) 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 straight line without breaks or 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.
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6440 0 5.0THE PROGRAM OF TEACHING PRESCHOOL CHILDREN TO PLAY THE RECORDER FLUTE
musical director of MBDOU No. 124 of the city of Penza.
Explanatory note
Learning to play the recorder includes not only mastering the specifics of owning an instrument, but also studying musical literacy, developing hearing, a sense of rhythm, and also getting to know the history of music. The child receives a full-fledged musical development and acquires the skills of playing the recorder.
Practical significance lessons on the recorder implies both the physical and intellectual development of the child. The use of special performing breathing techniques develops the respiratory organs, constant work on performing techniques stimulates the development of finger fluency and precise coordination of movements. Work on works trains the child's memory. Acquaintance with various genres of music, composers, historical styles, eras and countries while studying any characteristic work expands the artistic horizons of the child, instills in him an interest and love for music, develops his creative abilities.
Ensemble performance plays an important role in learning to play the recorder. It contributes to the development of the child's hearing, his performing technique, allows you to expand the range of studied works.
The program of learning to play the recorder introduces children to the art of music-making, develops emotionality, artistry, musical and artistic taste of the child. It fosters industriousness, accuracy, purposefulness, helps to socially adapt, forms a performing culture.
The program belongs to the artistic and aesthetic orientation. The program is designed taking into account age and psychological features children and is modified, as it was written based on the existing methods and traditions of performing on woodwind instruments (in particular, on the recorder). First of all, these are the flute teaching methods used in children's music schools, as well as the teaching traditions of such professors-teachers as Yu.Dolzhikov, V.Kudrya, N.Volkov, N.Platonov, etc.
The distinctive features of the program are that every child, regardless of natural abilities and level of musical training, can master the skills of playing the recorder.
The program is designed for the full development of the child when playing the instrument. Children of all abilities are accepted for training. At the first lesson, the child's hearing, musical memory and sense of rhythm are tested. Thus, the teacher draws up an individual plan for each child, determining for himself the development of which abilities should be given priority.
The key concepts used in the program were mainly drawn from the methods of various educators, but there are several concepts that are unique to this program:
1. All interested children can study, without taking into account musical data.
2. A child can start learning at any age.
3. The specifics of the educational process. A child, even with average abilities, can achieve certain results in learning to play the recorder.
The individual approach of the teacher to the choice of the studied works helps the child to improve his performing level in the shortest possible time.
Goals and objectives of the program for teaching preschoolers to play the recorder.
Purpose of the program- mastering the basic skills of playing the recorder, creative development child's personality.
Tasks:
. Tutorials:
Teaching children the basic skills of playing the recorder. Mastering musical-theoretical knowledge. Development of playing skills in the ensemble.
. Educational:
When playing in an ensemble, instill in children a culture of communication, respect for each other. To form the rules of behavior in society, to develop the traditions of home music making.
. Developing:
The development of personal properties, such as: independence, activity, responsibility, accuracy, sociability. As well as musical ability, musical memory, thinking. Formation of the need for self-development, self-improvement. Development of musical interests, tastes, needs of the child.
When planning your recorder training, consider the following points:
- methodical orientation of training, in which children consciously follow the instructions of the teacher, understand, remember methods, techniques, sequence in work; expanding the scope of the lesson by including solfeggio, rhythmic movements, listening musical works, talks about music; stimulation of activity, independence and creativity of children in all types of their activities in the classroom;
- emotional richness of the lessons;
- the use of games and game techniques in conducting classes;
- problematic structure of classes, activating attention, thinking, general and musical development of children.
All these provisions remain unchanged at all stages of learning the recorder. Only the specific content, forms and methods of work are changing.
Thematic plan of the first year of study
1. Introductory lesson 2 lessons
2. Setting the breath 6 lessons
3. Learning fingering 6 lessons
4. Mastering the performance of the main strokes 3 lessons
7. Basics of musical literacy 4 lessons
8. Demonstration performances, concerts 3 lessons
9. Total: 70 lessons
Thematic plan of the second year of study
№ Name of sections Number of classes
1. Introductory lesson 1 lesson
2. Development of performing breathing skills 7 lessons
3. Learning fingering 4 lessons
4. Development of articulation 4 lessons
5. Work on works 23 lessons
6. Work on educational and training material (exercises, scales, studies) 23 lessons
7. Learning new metro-rhythmic structures 4 lessons
8. Demonstration performances, concerts 4 lessons
9. Total: 70 lessons
The structure of the lesson
The lesson consists of the following parts:
1. Scales, exercises for the development of technique 5-10 min
2. Musical notation, selection 5 min
3. Creative games, transpose 5 min
4. Work on etudes 5 min
5. Sight-reading 5 min
6. Work on the repertoire, discussion, conversation about the composer, character, style 10 min
7. Ensemble work 5 min
8. Homework, the purpose of which is to consolidate the relevant knowledge or skill 5 min
This approximate lesson scheme is perceived as a model that can be changed in different ways, devoting more or less time to some type of activity in the lesson, depending on the level. musical development and year of study.
Forms of organization of the educational process
1. cognitive activity: training session, conducting conversations about music; rehearsal; attending concerts and
performances.
2. Creative activity: concert performances; participation in competitions and festivals.
Working with parents: open classes, days open doors; individual conversations between the teacher and parents; parent meetings.
The lesson plan is always different. The child actively participates in the educational process, develops his
creative thinking, trying to achieve a good result.
The recorder is one of the most common varieties of the longitudinal flute. The centuries-old history of its development began during the time of the Crusades, when the recorder came from the East to Western Europe and began to be considered one of the most perfect wind instruments.
Now the recorder is mainly used only in educational process. Mastering the skills of playing the recorder prepares the child for playing any other wind instrument.
All children, regardless of age, begin their learning on the recorder. After several classes, in which the child receives priority knowledge and skills, playing in an ensemble is added to the solo game. It can be an ensemble: a recorder with a piano or an ensemble of several instruments. Ensemble skills are learned during individual lessons. But from the second year of study on the recorder, more time is devoted to playing in the ensemble.
