RU2349964C2 - Method of piano playing training - Google Patents

Abstract

FIELD: medicine; games.

SUBSTANCE: method of piano play training for people with mental deficiency involves studying piano keys and note charts using seven colours for designation of each key and respective note. Also method includes hand position training and learning to play musical composition by note sheet. Note chart study is performed by acquaintance with violin clef, note lines and C note of first octave, for which teacher writes first rule of C note position on additional line in words with respect of colour selected for this note. Then teacher writes first tune play for C note with different duration in student's notebook, and student sings this note, plays it, sings and plays tune play for this note till complete digestion of this rule. Further teacher writes second rule for D note position under the first note line, and second tune play for C and D notes with different duration, and student sings C and D notes, plays them, sings and plays second tune play for C and D notes till complete digestion of the second rule, with further similar study of similar rules for all notes of first octave with note positions on note lines. After studying each next colour rule students sing and play tune plays consisting of notes learned previously; for D it is C and D notes, for E it is C, D and E notes and so on for the rest of notes.

EFFECT: piano play studies for people with light and medium mental deficiency, with simultaneous correction of movements, speech, mind and memory.

28 cl, 9 dwg

Description

The invention relates to an education system, in particular to teaching musical literacy and playing the piano for persons with mild to moderate degrees of mental retardation.

There is a known method of learning to play the piano, including studying the piano keyboard and musical notation using seven colors to indicate each key and its corresponding note in a specific color, setting the hands on the piano, followed by learning to play the musical text of the musical composition (see T. B. Yudovina-Halperina "At the piano without tears, or I am a pedagogue", ed. "Union of Artists", St. Petersburg, 2002, S.99-159).

This method is addressed for working with children 2-3 years old with intact intelligence.

The objective of the patented invention is to learn to play the piano on the basis of musical notation of persons with mild to moderate degrees of mental retardation with the simultaneous correction of their motor skills, speech, thinking, memory.

The technical result is a real opportunity to teach people with a mild to moderate degree of mental retardation to play the piano thanks to the gradual and consistent development of the keyboard, musical notation and playing techniques through the use of color, extending the lesson time to 50-60 minutes, increasing the number of technical and dictionary rhythmic exercises, use along with its traditional classroom terminology and the constant participation of children in concerts.

The indicated task and technical result are achieved by the method of learning to play the piano, including studying the piano keyboard and musical notation using seven colors to indicate each key and the corresponding note in a specific color and practicing the position of the hand on the piano, followed by learning to play the musical text of the musical work, at the same time, when a student learns the piano keyboard and musical notation using seven colors, each key and its corresponding note is designated t in a certain color, after which they master the musical notation by acquaintance with the treble clef, with the stave and with the note TO I octave, for which they write the first color rule in accordance with the color chosen for the note: “Note DO is written on an additional ruler”, after whereupon the teacher writes the first play-song on the note DO with its designation by different durations and singing notes to students, and then by playing with singing notes and with words until the mastery of the specified rule, after mastering the first color rule, they begin and learning the second color rule "Note PE is written under the first ruler", similar to studying the first color rule, followed by a similar study of similar color rules for all notes of the first octave, when studying each subsequent color rule, they use the performance of songs that are based on already mastered notes - for PE is notes DO and PE, for MI it is notes DO, PE and MI and so on for all other notes.

And also by the fact that when studying the piano keyboard and musical notation, seven colors of the rainbow are used: for the DO note - red. Re is orange, MI is yellow, FA is green, SAL is blue, ALE is blue and SI is purple.

And also by the fact that as a song-song they use:

DO-DO-DO, tra-ta-ta — which is written in red with rainbows in the student’s notebook, and then the student and the teacher play it in different octaves with one or the other hand, and at the same time sing.

And also the fact that after mastering the first four notes, they begin to study the students' plays in black and white collections of children's music schools.

And also due to the fact that after mastering the musical notation, the student is allowed to perform plays or famous children's or folk songs with a melody in his right hand, written in a treble clef with a bass for the left hand, signed with colored letter symbols of notes in block letters, with the bass connected vertically with corresponding notes in the right hand.

