RU2090938C1 - Method of teaching practical music making - Google Patents

Abstract

FIELD: education system, specifically music learning. Method can find use in system of general education musical schools, secondary, cultural and educational schools, including palaces of culture, clubs and hobby groups, development of musical faculties and giving access to world of music to children in families having many children. SUBSTANCE: proposed method makes it possible to realize individual-group teaching to practical music making which increases number of scholars and simultaneously ensures each of them with individual approach to mastering of music learning. This method is economical and progressive as scholar masters music learning for very short time period. Method includes teaching of practical music making involving stage-by-stage teaching to play musical instruments from musical texts of musical compositions, learning of musical literacy and mastering of position of hand on musical instrument. Novelty of method consists in that individual parts for each musical instrument are set before each stage by musical text by parameters coupled to sound- generation on instrument and involves rhythm, height of pattern, position of hand coordination of two hands, number of stages of tune. Teaching is conducted as minimum in one group by joint music making on musical instruments in which capacities there are used pulsatile and at least one key instrument. Musical text is studied at each stage and hearing control is conducted with use of color card system in which each card and its position in space are matched with parameters embracing rhythm, number of stages in tune. Number of stages is established in agreement with results of hearing control. EFFECT: improved practical efficiency of method. 4 cl

Description

 The present invention relates to the education system, in particular to teaching musical literacy, and can find application in the system of music schools, secondary and cultural education schools, including in the Palaces of Culture, clubs and circles, as well as in a large family for the development of children of musical abilities and introducing them to the world of music.

 Traditional ways of teaching instrumental music playing include individual, phased learning to play a musical instrument. They can conditionally be divided into two groups.

 The first group consists of methods of teaching instrumental music-making, in which they play the instrument “by ear”, that is, they use the student’s hearing aid, first, they individually monitor the teacher’s play on the instrument, and then copy his hand positions on his instrument, performing “by ear” "heard piece of music.

 On the basis of these methods of teaching music, the development of rural instrumental music took place. Now they are used by various musical groups, for example, amateur rock bands.

The mentioned group of known methods has a number of advantages, which are as follows:
playing music is carried out without coercion, solely at the request of the student and, therefore, it is considered typically amateurish;
the choice of repertoire depends only on the student, who performs either something learned or his own composition.

But these methods of teaching practical music-making have significant drawbacks, namely:
the dependence of the performer of a musical work on its initial listening, without which a performance “by ear” cannot take place, that is, the performer cannot independently learn a musical work;
introducing a student to music has limitations in terms of genre, namely its one area (either folk or pop), which does not cover the performance of classical musical works recorded using musical notation, as the performance of classical musical works “by ear” is a very long process which only very musically gifted people learn professionally.

 As a prototype, the second group of known methods of teaching instrumental music playing is selected, including individual and phased learning to play a musical instrument based on the musical text of musical works that are pre-selected for each stage of training, studying musical notation and practicing hand position on a musical instrument, which are conducted from the first stage of training.

 These well-known methods of teaching instrumental playing music have become traditional and today have different forms of their implementation, each of which has its own advantages and disadvantages.

Two main forms of their implementation:
classes in circles and children's music schools (music school). The rest occupy an intermediate position (children's art schools of the Children's Art School; schools of aesthetic education, evening schools of general musical education).

It is generally believed that music education in circles takes place in collective classes. But this applies only to choral groups, in which the musical notation is for the most part not studied, and music is played “by ear”. When learning to play the instrument by notes, the main form of training is individual, the circle is a copy of music school;
training in the second group of known methods is carried out using special teaching aids [5]
Usually the sequence of studying plays and sketches can vary depending on the specific working conditions with a particular student. So, in the first stages of training, musical works are designed for two cycles of classes. In the first cycle, they carry out singing and selection of melodies by ear, get acquainted with the keyboard of the instrument and study the musical notation, process the position of the hand on the instrument. The second cycle of training is based on learning more complex plays and studies that serve to consolidate and develop the acquired skills. In fact, this ends the first class in a music school. The second class of instruction is based on musical works, grouped in the following sections: plays, large-scale works, studies and ensembles. In each of them, the works are placed in the order of gradual complication of tasks.

 The development of a musical instrument takes place exclusively in individual lessons by learning musical works and their subsequent performance on stage in front of the public, that is, is aimed at professional activity. Musical works are mastered from simple to complex (Appendix, NN 1 2). The study of musical works without notes, that is, “by ear”, is used extremely rarely and is auxiliary in nature, for it is carried out without any connection with the possession of an instrument, such as a dictation in solfeggio lessons (if these lessons are on the curriculum).

 Individual instruction allows each student to master a musical instrument, taking into account their own abilities and with the pace of their development. In addition, it provides the opportunity to establish a focused study of musical works for their performance on stage.

 In general, these common ways of teaching music have a number of significant drawbacks, which are as follows: due to the extremely complex, confusing system of accepted musical literacy, these methods rarely allow you to independently master instrumental music making. Therefore, music education, based on musical literacy, is for the most part carried out under the guidance of a teacher in music schools, clubs or in private classes at home.

At the first stages of training, the student is introduced to musical notation, performs exercises on the instrument, practicing the position of his hand on it, is taught to read notes and translate on the keyboard what he sees in the musical text. Thus, the student is accustomed to reading notes without a preliminary auditory idea of their sound. Hearing, as it were, does not serve as the main controller of the intended sound. The idea of how what is written in the musical text sounds only appears as a result of the action of fingers pressing keys (buttons, strings). This leads the student, especially the child, from the direct perception of music and its figurative meaning [5, p. 5]
Other disadvantages of this group of methods of teaching music are the individual principle of instruction. From an economic point of view, the main one is the high cost of lessons that justify themselves only in training a professional and are absolutely unprofitable in preparing an amateur amateur.

 From a psychological point of view, the disadvantages include the fact that the training has a narrow focus, which is limited solely to the preparation of the stage performance of musical works. Less gifted people often have psychological barriers of fear “it doesn’t work out”, sometimes even “fear of the stage” forces one to quit studying music. Moreover, mastering the high professionalism of the stage performance of musical works requires a long training time, and when learning by force, they experience psychological breakdowns.

 Music making is based solely on preliminary learning of musical works and is mostly individual (or with a accompanist). Amateur amateur music playing, having a direct spontaneous character, performing the function of psychological unloading in the process of communication and so attracting young people (comparable to countless amateur VIAs of vocal and instrumental ensembles), is not provided for in the music education system using known methods.

 From a cognitive point of view, the exceptional preparation of the stage performance of musical works, including individual and phased training in playing a musical instrument based on the musical text of musical works pre-selected for each stage, leads to limitation, and its expansion requires a long training time.

The application at certain stages of the well-known method of teaching instrumental musicization the study of musical literacy by interspersing with solfeggio leads it to lag behind the requirements of the class in the specialty, creating a student’s dependence on the teacher. Hence there are additional disadvantages of existing methods of teaching instrumental music making, namely:
musical instrument, designed to teach a person to read music the way they read a book, performs its function only among professionals. A person who does not become one, after graduating from a music school, uses it extremely rarely and forgets over time because of the excessive complexity of the existing musical literacy, but rather because of the difficulty of teaching her;
strict predetermination in pre-selected musical works for each stage does not allow the student to engage in independent creativity. This also imposes restrictions on the teacher, who also cannot deviate from the program compiled for the accepted method of teaching instrumental music making.

 Thus, these educational methods adopted in the system of music education give excellent results in the training of professionals, but almost completely exclude the education of a music lover. There is no and cannot be a guarantee that a failed professional will become a good music lover, rather the opposite. The latter is confirmed in many ways by the empty concert halls of Russia.