Both ensemble compositions and performed works are expanding and becoming more complex.
In the process of studying the program for learning to play the recorder, the child will learn how to take a breath correctly, play all the notes in the range of one and a half octaves, play the scales with different strokes (legato, staccato, detail), know all the keys and play them at a moving pace. Learn to read music on your own. The child will be able to play in an ensemble with the piano or with other instruments. Know the basic metrorhythmic structures.
Be able to tune the instrument and monitor intonation while playing.
In the process of studying according to the program of learning to play the flute, the child will master the techniques of performing breathing, types and methods of attack, the evenness and duration of sound science, techniques for playing notes in different registers, the correct setting of the instrument and the performing technique of the fingers. Learn to intotone, tune the instrument and monitor its technical condition. The child must apply all the learned playing skills in an ensemble with a piano or other instruments.
First year of study:
Minor and major scales with one sign, legato and staccato strokes, independent analysis of musical text, basic metro-rhythmic structures (durations of notes, signs and notation of dynamics), diverse pieces.
Second year of study:
Minor and major scales up to 3 characters in a moving tempo with different strokes, dotted rhythm, self-tuning of the instrument, intonation accuracy during performance.
An approximate list of musical works recommended for performance on the recorder during school year on tests and exams
First year of study
1st half
Russian folk song "In the green garden";
W. A. Mozart "ABC";
D. B. Kabalevsky "Little Polka".
2 semester
A. Krasev "Top-top";
Swiss folk song "Cuckoo";
J. Haydn "Song".
Ensemble: Russian folk song "Grapes bloom in the garden";
B. A. Mozart "Allegretto";
A. Gretry "Dispute".
Second year of study
1st half
L. V. Beethoven "Ecossaise";
N. A. Rimsky-Korsakov "Lullaby of the Volkhov";
C. Moniuszko "Winter's Tale".
2 semester
L. V. Beethoven "Marmot";
J. B. Rameau "Rigodon";
A. Lyadov "Dance of the mosquito".
Ensemble: W. A. Mozart "Minuet";
R. Schumann "Moth";
F. Mendelssohn "Song".
First year of study
1. Introductory lesson.
2. Setting the breath.
Theory: basic principles of performing breathing on the recorder.
Practice: special exercises for the development of active rapid inhalation and prolonged exhalation. Playing long sounds.
3. Learning the fingering on the recorder.
Mastering the rational setting of hands, head.
4. Mastering the performance of the main strokes on the recorder.
Theory: methods of articulation.
Practice: exercises on different kinds attacks performed on the same sound. Learning to play with different strokes.
Theory: simple pieces, sight reading, analysis of musical signs and notation.
Practice: playing pieces both solo and with accompaniment.
Performance of scales, etudes and various pieces. Work on various types of performing techniques.
7. The basics of musical literacy play an important role in learning to play the recorder.
Theory: mastering musical notation, durations; mastering the simplest metro-rhythmic sizes, pauses, nuances;
study of the flute range.
Practice: acquaintance with various genres of works; the structure of the main chords and intervals; study of major and minor scales.
8. Ensemble (for the program of the 1st year of study).
Development of sight reading skills, work on intonation, playing in an ensemble with other instruments.
9. Rehearsals, participation in concerts and competitions.
Stage performance skills. Participation in concerts in DOW.
Second year of study
1. Introductory lesson.
Safety briefing, familiarization with the training program, the tool, its device, the rules for caring for it.
2. Development of performance breathing skills.
Theory: the principles of extended, even exhalation and the concept of support.
Practice: playing sustained sounds with different dynamics, playing exercises.
3. Learning fingering.
Theory: fingering within three octaves.
Practice: game of developing exercises, finger training.
4. Development of articulation.
Theory: mastering various methods of articulation and types of attack.
Practice: a game of attack exercises, a game of tongue mobility exercises.
5. Work on works.
Theory: Pieces with different strokes and more complex meter-rhythmic structures.
Practice: independent analysis and playing of pieces both solo and in an ensemble.
6. Work on educational and training material.
Theory: study of metrorhythmic structures.
Practice: playing scales up to three signs, etudes and pieces of various character.
7. Fundamentals of musical literacy.
Theory: mastering more complex metro-rhythmic structures, variable sizes.
Practice: game of exercises, plays.
8. Rehearsals. Participation in concerts, competitions.
Performances on stage, participation in DOW concerts
Methodological support of the program
Each lesson contains different types of work. In each lesson, the ratio of individual sections is not precisely regulated. Depending on the conditions, it is different, but in all cases a certain proportionality and sequence of individual sections is always observed.
In order to achieve a good quality of performance, every child is brought up with great demands on himself. Conscious assimilation of knowledge, skills and abilities presupposes the activity of the student. Throughout the entire stage of training, work is carried out on intonation, methods of individual and ensemble work are applied, various exercises, a tuner, etc. are used.
One of the necessary conditions for the full development of the child, the education of a developed creative personality is the systematic teaching of musical literacy, etc. Learning to play the recorder is determined by pedagogical and
methodological guidelines that the teacher is guided by in his work.
Form of employment - individual lesson. The form of work at the lesson is practical and theoretical. The ensemble is a group activity. The form of work - practical and theoretical.
Playing the recorder is a serious process that requires the concentration of the mental and physical abilities of the child. The student acquires new skills and abilities. But the most important thing is creativity. Therefore, during the lesson, techniques are used to help the child quickly master the material being studied. To work on the rhythm, during the development of various durations, the following are used: marching, clapping, solfegging, ensemble (playing with other instruments). Children come to classes to learn and get aesthetic pleasure from the whole creative process: getting to know new works, communicating with a teacher, with their peers, from feeling their professional growth as a performing musician.
Conditions for the implementation of the program
Successful program implementation requires the following:
1. The presence of an office, piano.
2. The presence of a stand for music and musical material.
3. Availability of technical means (metronome, tuner).
Each child has an individual instrument and musical material.
