Cards for memorizing notes - music cards. To help a beginning solfeggio teacher
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Dear guys, do you want to learn all the notes easily and joyfully? And you, dear parents, would you like to play with your children, even if you yourself have never played music? Then our methodological system is a set of tables and cards according to
solfeggio is for you.
Solfeggio is a serious and difficult subject. This is, if you like, higher mathematics in music. But it can and should be studied. After all, basic knowledge of musical language is the foundation necessary for every musician.
This set contains 50 tables and 17 uncut sheets of cards. Cards are needed to work with the tables “Piano keyboard”, “Name of scale degrees”, “Letter designation of sounds and signs”, “Quantitative characteristics of intervals”, “Qualitative characteristics of intervals”, “Parallel keys”, “Circle of fifths of keys”. Before starting work, sheets of cards need to be cut, collected into decks, tied with elastic bands and placed in boxes. Box 1 - cards with notes, box 2 - all other cards.
Some tables, such as “Piano Keyboard”, “Circle of Fifths”, “Order of Writing Key Signs”, “Basic Durations” should be in front of your eyes during lessons. We recommend hanging them in a prominent place, as they are designed to last for several years of study. Next, hang other tables in a visible place as necessary.
Table 1 “Piano Keyboard” is divided by color to quickly find the desired octave. Start learning notes from the first octave (green) in the treble clef. Then proceed to the notes of the small octave (yellow) in the bass clef. Ask your child to point out where these notes are on the piano.
Notice that the bass and treble clefs have notes that are the same color. This color is green - the first octave and yellow - the small octave. Be careful! Place them in different decks (by key).
Although there are 30 major keys used in music (15 major and 15 minor), all examples in the tables are presented in the keys of C major and A minor, or from the note C. This is done for better understanding, perception and learning of new material. Once the theme is understood and studied, the melody can easily be transposed, that is, transferred to other keys. Or build from other notes using these examples and tables.
We want children to learn solfeggio with pleasure, receiving from the learning process the joy of learning and acquiring new knowledge.
How is this possible? With the help of the game! We tried to turn solving complex problems into an exciting process. Reliance on play activities, play forms and techniques is an important and most adequate way to include a child in educational work.
How to play?
We offer three options for playing with cards.
Option 1 - playing in pairs (suitable for parents who are not familiar with elementary music theory and have not studied at a music school). The parent shows the card to the child, and the child must give the correct answer (indicated on the back of the card).
Option 2 - playing in pairs (for parents with musical education, teachers and tutors). First, one player shows cards and the other answers, then the players change places. This option has an element of competition, which is necessary for a better result.
Option 3 - independent game. The child plays cards himself, learning to exercise self-control and self-test.
In all cases, during the game you should have a table in front of you that corresponds to the cards you are studying. First, read it carefully with your child. and then start playing.
Good luck!
Content
1.Piano keyboard (2 sheets) + cards
2.Notes. Calm. Basic keys
3. Basic durations of notes and pauses
4.Meter. Tact. Size. Zatakt
5.Mode and key
6.Name of fret steps + cards
7. Letter designation of sounds and signs + cards
8. Characteristics of C major
9. Three types of major
10.Characteristics of A minor
11.Three types of minor
12. Three forms of work (how to parse given numbers in solfeggio)
13.The order of writing signs on the key. Treble clef
14.The order of writing signs on the key. Bass clef
15.Semitone and tone
16. Signs of alteration
17.Enharmonisms
18.Sequence
19.Transposition
20.Intervals
21.Quantitative characteristics of intervals + cards
22.Qualitative characteristics of intervals + cards
23. Reversal of intervals. Interval Summary Scheme
24. Newts
25. Tritones in major and minor with inversion and resolution
26.Characteristic intervals
27. Keys of the same name
28.Parallel keys + cards
29. Related keys
30. Circle of fifths
31.Structure of triads
32. Inversion of triads. Major and minor
33. Inversion of triads. Reduced and enlarged
34. Main triads of the mode in major and minor
35. Inversion of the main triads of the mode
36. Main triads of the mode with inversion and resolution
37. Sequential connection of chords
38. Diminished triad in major and minor with resolution
39. Enlarged triad in major and minor with resolution
40.Seventh chords
41. Dominant seventh chord with inversion and resolution
42.Introductory seventh chord with resolution
43. Second stage seventh chord with resolution
44.Chromatic scale in major and minor
45.Altered scale degrees in major and minor with resolution
46. Special modes, or modes of folk music
47. “Golden horn move”
48.Musical dictation (recording a melody by ear)
50.Finger fingering
In home and school music lessons with children, a variety of preparations are needed. On this page we have prepared for you materials that you simply need to have on hand if you work with kids.