 And if the first group of well-known methods based on playing (singing) “by ear” without notes becomes the basis of temporary amateur ensembles, the second has become the basis of the state system of phased music education, in which the stages are determined by the age of the student and the duration of his music lessons, and also in what educational institution he was engaged in. In essence, a method has been created for the phased selection of gifted students with the subsequent formation of professional musicians from them.

 The current level of development of state methods of teaching music, including instrumental music making, is best considered using the following example.

 Take the Children's Music School for Children Music School the most common structure in the system of music education. Classes in it require the mandatory presence of a tool at home. In accordance with the curriculum, the student has individual lessons twice a week for an hour with a teacher specializing in mastering an instrument, three times in a group (solfeggio, music literature, choir or orchestra), sometimes the subject "reading with sheet "and ensemble.

 In lessons in the specialty, the student works on the same works in the amount of five or six for several months, bringing the performance to an increasingly higher level. The highest level in the performance of their works falls on the period of academic and reporting concerts (in December and May), the rest of the time the ordinary student’s repertoire is either forgotten or not yet learned. Works for specialty are classified in existing collections in accordance with the complexity of performing tasks [5] So, for example, from the execution of Ex. N 1 (small, uncomplicated, "frivolous") until the execution of Ex. N 2 (more complex, interesting, prestigious) must pass many hours of work on technology, hearing, memory, attention.

 Along the way, in one piece, the student gets acquainted with various elements of musical literacy. Acquaintance with them is often of a random superficial nature, since the selection of musical works for mastering is subordinated to the student's performing abilities, and not to the tasks of studying musical literacy. Its elements in artistic musical works (as opposed to exercises) are usually combined “out of order”, often requiring different stages for mastering. Naturally, the small number of studied works, the long terms of work on them, the inseparability of the elements, which makes it impossible to master them “in order,” significantly inhibit the possession of musical literacy, slowing down the process of learning to read. If we draw an analogy with the study of grammar of the language, it becomes clear that the long work on learning only one or several works without systematic mastery of literacy cannot teach a person to read freely. Actually reading in music school is introduced only as “reading from the sheet” at the end of training, when the student has already learned to read a little by himself, but he simply does not have time to learn more.

[3, c.55] В то же время игре по нотам на инструменте в первый год обучения (иногда в дошкольном возрасте!) ученик должен прочитать ритмические фигуры

[5, c.26, NN 42, 43 и т.д.

[5, c.42, NN 76, 77 и т. д. освоение которых предполагается только во втором классе ДМШ [3, с.25] Ритмические же фигуры

и размер такта 3/8, которые должны быть прочитаны опять же на первом году обучения [5, с.42 N 78] как элементы музыкальной грамоты, изучаются на сольфеджио только в третьем классе.At the choir, as you know, work is carried out in a similar way to a certain number of works for performance. The greatest specific weight is the study of musical literacy at solfeggio lessons, where an attempt is made to master its elements in stages. Naturally, musical literacy, designed to facilitate the work with text in the lessons of a specialty, must either be ahead of or go synchronously with the tasks of the specialty. But this is not so. So, for example, in accordance with the solfeggio program, the study of rhythmic patterns in the first class is limited to

[3, p.55] At the same time, when playing notes on an instrument in the first year of study (sometimes at preschool age!), The student must read rhythmic figures

[5, p. 26, NN 42, 43, etc.

[5, p. 42, NN 76, 77, etc. the development of which is expected only in the second grade of music school [3, p. 25] The rhythmic figures

and the measure size 3/8, which should be read again in the first year of study [5, p. 42 N 78] as elements of musical literacy, are studied on solfeggio only in the third grade.

 As a result, the study of musical literacy as a whole is not systemic: its elements are not practically fixed. Information about them is late and remains at the level of theory. When a student reads notes, uncertainty is constantly present, sometimes turning into a neurosis. The fear of playing notes is easier to overcome for someone who has a true calling for music and who will become a professional. Thus, not only the performance of musical works, but simply the possession of musical literacy becomes the property of the elite. This is evidenced by the fact that people who have studied at a music school for many years (from five to eight), but have not become professionals, do not speak musical literacy quite freely, do not use it in their future communication with music. Thus, musical literacy, and wider musical writing, existing for millennia, does not become the property of at least that part of people who have received musical education in the volume of music school (6-8 years of study).

 A paradox arises: the way of teaching music is based on musical notation, on the game of “playing notes”, and the musical notation itself, which is the basis of this method, is mastered superficially, spontaneously, haphazardly, theoretically, without practical instrumental reinforcement. Even the subject "musical literacy" in the curriculum is missing.

As a result, the level of existing state methods of teaching music is characterized by the following:
1) the main trend in training is the training of a professional;
2) the main form of training when learning to play the instrument is individual;
3) the principle of the material being studied is based on the classification of a work from simple to complex in performing tasks and excludes phased work on elements of musical notation;
4) the study of musical writing is to a large extent spontaneous, its development and further use is available only to a professional;
5) the exceptional focus of the method on special musical education, on playing music “for others” does not fulfill the function of training a music lover, a competent amateur listener, does not create a “sales market” for serious music and the activities of its carriers of high-class professionals.

 The purpose of any changes in the state system of teaching music is to more thorough and high-quality training of a professional.

тири-тири;

та-а. Таким приемом можно обозначить сравнительно небольшое число ритмических фигур, поэтому ритмослоги используются только на ранних этапах обучения.With these trends, improving the results in teaching music is carried out in the following way:
1) improving the testing system, which makes it possible to select more gifted children for training; for example, to determine the rhythmic feeling, it is proposed not only to repeat the given rhythmic formula with extreme accuracy, but to continue uniform pulsation during the duration of a musical pause;
2) an increase in the time of homework and their intensity; tutoring;
3) the introduction of new additional subjects, for example, relatively recently, a new rhythmic subject is periodically included in the curricula of individual music schools. Its tasks are connected with the development of rhythm in students with the help of various movements and gestures to the music [7]
4) professional development of teachers, for example, annually for teachers of children's music schools there are either continuing education courses, or the so-called "pedagogical readings", where teachers get acquainted with improved teaching methods;
5) using new techniques in the study of individual elements of music, for example, at one time, the so-called French score was suggested for reading a rhythmic pattern: pronouncing rhythmic patterns into certain syllables [1, p.8] The criterion for the name of a sound in a particular pattern is its duration:

tiri-tiri;

ta-a. This technique can indicate a relatively small number of rhythmic figures, so rhythm syllables are used only in the early stages of training.

Известные способы обучения музыке имеют невысокий изобретательский уровень, так как они для специалиста логически следуют из известного научного уровня, который, как было отмечено ранее, рекомендует улучшения по отдельным операциям, оставляя без изменения как очередности операций, так и принцип самого способа обучения.To increase the speed of writing when recording rhythm, from some time began to use notes without heads [1, p.6]

Known methods of teaching music have a low inventive level, since they logically follow for a specialist from a known scientific level, which, as noted earlier, recommends improvements in individual operations, leaving both the sequence of operations and the principle of the training method unchanged.

 The objective of the present invention is to create a new learning method that can: provide training for a professional musician and music lover, teach music to any normal person, regardless of age and degree of giftedness, systematically master musical literacy, wider writing, making the latter a "tool to learn" new things, reduce cost of lessons, increase the number of students.

 The problem is solved in that in the known method of teaching practical music making, which includes phased learning to play musical instruments in the musical text of musical works, studying musical notation and practicing the position of the hand on a musical instrument according to the present invention, before each step in the musical text of each musical work, individual parts for each musical instrument in terms of parameters related to the sound on the instrument and covering tm, high-altitude drawing, hand position and coordination of two hands, the number of fret steps, training is carried out in at least one group by joint playing musical instruments, which use drums and at least one keyboard instrument, at each stage they study musical notation and lead auditory control of the corresponding musical text using a color card system, in which each card and its position in space are coordinated with parameters covering the rhythm, the number of steps of the fret, p When in use, the number of stages is set depending on the result of the auditory control.

