ES2553505B1 - METHOD FOR LEARNING MUSICAL READING AND PIANISTIC INSTRUMENTAL INTERPRETATION. - Google Patents

Abstract

Method for learning musical reading and instrumental piano interpretation. # The method of the invention is intended to carry out the learning of musical reading and piano performance by a young baby, from six months of age, learning is carried out. in an evolutionary way in accordance with the baby's psycho-motor development, using the elaboration of stories appropriate to the child's age, which convert the musical notes and symbols into characters and make them act in everyday situations in each age trait of the baby, making the graphic representation of the characters, losing the body and being reduced to the head and on a pentagram in which to place the characters or what is the same head, without characteristic features, to finally obtain real notes capable of be read after the evolution cited in its correct location on the staff.

Description

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METHOD FOR LEARNING MUSICAL READING AND INTERPRETATION

PIANISTIC INSTRUMENTAL

D E S C R I P C I O N

OBJECT OF THE INVENTION

The present invention relates to a method for learning music reading, as well as for piano interpretation from a very early age.

The object of the invention is to achieve a method that allows babies, from six months of age, to start learning music reading, piano interpretation, and this without the need of the classical electronic or technological supports currently used.

BACKGROUND OF THE INVENTION

Until now, the learning of musical reading, interpretation of scores and music theory / music was reserved for children from 6-8 years, age at which the child begins reading-writing in elementary school in parallel, and with which is accessed to the regulated studies of Conservatories and Music Schools.

Likewise, instrumental learning was proposed from the moment the child was able to read scores, therefore waiting for the same age range (6-8 years).

As an alternative, to avoid this last problem, certain systems offered the possibility to begin instrumental learning in an intuitive and memorable way, regardless of the direct connection between instrumental learning and the child's reading ability. They thus avoided the pitfall of facing the child to graphic supports (sheet music) for their transformation into sounds.

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Finally, a third way, created pseudo-scores with drawings, icons and / or colors that allowed the pre-reader child a direct association between that graph and instrumental sound, but without ever solving the direct passage of those iconic graffiti to the scores in real notation. In this regard, reference can be made to a system by which musical sounds are represented by iconic signs that, according to their size, denote greater or lesser duration thereof.

The problem with this type of methodology is, as we said earlier, in that the student is not taught to read real scores, always needing those same icons, without saving the step that leads the child to interpret the graph of the notes real. In the piano field, certain commercial approaches allow pre-reader children, with 3 or 4 years, to play on a small adapted electronic keyboard, always connected to a computer on which a certain program has been installed. The problem in this case is that the student not only does not interpret on a real piano, but, above all, precise and always depends on his keyboard maintaining connection to a computer. On the other hand, the musical reading is not taught either, postponing this until the ages in which it was traditionally done (6-8 years), therefore lacking interest in the sense of the didactic of literacy as it does not contribute anything Novel to the traditional learning system.

In short, the teaching of music reading (writing, music language, etc.) has proved unfeasible until now for children under 6-8 years, mainly for two aspects. The first, due to the fundamentally abstract character of musical notation, based on a system of points and lines devoid of any concrete significance. The second, due to the inability of the child at an early age to rationally understand the complex network of meanings of that code that, by consensus, we grant to such set of points, lines, etc.

On the other hand, from the point of view of instrumental practice, and as a consequence of the situation described above, the approach of the child at an early age to instrumental performance has been reserved for dependence on any type of iconic / colored support, but learning about sheet music with real musical graffiti had never been addressed.

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To overcome this important lack that constitutes not knowing how to read sheet music, other methods, resort to the repetition and memorization of melodic schemes and / or the application of electronic means that tell the child what to do. Both aspects go against the autonomy of the child in his interpretative facet, while limiting his possibilities of progress towards more complex works and / or with greater contents in terms of musical technique.

DESCRIPTION OF THE INVENTION

The method that is recommended is intended to carry out learning in an evolutionary way in accordance with the psycho-motor development of the baby and child.

More specifically, the method of the invention establishes the direct connection between each step reached by the baby and child in their reading ability and their ability to translate it musically into sounds on the instrument, allowing the child to learn to read and play music from the age of six. Months of age, resulting in children in stages far earlier than any other existing method allows, understand, read and interpret scores of real musical notation.

More specifically, the method of the invention is based on using stories whose characters will evolve to become real notes and scores all in a natural and progressive way, parallel to the learning of the mother tongue and the understanding of the environment.

Therefore, the concretion of the method is based on the elaboration of stories (appropriate to the age of the children), which convert the musical notes and symbols into characters and make them act in everyday situations in each age range of the baby and child .

