RU2137205C1 - Method for musical education using chromatic scale - Google Patents

Abstract

FIELD: education, in particular, practical phonetic acquisition of tools for musical expression prior to learning notation. SUBSTANCE: method involves use of twelve syllables which name twelve notes of tempered harmony and respective positions for their production on musical instruments. EFFECT: development of pitch memory and musical and logical abilities. 3 dwg

Description

 The invention relates to music, in particular to a method for teaching music. It is known that seven syllables Do, Re, Mi, Fa, Sol, La, Ci are used in music. These syllables (phonetics) are used identically both when reading notes (graphics), and when naming places for extracting sounds on musical instruments and the sounds themselves. As a result of the learning process, the fusion of phonetics (syllable pronunciation) and graphics (notation) occurs in the student’s mind.

bb, прибавляемых в качестве их названий к слогам. Например: До диез (#), До бемоль (b) До дубль диез

До дубль бемоль (bb). Эти корректирующие дополнения переносят именное значение исходного слога на соседние высоты звуков и, соответственно, места их извлечения на музыкальном инструменте вверх и вниз до 2-х полутонов, увеличивая количество наименований (35). Фиг. 1.The musical system used in teaching music is based on uniform temperament - dividing the octave into twelve equal semitones (see Vakhromeev V. "Elementary Theory of Music", ed. 7th M., Music, 1975.). Due to the discrepancy between the number of syllables used (7) and the number of sounds in an octave (12) and, accordingly, the places of their extraction, for example, keys (12), the process of renaming sounds and places of their extraction takes place. This process becomes possible due to the use of additional corrective signs (alteration signs) in the music graphics, such as #, b,

bb added as their names to syllables. For example: C sharp (#), C flat (b) C sharp double

Do double flat (bb). These corrective additions transfer the nominal value of the original syllable to adjacent heights of sounds and, accordingly, the places of their extraction on a musical instrument up and down to 2 semitones, increasing the number of items (35). FIG. 1.

 When solimizing (reading a musical text, singing reproduced by syllabic names) in order to preserve the metro-rhythmic basis of the voiced voiced, corrective concepts (sharp, flat, double sharp, double flat) are not pronounced and five different sounds can be called the same syllable, for example: Re (double flat), Re (flat), Re, Re (sharp), Re (double sharp) see example A, figure 1.

 As a result, the number of syllables used at the phonetic level with respect to the sounds and their graphemes (notation of sounds) available in the temperament system looks like 7:12:35. Such a disproportion and the multiple quantitative predominance of graphemes over sounds and used syllables leads to the fact that the method of teaching music based on the seven-syllabus naming system for twelve sounds of the temperament system has several disadvantages.

The training period, which lays the foundation for the accumulation of the vocabulary, is usually limited to the zone of direct correspondence of sound to its name, i.e. the framework of a natural diatonic scale, for example, in C major - Do, Re, Mi, Fa, Sol, A, C. Exit of the syllable beyond this framework takes its perception to the abstract level, which does not correspond to the specifics of the children's understanding of the surrounding world and, as a result, necessitates the introduction of musical graphics (notation) as a visual reference signal. The appearance of notation greatly complicates the learning process at the initial stage due to the addition of problems associated with decoding of musical text, such as:
- the correct determination by the learner of the name of the recorded sound in the form of a note on a musical staff with the key;
- retention of key memory and the correct decoding of random signs of alteration (if any), revealing the exact name of the sound, its altitude;
- decoding the duration of the sound of the determined sound in relation to the previous one;
- taking into account other signs and designations that correct the character of the executable and, in addition, the subsequent switching of the learner's attention related to finding and playing decoded sound on the instrument (voice).

 In addition, the presence of renaming also underlies the problems associated with the education of musical hearing as a memory to the height of the sound (the so-called "absolute hearing"), since, depending on the tonality, different names can be assigned to the same height. For example, a pitch of 440 Hertz can be called not only the syllable A, but also Salt (double sharp) or C (double flat) see example B, FIG. 1.