 The development of the main variant of the method is as follows: 1) at the first stage of training, a group play of musical works is started from the leading part on at least one keyboard musical instrument, and then it is gradually reduced to zero in the last stages by a phased increase in the parts of other instruments in each subsequent randomly selected to perform a musical work; 2) at each stage of training, they study musical notation using the keyboard of a keyboard musical instrument, read and record music of performed musical works; 3) for reading the musical text, rhythm syllables are formed from the phonetic series "A, I, T, P", the name of each syllable is coordinated with the position of the sound in time, and recording is made using written characters such as "line, loop, comma, arc".

 Such a new technical solution, with its whole new set of essential features, made it possible to harmonize the individual and group principles of teaching music in time and space in one way, which accordingly increased the number of students trained in practical music playing per unit time, shortened their training time, and also increased the practical return on this form introducing students to musical notation. This is due to the fact that in the proposed method of teaching practical music-making, the training itself is conducted in stages in one or several groups by group performance of musical works on musical instruments, for which percussion and keyboard musical instruments are used, i.e. instruments that do not require special training for sound extraction. Reception according to the musical text of the musical works selected for the performance is established by individual parts for each musical instrument according to the parameters related to the sound production on the musical instrument and covering the rhythm, high-altitude drawing, hand position and coordination of two hands, the number of fret steps, since only in this case to any student, without difficulty and additional studies, begin to play his part of a common musical work as part of the whole group, without violating the integrity of the whole musical works, without tearing its musical text and providing all its performers with conditions for the forced tracking of music throughout its musical text. Thus, each student, regardless of their original musical abilities, participates in the game of the whole group of one, two, three many pieces of music, in which each student works out his exercises for setting hands and coordinating two hands on a musical instrument, develops a sense of rhythm, orientation in quantity degrees of fret, because in the proposed method of teaching practical playing music, the advantages of the traditional state individual method of teaching music on the basis of musical notation and the amateur method of teaching "by ear" are organically combined, and their shortcomings are eliminated, in particular, our method allows the students to be given no homework assignments for their low efficiency in the absence of a tool at home.

 In addition, the present invention allows each student, when mastering the operations of one stage, to proceed to the development of operations of the next stage, without interfering with the activities of his colleagues who master the corresponding actions on a musical instrument related to the previous stage and vice versa.

 This is ensured by the auditory control of students and the establishment of individual parts for each musical instrument in accordance with the relevant parameters, followed by joint practical playing music in a group.

; б) нота

в) пауза 1. По высоте здесь также три элемента: а)

б)

в)

причем каждый из них нужно найти на соответствующей клавише соответствующим пальцем.In the active introduction of people to music, forms of playing music are of great importance. The traditional way of teaching music based on musical literacy, i.e. school, it is based on only one main form of playing music: the student learns several works to perform on stage. With the exception of rare cases of playing music with a four-way teacher, or participating in a school orchestra, the student remains with the work "one on one", responsible for all its elements. To bring a work to the stage, you need to work hard on the quality of their sound. Work on a work is its repeated play (possibly fragmentary), in which the student is immediately given a number of tasks: play sounds with specific durations, certain fingers on certain keys (or buttons, or strings, etc.). The student is obliged to find the right finger and the right place on the key or string and do all this at a time limited by the rhythmic pattern. Naturally, to perform such operations simultaneously requires a large load on intelligence, a large expenditure of energy. Consider N 1. This is a typical example of the initial work, which the student performs the very first. It looks very simple, affordable. The usual task is to play it with all the details. And even such a small work has a lot of these details. According to the rhythm, there are at least three elements a) a note

; b) note

c) pause 1. There are also three elements in height here: a)

b)

in)

each of them needs to be found on the corresponding key with the corresponding finger.

 All elements must be familiar to the student before he begins to play music. Working with text will be an intellectual activity of figuring out how it should be read and executed. Execution is the simultaneity and sequence of several operations. Therefore, to enjoy such a role is typical only for those who have a true calling to become a professional musician. In other cases, the result of forced work to learn a work is not love, but hatred of music. This is a well-known fact.

 Musical works used in the work must be classified accordingly. This classification in the traditional way of teaching is carried out by the gradual inclusion in the repertoire of works selected on the principle of "from simple to complex" for performing tasks. From small light works to works with a developed texture and shape, many days and hours must pass in working on the technique. Small, lightweight “non-prestigious” works cannot pass either a novice child or a novice adult, being the only material for mastering. Often this fact weakens the desire to learn from both. The proposed method for the selection of musical works is based on the classification of elements in the work (not excluding the classification of the works themselves). The advantages of this approach are that the student has the opportunity from the very beginning of training to be involved in the process of serious music making, to master complex works (more precisely, simple elements in them). Naturally, this retains interest in the process for a long time, contributes to the desire to fulfill all the elements by itself, and in some cases is a strong incentive for more thorough work.

 The selection of musical instruments for teaching in a new way is carried out in such a way that the student is not limited to any one, but if possible gets acquainted with different ones. A prerequisite to include the student in the process of playing music immediately, using tools that do not require special training for their development. Percussion instruments (or their substitutes from household objects or gestures such as cotton or slap) act as such instruments. Further, they include either percussion-melodic (xylophones of the K. Orff system or children's), or children's winds. If percussion instruments require only a rhythmic feeling, then the above require a high-altitude orientation of the student. In order to go through all the elements in stages, it is necessary to gradually expand the field of attention of the student either by adding keys (which is supposed to be on K. Orff's instruments), or by connecting new colors (on children's winds). Thus, in a high-altitude orientation, it is primarily used the motor-motor reaction to a high-altitude pattern, supported by an emotional reaction to color. Keyboard instruments are required for mastering a new teaching method. They are used in the process of playing music, and as a visual aid in the study of musical literacy.

. Чтобы прочитать текст или исполнить его (на каком-либо ударном инструменте или хлопками) нужно совершить всего одну операцию, не требующую специальной подготовки. Эта операция заключается в вычленении из музыкального текста ноты

, находящейся постоянно на второй строчке нотного стана. Таким образом, ученик уже на пятой минуте первого урока может без ошибки следить за исполняемой музыкой по нотам, читать нотный текст и исполнять "свою партию" в доступной форме выражения. Само же произведение представляется "сложным", интересным, фактурно полноценным.Etc. NN 2, 3 are typical for starting classes in a new way of learning. They master only one element of the musical pulse, expressed by a note

. To read the text or to execute it (on any percussion instrument or claps) you need to perform only one operation that does not require special preparation. This operation consists in extracting notes from a musical text.

, which is constantly on the second line of the musical staff. Thus, already in the fifth minute of the first lesson, the student can follow the performed music by notes without errors, read the musical text and play “his own part” in an accessible form of expression. The work itself seems to be "complex", interesting, texturally complete.

 In the same way, all the elements of a rhythmic pattern are mastered strictly in stages. The student will return to these works several times, when mastering both rhythmic and high-altitude patterns. If all common rhythmic situations are divided into 10 stages, then return to Ave. N 3 at the fourth stage, to Ave. N 2 at the eighth, to Ave. N - at the tenth.

 A musical instrument should be mastered only in the unity of reading and writing. If a traditional musical notation is convenient for reading, then its use in writing is rather difficult, since it uses quite difficult to write figures that exclude the ability to write quickly, i.e. the way we usually write. The new method offers a system of the simplest characters of a written musical alphabet for quick recording of high-altitude and rhythmic patterns separately, which makes it possible to write freely at an early stage of training.

 As you know, the fabric of musical works consists of high-altitude and rhythmic connections of sounds. Mastering these connections enables a person to master the musical language. The traditional way of teaching music is based on the study of high-altitude and rhythmic connections in their inextricable unity, which requires the student to perform several operations each time, different in nature. Due to the complexity of actions when working on the text of a musical work, the mastering of musical literacy is difficult, the process of learning to read is significantly delayed and even in the end gives very weak results. Many graduates of music schools who have not become professional musicians simply cannot read a musical text and cannot imagine its sound by notes.

