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Formation of skills of independent work of students in the classroom. Formation of independent work skills for students in the piano class - methodological page - assol

The introduction of new generation standards requires an integrated approach to the organization of the educational process, including classroom and extracurricular activities of students. Realizing that the result of education in accordance with the requirements of the Federal State Educational Standard must be achieved at the level of each child and considered in the unity of the subject, meta-subject and personal components, the competent organization of all types of student activities to obtain a qualitative result is of particular importance for the development of a younger student.

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Formation of independent work skills

in the context of the implementation of the Federal State Educational Standard

M.G. Zhilenko, MBOU secondary school No. 73 named after. A.F. Chernonoga, Voronezh.

It's no secret that a lesson is part of a time-limited process. The priority task of the modern lesson was to obtain a result at the level of each student, which is facilitated by the appropriately organized independent activity of students.

In the conditions of the modern world, the problem of developing skills for independent work is more relevant than ever, because. includes issues not only of the personal development of schoolchildren and the formation of their independence, but also the creative education of the younger generation.

Independence as a personal quality is not given to a person from birth, but is formed as the child grows up. Independence in learning is of particular importance; it finds its most vivid expression in the process of independent work of students.

In the process of work, we often encounter issues of organizing the productive work of students when developing a certain skill or when working independently. In classes, children are very different in their abilities, temperament, intellectual development, and character. And they all work at different paces.

It is very useful in such classes to organize work in pairs: one student takes on the role of "teacher", the second - "student", while you can use a memo with a reasoning plan. The plan can be detailed, or it can include only a sequential name of actions: “I will determine how many digits should be in the quotient .... The first incomplete dividend ... I will divide ... I will multiply ... I will subtract ... I will compare the remainder with the divisor ... Second incomplete divisible ... ".

Organized in this way, the work captivates students. In this case, each of the stages of the solution is under the control of two students at once, they double-check each other, they can turn to the memo and to each other for help. At the same time, everyone is interested in the successful work of the partner and in obtaining the right result.

With collective, group work or work in pairs, it is easier for slow students to work: while other children offer their own options for solving problems, judgments, proofs, they have the opportunity to think, they keep up with the general course of work without “falling out” of it, and feel good.

However, when working independently or when practicing some skill, which is often required in the educational process, these children experience difficulty and embarrassment: while such a child is just comprehending the task or, having penetrated into its essence, proceeds to complete it, many other children already report completion of your work. Therefore, it turns out that a student who, for some reason, works slowly or has a poorly developed skill, the student begins to rush when he hears that other children have already completed the task, and stops thinking about the quality of the work being done (he simply has no time). At the same time, the children who finished the work faster than others will, at best, receive an additional task from the teacher, most often not related to the previous one, and at worst, they will simply wait for the rest of the children.

To eliminate this problem, we have developed tasks of three levels of difficulty, which allow each student to work at his own pace. These verification and independent work give the full load of his mental activity and are closely related to the material that needs to be worked out or the assimilation of which needs to be checked.

Tasks of the first level of difficulty are standard tasks. The second and third levels differ in the degree of complexity, the number of operations performed, tasks of a logical nature, propaedeutic tasks, but at the same time all three levels are closely interconnected.

The work is carried out in strict sequence according to this algorithm:

You know, decide.

Decided to move on to the next level.

Thus, all students must complete the task of the first level, which contributes to the assimilation of the program material (standard level) and allows the teacher to exercise proper control. Tasks of the second and third levels are performed by children as far as possible. These tasks are aimed at activating the student's mental activity, contribute to his progress and remove the problem of children's employment at this stage of the lesson.

The organization of independent work in this way helps to increase the cognitive interest of students who have completed the task of only the first level. Children have a natural desire to independently and rationally perform all the proposed tasks. Advancement to a more difficult level becomes the goal of each student. At the same time, the assimilation of the program material is ensured: skills for solving problems and their writing, computational skills are formed, thinking develops, the problem of employment of all children in the class during independent work is removed.

We are becoming more and more convinced that such independent work has an important educational value: it teaches children to perform all tasks without fail, maintains activity at the proper level, and forms independence and responsibility. We are pleased that every year the number of students in the class who cope with tasks of the second and third levels is increasing.