And also by the fact that in parallel with the performance of the indicated plays or songs with a melody in the right hand written in the treble clef and with bass for the left hand, the student performs plays or songs in the treble clef, where the hands play simultaneously.

And also by the fact that only after the student has learned to play plays with both hands in a treble clef or with a signed bass, they begin to master the bass key - the second sign system, using color rules similar to the color rules of the treble clef followed by analysis of the pieces or songs already in two keys.

And also by the fact that from the very beginning the student develops a sense of rhythm by working on diction-rhythmic exercises and simultaneously correcting his speech as a whole, making it clear, rhythmically designed and improving diction and memory.

And also by the fact that diction-rhythmic exercises, namely tongue twisters, counters, children's and folk songs, as well as piano pieces of the initial period, slam, drown and dance together with the student.

And also by the fact that after three or four notes of the treble clef are learned on the musical instrument and several plays are played with these notes, we begin to familiarize the student with the durations and score, which is presented practically by cutting the apple into equal parts and drawing the “spider line” »From notes of various durations, which the student learns to play with the score, moving from one duration to another in a row and in breakdown.

And also by the fact that after mastering the game “cobwebs”, the student is explained the concepts of size, measure, score by the example of one of his piano plays.

And also the fact that the student plays a piece of music always with the score for a more rhythmic performance of music.

And also by the fact that the student gradually learns the basic techniques of sound production - non legato, legato, staccato and portato, and the development begins with non legato, gradually moving to legato, staccato and portato as you master.

And also by the fact that by adding one finger one after another, starting from the 2nd and 3rd, the student masters the reception of the legato game with all five fingers up and down, after which he passes to the game of scales.

As well as the fact that the leagues, their withdrawal, staccato, non legato and portato are marked for the student in the text with colored markings to facilitate the task of perceiving and performing these ways of playing.

And also by the fact that when students learn phrases, they are first taught to make them quieter, softer than the end of the phrases, and then, depicting each phrase with colored marks in the form of an upward rising arc, a bold point - a vertex, and a falling down arc, lead the student to meaningful execution each phrase.

And also due to the fact that only after mastering the keyboard, musical notation, rhythm and strokes, the student learns various types of nuances - expressively semantic, rhythmic and dynamic, and the nuances are taught through discussion and naming of the nuances of the play, as well as a vivid demonstration by the teacher.

And also by the fact that nuance training is also carried out in a sensory way by showing the learner the depth and strength of pressing the keys with the fingers of the teacher on the learner’s shoulder or playing the fragment of the play with the teacher’s fingers.

And also by the fact that a significant part of the lesson, up to 20-30 minutes, the student plays scales, chords, arpeggios and studies.

And also the fact that after mastering the legato by 5 sounds up and down with all five fingers, we learn to play this exercise with two hands, achieving synchronism of hands and fingers, while using colored bars.

And also by the fact that when preparing for the game of gamma, the rings are mastered separately, that is, putting 1 finger under the 3rd or 4th.

And also by the fact that in order to prepare for the game of chords, the student masters several exercises in sequence, first for setting the 1st and 5th fingers, or “bridge”, then for preparing the 3rd finger for playing chords, or “cuckoo”.

And also by the fact that, in addition to all major and minor scales up to 6 characters in the key, the student also plays exercises on the Ganon and studies by Schitte, Lemoine, Behrens and Czerny.

As well as the fact that the lesson is synthetic, based on an alloy of learning to play the piano with methods of defectological and speech therapy work.

And also the fact that the duration of one lesson is 50-60 minutes, while the lesson consists of three parts: the first part lasts 10-30 minutes - a finger warm-up, the second part - work on plays, the third part 10-15 minutes - rhythmic rhythmic exercises, singing songs.

As well as the fact that training is combined with the preparation and regular participation of students in concerts 5-6 times during the school year.

And also by the fact that during the preparation of concerts they conduct several additional lessons in order to build up a margin of safety of knowledge of the text and the ability to stay on stage correctly during the performance, for which they do several runs of the play, not sparing time to work out and leave the stage, bow, landing for the tool.