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1 State budget educational institution additional education children of the city of Moscow "Children's School of Arts Nadezhda" Adopted at a meeting of the Pedagogical Council Approved by the director Kisluhina T. V Educational program on the musical instrument "Block - flute" at the department of musical art preparatory cycle) Author of the program: Yachmentsev V.Yu. teacher of Children's Art School "Nadezhda" Designed for children from 5 to 6 years old. The term of study is 2 years. Moscow, 2009
2 Introduction. History of the instrument (recorder). Of all the musical instruments now known, the recorder undoubtedly belongs to those whose history dates back to ancient times. The very word "flute" was used by the ancients very extensively, and they usually defined everything with this concept. wind instruments regardless of their natural features and properties. However, the real ancestors of the modern flute are not such instruments as the plain, Phrygian and double flutes. All of them were only called "flutes", but had no direct relation to them. For a long time, the only true ancestor of the modern recorder was considered a flute with a tip or flute a bec. The most miserable predecessor of this first type of recorder (which was in common use until the middle of the 17th century) was the fluxolet - a simple pipe with a “beep” and several holes. This flute was popular among the people, and even now, one of its varieties (galoubet) enjoys great success and attention in Provence. Another type of flute, known as the "oblique" or transverse flute, is an undoubted, albeit very distant, descendant of the ancient Pan flute or syrinx. It probably appeared at the same time as the “straight” flute, but unlike it, it no longer had a “beep”, but had a side hole (embouchure). The recorder is a type of longitudinal flute. This is a wind musical instrument from the whistle family, such as the flute, ocarina. It differs from them by the presence of seven finger holes on the front side and one on the back of the so-called octave valve. The sound in a block flute is formed in a beak-shaped mouthpiece located at the end of the instrument. In the mouthpiece there is a wooden cork (from it. Block), covering the hole for blowing air. The recorder was popular in the Middle Ages in Europe, but by the 18th century its popularity had declined as preference began to be given to orchestral wind instruments, such as transverse flute with a wide range and loud sound. Nowadays, block flutes are made not only from wood, but also from plastic. The advantage of such tools is their low cost and durability. However, according to most players, wooden flutes sound best. For their manufacture, boxwood or fruit trees (pear, plum) are traditionally used. The recorder's scale is diatonic, but with the use of forked fingerings it expands to full chromatic. The recorder is an instrument that does not transpose, so notes for instruments in C and F are recorded in real sound. The range of the recorder is just over two octaves: for a soprano, it ranges from “do” of the second octave to “re” of the fourth octave. To extract lower notes (alto recorder), partial closing of the instrument's bell is used. In the 16th-18th centuries, the recorder was widely used not only as a solo instrument, but also as an ensemble and orchestral instrument. She was very popular in home music making; dukes, princes, electors were fond of playing the recorder. Outstanding virtuoso flutists appeared. The most famous among them is Johann Quantz, the author of about 300 flute concertos, as well as a major methodological work related not only to playing the recorder, but also to all performing practice and musical aesthetics middle of the 17th century. It was written for the recorder great amount works. Among the composers who wrote a lot for this instrument are J. Bach, F. Handel, A. Vivaldi, G. Telemann. With the advent of the transverse flute, the recorder with its weak sound gradually disappears from the stage. But nowadays interest in this instrument has increased dramatically (due to the performance of early music). 2
3 Varieties of block flutes. There are recorders of various sizes (up to 250 cm) and tunings. The main types of recorders: 1. Soprano (in the F scale) range: from f 2 to g Soprano (in the C scale) range: from 2 to d Alto (in the F scale) range: from f 1 to g Tenor (in system C) range: from 1 to d Bass (in the order F) range: from f small to g 2. Less common types: GARKLEIN, VOICE-FLUTE, bass, double bass, subcontrabass, octocontrabass. Block flutes are also classified according to fingering systems. There are two types of fingering systems: German ("Renaissance") and English ("Baroque"). German fingering is a bit simpler, but most of the really good professional instruments are done with baroque fingering. EXPLANATORY NOTE The first stage of training requires a lot of attention from the teacher. It is necessary to control the position of the instrument, monitor breathing and the accuracy of intonation. A beginner to learn to play the recorder needs to practice at least 2, 3 times a day, because. The duration of each lesson should not exceed 20 minutes. On the initial stage training, the main attention must be paid to the quality of the sound. From the very first lessons, develop exactingness for the beauty of sound and purity of intonation. At the beginning, classes should be conducted according to the "School", in which exercises are given that make it possible to acquire elementary performing skills. This is the extraction of light sounds: “sol-1”, “la-1”, “si-1”. Once the student has mastered these sounds, the expansion of the range should be gradual. The main thing in this period of training is to improve the sound quality, the correct position of the lips on the mouthpiece and the vertical position of the instrument. The desire to master the entire range of the block flute as soon as possible is a pedagogical mistake, which entails an acceleration of sound flaws, inaccuracies in finger coordination, and most importantly, distraction from work on improving sound quality. Good progress can be achieved only if the correct staging and the correct methods of sound production have been firmly mastered in the initial period of training. Thus, at the first stage of learning to play the recorder, certain tasks should be solved: 1. Learn to hold the instrument correctly. 2. Play calmly, without making unnecessary movements with your fingers and body. 3. Learn how to properly inhale and exhale when performing. 4. Achieve clear and pleasant sound. 5. Play with satisfactory intonation. In achieving these goals, the teacher must be very demanding and persistent. The student must learn to learn how to play the recorder is necessary: time and hard work. Methodological information: Breathing. Proper breathing will promote the development of the lungs, chest and respiratory muscles. Improper staging not only interferes with the development of these muscles, but also negatively affects the formation of the whole organism. 3