Notes on a stave
The first blank is a small poster depicting the main and bass clefs (first and minor octave). Now in the picture you see a miniature - a reduced image of this poster; just below is a link to download it in its original size (A4 format).
POSTER “NAME OF NOTES ON THE STAFF” –
Pictures with note names
The second blank is needed when the child first gets acquainted with notes, precisely to work out the name of each of the sounds. It consists of cards with the actual name of the notes and with an image of an object in whose name the syllabic name of the note appears.
The artistic associations chosen here are the most traditional. For example, for the note DO, a drawing of a house is chosen, for RE - a turnip from a famous fairy tale, for MI - a toy bear. Next to the note FA is a torch, with SALT is ordinary table salt in a bag. For the sound LA, a picture of a frog was selected, for SI - a lilac branch.
Example card
PICTURES WITH NOTE NAMES –
Above is a link where you can go to the full version of the manual and save it to your computer or phone. Please note that all files are provided in pdf format. To read these files, use the program or phone app Adobe Reader (free) or any other application that allows you to open and view these types of files.
Musical ABC
Music alphabet is another type of manual that is used in working with beginners (mainly with children from 3 to 7-8 years old). In musical alphabets, in addition to pictures, words, poems, and note names, there are also images of notes on the staff. We are pleased to offer you two options for such manuals, and you can read more about them and how you can make such alphabet books with your own hands or even with the hands of a child.
NOTE ABC No. 1 –
NOTE ABC No. 2 –
Music cards
Such cards are actively used during the period when the child thoroughly studies the notes of the violin and especially. They no longer have pictures, their role is to help remember the location of notes and quickly recognize them. In addition, they can be used for some creative tasks, solving puzzles, etc.
NOTE CARDS –
Dear friends! And now we offer you a little musical humor. The performance of J. Haydn's "Children's Symphony" by the Moscow Virtuosi orchestra turned out to be surprisingly funny. Let's admire together the respected musicians who have picked up children's musical and noise instruments.
Methodological message “Non-boring solfeggio”
teacher of theoretical disciplines at Priozersk Children's Art School
E. V. Ivanova
Over the years of working at the Priozersk Children's Art School, I studied various teaching aids on solfeggio, musical literature, and listening to music. This allowed us to gain experience and use it in working with children. Let me introduce you to some of the musical aids that I use in solfeggio lessons. Perhaps you also use them in your lessons and it will be possible to discuss their benefits and practical application.
Methodology of Iliza Elfatovna Safarovabecame for me the first powerful impetus to work in a new way. I use many of her tips in my classes with very young students. Dancing, games with movements, finger games greatly stimulate children's interest in activities, in music, these are the first steps for children to show their musical abilities, this is space for their creativity.
I show musical games with movements accompanied by audio:
“Carnival” (a game for relaxing hands and creative imagination),
“Robot and Butterfly” (contrasts: sharp - smooth),
“River” (dynamics and register),
“Steps” (long and short durations),
“Clouds” (smooth movements),
“Cloud and Rain”, “10 Indians”, “Winter” (finger games).
“Zamiratik” (pause),
“Catching a mosquito”, “Cat and mouse”, “Alarm clock” (warm-up).
After meetingmethodological manual by Nina Vladimirovna Belaya “Note notation. Elementary music theory. Games in the classroom"I use her methodological recommendations, visual aids: musical dominoes, musical lotto, rhythmic pictures, ticket cards in lessons, quizzes, and solfeggio competitions. All this helps save time when conducting a survey, making this survey interesting and exciting for children
Practical work with visual aids.
"Rhythm cards"
Pronounce the duration in rhythmic syllables and show with your hands:
Sixteenths - “tu-ru-tu-ru”, light clapping with your fingertips.
Eighths - “tee-tee”, claps.
Quarters – “ta”, gently lower your hands to your knees.
Half - “ta-a”, put your hands on your belt.
Pronounce rhythmic syllables, showing duration with hands;
Speak with counting, showing the duration with your hands;
Various options for oral rhythmic dictation
(listen, find a card with a sounded rhythm, speak in rhythmic syllables or counting, showing the duration with your hands).
Musical dominois of a training nature. Along with visual training, a “sounding” option is also possible here: having folded dominoes, say, on the topic “Intervals” or “Chords,” you can sing or play everything on the instrument, thereby checking by ear the correctness of the work performed.
Dominoes "Simple Intervals".
Develops and tests the ability to quickly determine the structure of an interval. The interval, the designation of which is marked on one end of the domino, must be found on the other domino in the form of a musical example and connected. (I show the progress of the game and invite the listeners of the message to continue completing the task).