And also by the fact that at the concert during the performance the teacher sits next to the student at the instrument and, in case of forgetting the text, the student urgently intervenes and helps him to continue the performance.

Figure 1 shows the musical notation of the play-song on the note DO.

In Fig.2 - musical notation of the play-song on the notes DO and PE.

Figure 3 - musical notation for both hands with the lettering of notes DO, FA and SALT for the left hand.

In Fig.4 musical notation with different durations of notes ("spider line"),

Figure 5 - designation for legato in the form of black or purple arcs and removal of leagues in the form of large checkmarks pink, yellow, blue or lilac.

Figure 6 - designation for the phrase in the form of an arc with a bold point above the note-vertex, to which the phrase seeks.

In Fig.7 - exercise for two hands in the form of colored bars.

On Fig - exercise bridge for setting the first and fifth fingers.

In Fig.9 - exercise KU-KU as a way to prepare for the game of chords.

Patented method is as follows.

Features of the mental and physical state of mentally retarded students require a special approach when teaching them to play such a complex instrument as a piano.

The greatest difficulty here is the development of musical notation. Notes for piano, as you know, are written in two keys - treble and bass, and therefore, in two iconic systems. To play notes in at least one treble clef, you must first learn the names of the notes and their location on the keyboard, and then learn how to navigate the five rulers of the musician, knowing the location of each note on it and, accordingly, on the keyboard. All these skills of handling the keyboard and the musician, of course, require the learner to have the utmost concentration of attention, memory, and most importantly, constant mental work - analysis, synthesis, comparisons, generalizations. This task is the most difficult for people with intellectual disabilities. And therefore, in order to help them master this dry, boring, inexpressive black and white musical notation, it needs to be emotionally saturated and enriched. Mentally retarded students, as well as safe ones, better absorb any educational material if it is brightly figurative, brightly emotionally colored.

In the development of musical notation in our case, the best tool turned out to be color, namely the basic seven colors of the rainbow, familiar to us from childhood: red, orange, yellow, green, blue, blue, violet, which correspond to the main seven notes of C major scale.

Color is a very powerful expressive means of influencing a person, not inferior in strength to music. And therefore, it is color that can serve as a mentally retarded student a kind of “bridge” to the world of musical notation, can help them learn these complex musical notes by “coloring” them, filling each of them with bright imaginative content, because each color can be associated with a certain way : orange - orange, blue - sky, green - grass, etc.

When the student has learned the connection of each note with a specific color, you can proceed to the development of musical notation. First, they get acquainted with the king and queen of all notes of our keyboard - with a blue treble clef and green bass (according to N. Konchalovsky’s book “Music Alphabet”), with a musician on whom all notes live - servants of the king and queen, and then - with a note BEFORE I octave, for which the teacher writes the first color rule of red color: "The note DO is written on an additional line." In the next lesson, they write in the student’s music notebook the first play on the note DO. This can be any small play-song, tongue twister, for example, shown in figure 1.

The main task now is to familiarize the student with reading this musical text and playing it on the piano with singing notes and then with words. The next stage is the study of the “RE” note using the color rule and the play of small pieces already on two notes - BEFORE and RE, for example, shown in FIG.

To improve coordination and synchronization of hands, students are often given plays or famous children's and folk songs with a melody in their right hand, written in a treble clef with a bass for the left, signed with colored letter symbols for notes. Bass connect vertically with the corresponding notes in the right hand. So students learn to play on the "columns" (see figure 3).

In parallel with such "entertaining" pieces, pieces are selected in collections for children's music schools in a treble clef, where hands play simultaneously.

When you have learned to play plays with both hands freely in a treble clef or with a signed bass, that is, you have mastered the first sign system, you can begin to master the bass key, that is, the second sign system.

Learning the bass clef begins around the middle or near the end of the second year of study. This happens in exactly the same way as with a treble clef, that is, with the help of color rules. And right away they begin to make out the plays in two keys. However, after studying in the classroom even for several years, the student still knows the bass clef notes worse than the treble clef. The “colored bars" in more difficult plays help students a lot. They become for them a kind of support, helping to quickly navigate the notes and the keyboard.