Literature

1. A.G. Asmolov. How to design universal learning activities in elementary school. – M.: Enlightenment, 2010.

2. Pakulina S.A., Savushkina T.P. Psychological and pedagogical features of teaching the forms of independence of work of younger schoolchildren / / Primary school. - 2009.

3. GEF IEO: Ministry of Education and Science of the Russian Federation. – M.: Enlightenment, 2010.

municipal budgetary educational institution

Konoplin secondary school

Ukholovsky municipal district

Ryazan region

Related report:

"Formation of skills of independent work in the classroom"

Prepared by: ODNKNR teacher

Polunadezhdina Tatyana Fedorovna

Konoplino 2017

Independent work is the most important condition for self-regulation of the personality, its creative possibilities. Independent work of the student is the main way of educating independence. But independent work, attracting modern schoolchildren, at the same time causes serious difficulties for many. It requires emotional and mental stress, gives rise to a lot of unexpected questions and mistakes, doubts and worries. I noticed that especially many difficulties arise for children at the initial stage of developing certain skills and abilities, so this work should be started even in the primary grades. In my work, I want to highlight the issues of the correct organization of independent work, since I believe that independent work is an effective means of personality formation, encourages mental independence in children. It disciplines thought, gives rise to schoolchildren's faith in themselves, in their strengths and capabilities. In the process of teaching mathematics (physics), the task of the teacher is not only to provide solid knowledge provided by the program, but also to develop students' independence and active thinking.
Independent work is such a cognitive learning activity when the sequence of the student's thinking, his mental and practical operations and actions depend and are determined by the student himself.
The presence of independent work is necessary in the classroom, including the lessons of the ORSE and ODNKNR, as they train the will, educate efficiency, attention, and discipline students.
Self-study is a method that helps me a lot to find out the abilities of students. Working independently, the student must gradually master such general methods of independent work as a clear idea of the purpose of the work, its implementation, verification, and correction of errors. With the right methodology for organizing independent work, the mental activity of children is activated. If children are taught the skills to perform independent work and use its various types in the classroom, then children develop independence and develop thinking, they tend to perform more difficult tasks.
C / r. - active teaching method. The main signs of s / r. in the lessons of ORSE and ODNKNR - this is the presence of the teacher's task, the independence of students, the teacher's guidance, the completion of the task without the direct participation of the teacher, the activity and effort of students, special time to complete the task.
The teacher does not really take part in the task, but he organizes the activity. C / r. always ends with some results, as the student comes to them independently. Their value and significance are more acutely realized in comparison with those achieved in joint activities. As a result of the work, not only the level of knowledge is always revealed, but also the independence of the student, the individual style of his activity, creativity and non-standard approach.
Pedagogical value s/r. It also depends on how students are organized. The form of organization is a certain arrangement of participants in the educational process, ways of interaction between the teacher and students, the students themselves among themselves.
Students when performing s / p. they cannot always get timely help from the teacher, so it is necessary to carefully consider lesson plans, determine the content and place of the s / r., forms and methods of its organization. Only in this case, s/r. will be performed by the student consciously. At the same time, it is necessary to think over the level of complexity and volume of work, difficulties, possible errors that may occur in children during its implementation.
On Wednesday. children play an important role in reproductive activity. A prerequisite is the individualization of independent tasks, that is, their feasibility, taking into account the measure of complexity for each child or group of children with almost the same level of development. The success of the task depends on the development of the will of the child, the skills of self-regulation of the actions of children. It is important to be able to come to the rescue in time, support the desire to complete the work to the end, relieve tension and fatigue. A minute's rest, switching attention cause an emotional rise, activate thinking, allowing you to focus again on the task.
A skillful combination of individual, group, frontal work allows to form in children the necessary skills of educational activity. The choice of the form of work depends on the purpose, the complexity of the tasks, the level of formation of educational activities and the capabilities of each child. If the task is simple and feasible for everyone, it is given to the whole group, and everyone performs it independently.
For individual s/r, special didactic manuals should be prepared. They should contain tasks of varying difficulty.
I distinguish the following types of s / r:
1. works organized for the purpose of studying new material;
2. work aimed at repetition, consolidation of knowledge;
3. work organized for the purpose of applying knowledge and developing skills;
4. generalizing s/r.;
5. test s/r.