Domino "Triads and their inversions"develops and tests the ability to quickly determine the structure of triads and their inversions. The chord, the symbol of which is marked on one end of the domino, must be found on the other domino in the form of a musical example and connected. (I start and ask those who wish to participate to continue the game).
Dominoes "Increased and decreased intervals"We work in the same way as with the previous domino.
Domino "Circle of Fifths" Syllable designation"tests knowledge of key signs in keys. Using the key signs, the designation of which is marked on one end of the domino, you need to find on the other domino the name of the key in which these signs are located and connect them. (I demonstrate the implementation).
Domino "Circle of Fifths" Letter designation"for high school students to consolidate the topic “Letter designation” We work in the same way as with the previous dominoes, but instead of syllabic designations, letter designations are given.
It is very convenient and interesting to use dominoes at the Olympics, who will lay out all the dominoes faster and without mistakes.
Lotto "Characteristic Intervals"
“Triads and their inversions”, “Seventh chords and their inversions”.
I name an interval or chord and cover it with a counter, and the students find it on their cards, sing, if the answer is correct, cover it with a counter. When playing musical lotto, you can conduct an analysis by ear, but instead of naming, I plays, and the students sing, name the consonance, and cover it with a chip. You can sing harmoniously, divided into voices. (We play lotto).
Tasks can be made more difficult:
1) having found a seventh chord, determine its key and decide whether this chord is dominant;
2) resolve the given chord in the key.
"Ticket cards"
Cards for individual work are of a training and reinforcing nature. They give me the opportunity to determine the level of knowledge of each student and activate his thinking.
The cards are numbered and dedicated to the same topic, have the same design, which not only serves aesthetic purposes, but also helps to quickly collect them in a card index after class. Each card contains several tasks, it is not necessary to complete them all in one lesson, I give tasks depending on what topic needs to be tested or reinforced. Having got used to constantly working with cards, the guys are calmer during exams.
All the presented musical games and tasks help my students quickly learn the educational material and greatly diversify boring, boring or difficult moments of the lesson.
The next teaching aid that I came across is“Gambling solfeggio” by Tatyana Yuryevna and Arseny Faritovich Kamaev.
The manual contains illustrated cut-out material, with the help of which you can make the learning process fun and interesting, and forms of control, i.e. to intensify the work and interest of children in the solfeggio lesson.
Circle of fifths tonalities, parallel tonalities.
Working with these cards proceeds gradually. - First, children remember the keys: Do, Re, Fa, Sol,
B-flat major and learn to arrange them.
C major in the middle (without signs), sharps on the right side in order of signs (G and D major), flats on the left side
(F major and B flat major). These are pink or red colored cards.
Then they learn to find parallel tones. Lay out the minor keys from the bottom of the major ones. These are light blue or dark blue cards. Remember that the major ones are on top, the minor ones are on the bottom.
Let's get acquainted with the circle of fifths and lay out the chain of fifths of major keys. C major is in the center, from it on the right side (up) sharp keys are laid out, on the left side (down) there are flat keys. Then we find and lay out parallel minor keys. And vice versa.
The more often children lay out these chains of fifths, naming the keys out loud, the faster they begin to navigate the keys.
I also use this game at the Olympics. Whoever is the first to lay out all the cards without mistakes receives an extra point.
Ring - ribbon
helps reinforce the “Circle of Fifths” theme. Using a movable frame, you can show the signs in order, and the children name the key to which these key signs correspond or its parallel one. You can also show signs randomly; children name tones. The tape can also be used to practice key signs, the order of sharps and flats.
Cards with questions.
It is very convenient to use cards with questions at the Olympiad. How many correct answers, how many cards are in hand, how many points does a competition participant earn? In addition, there is no time to think, you need to answer immediately, quickly, briefly; if you hesitate, the turn passes to another participant.
Rhythmic Lotto.
Rhythmic lotto consists of large cards that are covered with small cards (one large card holds 6 small ones).
I distribute large cards to children. I leave the small cards with me, mix them up and show them one after another, and ask them to say and show with their hands the rhythmic pattern depicted on them, find it in their possession and cover it with a counter.
After the children have learned to cope well with this task, I again shuffle the small cards and tap the rhythm, the children guess by ear, find this rhythmic pattern and place a counter, after which they pronounce it in rhythmic syllables showing the durations with their hands.
I mix the cards again and this time I play, the children find the rhythm, place a chip and sing in rhythmic syllables showing the durations with their hands.
You can play with several rhythm cards at once. At the same time, I combine cards with varying degrees of complexity (one or two cards with well-learned material, the third from new, more complex material).