4 Breathing should be developed carefully, naturally. The chest-abdominal type of breathing is the most rational when playing the recorder. Inhalation should be done through the mouth, through the corners of the lips, without removing the mouthpiece; partly with the nose, quickly, as completely as possible and without interrupting the sound. The exhalation is done smoothly, without jerks, not completely. Articulation. Articulation is a set of motor techniques that achieve one or another sound result. The recorder is an instrument on which the sound can be produced by blowing air jets without the help of the tongue, although this is unacceptable. It is necessary to achieve the extraction of sound only with the help of the language; as if uttering the syllables "tu" and "ti" in a whisper. Sound extraction. In order to produce a sound on a recorder, you should place its upper part (mouthpiece) between your lips, slightly pulling them inward. After that, take in air, touch the tip of the tongue to inside the teeth of the upper jaw and with the syllable "tu" or "ti" quickly push the tongue away from them, thus opening the way for the penetration of air jets into the instrument. The combination of these two moments (repulsion of the tongue from the front teeth of the upper jaw and the penetration of air jets into the inside of the recorder barrel) form a good sound. The sound quality is determined by pure intonation, dynamic variety, timbre coloring, and the necessary duration. The development of finger technology. Under the technique of the finger apparatus is meant the organized possession of the activities of the fingers, which enables the performer to express musical images. The position of the fingers of the left hand when playing the recorder. Index, middle and ring fingers are in a slightly bent position above the three holes on the top of the recorder. Sounds above "mi" of the 2nd octave are extracted by opening the octave hole with the thumb on the back of the instrument. The hole should open about half way. The position of the fingers of the right hand when playing the recorder. The four fingers of the right hand (index, middle, ring and little fingers) are located on the bottom of the recorder, in a slightly bent position. The thumb is on the back of the flute, between the index and middle fingers. With the correct, natural, setting of the arms, hands and fingers, tension is relieved. Fingers should be positioned so that they freely fall on the sound holes. The little fingers of both hands, in a slightly rounded position, are located above the front of the recorder. You can not lower the little fingers by bending them under the barrel of the tool. General staging of block flutist. The student must practice while standing. Care must be taken not to create tension. The head must be kept straight. The elbows of both hands are raised at some distance from the chest, depending on individual characteristics performer. Recorder flute playing technique. The recorder instantly responds to the slightest breath, and this leaves an imprint on the entire manner of performance, which is very flexible in terms of shading, and without a noticeable “attack”, the sound of the recorder appears as if by itself. Phrases and passages of small breathing on the recorder are obtained with amazing ease. Combinations of small legal phrases of the most whimsical alternation are especially good. Diatonic and chromatic scales, various arpeggios are obtained on the recorder quite fluently and naturally. Only the clarinet can compete with it in the flexibility and mobility of a legate technique. four
5 In the stokkat technique, the recorder has no equal rivals. In addition to the usual fast stokkato, on the recorder it is possible to receive a double tongue with amazing swiftness and an almost equally rapid triple tongue. CURRICULUM - THEMATIC PLAN First and second year of study I II III IV Theme Number of hours Teaching performing breathing 4 Training of the muscles of the lips and mouth. 4 Play the sound on the instrument. 4 Learning to write music. 4 Teaching performing breathing. 2 Play the sound on the instrument. Work on the staging. 2 Learning to write music. 2 Study of major scales with one sign in one octave, in 2 slow movements. Exercises for mastering the fingering and developing the 4 initial performing skills, as well as learning and performing easy pieces. Work on staging when playing the instrument (method 4 of holding the instrument, position of the body) Training in performing breathing. 2 Work on strokes (staccato and legato). 2 Teaching the skills of speed of visual perception of musical 2 letters. The study of etudes (5-7 etudes) is not difficult. 4 Learning scales (major with one sign in two octaves in 2 slow pace). Work with plays. 4 Work on the production. 4 Development of performing breath. 2 Learning scales in two octaves staccato and legato. 2 Work on sketches. 4 Mastering the plays. 4 Total: 72 5
6 CONTENT OF THE COURSE The first year of study During the academic year, work on the setting, setting of breathing. Major scales up to one sign inclusive (in slow motion), arpeggios, triads, easy etudes and exercises. 1. Sustained sounds 2. From 1 to 10 exercise from school. N. Platonova; 1-2 ensembles (of easy difficulty) of pieces from the school of I. Pushechnikov Exemplary examination program: 1 half-year: Scales: C major, G - major Etudes: 23,24 I. Pushechnikova Ukrainian folk song "Fox" B. Maisel. "Ship" 2 half-year: Scales: C major, F - major Etudes: 48, 51,52 I. Pushechnikova L. Mozart. "Duet" Second year of study During the academic year, work with the student: major and minor scales, arpeggios of triads in keys up to two signs inclusive (in moderate movement); legato exercises; plays, sketches. Approximate examination program: / semester: Scales: D major, B minor Etudes: 21, 57 I. Pushechnikova I. Dussek "Old Dance" M. Jordansky "Song about the Lapwing" 2 semester: Scales: B flat major, G minor Etudes: 46, 53 I. Pushechnikova M. Milman "Lamb" W. Mozart "Waltz" J. S. Bach "Song" Recommended literature. 1. Teaching aids. 2. Methodical literature. 3. Methods of teaching to play wind instruments (essays). under. edited by e.Nazaikinsky M1964, Yu. Usov M 1966,1971, B. Dikov. Methods of teaching to play the wind instruments M A. Fedotov. Methods of teaching to play the wind instruments M D. Rogan-Levitsky "Conversations about the orchestra". 7. Yu Buluchevsky, V. Fomin "Early Music". 8.I.Pushechnikov. School of playing the recorder. 9.Yu.Usov. Methods of learning to play wind instruments. 10. M. Chulaki "Tools symphony orchestra". 6
I. Pushechnikov THE SCHOOL OF RECORDER-PLAYING Federal target program "Culture of Russia" (subprogram "Support for Printing and Book Publishing in Russia") FROM THE AUTHOR
BLOCK FLUTE I. EXPLANATORY NOTE This educational program on the subject "recorder", which has an artistic and aesthetic orientation, is intended for additional education
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Primary education is the basis, which largely determines the course of further development of the student, his musical abilities. this work devoted to the problems of primary learning to play the flute. It reveals the principles of working with children on the main stages: staging, extracting sound, the work of hands and fingers. It helps to systematize knowledge of the basic principles and methods of working with students. Serves as material for the exchange of experience. It is recommended for teachers of the flute class as an auxiliary material in preparation for classes.