 The proposed new method of teaching is based on the mandatory separation of the rhythmic and high-pitch components of musical tissue in the study of musical literacy. Mastering even just one rhythmic aspect already allows you to represent the nature of the sound of music by notes, and monitor its performance. The ability to read a rhythmic pattern makes it possible to take part in the performance of notes in an accessible form of expression (using percussion instruments or gestures).

тири-тири; г)

та-а [см. 1, с. 8] Поскольку число длительностей намного превышает число слоговых комбинаций из данных фонетических компонентов, постольку в обозначениях возникают неточности между реальной длительностью и ее слоговым названием. Достаточно сравнить б)

и в)

(нота в два раза короче), которые называются одинаково "ти". Отсюда - использование приема только на ранних этапах обучения, когда в работе находится небольшое число длительностей, образующих простейшие ритмические рисунки (пр. 1). Избранный критерий зависимости названия от длительности ноты не создает систему чтения ритма, позволяющую читать любые ритмические рисунки, который можно было бы использовать на всех этапах обучения.A special role in the study of musical literacy is given to rhythm reading on certain syllables. This technique was "introduced" into traditional pedagogy as early as the 19th century (the so-called "French score"). Syllables consist of conveniently pronounced sounds: a, and, t, p. Each syllable in the traditional way is assigned a specific duration:

tiri-tiri; d)

ta-a [see 1, p. 8] Since the number of durations far exceeds the number of syllable combinations of these phonetic components, inaccuracies arise between the real duration and its syllabic name. It is enough to compare b)

and c)

(note two times shorter), which are called the same "tee." Hence, the use of the technique only in the early stages of training, when a small number of durations are in work that form the simplest rhythmic patterns (Ex. 1). The selected criterion for the dependence of the name on the duration of the note does not create a rhythm reading system that allows you to read any rhythmic patterns that could be used at all stages of training.

 In the proposed method of training, the development of rhythm relies on a motor reaction that involuntarily arises in a person when listening to music. It corresponds to uniform strokes, as if dividing the musical time into equal sections of the beat. This phenomenon, by analogy with the physiological phenomenon, is called the pulse. Observing the reaction of children and adults in the process of their active communication with music (in dance or exercise) shows that the feeling of a musical pulse is inherent in almost every person. Pulse is a constant constant component of music. Reliance in the name of sounds on the pulse, and not on the duration, the variable component of the rhythm ensures the absence of contradictions in the rhythm reading system, making it easy to master it in a fairly short time and at any age. The syllabic name of each sound is determined by its position in a fraction of the time from one beat of the pulse to another. The number of such provisions is limited. Using the same set of phonetic elements, we get the opportunity to reflect almost all common rhythmic situations.

, он читается как "та". Когда доля дробится на два равных звука, то в названии второго, появляющегося на слабом времени доли, меняется гласный.

так как гласный звук "и" всегда воспринимается как предшествующий действию (удару, движению). Это отражено в бытовых трудовых действиях (и-раз), в спортивном, танцевальном, музыкальном счете. Ощущение такого соотношения гласных свойственно человеку независимо от уровня его образования. Достаточно вспомнить, как маленькие дети изображают часы слогом "тик-так", добавляя на слог "так" либо удар, либо то или иное движение тела.The name of the sound coinciding with the moment of pulse beat, i.e. beginning a strong share time, consists of the consonant "t" and the vowel "a" (reference in pronunciation). If there is only one sound graphically expressed by a note

, it reads like that. When a beat is split into two equal sounds, the vowel changes in the name of the second, appearing at a weak time of the beat.

as the vowel sound "and" is always perceived as preceding the action (shock, movement). This is reflected in domestic labor activities (and times), in sports, dance, and musical score. The feeling of such a ratio of vowels is peculiar to a person regardless of the level of his education. It is enough to recall how young children depict watches with the syllable “tick-tock”, adding to the syllable “tick” either a blow or one or another movement of the body.

Звуки, длящиеся несколько долей, обозначаются слогом "та" с протянутой гласной в соответствии с количеством протянутых долей:

Используя данную систему обозначений, можно все наиболее распространенные ритмические ситуации назвать строго индивидуальным фонетическим выражением. Это дает возможность быстро научить читать ритм (вместо восьми лет в музыкальной школе два года) и применять систему на протяжении всего периода обучения.When, in turn, the half-fraction is split into two equal sounds, then while maintaining the vowel corresponding to each half-fraction, the name of the second sound gets the consonant "p"

Sounds lasting several beats are indicated by the syllable "ta" with an extended vowel in accordance with the number of extended beats:

Using this notation, all the most common rhythmic situations can be called strictly individual phonetic expression. This makes it possible to quickly learn to read the rhythm (instead of eight years in a music school for two years) and apply the system throughout the entire period of study.

Такая модификация типичный пример улучшения метода отдельным приемом без изменения самого метода.The method also includes a new rhythm recording system. A traditional rhythm recording system is essentially a printed font. It is easy to read. But due to its bulkiness, it greatly slows down the process of graphic reflection of sound on paper. Therefore, using a system of printed graphic characters, a person will never be able to quickly record what he heard or record it right during the sound (compare with how we can record speech). There are separate attempts to improve rhythm recording in order to achieve speed. The most common variant of writing notes without heads, which really partially reduces the time of recording the rhythm:

Such a modification is a typical example of improving a method in a separate manner without changing the method itself.

 The goal of creating a new rhythm recording system is to enable a person to do what he involuntarily does while listening to music, reflects the musical pulse with uniform strokes (fingers on the table, foot, etc.), namely to express the motor reaction to sound through graphics.

 In the proposed new teaching method for recording rhythm, a written font of rhythmography is introduced. Its signs consist of only four simplest spelling elements: 1) a line (vertical, diagonal, horizontal), 2) an arc, 3) a comma, 4) a loop. This system of signs allows you to write almost without interruption, without violating the uniform motor movement of the hand, subject to the pulse.

2. Модифицированная традиционная система, в которой моторная реакция присутствует частично (при записи ноты

в остальных же случаях она подавляется:

3. Новая система, во всех случаях опирающаяся именно на моторную реакцию:

Преимущества новой системы:
1. Непроизвольная моторная реакция, положенная в основу письменного шрифта или "ритмографики", т.е. отбивание пульса движением руки, дает возможность освоить систему записи ритма практически каждому человеку, независимо от его возраста или степени музыкальной одаренности;
2. Письмо обладает связностью, обеспечивая возможность скорописи (стенографии);
3. Ощущение ритмического рисунка через движение руки, дающее возможность почувствовать наполненность доли звуками, значительно ускоряет процесс ритмического воспитания (вместо восьми лет ДМШ два года).Compare the three rhythm recording options:
1. The usual printed version, where the uniformity of hand movements when writing is absent:

2. A modified traditional system in which the motor reaction is partially present (when recording notes

in other cases, it is suppressed:

3. The new system, in all cases based precisely on the motor reaction:

Advantages of the new system:
1. An involuntary motor reaction underlying the written font or "rhythmography", i.e. beating the pulse with a movement of the hand, makes it possible to master the rhythm recording system for almost every person, regardless of his age or degree of musical talent;
2. The letter is connected, providing the possibility of cursive writing (shorthand);
3. The sensation of a rhythmic pattern through the movement of the hand, which makes it possible to feel the fullness of the lobe with sounds, greatly accelerates the process of rhythmic education (instead of eight years of music school two years).

 Sound pitch is a specific and more difficult to master aspect of musical fabric. In the traditional way of learning, notes on the keys and their place on the stave (on the five lines) are first learned, and only then begins playing music on the notes. In other words, a number of intellectual operations precede playing music itself. If a student has forgotten a note, this immediately slows down the process of sound production, since you need to remember its name, find it on the keys (buttons, strings) and, finally, figure out which finger to do it.