I use a lot of songs frommanuals on solfeggio by Larisa Veniaminovna Efremova. It's interesting to study.
Instead of boring rules - lively, light, memorable songs. The children easily grasp theoretical concepts.
I perform songs from the collection:
"Song about steps."
"Parallel Minor".
"Consonance and Dissonance".
"Song about intervals."
"Song about the main steps."
"Sharp and flat."
“Song about the order of sharps and flats”(I supplement the work on this topic with rhymes for better memorization and the games “Elevator” and “Boat”):
Game "Elevator".
We find a lift for a note without a sign or with a sharp, it is behind the note, very close, the distance is a semitone, and we begin to count how many “sharps” come out of the lift.
For example: The note “E” enters her apartment, there is an elevator behind her"Re#" the elevator opens and “sharps” come out of it, count them in order until the elevator is found: fa#-do#-sol#- Re# , write down the signs on the staff near the treble clef,there are four sharps in the E major family.
Game "Boat".
We seat the flat family with the flat Tonic in the submarine, make a boat with the palm of our left hand, and with our right hand we place the “flats” in the boat, up to the Tonic and close the submarine with a lid (adding another flat) and set sail.
For example: Family in A-flat major. Tonic A-flat. We place the flats in the boat in order to the Tonic and cover with a lid: (flat) B-mi- A-D. We write down these signs with the key.
“Song about the Kinto Circle of Major Keys”(I combine studying and singing this song with the Kamaevs’ key cards and with the domino “Circle of Fifths” by N.V. Belaya, which produces a very good reinforcing effect).
Larisa Efremova’s songs on modal attractions develop very well the modal tonal ear: “Three Steps”, “Introductory Steps”, “Resolution of Unstable Steps”, “Singing”. Children easily remember, play and sing these songs in different keys. (I sing songs.)
The next manual that I want to introduce you to is a collectionMaya Fedorovna Chervona Songs-exercises in solfeggio accompanied by piano.
The author invites you to go on a fun journey through a musical country. The heroes of the songs are intervals. They think, dream, dance, sing and laugh. For a while, my first graders turn into intervals so that they become well acquainted with the nature of each interval, and can easily guess the interval by ear. We act out the journey and sing these wonderful songs. And I want to introduce you to them, maybe you will like them, and you will use them in solfeggio lessons.
I perform the songs: “Prima Tarator”, “Mischievous Second”, “Affectionate Third”, “Decisive Quart”, “Quinta-Clock”, “Boastful Triton”, “Braunchy Sexta”, “Capricious Septima”, “Princess Octave”.
Seeing it on the store countermusical fairy tale by Alla Vladimirovna Melnikova “Dima’s dream or how to correct a D in solfeggio”,I had the idea to play it with my first graders. After all, this fairy tale is not just entertainment, but material that, in an entertaining form, helps to consolidate knowledge about the stages of the scale and their relationships. According to the plot of the play, the hero, Dima, a student at a music school, finds himself in a fairy-tale kingdom where Queen Tonic rules. Her close associates are the Court Astrologer and the Court Lady. Minister Dominant helps the Queen with advice; he knows two secret passages to her, and instantly finds himself next to her as soon as the Queen gives the order. And the mood in the kingdom is monitored by King Medianta, who loves to eat pies prepared by the Court Cook Subdominant. The insidious princess minor dreams of sitting on the throne and becoming Queen. Each character is a stage of a mode, which has its own musical portrait, its own musical theme, which is composed taking into account modal gravity. And so, so that each step becomes alive, understandable, familiar for first-graders, so that everyone tries themselves in the role of a step in the musical kingdom, so that they themselves become a hint on the topic “Lada”, I staged this fairy tale and the production became educational material for the next generations of first-graders .I have prepared video material to introduce you to this fairy tale and I think the plot and musical material will be interesting for you.
I combine this work in “Lada” with songs by Larisa Efremova and with the work “On the Ladder”. (Showing)
Performing songs with a demonstration along the stairs; listen and guess step gravity by pointing along the ladder and performing them with notes or singing the number of the step, or the names of the steps.
And I also have visual aids that I use to develop harmonious hearing. House - stable steps, loop - singing, arrows - permission.
I name the key, arrange the cards in any order, and the children sing while completing the notation assignments.
I play tasks - children listen and determine by ear, lay out what they heard, explain and sing with notes or the number of the step, or the name of the step.
Working on intervals.
These cards help you easily understand the nature of intervals:
prickly (seconds, sevenths),
soft (thirds, sixths),
solid (quart),
vague (fifth).