Compiled by Kazyanina A.V.
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GBOU DOD Palace of Children's (Youth) Creativity
Moskovsky district of St. Petersburg
Music department
Methodical development
"The initial stage of teaching the flute"
(for teachers of additional education)
St. Petersburg
2013
Information Card
1.Name Kazyanina Anna Vladimirovna
2. Work experience: 1 year
4.Department: musical
5.Section: instrumental
6. Educational program:"To music with joy" (flute)
7. Type of work: guidelines
8.Name: " The initial stage of teaching the flute»
9.Educational area:classical music
1. Explanatory note
Introduction
Initial stages of training
- selection of students for classes
staging
First lessons
First sounds
Conclusion
3. Literature
4. Applications
Explanatory note
Primary education is the basis, which largely determines the course of further development of the student, his musical abilities. This work is devoted to the problems of initial learning to play the flute. It reveals the principles of working with children on the main stages: staging, extracting sound, the work of hands and fingers. It helps to systematize knowledge of the basic principles and methods of working with students. Serves as material for the exchange of experience. It is recommended for teachers of the flute class as an auxiliary material in preparation for classes.
Target
To give a versatile idea of the methods and techniques of the initial stage of learning to play the flute.
Tasks
1. Educational:
To teach competent possession of the gaming machine, technical skills, techniques.
2. Developing:
Develop musical ability
Develop the emotional sphere of pupils.
3. Educational:
Cultivate a performance culture
To form strong-willed qualities: endurance, diligence, to bring what has been started to the end.
Expected Result:
The teacher will receive the necessary information on the initial stage of learning to play the flute. Learns about new theoretical concepts and methods of working with beginners.
Logistics:
Study room, musical instrument (flute, recorder), visual materials and video materials.
For effective work with children aged 7-8 years, the teacher must have quite clear ideas about the physical and psychological development of the student. In the methodological methods of initial learning to play the flute, they are aimed at reducing irrational muscle loads. Thus, preliminary lessons on block flute received a certain recognition. Getting started on a musical instrument is a very important process.
The success of the initial period of study is due to a combination of a number of significant factors. Starting classes, the child acquires knowledge, skills, skills immediately joining the systematic learning. Unlike secondary school, where the process of inclusion in studies takes a relatively long time, learning to play a musical instrument literally from the first day requires the child to purposeful, hard work in order to master certain elements of the “craft”, without which further success is impossible. Thus, the beginning young instrumentalist not only intensively comprehends an absolutely new area of systematic work for himself, not only receives extensive information and, as a rule, absent in his previous experience, but at the same time is obliged to apply the acquired knowledge - and, moreover, quite consciously - in practice.
From the first day, learning to play a musical instrument requires the child to work purposefully, hard work in order to master certain elements, without which further success is impossible without a solid assimilation. The assimilation of fundamentally new concepts, the acquisition of complex skills for coordinating auditory, muscular, visual sensations requires the student to have maximum mental and physical capabilities at this stage of learning. At the same time, the formation of the foundations of musical and aesthetic ideas of a novice musician is being carried out.
At the first stage of education, the child should also be educated in the initial concepts of labor discipline, responsibility for independent studies, and the activity of perceiving educational tasks. All this is not easy for most children and does not come by itself. Therefore, it is so important when selecting candidates for the flute class to pay attention not only to the degree of musical talent of the child, but also to his readiness for learning.
The success of training is determined by at least three factors: physical and mental fitness, as well as prior knowledge, skills and abilities. Of course, the presence of musical abilities also plays a significant role.
In junior school age training on a wind instrument is closely related to the health of the student. Insufficient physical development can slow down classes on a wind instrument, which require significant muscle loads.
At the age of 7-11 years, the child develops relatively evenly. An increase in height and weight, endurance, and vital capacity of the lungs occurs gradually in proportion. The structure and mass of the brain quickly reach the same parameters as in an adult. The skeletal system of children starting to learn is stronger than that of preschoolers, but contains a lot of elastic cartilage tissue. Small movements of the hand and fingers are difficult, since the process of ossification of the phalanges is not completed, and the ossification of the wrist ends no earlier than 12 years. In this regard, when playing wind instruments with children, emphasis should not be placed on the development of technical skills during the first two or three years - after all, the wind player experiences a load on almost all muscle groups when playing. Therefore, the main task of the teacher at first becomes the removal of muscle “tightness”, which occurs quite naturally: the shoulder girdle is tense, the hands support the instrument, which is heavy for the child, and the “clamp” is transferred to the hands and fingers. It is necessary to take into account one more feature of the child's body: even with a significant development of the musculature, the child's muscles quickly get tired. Therefore, when working with young flutists, as nowhere else, one should observe the correct rhythm of work and rest, the principle of switching one type of activity to another during the lesson.
Therefore, the main task of the teacher will be not so much teaching the student as studying his character and real opportunities to learn on the chosen instrument. It is necessary to get acquainted with his home environment, with the attitude of parents to learning on the chosen instrument, as well as with the degree of their ability to become accomplices in the learning process. This is especially true during the first years of study.
There are 4 initial stages of learning:♫♪- selection of students for classes
♫♪- staging
♫♪- first lessons
♫♪ - first sounds
Selecting students for classes
When selecting applicants for the flute class, there must be musical abilities, sufficient physical development, as well as the structure of the gaming machine (teeth, lips, fingers). At 8-9 years old, even if the child is quite physically developed, the volume of the lungs is still small, and sometimes short. When practicing the flute, this can cause additional difficulties, general overexertion due to lack of air and pinched fingers due to a large stretch.Among the musical abilities, from a professional point of view, the main ones are hearing, rhythm, musical memory. They can be either hereditary or acquired. But even in the best case, no guarantees of successful learning can be given. This will require such qualities as susceptibility, adaptability, diligence and much more, which can be determined only in the course of the lesson and not immediately. But the age of the future student also plays an important role. Currently, children begin to play the flute at the age of 7-8 years. The flute is too big for these children, and their fingers are too short and weak. And milk teeth have not changed yet. For these reasons, classes with flute players often begin on the recorder.
staging
For successful lessons, and for solving certain technical problems, the active state of the gaming machine is necessary, and all its functions must be performed freely and without hindrance. But the activity at the same time should not be excessive, and in beginners this is precisely what is often observed. And it is expressed either in excessively high rising fingers, or in an exaggeratedly active breath, which can be noticeable externally. On the other hand, lack of concentration, lethargy and relaxation of the body tends to spread to the condition of the hands, fingers and the nature of breathing.