Diction-rhythmic exercises and work on rhythm and score are as follows.

Competent performance of music is impossible without mastery of the score and rhythm. Of course, students with intellectual disabilities have a natural sense of rhythm, but their general inhibition, mental retardation prevent the teacher from evaluating it and “pulling it out”. In addition, they also suffer from speech, diction and memory.

In the process of working with such students, it became clear that in music lessons, in addition to learning to play the piano, you can help students develop these “falling” functions.

Therefore, at the initial stages of training (1-2 years), a lot of time is devoted to diction-rhythmic exercises, which at the same time help to form and develop the student’s sense of rhythm and correct his speech as a whole, making it more clear, rhythmically designed, “clean out” the diction and improve memory.

Diction-rhythmic exercises are all kinds of tongue twisters, counters, children's and folk songs that slam, drown, and sometimes even dance.

Some children's songs with a plot lose, including also dance elements. Tongue twisters and counters also rhythmically "beat", depicting their characters.

In addition, all piano pieces of the initial period also slam, and immediately learn to differentiate long, short beats with the help of different claps. For example, in long lobes they clap their hands, holding their hands together after clapping, in short - each claps its own small claps.

Acquaintance with the durations occurs after 3-4 notes of the treble clef are learned on the stave and several plays are played with these notes.

This knowledge needs to be presented only visually, practically, namely with the help of an apple, which with the student will be gradually cut into halves, and then into quarters.

First agree with the student this whole apple, or a whole note, such as TO, to keep and count to "four." Draw it in a notebook, sign “WHOLE” and the score is up to “four”. Then cut the apple in half and play on the same note BEFORE the halves with the score.

Each result of the next section of the apple is recorded in a notebook in the form of the durations themselves, their names and counts, combining them with the previous durations in long lines. It turns out in a notebook "spider line.

The task of "playing the" cobweb "with the score and calling the duration" is given to the house. If everything worked out at home, you can go on to the next lesson to explain the size, measures and score of one of our piano pieces (preferably 4/4).

To make the understanding of durations lasting, one has to turn to the cobweb repeatedly, remembering it again and calculating it.

Acquaintance with the eights will be needed when these durations first appear in the text (the first few months or the whole year they try to avoid such plays).

To study the eighth notes, you will again need an apple, which will need to be cut, and a "spider web", which will now only be completed and write an account with "and".

And more about the features of the game with the score. During training, piano class concerts are regularly held, and in preparation for them, the teacher and the student try to count not aloud, but to themselves. Unfortunately, this does not always work. During the first few bars, the student manages to maintain the rhythm and pace, but gradually everything begins to creep, since it is as difficult for him to count to himself as to solve mathematical problems in his mind. Therefore, at all concerts, we always consider out loud, just try to do it quietly.

In general, it can be said about the tempo in the game of our students that, unlike the game of students with safe intelligence, despite the constant counting out loud, this side suffers greatly. The pace of music performance by our students, as a rule, is slowed down (especially in “fast” compositions), and is also often subject to fluctuations, depending on the difficulties encountered in the text, mostly related to fine motor skills.

Due to the fact that fine motor skills are inactive, although they can change for the better, in general, it is difficult for students to control their muscles, while also solving intellectual tasks that are difficult for them (notes, counting).

Rhythmic students also do not play perfectly, although in general they feel the rhythm and try to correctly transmit it. Their play gives the impression that they feel and know correctly how it should sound, but often they can’t control the process of their performance with their head and muscles.

Work on strokes and phrasing is as follows.

In the piano class, students master all the basic techniques of sound production, or touches that exist on this instrument, that is, non legato, legato, staccato and portato. Only this happens very slowly, gradually and sequentially.

In the first months of training, engaged in the setting of fingers, students play only with non legato techniques, but students do not yet know this term.