I play an interval, the children listen, choose a card, touching its surface with their palm, and name the character and name of the interval.
The toys also correspond to the nature of the interval. Big Tertsia is a girl who loves outdoor games, the sun, her favorite song “How bright is the day,” and she dances cheerfully and cheerfully. Little Tertsia is a girl who loves quiet games, loves to dream, walk under an umbrella in the rain, admire the starry sky, her song is “Starry Night,” and she dances smoothly, slowly. Seconds are their dogs. The Big Tertia has a large, learned dog, the Little Tertia has a small dog that is afraid of everything and hides. They bark differently. The Big Second - boldly, confidently, the Small Second - yelps pitifully. I play intervals, the children identify them by ear, sing their favorite interval songs and dance their dances.
Also in solfeggio lessons I I use it visual aids by Liya Stepanovna Sinyaeva.The presented table helps you quickly and easily remember the steps on which chords are built.
First column.
The first chord is on the I step, we move down the column, we see the Tonic, we know well that this is the first step, we continue to move down, counting the steps in a downward movement: I – VII. The chord degree across the line is repeated. Let’s remember the chord degrees of the first column:I – I – VII – VII.
Second column.
We know well that the subdominant is the fourth step, and from the fourth step we started counting in a downward movement, not forgetting that the step is repeated across the line. Let’s remember the chord degrees of the second column: IV – III – II – II.
Third column.
We look at the first chord of the third column, it is in the corner and its number (6) is a clue, this is the step on which this chord is built - the VI step. Then we went in a downward movement - stage V, we continue to move down, and we see the dominant, and we have known it for a long time - this is stage V, across the line the stage is repeated, and we continue to move down - stage IV. Let’s remember the chord degrees of the third column:
VI – V – V – V – IV.
Separately, we can talk about the chords of the second half of the table, about four-note chords, about the dominant seventh chord and its inversions. In the first column D65 is the first inversion of the dominant seventh chord, in the second column D43 is the second inversion and is built on the second degree, in the third column D7 (in the corner) is the dominant seventh chord itself, and below D2 is the third inversion. Appeals correspond to the column number: I – II – III.
I hope that the methodological and musical material I presented will be useful to you.
From the editor. With this material, the editors tried to answer numerous search queries from Internet users related to visual aids on solfeggio for children's music schools. The most popular manuals in teaching practice are needed both by the teachers themselves and by the parents of students, whom teachers usually ask to produce some of them. The material may also be useful to students of music schools who are starting to teach solfeggio in the sector of teaching practice. For ease of use by young teachers, all manuals are briefly described and attached in PDF format for downloading.
E. Copiy
In solfeggio lessons, various visual aids are of great importance in mastering theoretical material. From the first lessons in the preparatory class, it is proposed to use the “buttons” manual. These are two staves with treble and bass clefs. Lines are stretched vertically on them. Two buttons are put on each line - white and black. As a result, a row of white buttons is lined up at the top, and a row of black ones at the bottom. The buttons move freely along the fishing line, short sounds are indicated in black, long sounds are indicated in white. This manual first helps you study notes, and in both keys, then with the help of buttons you “record” the simplest and even more complex melodies. Since there are many forms of work in a solfeggio lesson, and small children write notes poorly and slowly, this manual saves time.
It is well known that the use of manual cards greatly enlivens solfeggio lessons. In preparatory, first and even second grade, it is advisable to tell children small, exciting stories, the heroes of which are musical terms. The fairy tales of V. Kiryushin are very suitable for this purpose. You can introduce children to different intervals and give them a bright emotional coloring using the example of “Tales of the Stupid Giraffe Octave” and “Tales of Two Brothers Consonance and Dissonance.” On the other hand, no one is stopping a creatively oriented teacher from composing his own fairy tales and suggesting another character, depicting him on a card. With the help of fairy tales, children easily remember the names of intervals. Of course, the teacher must accompany his story with music. After mastering the material, children like to play “interval tracks” using cards, “riddle” intervals on the piano, and the whole group demonstrates the answer cards.
The manuals help in the development of modal, harmonic, inner hearing, and promote pure intonation. We can offer three more manuals that are used from the preparatory class onwards in subsequent years of study.