Therefore, when working on the production, one cannot limit oneself only to the condition and work of the fingers, embouchure and breathing. The whole body must be active. Music requires the participation of the entire performer as a whole, the proper state of the gaming machine and support from the whole body, and therefore any relaxation or stiffness will limit the technical capabilities of the performer, and at the same time the brightness of the sound. Therefore, the concept of staging should include not only the work of the fingers and the mastery of embouchure technique, but also the work of the whole body. Without this, it will be impossible to achieve the expressiveness of the performance of music.
The setting must be practiced from the very first lesson. Positioning refers to the position of the fingers on the valves, the position of the hands, but the positioning of the body plays an even more important role. So the setting can be divided into active part, which includes fingers, ear cushions, a breathing mechanism, and a static part that helps maintain the necessary tone, but should not impede the work of the active part. It is more correct to start the staging not from the hands, but from the legs, because if you start the staging from the hands, then attention is focused only on the hands, and the body relaxes.
The body of the student is the basis for all the details of the gaming machine. For this reason, he cannot be relaxed, but he should not be overly tense either. The point of its support should be the foot of the left leg. In this case, the center of gravity of the body is, as it were, transferred from the center to the left side, balancing the long arm of the instrument directed to the right. Right leg at the same time, it retreats slightly to the right and back, only additionally maintaining balance. The main support remains the left leg, which ensures the vertical position of the body and does not allow it to relax.
Then the student's attention should be transferred to the right hand. It should be raised to the level of the shoulder and form a semicircle with it, without causing excessive muscle tension. The flute in this case will be in a position close to horizontal. This position of the hand will give complete freedom of movement of the fingers and will allow you to adjust the intonation during the game. The left hand, slightly bending at the wrist, is applied to the flute (but not with the elbow to the chest) and the head is slightly turned to the left, providing a comfortable touch of the embouchure pad with the lips.(Ambushure or Ambushor ( fr embouchure ) - a way of adding the musician's lips when
Playing some wind instruments with a specific device mouthpiece) In this case, the position of the head should be natural, that is, not lowered and not excessively raised. In the first case, this will interfere with a deep and quick breath, and will also be a serious obstacle to high-quality sound production in the 3rd octave and will make it difficult to correct the intonation of individual notes; second- can cause excessive tension in the muscles of the neck and larynx, which will prevent free breathing. And any focus of tension, as you know, always tends to spread to neighboring areas. The straight posture of the body has a strong influence on the nature of breathing: the irrational consumption of air affects the rate of inhalation, and also does not allow relaxation and maintains the active tone of the whole organism to one degree or another.
First lessons
In the first lessons, the student needs to be prepared to extract the first sound, to be taught to use breathing and the embouchure, to be taught to relieve excessive tension from the hands and fingers. The latter should be dealt with when the student will extract the first sounds. The next step is to prepare the breath.
It includes familiarity with the respiratory apparatus. Acquaintance with performing breath. Ear pad preparation. Production period. The student is invited to bring the embouchure into a playful state, i.e., slightly tighten the corners of the round muscle of the mouth, simultaneously releasing the middle of the lips. In this case, a hole should form, to which the tip of the tongue touches without a voice, the sound combination “TF” is pronounced. To develop the skill of controlling the direction of exhalation, an exercise with a palm is useful, the palm is placed at the level of the lips, while the hand does not touch the chin, and the student performs the previous exercise, directing the stream of air up and down, so we will work out the mobility of the lower jaw, which will soon may be required to expand the usable range of the flute and play large intervals. These exercises should be performed regularly, up to mastering the skill of confident sound extraction.
At the next stage preparatory classes you will already need to extract the sound on the instrument, or rather its head. It will need to make a sound. To do this, the gaming machine is brought into a gaming state, the corners of the lips are tightened, the tip of the tongue is applied to the lower lip. The student inhales and simultaneously with the pronunciation of "TF" sends the air forward, across the embouchure hole on the head of the flute. But not the flute itself. In the case of sufficient elasticity of the air jet and its hit on the opposite edge of the embouchure hole, sound occurs. The student must ensure that the sound extracted on one head is kept at the same height. Also, in exercises for practicing on one head, you can turn on the air supply to the syllable "tu" or "ta". The purpose of these exercises is to combine breathing with the work of the tongue and to develop the skill of hitting the jet of exhaled air on the opposite edge of the embouchure hole. Further, this exercise is proposed to be performed by the student without the help of a teacher. The student will have to correctly attach the head to the lips. The embouchure hole is superimposed on the lips so that both the upper and lower lips feel its edges. Then, without lifting the head from the lips, roll it back along the lower lip to open the embouchure hole.
The set of embouchure, labial structural-muscular apparatus with breathing, tongue with the participation of the central nervous system, hearing aid, memory and other performing components are called - labial sound control apparatus. It must be viewed from two perspectives:
1) The initial staging period, which determines and forms the student's labial playing skills, is in turn divided into two areas:
A) setting lips, breathing without an instrument
B) setting lips, breathing with an instrument
2) Artistic and training period, which creates the preconditions for the improvement of the performing apparatus.
In order for the student to train at home, it is necessary to involve the parents as well, showing the external side of the action to the one present at the lesson. Having achieved a confident extraction of sound with the head closed by hand, you should move on to the exercise with an open head. For all the identity of exercises with a closed and open head, great changes will occur in the nature of breathing. Inhalation will be required more complete, and exhalation more active. The stream of exhaled air should become more elastic. In parallel with the lessons on the head, you should begin to get acquainted with the instrument as a whole. And first of all, teach the student how to assemble the flute correctly.