 In the new method, the altimetric orientation is carried out in three aspects, in each of which the sequence of steps is strictly observed.

что показывает какие ноты соответствуют соседним (пластинкам) клавишам, а какие должны быть взяты через клавишу. Последняя нота, отстоит от предыдущей далеко, так что брать ее неудобно, и ученику показывают, как находить для нее известный ориентир в данном случае она должна быть определена как идентичная первой, т.е. самой нижней. Такой принцип чтения высотного рисунка может быть освоен учащимся за один урок.The first aspect develops among students the most general orientation in a high-altitude drawing. For this, playing music with a limited set of sound-absorbing elements is mandatory. The most convenient are the tools of the K. Orff system, where there are removable plates. The number of plates is gradually increasing, developing the student's ability to see, feel the ever-increasing "field of activity." Moreover, he always relies on familiar "points" in space. In the absence of such instruments, they can be replaced by color coding of elements or the restriction of piano keys to a specific “zone” oriented to the area of either two or three black keys. The main thing in the general high-altitude orientation is that the student constantly has before himself a ready-made field of activity mastered for the “surface” movement. His task is only in a motor reaction to a high-altitude drawing, showing the direction of movement and the magnitude of the steps. For example, a high-altitude drawing contains five notes, which, respectively, should be located on five (plates) keys, in particular,

which shows which notes correspond to neighboring keys (plates), and which should be taken through the key. The last note is far from the previous one, so it’s inconvenient to take it, and the student is shown how to find a known reference point for it in this case, it should be defined as identical to the first, i.e. the lowest. This principle of reading a high-altitude drawing can be mastered by students in one lesson.

это один звук, который должен исполняться одним пальцем; б)

два соседних звука, которые исполняются двумя соседними пальцами; в)

два несоседних звука, которые исполняются через палец и т.д. Такая двигательная реакция позволяет ученику читать высотный рисунок пальцами, ощущать контур независимо от его положения на клавишах (кнопках, струнах).The second aspect, the student develops a finger reaction to a high-altitude drawing, the contour of which assumes the corresponding position of the hand: a)

this is one sound that must be played with one finger; b)

two neighboring sounds that are played by two neighboring fingers; in)

two neighboring sounds that are played through the finger, etc. Such a motor reaction allows the student to read the high-altitude drawing with his fingers, to feel the contour, regardless of its position on the keys (buttons, strings).

 The third aspect of altitude orientation is associated with the development of tonal-modal thinking. In the traditional way of teaching, the keys (in the amount of thirty) are studied for seven years, classified according to the principle of increasing the number of key characters [3, p.24, 51] In this regard, the keys with a large number of characters appear to be very difficult, even causing a negative reaction from professional musicians. In the proposed method, not tonality is mastered, but their elements of the fret level, corresponding to certain sounds (keys). The spatial correlation of steps has a strict constant order, which is easy to remember (learn) by including at each stage only one new one in relation to those already mastered.

 This serves to develop the ability to find, shape the "field of activity", build the "surface" of the movement of the melody and the location of the chords. The task that is solved in this way to enable the student to use all the keys as equal. There are seven steps in total, so the process of mastering the fret in its various tonal variations takes place instead of eight years in the school of music for only a year, with amateur music playing from two to four years. Fluency in tonality from the very beginning makes it possible to find “your own” tonality, i.e. corresponding to the tessitura of the voice and operate with tonal color in improvisations by analogy with the use of paints in drawing.

 The recording of a high-altitude drawing in the traditional version is always carried out on musical rulers and relies on a key associated with the exact position of the notes on the stave.

 The new method, not excluding the traditional, printed music system, relies either on a keyless entry to read a drawing in a convenient key (Ex. N 5,6,7 bottom line), or on a written system of step signs that makes it possible to use when recording notes ordinary (not musical) paper. In this version of the recording, you can use the rulers, but you can do without them.

Данная система знаков позволяет писать связно, быстро, легко. Ученик может свободно записывать мелодии понравившихся ему песенок, сочиненных им самим. На эту запись уходит очень мало времени. Даже если ритм и высотный рисунок записывать по отдельности, то времени будет затрачено гораздо меньше, чем при записывании этих слагаемых в одновременности обычным печатным нотным шрифтом.

This system of signs allows you to write coherently, quickly, easily. The student is free to record the melodies of the songs he likes, composed by himself. This recording takes very little time. Even if you record the rhythm and high-altitude drawing separately, then the time will be spent much less than when writing these terms at the same time in ordinary printed musical notation.

 Fears regarding the study of another iconic system, not similar to the traditional musical system, are unfounded. Our regular written font is also just not like a printed font, however, its study does not cause any difficulties. A written musical font allows you to start recording musical information as soon as a person comes into contact with the study of musical literacy.

Последовательность таких нот, отражающая удары пульса, записывается простейшим движением руки по клеткам с проставлением точки в каждой из них. Если в доле времени два звука, одинаковых по длительности, то ставится соответственно две точки:

Таким же образом осуществляется запись остальных ритмических рисунков, каждый из которых получает строго индивидуальное выражение.The new method offers a similar written font for recording music in Braille. Experience shows that the traditional system of recording and reading notes according to Braille in the early stages of training is mastered with great difficulty. In the new method, the recording of the rhythmic and high-altitude pattern is mastered separately. In particular, to record a rhythmic pattern, a direct motor reaction to the sound of a pulse beating by a movement of the hand serves as a support. The proportion of time from one beat of the pulse to another corresponds to one cell. The fullness of the proportion with sounds is reflected in the fullness of this cell with dots-notes. If there is only one note in the beat, then it is indicated by

The sequence of such notes, reflecting the beat of the pulse, is recorded by a simple movement of the hand across the cells with a dot in each of them. If in a fraction of the time there are two sounds of equal duration, then two points are set accordingly:

In the same way, the rest of the rhythmic patterns are recorded, each of which receives a strictly individual expression.

 The high-altitude pattern also has its own recording option, where the fret steps are recorded by numbers matching the usual numbers. If a student masters musical literacy at the age at which he masters the regular literary, then musical literacy helps the assimilation of ordinary letters in Braille.

 At each stage (lesson) of playing music, the teacher exercises control over the auditory development of students using a blitz survey in which everyone participates at the same time. Each student receives a large card the size of a regular typewritten sheet and a set of small color cards 3 x 5 cm in size (Ex. P. 5). The large map is divided into 10 cells, each of which contains eight different tasks. Thus, each task has ten possible answers. Each cell corresponds to one small card of a certain color, which the student, upon hearing the task and finding the answer on the map, shows the teacher. When showing it to the teacher, the card can occupy three positions: vertical, horizontal, diagonal. Each of them is assigned a certain additional situation. The total number of options for different tasks is 240. To ensure that the answer is quickly found, the tasks in the cells have a different graphic shape, which ensures the speed of the visual reaction. Compared to similar TCO electronic systems, this interrogation system never fails, does not require maintenance personnel and preventive maintenance, is characterized by mobility (it is not assigned to a specific audience), and most importantly its cost is thousands of times lower than electronic TCO. The effectiveness of the survey on this system is equal to the effectiveness of the use of electronic TSS with the participation of the teacher.

 The present invention increases the existing scientific level of development of the musical education system, in particular, methods of teaching music, as it became possible to expand the contingent of students, increase the likelihood of revealing their musical abilities, and, most importantly, to teach reading musical works in musical text as freely as they read ordinary book.

 The author’s review of scientific and patent information showed that the proposed set of essential distinguishing features, as well as some of them, are unknown. Therefore, the present invention is new.