The first manual is LADDER. The ladder is offered as a manual in the textbook for the preparatory class by M. Kotlyarevskaya-Kraft. It is based on a relative method of studying the relationship between steps and sounds in a scale, which has proven itself very well for the development of pure intonation, helping to expand the range of a child’s voice. It is proposed to accompany the study of the ladder with hand signs. It is recommended to start the first intonation exercises on the ladder with chants and songs on two steps III-V (VI-ZO), then the VI-step RA is added to these chants, only then step I (Y), the concept of tonic is given, then all the rest. It is proposed to differentiate the steps of the staircase in terms of color and associate the color of the staircase with fairy-tale characters. The LADDER we use is painted in the colors “favorite” of the main characters of V. Kiryushin’s fairy tale “In the Land of Harmonic Functions”. It is better to tell the tale when the stage E (I) is introduced - Tonic, according to the fairy tale by V. Kiryushin - the Queen of the Country of Harmonic Functions, who lives in an eight-story palace, on the first floor there is her throne room, and on the eighth there is a rest room. There is another main character in the fairy tale - the Dominant - the chief minister of the Country of Harmonic Functions, who wears a red cloak and a red hat. The fourth step is painted yellow, since the main cook of the Country, the Subdominant, “lives” on this floor in the palace, preferring yellow in her outfit. The rest of the coloring of the steps of the staircase is also associated with the characters of the fairy tale. Thus, already in the preparatory class, you can introduce children to the names of the III stage - Mediants, VI stages - Submediants, connecting them with the heroes of the fairy tale and giving a certain functional affiliation of these stages. Using the example of the LADDER, it is advisable to study the structure of the major scale, and with the help of the extended LADDER - the minor one. It is suggested to sing songs, showing the movement of the melody along the Ladder.
The second manual, well known to solfeggio teachers, is the Bulgarian Column. It is recommended to present the main degrees of mode I, IV, V in the same color scheme as on the Ladder, that is, use blue, yellow, and red. On the Column, it is advisable to use arrows to show the gravity of unstable steps into stable ones. It is very useful to duplicate the resolution of steps with manual signs in intonation exercises. With the help of the Column, it is convenient to fix in the minds of children the structure of major and minor scales. Even the designations of steps in Roman numerals can be studied well using the Column. According to the Column, you can conduct chants when the student acts as a teacher, improvise, sing familiar songs, “make riddles” from the melodies, thus developing children’s inner hearing. With the help of the Column, students are clearly introduced to intervals, chords and their deeper study in high school. To study chromaticisms, types of minor and major, it is recommended to put sharps and becars on the right side of each step, and flats and becars on the left side.
The third proposed manual is the KEYBOARD OF SOUND CHORDS. In this manual, the main steps of the mode are very clearly highlighted, and in the same color scheme as in the Ladder and Stolbitse. Since the black keys are not painted in the required colors, children are asked to figure out the key signs on their own.
It is common knowledge that learning all scales, intervals, chords is important in connection with the PIANO KEYBOARD. It is often impossible to call all the children to the instrument during a group solfeggio lesson. Therefore, this manual is extremely useful in all classes of children's music schools during solfeggio lessons.
Sheremetova Elena Vladimirovna
Job title: teacher
Educational institution: MBU DO "Children's Music School No. 4"
Locality: Pskov
Name of material: Methodical message
Subject:"Game forms in solfeggio lessons"
Publication date: 31.10.2017
Chapter: additional education
MBU DO "Children's Music School No. 4"
Methodical message
Topic: Game forms in solfeggio lessons.
Teacher: Sheremetova E.V.
Pskov, 2017
Game forms in solfeggio lessons.
Research shows that a person learns 5% during training.
information from listening to speech, 10% from independent reading of books,
magazines, etc., 20% visual information, 50% studied information in
during the discussion, 75% of the information that was learned was when it was reinforced
on practice.
As the outstanding teacher-innovator V.A. wrote. Sukhomlinsky
“Monotony quickly gets boring. As soon as the children began to get tired,
I was eager to move on to a new type of work.” Monotonous work
really tires quickly, which is associated with dullness and distraction
attention. Children get tired of monotonous work faster than
adults. Therefore, it is necessary to diversify the work in the lessons.
The main difference between modern teaching methods and traditional ones is
creating game situations in the classroom as a natural form of existence
child. Children are attracted by the playful form of presenting material, the opportunity
inclusion in a familiar and favorite field of activity. Game techniques
in solfeggio lessons they allow you to make it fun and interesting
only the learning process itself, but also the forms of control students receive
theoretical knowledge. Widely popular in use for
Junior grades received modal and rhythmic skills in solfeggio lessons
Modal games include such as “Greeting and Farewell”,
“Question and answer” - where the teacher and students conduct a musical dialogue with
using improvisation. Or games like "Guess the Riddle"
“Guess the song” the first one guesses the steps played, and the second
similar to oral dictation on well-known melodies.