After we "put" all five fingers and mastered the first five notes of the scale in C major, you can begin learning the game legato. Then the teacher explains this term and writes it to the student in a notebook in printed Russian letters, and at the same time the term non legato, which was used until then:

LEGATORY = CONNECTIVELY

NON LEGATORY = NOT CONNECTED

At first, only two sounds are learned to connect legato with the 2nd and 3rd fingers up and down.

We play this exercise as a finger warm-up in different octaves.

The next exercise will be three sounds involving the 4th finger. It is already getting easier. Then - for four sounds with the 1st finger, and for five sounds with all five fingers. Thus, scales and arpeggios, as well as plays performed by legato and non legato, are gradually selected for the game. At first, the leagues in the plays are circled in bold black or purple arcs to emphasize them in the text, and the league striking out by large ticks of some light, “airy” color, as the hand goes up - pink, yellow, blue or lilac (see Fig. 5).

After a period of playing plays with non legato and legato, they pick up a play with staccato, which is usually easy. Students like to play staccato, imagining how they, when burned, bounce their fingers off a hot pan. Again I write the term in a notebook and in a play.

I do the same with portato when it (much later) is found in the text.

Of all the strokes, legato is probably the hardest one due to the fact that hyper- or hypotonic muscles, general muscle stiffness, and excessive flexibility and weakness of joints prevent the student from achieving absolute flexibility and evenness of sound.

The legato game is directly related to phrasing. We do not begin to learn this right away, but when the student has already mastered the legato technique and can still “improve” his game. Then at first you can teach him to do quieter, softer ending phrases. A little later - to disassemble with him the construction of the phrase with its development, the desire for the "top" and recession. We call the phrase a wave, and the apex its crest.

Work on the nuance is as follows.

Work on nuances does not begin immediately, since the peculiarity of students with intellectual disabilities is that they cannot simultaneously perceive and perform several tasks, and therefore we implement all these tasks gradually, “layering” one upon the other, when we have already coped with the previous ones.

First, we need to “put” our hands, master the keyboard, musical notation, rhythm, strokes, that is, learn how to correctly and correctly learn a musical text.

Only having coped with these tasks, we can begin to work on dynamic shades, agogics and shades of the character of sound, although the teacher discusses with the student when showing each new play and it is these expressive-semantic shades that are best “grasped” by the students and transmitted by them in sound.

That which is brightly shaped, evokes an emotional response in them and is experienced by them in the past, is more easily transmitted by hands.

The student himself begins to “search” for the sound with interest, trying to convey, for example, a proud, cocky cockerel, or an importantly walking heron, or soft, tender colors of a lullaby. Of course, not everything works out here, and often at the beginning the desire and ability to “sustain” the sound image of the student is not enough for the whole play, as it is absorbed by other difficult tasks (notes, stroke, fingers, counting), but the main thing here is that a little man has a desire to share his experiences through music, and begins an independent creative search for the expressiveness of sound. Older students convey the character of music more consistently and finely.

The only exception is students with minor intellectual disabilities who easily convey any nuances of sound - expressive-semantic, rhythmic, and dynamic.

Work on dynamic shades is perhaps one of our most difficult tasks. This is directly related to the stiff, “difficult” fine motor skills of students.

With students, they study a variety of dynamic shades from pianissimo to fortissimo, study their notation and try to play them, only this is given with great difficulty.

After “marking” the shades, a vivid display of the play is necessary. Students are extremely mimetic in behavior. They love and try to imitate the teacher, and this quality of them, of course, helps in the work.

They feel good if you show them the depth and power of pressing the keys with your fingers on their shoulder or just play some piece of them with your fingers.

This “sensory” method is the best, although, of course, you can select vivid verbal definitions of sound, or again show the play by the teacher.

Exercises for the development of technology and playing scales, chords, arpeggios and studies are carried out as follows.

Exercises for the development of technology are extremely important for our students, because they help to “budge” and intensively develop their sluggish, sedentary fine motor skills and thereby have a powerful effect on speech, thinking and memory.

Therefore, a significant part of the lesson is spent on the game of technical exercises, sometimes up to 20-30 minutes.

With kids, they play exercises first non legato. When they learned to play the legato exercise for 5 sounds up and down with each hand, they learn to play it with two, achieving synchronism of hands and fingers, which is not always easy. Play it on the colored "columns" (see Fig.7).