 The proposed method of teaching practical music-making has a high inventive level, since it does not logically follow a known scientific level of development for a specialist, but rather violates the traditional canons of the method of teaching music accepted by the educational system, since all operations are coordinated with each other at the stages of training, some of them they are performed in a fundamentally new way, as well as individual-group instruction is laid as a basis, in particular group music-making begins from the first stage of learning le musical work on different instruments.

 The proposed method is implemented as follows.

First you need to recruit students whose age and level of musical ability does not matter. The basic requirement is the student’s internal desire to learn how to play music. Then they are randomly divided into study groups and bred into classrooms. Each classroom is equipped, for example, with the following tools:
a) children's percussion instruments (drums, tambourines, maracas, rumbas, cymbals) or their substitutes for household objects that produce a similar sound (wooden spoons, metal covers, etc.);
b) children's percussion-melodic or with removable plastics (K. Orff's system), or with the color scheme of the keys (metallophones, xylophones);
c) children's ovens with color marking of sound-extracting elements (keys, buttons, etc.);
d) electronic keyboard instruments equipped with head phones, which make it possible to work individually, and a common remote control for joint music playing; e) a tape recorder (this tool is optional).

 In a specific case, we formed a training group of 10 people. Age from seven to fifty years. None of the members of the group had a musical education, no one had ever played any instrument. Nobody has studied musical literacy either.

 The number of stages is set depending on the parameters associated with the sound extraction on the instrument and covering the high-altitude pattern, rhythm, hand position and the coordination of two hands, the number of fret steps.

 For each parameter, an average of 10 steps are established. A variant is possible when each stage of each parameter is mastered in a separate lesson, which takes a short time. It is possible that the steps of the same parameters in the same order are mastered in one lesson that is more developed in time. Thus, the greatest number of stages can be 40, the least 10. Moreover, in one lesson lesson, students can master one, two. stage, or spend several lessons on the development of one stage.

 The transition from stage to stage is carried out depending on the result of auditory control, which is carried out by the teacher in the learning process, using color cards forming a system, where each card, its position in space is consistent with the parameters covering the rhythm, the number of fret steps. Each student is provided with such a card system. Using it for control creates an additional tool for figurative reflection of the elements of music heard in a musical work.

Это происходит в несколько стадий: а) пульс определяют по темпу произведения и отражают его на слух (без участия нотного текста) любым движением или жестом (шагами, постукиванием по столу, хлопками и т.д. ); б) пульс прослеживают в нотном тексте выбранного музыкального произведения и аналогичных; в) пульс читают на слог "та" либо все от начала до конца, либо по фрагментам, которые задают заранее путем дополнительного разделения индивидуальной партии; г) пульс исполняют на ударном музыкальном инструменте, причем партию разделяют на фрагменты и передают от одного инструмента к другому; д) пульс записывают знаком

передающим на бумаге движение руки, как непроизвольную реакцию на музыкальную пульсацию; е) для проверки степени усвоения материала подбирают произведения, в которых музыкальный пульс не всегда имеет реальное звучание. В слуховом анализе (без нотного текста) ученики определяют наличие или отсутствие пульса в реальном звучании и одновременно сообщают об этом учителю при помощи цветной карточки. Ее положение в пространстве по вертикали $\genfrac{}{}{0ex}{}{\text{┌┐}}{\text{└┘}}$ означает присутствие реального звучащего пульса, по горизонтали

соответственно исчезновение реальной пульсации.Before each stage, individual parts for each student are set according to the musical text of each musical piece according to the parameters associated with sound production on it and covering the rhythm, high-altitude drawing, hand position and coordination of two hands, the number of fret steps. So, for example, at the first stage, according to the named parameters, the following actions are performed, in particular:
1. The rhythm. The student highlights the musical pulsation in the work, expressed graphically by a note

This occurs in several stages: a) the pulse is determined by the tempo of the work and reflect it by ear (without the participation of the musical text) by any movement or gesture (steps, tapping on the table, clapping, etc.); b) the pulse is traced in the musical text of the selected musical work and similar; c) the pulse is read on the syllable "ta" either from the beginning to the end, or according to the fragments that are set in advance by additional division of the individual party; d) the pulse is performed on a percussion musical instrument, and the part is divided into fragments and transferred from one instrument to another; d) the pulse is recorded with a sign

transmitting on the paper the movement of the hand, as an involuntary reaction to a musical pulsation; f) to check the degree of assimilation of the material, works are selected in which the musical pulse does not always have a real sound. In the auditory analysis (without musical text), students determine the presence or absence of a pulse in real sound and at the same time report this to the teacher using a color card. Its vertical position in space $\genfrac{}{}{0ex}{}{\text{┌┐}}{\text{└┘}}$ means the presence of a real sounding pulse, horizontally

accordingly, the disappearance of real ripple.

 2. High-altitude drawing. According to his individual batch, the student finds the simplest high-altitude drawings using tools with removable plates or with color marking. He performs this in several stages: a) selects drawings from two sounds corresponding to two plates or keys located relatively far away (Ex. N 6); b) selects a high-altitude drawing from two sounds located close on neighboring plates (keys), i.e. having less contrast in the high position of the elements (Ex. N 7); c) selects a high-altitude pattern of three sounds, two of which correspond to neighboring plates, and the third is spaced a greater distance (Ex. N 5); d) to check the auditory orientation, color cards are used, where one of the colors indicates the presence of only one sound (in height) in the party analyzed by the hearing, the other two, the third three. After listening to a fragment for auditory analysis, students pick up cards at the sign of the teacher at the same time.

3. Hand positions and hand coordination. At the first stage, the position of the hand on the keyboard instrument, limited by the area of five keys and corresponding to five fingers, is oriented to groups of black keys, two or three. The actions of the student in the performance of his part are associated with the simultaneous pressing of either two or three black keys. Moreover, these actions are performed in the following sequence:
a) repeatedly repeat the simultaneous sounding of sounds on two or three black keys with one hand;
b) the same with alternating hands;
c) the same with the transfer of hands in octaves;
d) simultaneously with two hands in adjacent octaves;
e) with two hands with the transfer to other octaves in parallel motion;
f) with two hands with the transfer to other octaves in the opposite movement;
g) alternating hands from transfers to other octaves by crossing their arms;
h) to check the auditory reaction, color cards are used (from two to seven), each of which is preliminarily assigned to the corresponding stage of mastering these elements, which the student will recognize when playing a piece of music or a fragment of it, as part of an individual part of an instrument (Pr. N 8).

в разных тональностях ученик учится распознавать красочную сторону звучания (Пр. N 3).4. The degrees of fret. In the game, the student masters only one 1 step of the fret, which he plays either on an instrument with removable plates or on one key. According to this first stage, the corresponding sound name is the tonality of the work ("do", "la", "mi", etc.). Playing your own one-stage game

in different keys, the student learns to recognize the colorful side of the sound (Ex. N 3).

To test the auditory reaction, a system of two cards of different colors is used, where the first corresponds to the main key of the work, the second
indicates a change in tonality.

 5. Control over the development of hearing, is mandatory when working on each parameter. It is carried out either weekly, or with an interval of several classes. Information for auditory analysis is provided by both the teacher and one of the students. In the latter case, the student naturally chooses what he has learned better. According to the material chosen by the student, the teacher also determines the degree of readiness of this student for the next stage.

 An example of a specific implementation of the present method, which shows the first two lessons and the last tenth.

Lesson N 1
1. Exercise N 1 is aimed at the work of rhythmic education. To do this, choose one of the works (see Appendix NN 2,3,4,5,6). If the majority of people in the group love jazz, then the work starts with N 3, if the classics are NN 2,4,6, if the group consists mainly of children N 5. The examples given in the Appendix can be replaced by any others similar to them.