 Choosing a name for a musical sound when recording your composition, when selecting by ear or when writing a musical dictation is based on the abstractness of theoretical rules and therefore the adoption of the right decision always takes a certain amount of time. So, for example, in a children's music school (music school), a musical dictation of 8 to 16 measures (from 20 to 40 sounds) is played 8 to 10 times within 20 to 25 minutes (USSR MK SOLFEGIO course program for music school, Moscow 1984 p. 77). Mastering the basics of musical speech (scale, stage, interval, chord) is distributed by the program for all years of study (see ibid.). As a result of this, it becomes practically impossible for students to develop the ability to operate freely in phonetic and (or) thought processes with high-pitch representations at the level of syllable speech, i.e. the formation of musical-logical thinking (SB).

 Thus, teaching music on the basis of a seven-syllable system of naming twelve sounds of the temperament, based on the abstract perception of musical notation, significantly complicates the orientation of a musical instrument for students, complicates the practical development of the basics of musical speech, is an inhibiting factor in the formation of memory to the height of sound (" absolute hearing ") and the formation of musical-logical thinking.

 The aim of the invention is the practical (through the keyboard of a musical instrument) mastering in the foothill period of training at the phonetic level the basics of musical speech, such as scale, steps, intervals, chords, the formation of memory to the height and the formation of musical and logical thinking by replacing the seven-syllabic naming system for twelve sounds temperament system to the twelve-syllable system based on the “Beletsky chromium series”.

 The essence of the proposed “Method of teaching music based on the Beletsky chromium series” is as follows.

 To name the twelve sounds of the temperament system and the places of their extraction on musical instruments, the twelve syllables of the Beletsky chromium series are used - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Xi, which are used as visual reference a signal in the language of instruction (for example, Russian) is applied to the places where sounds are extracted (for example, keys, see Fig. 2) or to any medium (paper, sticky applique, etc.), fixed to these places on a musical instrument, and build the learning process at the phonetic level, using data and syllables to denote the sounds and sites of their extraction, exercising their entry in a syllable grapheme.

 At the same time, when switching to traditional music graphics, the reading (reproduction) of the musical text is performed as follows: notes C sharp, Do, D double flat read like Do, notes C double sharp, C sharp, D flat read like Tu, notes double sharp , Re, Mi double flat read as Re, notes sharp D, E flat, Fa double read flat like Mo, notes double sharp, Mi, F flat read like Mi, notes M sharp, Fa, double salt flat read like Fa, notes Mi double sharp, F sharp, Salt flat read as Zu, notes Fa double sharp, Salt, A double flat read like Salt, notes Salt Sharp, A flat read as Lo, sheet music Salt double sharp, A, B, C double read as A, sheet music A sharp, B flat, Before a double flat read as Tsu, A sheet double sharp, C, A flat read like C in all octaves and keys respectively.

 The musical notation of the sounds Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Xi takes place in traditional notation in accordance with the rules of musical notation based on the subsequent study of the classical theory of music (see Fig. 3, examples B and D).

 Fixing one name for the sound and the place of its extraction on a musical instrument (Fig. 2) translates the perception of information by students from an abstract level to a specific one, which greatly simplifies the process of mastering the instrument, contributes to the formation of memory by the height of the sound ("absolute hearing"), and significantly reduces the time practical mastery of the basics and elements of musical speech by the learner (scale, steps, intervals, chords).

 The practice of using the names of sounds in the twelve-syllabic system (oral speech) leads to the ability to freely operate high-altitude representations at the level of syllable speech and in the thought process (internal speech), leading to the formation of musical-logical thinking and adequate auditory perception of the surrounding world of musical sounds.

 The list of figures in the drawings.

 In FIG. Figure 1 shows a diagram of a piano keyboard in the volume of one octave of the temperament, with the names of the instrument keys and the sounds being extracted and corresponding notes (names) of the musical symbols on the stave, in the volume of the tones of the fifth circle, letters A and B denote examples in the text.