Mastering the "rings", that is, placing the 1st finger under the 3rd or 4th. We play these rings up and down with each hand in different octaves.

After that, they switch to the scale of C major by one octave, first separately with each hand, then with two.

In parallel with the gamut learn to play arpeggio. First - short up and down separately, then two.

Then they move on to playing a long arpeggio, or “arrow”. Having made the “arrow” two, they achieve an even, smooth sound in it, try to “spread the snake” on the keys. Strelochka is the easiest exercise for children, so you can work on the sound in it.

When the “arrow” turned out, they begin to disassemble the short arpeggios.

The greatest difficulty for students is the game of chords. To them, or rather, first to C major triad, they begin to be selected long, even during the period of setting the fingers. Then learn to put the "Bridge" - a fifth-do-salt in different octaves. Then we try in this fifth to differentiate the 1st and 5th finger (see Fig. 8).

When the extreme fingers get stronger, add the 3rd finger to them, and it turns out “Cuckoo”, which the students really like to play (see Fig. 9).

Only after learning to play "Cuckoo", they try to put a C major triad with each hand and play it in different octaves.

The development of chords, starting with the "Bridge", takes several months.

As a rule, by the end of the first year of study or the middle of the second year, students fully master the game of the C major scale, its arpeggios and chords, and can study the following scales, which are learned faster each time, and it takes 2-3 lesson, minor 4-5 lessons.

Minors play both kinds, but take them apart one at a time. First learn harmonic minor with singing notes and all signs, then melodic.

It takes about 3-4 years to study all major, and then minor scales, up to 6 characters with a key, although Ganon exercises and light sketches also play in parallel.

When all the scales have been studied, the work on the technique does not end, and they proceed to the game of sketches as more complex technically and artistically interesting works. They try to choose for students melodic, expressive sketches of Schitte, Lemoine, Behrens and Czerny.

The construction of the lesson and the ratio of musical and correctional tasks in training are as follows.

A piano lesson lasts a little longer than a regular academic hour, about 50-60 minutes. Experience has shown that in 45 minutes they simply don’t fit due to the peculiarities of students' perception of educational material. Students need more explanations and repetitions than students with intact intelligence. In addition, a considerable part of the lesson is given to technical exercises (development of fine motor skills), diction-rhythmic exercises (development of coordination of movements, speech, memory), singing (development of speech, memory, general musicality). These classes are extremely important and necessary for students with intellectual disabilities.

Therefore, the lessons are not purely piano, but synthetic, based on an alloy of the actual teaching of playing the piano with methods of defectological and speech therapy work.

As for corrective work, the quantity and quality of it changes as the student grows older and acquires knowledge of music and playing skills. And if you can play the piano very little with beginners, but talk a lot, sing, clap, dance, talk about flowers and write notes in a notebook, then you need to play with older students mainly, although you need to leave time in the lesson for songs, and for tongue twisters or rhythmic counters.

Nevertheless, the traditional lesson construction looks like this:

Part I - finger workout;

Part II - work on plays;

Part III - diction-rhythmic exercises, singing songs.

I. Any lesson, even for beginners (except for the first introductory one) begins with a finger warm-up, which can last from 10 to 30 minutes. As already mentioned, various non-legato, legato, scales, chords, arpeggios and studies are played at this time.

II. The next, biggest part of the lesson is the play of the plays. Usually, each student has from 2 to 4 plays in the work, which, as they “mature”, they pass to the mark in the class, staging the atmosphere of the concert.

III. The last part of the lesson (dictation-rhythmic exercises, songs) usually lasts 10-15 minutes, depending on the student’s age and the need for him to work out diction more, less, sense of rhythm and speed of speech. With kids it lasts longer, with older every year less.

But they try to sing songs to the accompaniment with all students, choosing different genres: folk, children's, and pop.

In addition to developing vocal skills and the ability to sing solo to the accompaniment, songs help improve diction and memory. And most importantly, the songs help optimize the entire educational process, giving students at the end of the lesson a good emotional and physical discharge.