используя аналогичное движение руки (наибольшая аналогия возникает при записи на доске мелом, где вертикальная линия след от удара и является знаком, обозначающим ноту

ноту пульса. Запись производится во время звучания;
в) читают пульс (ноту

) по нотам в произведениях NN 2,3,4,5,6 во время исполнения их педагогом или с помощью магнитофона (читают на слог "та");
г) исполняют произведение вместе с педагогом (магнитофоном), играя только партию, написанную на нижней строчке нотой, на каком-либо ударном инструменте или используя тот или иной жест (хлопок, стук по столу и т.п.) в соответствии с цветовой маркировкой фрагментов партии (Пр. N 3);
д) самостоятельно придумывают тембровое оформление своей партии, записывая ее фрагменты знаком

с цветовой маркировкой и переходят к упражнениям NN 2,3,4, направленным на воспитание звуковой ориентации.Actions are decomposed into the following operations:
a) when listening to a work, its pulse is determined (this is accessible to everyone) and it is reflected through a hand movement imitating a blow;
b) record this pulse with a sign

using a similar movement of the hand (the greatest analogy arises when writing on the blackboard with chalk, where the vertical line is the trace of the stroke and is a sign denoting a note

pulse note. Recording is made while sounding;
c) read the pulse (note

) on notes in the works of NN 2,3,4,5,6 at the time of their performance by the teacher or using a tape recorder (read on the syllable "ta");
d) perform the work together with the teacher (tape recorder), playing only the part written on the bottom line by a note, on any percussion instrument or using one or another gesture (cotton, knock on the table, etc.) in accordance with the color marking fragments of the party (Ave. N 3);
e) independently invent the timbre design of their party, recording its fragments with a sign

color-coded and move on to exercises NN 2,3,4, aimed at educating sound orientation.

.Exercise N 2 forms a visual-motor reaction in students on the general contour of a high-altitude pattern. To do this, it is better to choose a light work, consisting of only two located far from each other and having a corresponding graphic expression (Ex. N 6). Further, the actions are decomposed into the following operations: preparation of the "field of activity" or the "surface of movement" of the melody. For this, the children's percussion and melodic instrument is freed from the “extra records” and set with a “ladder” in which the lower record corresponds to the lower note (Ex. 14, p. 4 fig. A). In the absence of such an instrument, two percussion instruments are used (or their substitutes: household objects, various gestures) corresponding to these two notes (Project 14, p. 4, Fig. B). The student's part is again a simple operation of switching from one note to another, followed by returning to an already mastered rhythm expressed by a pulsating note

.

 At the end of this exercise, auditory control of learning is possible, as a result of which it is advisable to adjust the individual parts of individual musical instruments. However, you can immediately proceed to the next exercise.

 Exercise N 3 is aimed at developing students' finger reaction to high-altitude drawing. To do this, choose a light product (Ex. 10 or similar). Choose a group of fingers (1,2,3 or 2,3,4 or 3,4,5), which then perform this high-altitude drawing, with the fingers of the right hand pointing up, left below. "Execution" is carried out on a hard surface (on the table) by each group of fingers in turn. In a partially unfamiliar rhythmic situation, the reference text is a verbal text. The student "plays" first with each hand separately, then synchronously together, duplicating the melody. In this case, the student plays with the teacher or accompanied by a tape recorder. After several plays, the music is well remembered and in the future, when the performance moves to the keys, the student himself exercises auditory control over the sound.

Это первая ступень лада в тональности ля. Остальные элементы произведения исполняет педагог или магнитофон. Если первую ступень поместить на другую клавишу, то остальные сместятся на соответствующий интервал. При этом изменится тональность (окраска звучания), а ладовое значение звука сохранится он останется первой ступенью, но уже других тональностей. Игра этого произведения в разных тональностях осуществляется с педагогом. По этому принципу уже на первом уроке путем только одной операции извлечению звука 1 ступени можно начинать освоение сразу всех тональностей. На уроке данный элемент можно осваивать, исполняя как одно, так и несколько произведений (Пр. NN 4,5,6,7,9).Exercise No. 4 is aimed at developing the student's orientation in the fret system. Of the seven steps of the fret, only one first step is selected. As an example, you can use Ex. N 3. On the corresponding record or key, only one “la” sound is played (marked in the example by

This is the first step in the key of la. The remaining elements of the work are performed by a teacher or tape recorder. If the first step is placed on another key, then the rest will shift to the corresponding interval. At the same time, the tonality (coloring of the sound) will change, and the mode value of the sound will remain, it will remain the first step, but of other keys. The play of this work in different keys is carried out with the teacher. According to this principle, already in the first lesson, using only one operation to extract the sound of the 1st stage, one can begin to master all the keys at once. In the lesson, this element can be mastered by performing one or several pieces (Ex. NN 4,5,6,7,9).

 Thus, in the first lesson, without special training, the student immediately takes part in the performance of “serious” pieces (Ex. N 4) and can immediately record the rhythm of the musical text, read it, and learn to navigate in high-altitude drawing.

к которому добавляют новый элемент

-паузу, той же длительности (Пр. N 11). В письменном варианте паузу отражают знаком ', сохраняющим непроизвольное движение руки как реакцию на музыкальную пульсацию. В чтении - фонетическое отражение паузы осуществляется фонемой "мм". Все стадии освоения нового элемента происходят аналогично первому уроку при помощи простых операций.Lesson N 2
Exercise N 1 includes in the work, where there is a familiar element note

to which a new element is added

pause of the same duration (Ex. N 11). In the written version, the pause is reflected with the sign ', preserving the involuntary movement of the hand as a reaction to the musical pulsation. In reading - the phonetic reflection of the pause is carried out by the phoneme "mm". All stages of the development of a new element occur similarly to the first lesson with the help of simple operations.

 Exercise N 2 expands the field of action; one plate (key) is separated from the other two, so that the high-altitude pattern acquires new interval relationships. In the selected piece (for example, Ex. N 5), the student plays the bottom line, using either a prepared instrument with records (Ex. P. 4 Fig. B), or three percussion instruments or their substitutes (Ex. P. 4 fig. D).

 Exercise N 3 is performed by analogy with exercise N 3 of the first lesson, but using the example of another work (Ex. N 5 bottom line). The performance involves two groups of fingers, four in each (1,2,3,4 and 2,3,4,5), but each time only three fingers “play”.

) и в одновременности (Пр. N 9 нижняя строка) образуют опору лада, часто использующуюся в аккомпанементах. Действие по звукоизвлечению опирается на умение читать ритм, выраженный пульсирующей нотой, и представляет собой простую операцию повторения одних и тех же звуковых сочетаний. Музицирование осуществляют либо с педагогом, либо с магнитофоном.In exercise No. 4, works similar to Ex. NN 3 and 9. In each of them, two steps of the fret, the first and fifth, are mastered, the combination of which is in sequence (Ex. N 3 bottom line of the note

) and at the same time (Ex. N 9 bottom line) form the support of the fret, often used in accompaniment. The action of sound extraction is based on the ability to read the rhythm, expressed by a pulsating note, and is a simple operation of repeating the same sound combinations. Music is played either with a teacher or with a tape recorder.

 Exercise No. 5 is aimed at the development of hand coordination when performing two different (more precisely, non-synchronous) operations. Using the table surface as an instrument, the student “plays” the melody with the accompaniment (Ex. N 10). Moreover, you can tap a familiar melody with your right hand accompanied by your left (the part on the bottom line), or you can play with your fingers (this operation is already familiar). The left-hand part can be played on the table, or you can use two percussion instruments (similar to exercise N 2 of the first lesson). In this action, the student combines two simple familiar operations.

 In fact, starting from the second lesson, the teacher has the ability to control the auditory development of students using a system of several color symbols (cards). Rhythmic upbringing already includes two learned elements, note and pause. In fret education, the situation is similar - I and V steps are mastered. Each of the mastered elements is assigned a color symbol. In response to the teacher’s task, the students simultaneously show a card of the desired color.