 In FIG. 2 depicts the same keyboard with the names of the instrument keys and the sounds extracted on it in the “Beletsky chromium”.

 In FIG. Figure 3 shows the same keyboard with the names of the syllables of the “Beletsky chromium series” and the traditional note graphics associated with these names used to record these syllables in accordance with the classical theory of music; Letters B and D indicate examples in the text.

 The proposed "Method of teaching music based on" Beletsky chromium series "is as follows.

To name the twelve sounds of the temperament system and the places of their extraction on musical instruments, use the twelve syllables of the “Beletsky chromium series” - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Xi, which are used as visual reference the signal is applied directly to the places where sounds are extracted on a musical instrument (for example, the keys of Fig. 2) indicating (if necessary) octaves, for example: Up to _m - to a small octave, Up to ₁ - to the first octave, etc., and build a training process at the phonetic level, using these syllables to denote sounds and places of their extraction.

 Using semitone (1) as a unit of measurement (the smallest distance between the sounds of the temperamental system), during the period of the donation, practically all elements of musical speech, such as the scale, stage, interval, chord, are mastered, playing and playing them on the instrument and (or) voice (syllable) names) from each sound.

 Structuring the elements of musical speech allows you to build these elements from any sound, as well as transpose the melodies, operating with their interval composition, expressed in semitones.

The structure of the intervals (the figure indicates the number of halftones in the interval): Prima - 0; Small second - 1; Big second - 2; Small third - 3; Big third - 4; Quart - 5; Triton - 6; Quinta - 7; Small Sextus - 8; Sixth big -9; Septima minor -10; Septima big -11; Octave -12;
The structure of triads (numbers indicate the interval composition in semitones): Major - 43; Minor - 34; Reduced - 33; The increased - 44;
The scale structure is determined by the interval composition between its steps. For example, the structure of a scale of major (natural) scale-2-2-1-2-2-2-2-1. Gamma in C major: Do, Re, Mi, Fa, Salt, A, B, C, Do, gamma T major: Tu, Mo, Fa, Zu, Lo, Tsu, Do, Tu. Other major scales are likewise constructed (executed). The structure of the scale of the minor (natural) scale: 2-1-2-2-1-1-2-2. Gamma in C minor: Do, Re, Mo, Fa, Salt, Lo, Tsu, Do.

 Gamma Tu minor: Tu, Mo, Mi, Zu, Luo, La, Si, Tu. Other minor scales are likewise constructed (executed).

 The structure of the scale of the chromatic scale: 1-1-1-1-1-1-1-1-1-1-1-1-1-1. Chromatic gamma from To: To, Tu, Re, Mo, Mi, Fa, Zu, Salt, Law, La, Tsu, Si, Do, chromatic gamma from Tu: Tu, Re, Mo, Mi, Fa, Zu, Salt, Luo, La, Tsu, Si, Do, Tu. Other chromatic scales are constructed (executed) in a similar way.

 Structuring the material under study makes it possible to quickly, by means of simple arithmetic operations, build the scale of any major, minor, reduced, increased frets, as well as their varieties, while to find the required level in the fret, it is enough to know its serial number or interval composition from the desired sound.

 For example, when solving a task for finding a subdominant in T major, a student needs to know only that the subdominant is the IV stage of a major scale or that it is a quarter (5 semitones) away from the original sound. As a result, he can find it immediately by these parameters, either by building the scale of T major - Tu, Mo, Fa, Zu, Lo, Tsu, Do, Tu (the fourth ordinal sound - Zu), or by counting 5 semitones from Tu (Zu) .

Measuring intervals in halftones allows you to simply record, define and build not only triads, but also more complex chords, for example: Septima big from To is recorded as Before ¹¹ = Do-C, C major triad (third major + minor third) is recorded as Before 43 = Do-Mi-Sol, Do-major major seventh chord (Septima major + major triad) is recorded as Do ¹¹ 43, Do-Mi-Sol-Si.