In a second stage, these note characters are represented graphically losing the body and being reduced to the head. Then, in the next step, the character heads are placed on a pentagram, also through stories that explain their place in this. The next step is to make those character heads

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they gradually lose their features and their characterization, then also dispense with the color so that they appear in black, also losing their most characteristic features. The final result will be 100% real musical notes, without any facilitating element, that the child is able to read in its correct location on the staff.

The work and constancy during this process of transformation / metamorphosis of the primitive characters of the story in real notes make the student internalize everything in a natural way and associate each note with its representation and location in the score.

The process is divided into different levels corresponding to age segments, according to the following exposure:

- From 0 to 2 years old: I play, explore and discover.

- 3 years: I have fun and learn.

- 4 years: sheet music and adventures.

- 5 years: music in your hands.

- From 6 to 12 years old: little geniuses.

From the instrumental point of view, at each point of this process, the child is able to transform what he is reading into sound, from the first proto-scores with “characters”, then the pre-scores with “character-heads”, then the scores with “character-heads” in black and located in their real place on the staff, and finally, real scores. To do this, from the initial exercises of rhythmic motor skills on the instrument to the complete interpretative autonomy of the student on the instrument, we developed a whole range of exercises that, with the help of the teacher, would finally allow real scores to be interpreted to children between 2 and 5 years old, ages much earlier than any other known method has achieved so far.

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Therefore, the method of musical reading and instrumental interpretation is autonomous and without electronic media, applicable at an early age that can be started from six months of age, based on arranging a battery of didactic-musical tales that lead to the knowledge and identification of the notes, as well as the assimilation and learning of the following and necessary technical-interpretative aspects such as location of notes in the staff, scales, acute notes, treble clef and fa, silences, keyboard recognition, etc., resulting in a definitive valuable tool for learning music reading consisting of a series of real musical characters.

The development of instrumental capacity will be based on a battery of instrumental exercises in parallel to the psychomotor and perceptual development of the baby and child.

DESCRIPTION OF THE DRAWINGS

To complement the description that will then be made and in order to help a better understanding of the features of the invention, according to a preferred example of practical implementation thereof, a set of drawings is accompanied as an integral part of said description. where, with an illustrative and non-limiting nature, the following has been represented:

Figure 1.- Shows a representation corresponding to the characters-note of a story.

Figure 2.- Shows a detail of the head of the characters represented in the previous figure, on a staff.

Figure 3.- Shows the head of the characters without features, on a staff.

Figure 4.- Shows the character-heads with characteristic identifying features in the score.

Figure 5.- Shows the same representation of the previous figure but in this case with the

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head-character without identifying characteristic features.

Figure 6.- Shows a score with the head-character with characteristic features.

Figure 7.- Finally shows a view of the real notes on a staff, according to the transformation process of all the previous figures.

PREFERRED EMBODIMENT OF THE INVENTION

As can be seen in figure 1, and specifically in relation to figure 1, you can see the characters in a story, which may correspond to a child (1), a frog (2), a witch (3), to a dwarf (4) and fireflies (5), so that those characters correspond to different musical notes, for example the "do" with the child (1) the musical note "re" with the frog (2), the note musical "my" with the witch (3), the musical note "fa" with the dwarf (4) and the musical notes "sun", "the" and "yes" with the fireflies (5).

Figure 2 shows the heads of the characters (1), (2) and (3), on a staff (6), while in Figure 3 the heads without characteristic features are shown, on the staff (6) , referenced in this case the characters without characteristic features with the number (7) while in figure 4 the characters (8) are shown on score (9) of the staff (6), being in this case the characters perfectly intricate and in which has been represented only the head of them.

Figure 5 shows in the same score (6) the heads (9) of the characters appearing in figure 6 the staff or staves (6) with the scores (9) and the characters' heads (10) with signs identifiable or characteristic, which disappear in figure (7) where you see nothing but the real score (11), where the characters' heads are already without features, in black and forming a real score as just said.

Obviously, learning is considered based on instrumental exercises for the development of instrumental capacity in parallel to psycho-motor and perceptual development.

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of the baby and child, such as movements of the upper motor apparatus, arms, forearms, wrist, fingers, synchronization and dissociation simultaneity, laterality, strength-relaxation, speed, etc.

Among the battery of exercises for the development of capacity in parallel to the psychomotor and perceptual development of the baby and child, it should be noted that, from the first moment, the analogy between the student's hands and the accompanying adult in class sessions was established and the colors red and blue as follows: right hand (red) and left hand (blue).