 Thus, by adding only one element of a musical language, musical literacy is mastered. All actions (operations) performed by a student are a process of making active communication with music. Each mastered element is shown on the example of several works that are necessarily performed by the student. In this case, partial execution prevails, i.e. performance only of his part. During the time allotted only to the first two lessons, the student plays an average of 10-20 pieces. Naturally, his hearing and musical erudition are developing at a relatively rapid pace. Each operation aimed at mastering an element of musical literacy (musical language) is carried out with ease, since it consists of a simple repetitive action.

 If necessary, each lesson can be repeated.

 All other lessons of any stage of training in the present method are built on a similar principle, see, for example, lesson 10.

которые по программе музыкальной школы осваиваются в курсе музыкальной грамоты только на пятом году обучения [3, с.67]
2. Упражнения N 2 и N 3 совмещаются в одном, так как нужные двигательные реакции на высотный рисунок уже достаточно развиты. К исполнению могут привлекаться как новые произведения (Пр. N 13), так и уже встречавшиеся на более ранних этапах занятий (Пр. NN 2,3). На данном этапе при исполнении этих произведений ученик может уже не пользоваться "услугами" учителя или магнитофона и отвечать за звучание всех элементов самостоятельно.Lesson 10
1. Exercise N 1, aimed at rhythmic education, includes reading the works by voice, together with the performance by the teacher or on a tape (Ex. N 12 and similar). There are elements here

which, according to the program of the music school, are mastered in the musical literacy course only in the fifth year of study [3, p.67]
2. Exercises N 2 and N 3 are combined in one, since the necessary motor reactions to a high-altitude drawing are already quite developed. Both new works (Pr. N 13) and those already encountered at earlier stages of classes (Pr. NN 2,3) can be involved in performance. At this stage, when performing these works, the student may no longer use the “services” of the teacher or tape recorder and be responsible for the sound of all the elements independently.

 3. Exercise N 4, aimed at the education of tonal-modal thinking, includes combinatorics or improvisation. The student owns all the steps of the fret (of which there are only seven), all the keys (of which there are only thirty). This gives him the opportunity to combine combinations of sounds independently both horizontally, in melody, and vertically in chords. Having received the finished formula (Ex. N 14), the student can voice it either in the proposed options, or in his own.

 In addition, he can read the work (Ex. NN 2.5) either in its entirety or by elements in any key. The degree of freedom of these actions and their speed now depend only on the giftedness of the student himself and his diligence. At this stage, he no longer has a dependence on the teacher. He obtained the basics of musical literacy, allowing to play music together with other students, as well as individually. The number of works in the performance of which he took part is much more than a hundred. Since the performance each time takes place without effort, on the basis of natural motor reactions to the sound, it gives pleasure every time. The student begins to show interest in music, learns to listen to it, becomes an amateur. Similar classes with future professionals greatly reduce their musical literacy course, greatly facilitate their mastery, and significantly develop the student’s musical erudition.

 Summing up the above, it is necessary to generalize the advantages of the new method of teaching music in comparison with the traditional state.

The decomposition of the main actions of the student in the process of his initiation into playing music into simple operations, in which each new stage involves performing only one operation either with a musical instrument (percussion or keyboard) or without it (speaking, recording) allows you to rely not so much on work in training intelligence, how much to a purely natural motor reaction of a person to the sound of music. The following possibilities follow from this:
1. Apply the new method to any contingent of students, not limited either by the degree of musical giftedness or by age indicators, in contrast to the state methods that form the contingent according to one or another parameter; get stable positive results both in working with future professionals, and in working with amateurs.

 2. To include from the very beginning of training the performance of works written at a fast pace, which significantly activates the process of involving a person in playing music, increases tone, that is, immediately performs the function of psychological unloading (none of the traditional methods have such an opportunity).

 3. After a break in classes, join in playing music immediately, without additional training, because motor-motor memory has a more direct and long-lasting effect compared to intellectual, which is very important in the absence of daily activities and a musical instrument at home.

Classification of artistic musical material according to the principle of decomposition of a work into elements corresponding to a particular stage in the development of musical literacy gives the following possibilities:
1. To rely on the music with developed texture in the process of playing music from the very beginning, in which the student isolates for performance only “his” mastered element, but sees and hears the whole text, which allows him to rapidly expand his field of perception, visual and auditory memory.

 2. In group lessons, use the individual-group method of training, when more advanced students can switch to more complex parts in the performance of the work without disturbing the others, and also include in the early stages newcomers to the group who, without interfering with the group, will go the same way from start.

 3. To develop the ability to follow notes on music performance in a short time, which to a large extent will help the revival of the domestic literate audience with the scores in their hands that Russia had before the revolution and the creation of a “sales market” for serious musical products within the country.

 And, finally, the group method of training, which significantly reduces the cost of classes compared with the state individual, makes it profitable to study music on a mass scale, when the costs pay for themselves both economically and morally and psychologically, failed, failed musicians will be much less, but true music lovers will appear.

 4. Since training is carried out in at least one group by joint playing music on musical instruments (including different ones), for which training is carried out in stages, during which each musical instrument is set up its own individual part, depending on certain parameters, with auditory control according to the corresponding system of visual cards, it is possible in one group of students to combine people with different musical abilities, that is, a beginner participates in the general ensemble performance of musical nth work with the simultaneous perception of the whole complex of musical fabric, which in all traditional methods is achieved exclusively after certain (long) stages of training. In our case, a positive result is obtained due to the harmonious coordination of all the previously listed features of the present invention, each of which is based on natural motor-motor memory.

Sources of information
1. Education metro rhythmic skills in solfeggio lessons. - Guidelines for teachers of music schools and children's art schools. M. 1988.

 2. Musical education in Hungary. M. "SK", 1983.

 3. Solfeggio. Program for children's music schools, music departments of art schools, evening schools for general music education. M. 1984.

 4. Development of ear for music and creative music-making skills. - Methodological development for teachers of children's music schools and children's art schools. M. 1986.

 5. Piano game 1-2 grades. Children's music school. Compiled by V.A. Natanson and L.V. Roshchina. M. "Music", 1991.

 6. Musical literature. Program for children's music schools. Approved by the Office of Personnel and Educational Institutions of the Ministry of Culture of the USSR. Publishing house Ministry of Culture of the USSR, Methodical cabinet for educational institutions of art. M. 1970.

 7. Solfeggio. The rhythm. Guidelines and program requirements for teachers of preparatory groups at the Children's Music Schools, music departments of art schools. M. 1988.

 "Starting to play the piano." Tutorial. St. Petersburg, 1992.

Claims (4)

 1. A method of teaching practical music-making, including phased learning to play musical instruments using the musical text of musical works, studying musical notation and practicing the position of the hand on a musical instrument, characterized in that the musical literacy is studied in stages, before each stage, each musical composition is set according to the musical text individual parts for each musical instrument according to parameters related to the sound extraction on the instrument and covering the rhythm, high-altitude drawing j, the position of the hand and the coordination of two hands, the number of steps of the fret, training is carried out in at least one group by joint playing music on musical instruments, which use percussion instruments and at least one keyboard instrument, at each stage auditory control of the corresponding musical text is carried out using a color card system, in which each card and its position in space are coordinated with parameters covering the rhythm, the number of steps of the fret, and the number of stages is set infused depending on the result of auditory control.  2. The method according to claim 1, characterized in that at the first stage of training a group play of musical works is started from the leading part on at least one keyboard musical instrument, and then gradually reduced to zero in the last stages by phasing the parties of other instruments in stages each subsequent piece of music arbitrarily selected for performance.  3. The method according to PP. 1 and 2, characterized in that at each stage they study musical notation using the keyboard of a keyboard musical instrument, read and record recorded musical works.  4. The method according to p. 3, characterized in that for reading the musical text rhythm syllables are formed from the phonetic series A, I, T, P, coordinate the name of each syllable with the position of the sound in time, and record using written characters such as line, loop , comma, arc.

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