 For the studied melodies and plays use recording syllable graphemes. For example, a children's song "Cornflower" can be written as follows: Fafa Mi, Rere Do, Fafa Mi, Rere Do; (or transposed: Zuzu Fa, Momo Tu, Zuzu Fa, Momo Tu;). The metrhythmic basis of the learner is mastered by the learner at the imitation level by means of text solimization.

 Fixing a single name to the place where the sound is extracted on the instrument and the sound itself transfers the perception of information from the abstract to a specific level, which greatly simplifies the process of mastering the instrument, forms memory to the pitch of the sound ("absolute hearing"), facilitates practical knowledge of the basics of musical speech (scales, intervals, chords). The constant intonational use of the twelve syllables (oral speech) leads to the ability to freely operate with high-altitude representations at the level of syllabic speech and in the thought process (internal speech), which is the basis for the formation of musical-logical thinking and adequate auditory perception of musical speech.

 At the same time, the transition to the traditional notation, as the reading (reproduction) of the musical text, is carried out as follows: the notes of C sharp, Do, D double flat read as Do, the notes of C sharp double, D sharp, D flat read like Tu, the notes DO sharp, Re, Mi double flat read as Re, notes D sharp, E flat, Fa double read like Mo, notes double sharp, Mi, F flat read like Mi, notes M sharp, Fa, Sol double flat read like Fa, notes E double sharp, F sharp, Salt flat read as Zu, notes F double sharp, Salt, A double flat read like Salt, notes G sharp, I read the flat as Lo, notes Salt double sharp, A, B, B double read as A, notes La sharp, B flat, B to double read like Tsu, A notes double sharp, B, E read like C in all octaves and keys respectively.

 The musical notation of the sounds Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Xi is carried out in traditional notation based on the classical theory of music and in accordance with the rules of musical notation (see figure 3, examples B and D).

Literature:
1. Vakhromeev V. Elementary theory of music, ed. 7th M "Music 1975.

 2.SOLFEGIO course program for music school Moscow 1984

Claims (1)

 The method of teaching music on the basis of the “Beletsky chromium series”, which consists in the fact that music teaching is based on a seven-syllabic system for naming sounds of Do, Re, Mi, Fa, Sol, La, Xi, redistributed between the twelve sounds of the temperament system and their places of extraction on musical instruments , characterized in that the practical development of the instrument and foundations of the theory of music, the development of musical hearing and the establishment of musical and logical thinking in the benthic period are carried out on the basis of the twelve-syllabus system of names of twelve sounds of the temperament system and the places of their extraction on musical instruments, for example, the Beletsky chromosome - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Si, whose syllables are used as a visual reference signal in the form of a graphical recording in the language of instruction, made directly at the places where sounds were extracted or applied to any medium, fixed accordingly to this place on a musical instrument, and the educational process is constructed at the phonetic and grapheme levels, operating with these syllables for designation (recording) heights of sounds and places of their extraction, and when mastering traditional musical graphics, the phonetic reading (performance) of a musical text is performed as follows: notes C sharp, Do, D double flat read like Do, notes C double sharp, C sharp, D flat read like Tu , notes Double sharp, Re, Mi double flat read as Re, notes Double sharp, E flat, double flat read like Mo, notes double sharp, Mi, F flat read like Mi, notes M sharp, Fa, Double double the flat is read like the Fa, the notes are Mi double sharp. F sharp, Salt flat read as Zu, notes F double sharp, Salt, A double oak read like Salt, notes S sharp, A flat read like Lo, Salt double sharp, A, B double flat read like A, notes A sharp , B flat, Double flat read as Tsu, A double sharp, C, Double flat read as C in all octaves and keys, respectively, while recording the sounds Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Law, La, Tsu, Xi are carried out in traditional notation in accordance with the theory of music and the rules of musical notation.

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