Among rhythmic games, “Say Your Name” is popular - where students
first pronounce the names in 2/4 syllables, and then in 3/4 and “Write your
name" where a phrase with a name is sung, and students write down a rhythmic
drawing. It is also very convenient to use rhythm cards in lessons,
both for light rhythmic dictations and for single-voice dictations
as auxiliary material. You can arrange team games for students
competition dividing the group into 2 teams.
The game “Ladushki” is very convenient when going through dimensions,
definitions of weak and strong beats
Primary school children really enjoy using it in class
various noise instruments that they can even make
on one's own. With the help of such tools it is easy to carry out such
games like "Endless Echo" where children take turns performing a given task
the rhythmic pattern or "Noise Orchestra" at the beginning may represent
only dialogue on previously learned poems using
children's musical instruments, later you can include poems with
It seems to me from my own experience that the most interesting for both
for both lower grades and for older grades, didactic games
"Musical Lotto" and "Musical Domino" in which you can
use absolutely any material, for example “Intervals”,
“Triads and their inversions”, “Quarto-fifth circle of keys”,
“Dominant seventh chord with appeals”, and can also be used when
compiling harmonic sequences.
Didactic game material: Sets of domino cards according to the indicated
topics. Students lay out game cards using the domino principle.
The task can be completed individually, in pairs, or in teams.
"Musical Lotto" is different in that instead of dominoes there are
playing field and a set of cards. Tasks are differentiated into
depending on the class of students. (In the games “Triads and their inversions”,
“Dominant seventh chord with appeals”, “Harmonic
sequences” the results are necessarily sung and reinforced
playing the piano.)
All these games are on the Internet, you can easily find them.
But you don’t have to stop at what you have, supplement them with something of your own, and
maybe invent something new. After all, this is also a teacher’s job.
exciting creative path.
Game forms used in the lesson increase
children's interest. This is very important, since a child cannot be forced
work if he doesn't want to; the only way to activate learning
the process is to get interested. Performing any role in creative play,
even the most inattentive and restless child acquires many
positive traits. The use of game forms of work in teaching
helps both junior and senior school students learn more easily
new knowledge - consolidating it in practice, engage with joy and
hobby.
Application:
1 Fret games
The subject of solfeggio as an academic discipline is directly related to
psychological science. Basic categories of psychology, such as
perception, attention, memory, thinking must be constantly in the field
teacher's attention. Creating a creative atmosphere is an important condition
any lesson. It is in the process of creativity that concepts are more easily comprehended
rules and laws of music science.
"Musical greeting and farewell"
It is carried out at the beginning and at the end of the lesson. The teacher sings
greeting or farewell addressing the whole group, and one of the children or
the whole class must respond by performing the answer at certain steps. kit
greetings and farewells will gradually expand as you get acquainted with
different degrees of fret.
Example for a greeting: Teacher “Hello guys”
students: “Hello!”
Example for parting: teacher “Goodbye girls, see you”
goodbye boys, goodbye squirrels, goodbye bunnies. Goodbye
school, our lesson is fun!” Students: “Everything we learned, everything goes home
taken away."
"Question answer"
The game involves an element of creativity and improvisation. Use it
in lessons it is possible when the children have already become well acquainted with
degrees of the scale, they can freely intonate them. The teacher sings which one -
or a question addressing a specific child. The question should end with
any stage except the first. The student must sing the answer in the same
key, ending on the tonic. The questions can be very different: “On
"Guess a riddle":
The teacher plays a sequence of steps on the instrument.
Children listen, showing them on the “Musical Staircase”. Then one of
The children “guess the riddle” by singing it in notes. "Riddles" is possible
write down in a notebook, each in a separate bar. Assignments can be given in
a certain size and rhythm or without them. This game is easy to use
to tune in any key before dictation.
"Find out the song":
The game does a good job of activating the students’ inner hearing. Teacher
tells the children: our “ladder” is magical, it can sing. Now "ladder"
sing a song they know. You need to recognize it by singing to yourself the steps that
The teacher shows. The one who first recognized the song performs it with notes in
the specified key.
"Live Piano":
Children line up in a line, Each of them is a “living key”
"a step of a scale." The teacher or one of the children can “play”
on the piano a familiar or unfamiliar song, scale, triad or simply
sequence of steps by “pressing” the keys, i.e. pointing at
a participant in the game who sings his sound.
2 Rhythm games
"Guessing Game"
The teacher plays a musical phrase from a familiar song,
inviting children to find out what words it sounds with, sing, clap with
rhythmic syllables and gestures, and then lay out with cards.