The adult will take the student's own hands and, following the teacher's instructions, will perform the exercises. Subsequently, as the student gains autonomy, the intervention of the adult will be progressively reduced.

In parallel, dissociation and laterality exercises are planned: Exercises on the table with small balls, small tops, as well as movements of the upper motor apparatus, arms, forearms, wrist:

- Red and blue foam sheets are placed on the keyboard. The student will hit with red and / or blue hands on them, using different degrees of strength-relaxation, speed, intensity, etc.

- Exercises with red and blue foam balls, hitting, rolling, simultaneously, alternately, etc.

As for the first songs: Large pieces of red and blue are used to mark the appropriate keys on which the student will hit with both hands following the rhythm of the song. In a second step, these pieces are replaced by rubber of smaller size that are arranged on the keys, so that the student will be obliged to use the index fingers of each hand to obtain the sound, trying to follow the rhythm of the song clicking on the mentioned tires. In the next step, these tires will be replaced by smaller ones that, merely as marks on the keys, will indicate to the student what keys they should play; The contact between finger and key is complete and does not require any intermediary element. Each of these first

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songs will go to work: simultaneity, alternative and action-stop in the hands. In this stage, the performance will be introduced according to the reading of scores that show different combinations of red and blue figures. First with one hand, then with the other and finally with both.

Another exercise consists in the knowledge of the keyboard: Identification games of the different regions of the keyboard will be carried out, establishing the identity between different rhythmic-melodic sequences and dolls. In a second step, the teacher will proceed in reverse, requiring the student to play on the keyboard the rhythmic-melodic sequence that identifies the doll in question.

Another exercise consists of the auditory recognition / dictations: Identification games of the different regions of the keyboard will be carried out, establishing the identity between different rhythmic-melodic sequences and images arranged on cards. In a second step, the teacher will proceed in reverse, requiring the student to play on the keyboard the rhythmic-melodic sequence that identifies the image in question.

When the level of motor development of the student allows it, begin to perform exercises for the fingers: preparation of balls and churros with plasticine, exercises with small tops and other everyday objects of the baby, all on the table. On the piano, the first exercises in which the student will progressively work index finger (finger 2 in the piano fingering terminology), heart (3), thumb (1), menique (5) and cancel (4), always work in that order and not in another, for reasons of articulative difficulty. In the next step, work begins by having the student practice songs and exercises in which he must follow a score (taking into account that, according to the method, he will have developed his reading ability in parallel), progressively working scores that demand him intervention of one, two, three ... fingers, following the order of appearance described above. First with one hand, then with the other and then with both.

When the process of reading score-order by hand-obtaining sound is already sufficiently assimilated, the teacher will begin to work so that the student gets a correct hand position, with his five fingers on five keys.

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Next, we will work to obtain independence of fingers.

In the next step, the student will be able to read and play a score with both hands, simultaneously and in symmetrical conception. For this, the teacher will have the student identify each of his five fingers with five notes:

• finger 1 of both hands: do

• finger 2 of both hands: re

• finger 3 of both hands: my

• finger 4 of both hands: fa

• finger 5 of both hands: sun

In the next stage the teacher will delete the identity of the fingers of the student's left hand with concrete notes, and establish a new identification between each finger of said left hand and their respective number from 1 to 5. In parallel, the scores will delete the notes for the left hand, replacing them with the mentioned numbers. These scores will be designed so that the right hand continues to perform a melodfa as it had been doing so far, while the left hand should maintain a simple accompaniment indicated by a number from 1 to 5 indicated in blue. In this way the student will get independence of hands.

Next, the student will practice pentatonic scale exercises with both hands. Performed with the right will not have any difficulty. If it arises with the left hand, since it will still remember its assimilation finger-note, something that will no longer occur. The teacher will focus on that point for the necessary time, helping with keyboard recognition exercises, character notes and colors according to the development of the corresponding reading and writing.