Piano class concerts are held regularly, on average 2 times in half a year.

Therefore, students in a class play in a concert already in the first or second year of study.

Participation in the first concert gives the student a huge impetus in terms of increasing interest in playing the piano, growing a sense of seriousness and responsibility in the learning process. At concerts, being close to long-playing "old people", our little students quickly grow up and pull themselves up.

At each concert, the dynamics of the student’s professional growth are visible: each time he plays more freely, more relaxed, more artistic, despite the fact that the complexity of the plays increases.

In the last lessons before the concert, they make several “runs” of the play, not sparing time also for working out and leaving the stage, bowing, landing for an instrument.

At a concert during a performance, the teacher always sits at the instrument next to the student. Speech experience has shown that this is necessary. You cannot leave the student alone with the audience, since it is always a tremendous stress for him, and the most unpredictable things can happen during the performance: the student may be afraid to start the play, or forget the text, or suddenly mess up something in the text, and in these cases the teacher just needs to intervene and rectify the situation.

We must not forget that students have very unstable emotionality, low resistance to stress, very little mental endurance. In addition, they have rapid fatigue, both physical and mental.

But participation in concerts is absolutely necessary for them, because it gives very good results and helps them become more stress-resistant and hardy people.

Claims (28)

1. A method of teaching a person to play the piano with mental retardation, including studying the learner's piano keyboard and musical notation using seven colors to indicate each key and its corresponding note, practicing the position of the hand on the piano and learning to play the musical text of a musical work, characterized in that the study of musical notation is carried out by acquaintance with the treble clef, with the bearer and with the note BEFORE the first octave, for which, in accordance with the color chosen for this note, the teacher writes the first rule in words, indicating the location of the DO note on the incremental ruler, and then in the student’s music sheet writes the first play-song on the DO note with various durations, and the student sings this note, plays it, sings the play-song on this note and plays until the mastery of the indicated rule is complete, after which the teacher writes the second rule indicating the location of the PE note under the first ruler, writes the second play-song on the notes DO and PE with different durations, and the student sings the notes DO and PE, plays them, sings the specified second a play-song on the notes DO and PE and plays it until the assimilation of the specified second rule, followed by a similar study of the same rules for all notes of the first octave with an indication of where the studied note is written, while studying each subsequent color rule, the song-songs are played and played , consisting of already mastered notes - for RE these are notes DO and PE, for MI these are notes DO, PE and MI and so is similar for all other notes. 2. The learning method according to claim 1, characterized in that when studying the piano keyboard and musical notation, seven colors of the rainbow are used: for the DO note - red, RE - orange, MI - yellow, FA - green, SALT - blue, A - blue and SI is purple. 3. The learning method according to claim 1, characterized in that as the indicated play-song, a play-song with a melody on the note being studied is used, which is written in the rainbow color selected for the note in the student’s notebook, and then the student plays the tune together with the teacher in different octaves, with one or the other hand, and at the same time sings the specified play-song. 4. The learning method according to claim 1, characterized in that after mastering the first four notes, the student learns the plays from black and white collections of children's music schools. 5. The learning method according to claim 1, characterized in that after mastering the musical notation, the student performs plays or famous children's or folk songs with a melody in his right hand, written in a treble clef with a bass for the left hand, signed with colored lettering in capital letters , while the bass is connected vertically with the corresponding notes in the right hand. 6. The training method according to claim 10, characterized in that in parallel with the performance of the indicated plays or songs with a melody in the right hand written in the treble clef and with bass for the left hand, the student performs plays or songs in the treble clef where the hands play at the same time. 7. The learning method according to claim 11, characterized in that after the learner has learned to play plays with both hands in a treble clef or with a signed bass, they begin to master the bass clef - the second sign system, using color rules similar to color rules treble clef with subsequent analysis of plays or songs already in two keys. 8. The learning method according to claim 1, characterized in that the learner develops a sense of rhythm by working on dictation-rhythmic exercises and simultaneously adjusting his speech as a whole to refine clarity, rhythmic design and improve diction and memory. 