After getting acquainted with the instrument, you should proceed to the setting of the fingers, hands and the entire body. Turning to the setting of the hands and fingers, you should focus on the position of the body and head. The body must be free. The elbows of both hands should be kept raised, at some distance from the chest. The student should be engaged in standing, feet on the shoulder width. If on longitudinal instruments (recorder, oboe) the instrument is located along the body, then the flute is to the right and across. With the correct positioning of the head, the position should be normal or slightly inclined towards the flute, the instrument is located exactly parallel to the cut of the lips, and the central vertical of the face should be at a right angle with the flute. When played, the flute should rest on the lower joint of the 2nd finger of the left hand. To do this, the brush in the wrist should be slightly bent inward. The second fulcrum of the flute is the 1st (non-playing) finger of the right hand, which is located under the flute between the 2nd and 3rd fingers. The third fulcrum is the 5th (playing) finger of the right hand, which almost always, with the exception of the note "re" in the 1st and 2nd octaves, has a double function - it opens the valve and, together with the 1st finger, provides a vertical tool stability. In this case, the flute is only applied to the lip, but not pressed against it.
Gathering as full a breath as possible, the student should make the movement of the tongue indicated in the preparatory lesson. The combination of tongue movement, air currents, and closed valves will contribute to the production of notes.
First sounds
Having got acquainted with the basics of performing breathing, having learned how to make sounds on the head and how to assemble an instrument, you can start playing the flute.
First of all, we get acquainted with the location of the fingers on the valves. If the flute has resonators, then it is better to close them with plugs so that at the initial stage the student does not complicate the work further. The main thing to remember is which valve, which finger works. The only exception is the 1st finger of the left hand, which serves two valves.
Flute lessons open up a new field of knowledge - fingering. It has to be learned like the multiplication table.
Fingering table
This table is simple and graphic, but the combinations of black and white circles, symbolizing flute valves, are arranged vertically, while the student, studying them, holds the instrument horizontally. Turning the circuit 90 counterclockwise, we would get this combination, repeating the instrument in the playing position:
For a child, this would be clearer, and therefore would enhance the visibility of the diagram.
The table shows combinations of closed and open valves.
The study of fingering begins with the left hand. This is the tetrachord "sol - to".
It is the simplest, and the sounds made with its help are the lightest. What note to start with is of no fundamental importance, but it is better with the one that the student can easily get. Usually it is "si" or "la". At the same time, all the attention of the teacher is concentrated on breathing and embouchure. With great activity and diligence, the student can “blow out” and, instead of the sounds of the first octave, get the sounds of the second octave (basically they have the same fingering). It is advisable to start mastering notes from the first octave. The main thing is getting high-quality sound. Upon reaching a confident extraction of the first notes, you can connect the remaining “do” and “salt”.
Having achieved the extraction of individual notes immediately and with the correct fingering, you should combine them into a progressive scale and organize it rhythmically:
♫♪
It is most convenient to choose a second for a unit of sounding time of an individual note. It has a noticeable length and does not really burden the breathing mechanism. It should not be forgotten that breathing while playing a wind instrument remains a physiological process, the violation of which can cause dizziness.
Having mastered the gradual extraction of notes, the student can move on to extracting them in a row. For example:
♫♪
When playing the notes of this scale, after each note, you should take a breath. Thus, we will train this mechanism at the same time. Then it is advisable to move on to the execution of the same exercises, two notes per breath.
Tetrachord "G - C" with the most stable and lightest fingering, uses only the fingers of the left hand and from the point of view of sound production does not present any particular difficulties, since not the entire channel of the instrument is involved in the formation of sound.
The second stage begins with the note "re". This sound will require a greater tension of the exhaled air jet. The following notes "mi" and "fa" of the second octave will transfer our attention to the right hand, the fingering will become more difficult. You should start mastering these sounds by paying attention to the position of the right hand and fingers. The elbow should not be lowered or noticeably raised. The hand must have a certain freedom, allowing its movement. The fingers should be rounded and pad down to the middle of the valve. This is especially important because in the future, with a possible transition to an instrument with acoustic holes (resonators), serious technological difficulties may arise. The 1st finger on which the flute rests should be located between the 2nd and 3rd fingers, across the flute, and the 5th finger on the D-sharp valve
Starting to master this range, it is necessary from the very beginning to ensure that the 2nd finger on the note “re2” is raised, and when the forward movement “re-mi”, on “mi” is lowered simultaneously with the 5th finger of the right hand . Otherwise, the intonation of the notes will be false.
The third stage is the “do-re” transition. Within the limits of the 1st and 2nd octaves, it is one of the most difficult. When these two notes are played in succession, all nine playing fingers pass in motion. Seven in one direction and two in the opposite direction. The “re-do” transition is usually easier for the student than the “do-re”, since for this it is necessary to close only two at the same time, and open seven valves, while during the “do-re” transition, seven valves must be closed simultaneously and tightly. valves, and only two open. In beginners, as a rule, not all fingers are set in motion at the same time. And the “D” note suffers the most from this, since even if one valve is not tightly closed, then the sound does not arise at all. In addition, with insufficiently synchronous movement, the stability of the tool is violated, and the fingers are clamped.
Both in the first and in the second octave, it has the same fingering, and therefore the sound of the note is not determined by it. This technique is commonly referred to as "overblowing". But this term is not entirely accurate and therefore can mislead the student. There is indeed some increase in the tension of the exhaled air jet, but it does not determine the final result. To sound the notes of the 2nd octave, a slightly more intense air stream must be directed somewhat higher than is done when extracting the notes of the first octave. If, when playing the second octave, the first one is heard, then the exhaled air stream must be made a little more intense and directed a little higher. The most reliable controller for the correctness of extracting sounds of the same name in the first and second octaves are the ears. The sound should be clear and without overtones of another octave.