The frontal form of organizing independent activity is most appropriate when students begin to study the topic, then it is important to create a certain mood, to arouse interest in a new topic. It is also important and useful at the initial stage of the formation of skills, when students master the methods of performing tasks according to the model.
Frontal work, in comparison with individual and group work, makes it easier for me to solve some organizational issues, since frontal work can be done in the classroom without cards and other handouts. Two, three tasks can be indicated on the board, in a problem book or textbook.
Traditionally s/r. considered as an individual cognitive activity of the student. Working independently, the student progresses at his own pace, not connected to the class. At the same time, he must show maximum efforts of responsibility, relying on his own strength. Individual work requires perseverance, perseverance, perseverance in overcoming difficulties. Under the individual s / p. should be understood as one that provides for the implementation of individualized tasks and excludes the cooperation of students. Assignments can be formulated and proposed by the teacher as mandatory. Along with them, alternative tasks are important, which the student can choose voluntarily. This approach is a notable feature of learner-centered learning.
When analyzing the general structure of the topic, I determine in advance for myself: what questions students can learn on their own, what tasks will be offered in order to form general educational skills, tasks of a reproductive and creative nature aimed at developing special skills, individual characteristics of students, forms of organizing a collective independent activity (work in pairs, fours). In the thematic plan, it is important to note the logical sequence of works, their diversity and complexity. The second stage of planning s/r. related to the preparation for specific lessons. It is important to think over the organization, the methodological tool, depending on the pedagogical situation and the characteristics of the class.
At the beginning of the lesson, short work is justified, designed for 5-10 minutes. to include the whole class in vigorous activity, to mobilize the attention, memory, thinking of students, to create a working mood. Offering tasks similar to those that students completed at home, I can make sure which of the guys copes with the task on their own, who makes mistakes, finds it difficult. Along with this, the readiness of the class to assimilate new material, to perform more complex tasks, is clarified. This kind of independent work is also of a verification nature, as it is aimed at identifying and updating basic knowledge and skills, which serves as a preparation for the assimilation of new material.
Determine the place with / r. in the lesson also means to calculate the time needed to complete it. The discrepancy between the volume of work and the allocated time is one of the shortcomings of its organization. An overestimation of the amount of work causes a state of anxiety in the children, haste in actions, and dissatisfaction with the quality of the tasks. On the other hand, there is also an underestimation of the capabilities of individual students, as a result of which situations are constantly created in which part of the class copes with tasks before others.
This problem is most effectively solved by differentiating tasks that determine the load, which correspond to the individual psychological characteristics of students.
A differentiated approach in planning the content and volume of s/r. in the lessons of ORKSE and ODNKNR is one of the possible ways to eliminate overload.
The main goal of training is to teach each student to independently acquire knowledge, to form skills. It is known that each student acquires knowledge depending on his mental abilities, memory, temperament, skills of educational work. Since the level of knowledge and cognitive abilities is not the same for all children, then in the classroom with a collective form of work, a differentiated approach is needed in the selection of tasks. Exercises should be simple, brevity. Work should begin with simpler exercises, gradually moving towards more complex ones.
Taking into account the individual characteristics of students in learning, being the main feature of student-centered learning, extends to the work of preparing students for self-education. The student-centered approach proposes a mental breakdown of students into groups, taking into account the maximum cognitive capabilities of each. The most commonly used assignment of students to one or another group, taking into account their educational readiness (strong, medium, weak). But this does not exclude the grouping of students on other grounds. A differentiated approach to learning means that students are given tasks of varying levels of difficulty. Moreover, the lowest level of difficulty meets the requirements of the curriculum. It should be said that a differentiated approach is combined with a person-oriented one. Differentiated tasks should be prepared for the lesson in advance: written on the board, tables, cards.
They should be divided into two types:
1. Mandatory tasks. They contribute to the ability to correctly apply the learned rule for processing a computational skill; there should be a limited number of them and they should be within the reach of every student.
2. Additional tasks. They are designed for those children who have coped with the mandatory
task and they have time for additional tasks. These may be tasks of higher
difficulties.
When compiling cards, it is necessary to take into account the preparedness and individual characteristics of each student. In some cases, it is necessary to increase the amount of work, in others to offer a task of a creative nature.
Independent work can be carried out at any stage of the lesson. It all depends on the purpose for which it is carried out. If in order to check how children cope with homework, then it is given at the beginning of the lesson, while tasks similar to those given at home are taken. In time, it takes 5-10 minutes. If independent work is carried out in order to see how the children have learned new material, then it is given at the stage of consolidation. In time, it takes 5-10 minutes. Such independent work is given to children if the new material was not very difficult. Independent work at the stage of work on the material covered takes 15-20 minutes.
For individual independent work, I produce special didactic manuals. They contain tasks of varying difficulty. The effectiveness of independent work in the classroom depends on skillful goal setting. They project near and distant results of learning, which are achieved in the process of advancing and solving specific cognitive tasks.
Even the smallest and most uncomplicated independent work planned for the lesson should be subject to common goals and overcome a specific task.
Thus, I believe that properly organized independent work contributes to the mental and creative activity of students. A child who can independently cope with the goal will be able to realize himself in adulthood.