Claims (1)

5 10 fifteen twenty 25 30 R E I V I N D I C A C I O N E S 1§.- Method for learning musical reading and instrumental-piano interpretation, intended to allow the teaching of music reading, and piano interpretation from an early age, specifically from six months, without the need for electronic media or Technological, characterized in that it is based on the use of the characters in a story, (1), (2), (3), (4) and (5), to which the musical notes do, re, mi, are associated. fa, sol, la y si, so that in a second stage to carry out the representation of the characters losing the body and being reduced to their corresponding head, with their characteristic features and located on a pentagram (6), to then eliminate the characteristic features of the head of the characters and get characters (7) without identification of any kind, on the staff (6) then making the arrangement of the heads of the characters with identifying characteristics (8) on sheet music (9) of a staff (6), followed by eliminating the characteristic features of these characters on the score (9), without characteristic features, and then placed the characteristic features (10) of the characters on the same score (9) to finally remove that characteristic features and obtain a real score (11) on the corresponding staff (6). 2§.- Method for learning musical reading and instrumental-piano interpretation, according to claim 1§, characterized in that it provides for dissociation and laterality exercises: Table exercises with small balls, small tops, as well as movements of upper motor apparatus, arms, forearms, wrist, so that: - Red and blue foam sheets are placed on the keyboard. The student will hit with red and / or blue hands on them, using different degrees of strength-relaxation, speed, intensity, etc. - Exercises with red and blue foam balls, hitting, rolling, simultaneously, alternately, etc. 3§.- Method for learning musical reading and instrumental-piano interpretation, according to claim 2§ characterized in that it has been foreseen that they are used in it 5 10 fifteen twenty 25 30 large pieces of red and blue to mark the appropriate keys on which the student will hit with both hands following the rhythm of the song. In a second step, these pieces are replaced by rubber of smaller size that are arranged on the keys, so that the student will be obliged to use the index fingers of each hand to obtain the sound, trying to follow the rhythm of the song clicking on the mentioned tires. In the next step, these tires will be replaced by smaller ones that, merely as marks on the keys, will indicate to the student what keys they should play; The contact between finger and key is complete and does not require any intermediary element. Each of these first songs will be destined to work: simultaneity, alternative and action-stop in the hands. In this stage, the performance will be introduced according to the reading of scores that show different combinations of red and blue figures. First with one hand, then with the other and finally with both. 4§.- Method for learning musical reading and instrumental-piano interpretation, according to claim 2§ characterized in that identification games of the different regions of the keyboard are made, establishing the identity between different rhythmic-melodic and doll sequences. In a second step, the teacher will proceed in reverse, requiring the student to play on the keyboard the rhythmic-melodic sequence that identifies the doll in question. 5§.- Method for learning musical reading and instrumental-piano interpretation, according to claim 2§ characterized in that identification games of the different regions of the keyboard will be made, establishing the identity between different rhythmic-melodic sequences and images arranged on cards. In a second step, the teacher will proceed in reverse, requiring the student to play on the keyboard the rhythmic-melodic sequence that identifies the image in question. 6§.- Method for learning musical reading and instrumental-piano interpretation, according to claim 2§ characterized in that when the level of motor development of the student allows it, begin to perform exercises for the fingers: preparation of balls and churros with plasticine , exercises with small tops and other everyday objects of the baby, all on table. On the piano, the first exercises in which the student will progressively work index finger (finger 2 in the digital terminology) 5 10 fifteen twenty 25 30 pianfstica), heart (3), thumb (1), menique (5) and ring (4), always in that order and not in another, for reasons of articulatory difficulty. In the next step, work begins by having the student practice songs and exercises in which he must follow a score (taking into account that, according to the method, he will have developed his reading ability in parallel), progressively working scores that demand him intervention of one, two, three ... fingers, following the order of appearance described above. First with one hand, then with the other and then with both. When the process of reading score-order by hand-obtaining sound is already sufficiently assimilated, the teacher will begin to work so that the student gets a correct hand position, with his five fingers on five keys. Next, we will work to obtain independence of fingers. In the next step, the student will be able to read and play a score with both hands, simultaneously and in symmetrical conception. For this, the teacher will have the student identify each of his five fingers with five notes: • finger 1 of both hands: do • finger 2 of both hands: re • finger 3 of both hands: my • finger 4 of both hands: fa • finger 5 of both hands: sun In the next stage the teacher will delete the identity of the fingers of the student's left hand with concrete notes, and establish a new identification between each finger of said left hand and their respective number from 1 to 5. In parallel, the scores will delete the notes for the left hand, replacing them with the mentioned numbers. These scores will be designed so that the right hand continues to perform a melodfa as it had been doing so far, while the left hand should maintain a simple accompaniment indicated by a number from 1 to 5 indicated in blue. In this way the student will get independence of hands. Next, the student will practice pentatonic scale exercises with both hands. Performed with the right will not have any difficulty. If it arises with the left hand, since it will still remember its assimilation finger-note, something that will no longer occur. The teacher will influence that point for the necessary time, helping with exercises keyboard recognition, character notes and colors according to the development of the corresponding reading-writing.