Having achieved a positive result in extracting the notes “re2-mi2-fa2”, we will be able to work on the first scale - F major. First we play it non legato, one note per breath, then two. Having achieved confident performance, you should link legato notes. This will allow you to determine how the fingers work when moving from note to note, whether they change fingering at the same time. It is especially important to trace the transitions “do-re”, “re-mi”, where the movement of the fingers is opposite. To cover all the transitions from note to note, you can do two exercises from the scale, connecting in pairs the 1st note with the 2nd or the 2nd with the 3rd, and so on.
Having learned the scale of F major in this way, you can add G major to it. Among the fingering changes, the notes "F-sharp2" and "sol2" will be added here. The transition "Mi-F-sharp" and "F-sharp-sol" should be taught separately, since the movement of the fingers will be uncomfortable and cause difficulties.
It is especially worth paying attention to the note "si" and "si-flat". Both valves are served by one first finger of the left hand, which, depending on the tone, must be either on one or the other valve. And it is there all the time (if we talk about playing scales). In G major - on the B-valve, and in F-major - on the B-flat valve. And in the future, you should follow the rule - in sharp scales and C major, where there is no B-flat note, the 1st finger should be on the B-valve, and in flat scales - on B-flat.
Having achieved a confident performance of sounds in the range “fa1-do1”, you can add a third one to the two scales already mastered - in C major. Here the fingering of all notes is already known and mastered on other scales. In order to consolidate the sound production and fingering of the 2nd octave, it is advisable to play all three scales within its limits.
At this stage of training, it is necessary to start working on breathing and strengthening the embouchure simultaneously with the study of fingering. In the beginning, the student's attention was focused on receiving the sound, that is, on his attack. The first steps in this direction have already taken place when we played tetrachords or scales in equal notes at a tempo of 1 sound = 1 second. Then all attention was paid to the extraction of sound, its rhythmic organization and fingering.
The next stage is "long notes". This definition is rather arbitrary, as it is limited by the physical capabilities of the student.
Applications:
Video lessons:
How to play the flute - learn how to hold the flute correctly.
If putting the flute head to your lips and immediately blowing out a resonating sound is not yet successful for you, return to Session 1 to the mirror and practice some more. I hope that everything turned out well and you can move on the path of learning how to play the flute.
Collect the flute. How to properly assemble a transverse flute is described in the first lesson. After assembling the neck on the head, the valves on the body and the shaft on the knee should line up in a straight line. C do not apply force when assembling, the flute parts are “screwed in” and not squeezed.
Let's learn the position of the fingers on the valves of the musical holes of the flute
First, let's number the fingers in order to avoid discrepancies in the further description of playing the flute.
The hands on the transverse flute will be located exactly as in the picture:
- the left hand is turned with the palm towards you and is located closer to the head;
- the right hand is turned palm away from you and is located closer to the knee of the flute.
Now let's agree (number) what we will call the valves and levers on the flute:
The picture shows the body with a knee to the French system transverse flute. It is such a flute that is currently the most common for learning and, most likely, you have just such a flute. For now, we will not number all the valves / levers, but only those that you will need at the beginning of learning how to play the flute. In the future, we will give names to other elements of the flute
The valve/lever numbers are the same as the finger numbers in the picture above. The letters at numbers 1 and 10 mean that fingers with such numbers can occupy more than one position.
Here is how one of the leading manufacturers of musical instruments Yamaha shows the position of the fingers on the transverse flute:
Description of the position of the fingers on the transverse flute
How to play the flute with the fingers of your left hand
Here's how to play the flute with your right hand:
Watch the video on how to play the flute from the Moscow Secondary Special music school(college) them. Gnesins. In the video, the teacher of the Central Music School at the Moscow State Conservatory. P.I. Tchaikovsky Ella Olegovna Dolzhikova shows in detail the setting of the fingers and talks, in particular, about the correct and erroneous position of the hands when playing the flute.
Ella Olegovna's video clip is all interesting and useful, and about the position of the hands, see the recording from the time of 13 minutes 50 seconds (Master-class of Ella Dolzhikova).
Take a position how to play the flute:
- get up. Stand straight, tilt your body forward slightly. Keep this tilt (slightly forward) all the time you play the flute;
- the point of stress when playing falls on the stomach. Beginning flutists transfer stress to their lips, which is wrong. The lips should be free, the stomach is ready to send a stream of air from the lungs.
Support points of the transverse flute
Hold the flute with both hands so that:
All three reference points are present while playing the flute. The left hand at the second reference point presses the flute to itself. The face at the first anchor point and the right hand at the third point resist the pressure of the left hand. Thus, the flute receives a stable position in which the lips and fingers of the flute player remain free and can take part in playing the flute.
Typical fingering mistakes for flute beginners
Watch the video debriefing common mistakes beginner flutists.
Andrey Alpatov says:
Try to get the sound out of the flute as you did when practicing in the first lesson. There you blew on the head of the flute, and now the transverse flute is in your hands as an assembly. Don't play any notes yet. Just learn how to hold the flute correctly to play, which means that the sound is produced easily and:
- the flute is horizontal;
- the muzzle of the flute is "in its place". Do not turn the muzzle towards you. This is mistake. Also, do not change the tone of the extracted sound by turning the muzzle. Learn to change the sound by controlling the stream of exhaled air;
- the fingers of the hands (except for the big right hand) do not hold the flute. They are needed for the game! The flute is held at three points - the lower jaw, the base of the first phalanx of the index finger of the left hand and the thumb of the right hand.
It may be uncomfortable to hold the flute at first. It will fall out of hand. Patience and diligence. You will succeed. In the "Fundamentals of playing the flute" by Professor V.N. Tsybin tells what is, which should make it easier to hold the instrument. It would be interesting to know who used or at least saw such a stand.
The flute is a very light and handy instrument. Very talented craftsmen worked on its design, and it is not for nothing that the flute is one of the most virtuoso musical instruments.
For easier learning how to play the flute use the Svirelka tutorial.