9. The training method according to claim 1, characterized in that the dictation-rhythmic exercises: tongue twisters, counters, children's and folk songs, piano pieces of the initial period, together with the student slam, drown and dance. 10. The learning method according to claim 1, characterized in that after studying three or four notes of the treble clef on the stave and performing several pieces with these notes, they begin to familiarize the student with the duration and score, which is clearly demonstrated by cutting the apple into equal parts and drawing "spider webs" from notes of various durations, which the student learns to play with the score, moving from one duration to another in a row and in breakdown. 11. The method of training according to clause 15, characterized in that after mastering the game "cobwebs" the student is explained the concepts of size, tact, count on the example of one of his piano pieces. 12. The learning method according to claim 1, characterized in that the student plays a piece of music with an account for a more rhythmic performance of music. 13. The learning method according to claim 1, characterized in that the learner learns the basic techniques of sound production - non legato, legato, staccato and portato, and the development begins with pop legato, no more development passing to legato, staccato and portato. 14. The learning method according to claim 13, characterized in that the learner sequentially, adding one finger, starting from the 2nd and 3rd, masters the reception of the legato game with all five fingers up and down, after which he passes to the game of scales. 15. The training method according to item 13, characterized in that the leagues, their removal, staccato, non legato and portato are marked for the student in the text with colored markings to facilitate the task of perceiving and performing these methods of play. 16. The learning method according to item 13, characterized in that when the student learns phrases, they are first taught to do it quieter, softer than the end of the phrases, and then, depicting each phrase with colored marks in the form of an arc rising upward, a bold point is the vertex, and a falling arc, lead the learner to meaningful execution of each phrase. 17. The training method according to clause 16, characterized in that after mastering the keyboard, musical notation, rhythm and strokes, the student learns various types of nuances - expressively semantic, rhythmic and dynamic, and learning to nuance is carried out using discussion and naming of the nuances of the play, as well as bright show by her teacher. 18. The teaching method according to claim 17, characterized in that the nuancing training is carried out in a sensory manner by showing the learner the depth and strength of pressing the keys with the fingers of the teacher on the learner’s shoulder or playing a piece of the play with the teacher’s fingers. 19. The training method according to claim 1, characterized in that a significant part of the lesson up to 20-30 minutes, the student plays scales, chords, arpeggios and studies. 20. The training method according to claim 19, characterized in that after mastering the legato by 5 sounds up and down with all five fingers, the learner learns to play this exercise with both hands, achieving synchronism of hands and fingers, while using colored bars. 21. The training method according to claim 1, characterized in that when preparing for the game of scales, the rings are separately mastered - putting 1 finger under the 3rd or 4th. 22. The training method according to claim 1, characterized in that, to prepare for the game of chords, the student learns several exercises in sequence, first for setting the 1st and 5th fingers, or “bridge”, then for preparing the same 3rd finger to the game of chords, or "cuckoo." 23. The training method according to claim 19, characterized in that the student plays major and minor scales of up to 6 characters with the key of the Ganon exercise and studies by Schitte, Lemoine, Behrens and Czerny. 24. The training method according to claim 1, characterized in that they conduct a lesson in learning to play the piano and methods of defectological and speech therapy work. 25. The training method according to claim 1, characterized in that the duration of one lesson is 50-60 minutes, while the lesson consists of three parts: the first part lasts 10-30 minutes - a finger workout, the second part - work on the plays, the third part 10-15 minutes - diction-rhythmic exercises, singing songs. 26. The training method according to claim 1, characterized in that the training is combined with the preparation and regular participation of students in concerts 5-6 times during the school year. 27. The training method according to p. 26, characterized in that during the preparation of concerts they conduct several additional lessons to build up a margin of safety of the knowledge of the text and the ability to stay on stage correctly during the performance, for which they do several runs of the play with practicing the way out and leaving the stage , bowing, landing behind an instrument. 28. The teaching method according to claim 27, characterized in that the teacher sits next to the student at the concert during the performance and, in case of forgetting the text, the student urgently intervenes and helps him continue the performance.

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