“Select cards to the given size”
The game is aimed at developing a sense of meter. The teacher shows the children
small cards from rhythmic lotto and explains that each card is
The teacher places rhythmic patterns on the table and invites two
children, each of which is given its own size: for example - 2/4, 3/4, 4/4, 3/8,
6/8. The minimum task is to select rhythmic cards from the available cards.
drawings suitable for a given size; The maximum task is to post
selected cards into a single rhythmic sequence and sounded out
(tap, clap), emphasizing the strong beats.
"Okay"
The game will help you easily recognize by ear the features of alternation
strong and weak shares. The guys are divided into pairs. The teacher performs
pieces in different sizes, students clap to mark the “pulse” of the music.
Everyone claps the strong beat himself, and the weak beats - with each other, as if playing
"okay." At first, of course, there is confusion, but then the kids
play with pleasure and easily complete the task - determining the size in
work.
"Write down your name"
The teacher performs a musical phrase that mentions
the name of one of the students, then the whole group sings it along with
conducting. The child whose name is named must go to the board and
record the rhythm of the melody. Or children can give answers using
rhythm cards.
"Say Your Name"
The teacher performs the piece in 2/4 time. every student
alternately calls his name (for example: “Sa-sha.” “Va-nya,” “Ma-sha”) and when
In this case, the strong and weak beats are slammed in one measure. same task
children perform to music in ¾ time (for example, “Sa-shen-ka”, “Va-nech-
ka", "Ma-shen-ka".
"Endless Echo"
The teacher shows the students a rhythm card, and the guys
They take turns performing it on different children's musical instruments.
"Noise Orchestra"
The game at the beginning can only present dialogue in advance
learned poems using children's musical
instruments, later you can include poems with rhythmic
3. Games with intervals, chords and other musical
elements. Visual aids (didactic games).
"Team game"
Students are divided into 2 teams. and the board is in two parts. Both groups
Children go to their half of the board. The teacher plays a chain
intervals. each team member writes down 1-2 intervals
queues. At the end of the game, the results are compared. that team won
whose participants made fewer mistakes.
"Who has won"
In the game you need to use interval cards. children in advance
lay them out on desks. so that they can quickly find it at the right moment and get up.
The teacher plays intervals, the children show the correct card. If
someone made a mistake, he sits down, but continues to answer. The one who wins
was the last to answer correctly and remained standing until the end.
“Let’s finish the interval”
The teacher performs a musical phrase based on one
sound in which one of the intervals is mentioned, for example: “Sing a big
third" or "Here is a perfect fifth." The student must sing the second sound up
or down with the word “yes” to get the desired interval. The game develops
vocal and auditory skills in performing intervals from sound.
"Rhythmic dictations"
The teacher plays or taps a dictation, students learn at speed
lay out the rhythm with cards. each time you can add more complexity
cards with the size, laying out the cards by measures.
"Musical Domino"
Theoretical information: “Intervals”, “Triads and their inversions”,
"Quarto-fifth circle of keys"
Didactic game material: Sets of domino cards
the indicated topics. Students lay out game cards according to the principle
domino The task can be completed individually, in pairs, or in teams. .
The tasks are differentiated depending on the class of students. For example, according to
interval domino:
Students of the 1st, beginning of the 2nd year of study assemble dominoes, not
taking into account the qualitative characteristics of the interval
Students of the 2nd year of study, who became familiar with intervals up to ch5,
assemble dominoes partially up to ch5, taking into account the quality
characteristic, and not taking into account sixths and sevenths.
All other years of study collect dominoes, given
qualitative characteristics of all intervals.
Evaluated by the teacher:
Correct definition of elements.
Correct identification of elements over a certain time.
Age range for using the game: “Intervals” set - all
classes, set “Triads and their inversions” - starting from 3 years
training, set “Quarto-fifth circle of keys” from 4 years
training.
“Musical lotto. Tones and signs."
A set of cards with the names of keys, a playing field with
letter designation of keys. Task: arrange the cards correctly
on the playing field. And also instead of letter designations you can
use cards with key symbols.
Charades "Merry notes"
Students are given cards with charades, where using notes
words are encrypted. The task of the children is how to quickly solve their
card.
"The most correct and fastest"
Students are given cards with tasks where they need to be corrected.
errors and determine intervals. The one who is faster and more correct wins
will complete the task using the cards. After completing the task, you can
students exchanged cards and tested each other by giving marks
under the supervision of the teacher. This type of game can be used on
control works.
Bibliography.
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3.Efremova L.V. It's interesting to learn! Solfeggio manual. - Saint -
St. Petersburg: Composer, 2006
4. Kamaeva T.Yu., Kamaev A.F. Gambling solfeggio: method. manual for
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7.MBOU DOD "Konstantinovskaya School of Arts" Didactic game
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