercises. Everything that may seem like fun, entertainment, in reality, is subject to a strictly programmed pedagogical design. While playing, children imperceptibly learn the wisdom of solfeggio, not even suspecting the existence of rhythm and meter.
Acquaintance with notes occurs after the child has learned to play by ear, as well as "by hand", when the child watches the teacher's hands. Thanks to the acquired auditory representations and motor skills, children pass to the system of musical notation naturally, through sounds, and not, vice versa, through the system of signs to music. This last path, unfortunately, often forms in children an aversion to music, "clamps" the child's motor system, clouds his own musical sensations, "freezes" him - often for life.
Applying "imaginative-motor musical literacy" (proposed by T.A. Rokityanskaya) precedes playing the instruments. After the child has danced, drawn in the air with his hands, sung and felt the sound movements in space with his whole body, he easily plays a two- or three-sound song on the flute. Nevertheless, it must be remembered that the figurative-motor musical literacy, in the end, turns into an elementary musical literacy, so necessary for everyone, like knowledge of any language.
Physiological and performing breathing. Thoracic ("female") and abdominal ("male") types of breathing. Features and difference.
Exercises for the development of performing breathing.
Performance with recorder.
Sound production on the recorder. Caesura.
Position of the fingers of the left hand. Extraction of notes "si", "la" and "salt" of the first octave. Learning pieces using these notes. Playing with accompaniment.
Setting of the fingers of the right hand. Extraction of notes "fa", "mi" and "re" of the first octave. Learning pieces using these notes. Playing with accompaniment.
Selection of passed melodies by ear.
Extraction of notes "C" of the second octave, "F-sharp" of the first octave, "B-flat" of the first octave. Learning pieces using these notes. Playing with accompaniment.
Precise holding of pauses in the performance of pieces. Fermata.
Overcoming the difficulty in sound extraction of the note "to" the first octave.
Sound production on the recorder with a legato stroke.
Easy duets for recorder.
Extraction of notes “re” -, “c-sharp” -, “mi” of the second octave. Syncope. Learning pieces using these notes. Playing with accompaniment.
Accurate execution of complex rhythmic patterns in a combination of "deteche" and "legato" strokes. Sixteenth durations.
Extraction of notes "G-sharp" ("A-flat") of the first octave. Learning pieces using these notes. Playing with accompaniment.
Extracting the notes "fa" -, "salt" -, "e-flat" -, "fa-sharp" -, "sol-sharp" ("A-flat") of the second octave. Learning pieces using these notes. Playing with accompaniment.
Repetition of the material covered. Transposition of plays completed during the study period. Consolidation of playing skills in an ensemble and with an accompanist.
Conditions for the implementation of the program
A classroom equipped with a wall mirror.
Recorder (according to the number of students in the class.).
Piano (1 pc.).
Metronome.
Tape recorder with CD player.
Scientific and methodical grants.
Collections of educational musical literature for playing the recorder.
Bibliography
Psychological and pedagogical.
Abramova G.S. "Age-related psychology". M., 1999.
Bergson A. "Two Forms of Memory". M., 1979.
Questions of teaching methods in children's music school. Comp. Tudorovskiy A. M., 1965.
Questions of musical pedagogy, issue 10. Comp. Usov Yu., M., 1991.
Vasilyuk F.E. "Psychology of experience (analysis of overcoming critical situations)". M., 1984.
Grach B.Ya. "The main methodological provisions of the initial period of learning to play the piano". M., 1965.
Gippenreiter Yu.B. “Communicate with the child. How?". M., 2005.
Dowling, S. "Fantasy Formation: A Child Analyst's Perspective." //2001.
Efimkina R.P. "Child psychology". Novosibirsk, 1995.
Kremenstein B. "Pedagogy of G.G. Neuhaus". M., 1984.
Lishin O.V. "Pedagogical psychology of education". M., "Akademkniga", 2003.
Lyakhovitskaya S.S. "Developing Independence Skills in Young Musicians". M., 1965.
Mikheeva L. "Musical Dictionary in Stories". M., 1984.
Petrov V. "Fundamentals of elementary learning on the clarinet of the French system." M., 1991.
Repertoire list.
Litovko Y. "Shepherd Boy" Easy pieces for recorder
Pokrovsky A. "At school and at home" Methodological guide for learning to play the recorder. M., 1989.
Pokrovsky A. "Teacher and student" Elementary school of ensemble playing on woodwind instruments. M., 1992.
Pushechnikov I. "The ABC of a beginner recorder." M., 1991.
Pushechnikov I. "School of playing the recorder". M., 1998.
Habicht G. "Pieces for Recorder", Pro musika Verlag Leipzig, 1978.
The program was compiled on the basis of T.A. Rokityanskaya’s program “Every child is a musician”, E.S. Kiseleva "The Lark", N.V. Golubev "Silver Bell".
The repertoire includes Russian folk songs, pieces for recorder by Vinogradov, A. Zaruba, Rokityanskaya and other modern and foreign composers.