The explosive growth of scientific information required some reorientation of student learning. An orientation toward the development of students by creating conditions for a deep analysis of phenomena, to instilling the skills of independent work on the ability to learn for oneself is becoming increasingly important. Any teacher who starts solving this problem naturally raises the question: “How to educate students in independent work skills and where to start developing them?” . To do this, we first consider what is independent work?

Independent work is usually understood as work performed without active help "from outside", when the person performing the work to achieve the set goal himself determines the sequence of his actions, the causes of the difficulties that arise and the ways to eliminate them. If in the work under the guidance of a teacher, on his part, he constantly monitors the correctness of the student’s actions and organizes assistance in eliminating the difficulties that arise for the student, regardless, perhaps, of whether he realized the causes of the difficulties that have arisen, then

in independent work, the student himself is aware of the nature of the work performed, he himself determines and finds ways to overcome the difficulties that arise. To perform independent work, students must make certain efforts, expressing the results of their actions in one form or another. Without independent work, the process of mastering knowledge at various stages of the lesson is impossible, both when studying new material and consolidating it. In theory and practice, the following approaches to the classification of independent works are most common:

for didactic purposes

The level of independence of students,

The degree of individualization

By source and method of acquiring knowledge

· According to the form of execution,

· At the place of execution.

Independent work in the didactic direction can be divided into: teaching and controlling.

Teaching independent work. Their meaning lies in the independent fulfillment by students of the tasks given by the teacher in the course of explaining new material. The purpose of such work is the development of interest in the material being studied, the involvement of each student in the work in the lesson. When performing this type of work, the student immediately sees what is not clear to him, and he can ask for additional explanation of this part of the material. The teacher also draws up a scheme for further explanation of the material. Also, this type of independent work helps to identify gaps in the knowledge of past material among schoolchildren. Independent work on the formation of knowledge is carried out at the stage of preparation for the introduction of new content, also with the direct introduction of new material, with the primary consolidation of knowledge, i.e. immediately after the explanation of the new, when the students' knowledge is not yet strong. Since independent training work is carried out when explaining new material or immediately after the explanation, then their immediate verification is necessary. It creates a clear picture of what is happening in the lesson, what is the degree of understanding by students of new material, at the very early stage of learning. The purpose of these works is not control, but training, so they should be given enough time in the lesson. Controlling independent work will be considered a little later.

We now turn to the consideration of the classification of works according to the degree of independence.

Depending on the level of preparation of students, they can be offered:

· Independent work on the model,

· Reconstructive and variable works,

· Partial search works (heuristic),

· Research independent work.

When performing work according to the model, students do not go beyond the scope of reproducing activities aimed at mastering basic knowledge. At the same time, the proposed tasks are performed according to the samples and algorithms presented by the teacher or described in the textbook. They play an important role in the primary consolidation of what has been learned, as they contribute to the creation of conditions for the transition of students to perform tasks that require a higher level of independence.

Independent works of a reconstructive-variative type usually contain tasks, under the conditions of which students have to analyze situations that are new to them, reformulate them, and choose the most rational ones from known methods. They differ from the previous type of work in that when they are performed, it is necessary to convert the initial data, i.e. demonstrate a higher level of independence. Students show an even higher level of independence when performing partial search (heuristic) work that requires the transfer of knowledge and skills to unusual, problematic situations. The highest degree of independence is manifested in the performance of independent research work. Here, using the accumulated knowledge and skills in the performance of previous types of independent work, putting forward and testing their own hypotheses and judgments, they learn to discover new information about the objects under study.

From the point of view of classification according to the degree of individualization, independent work can be:

Ш frontal - students perform the same task;

III group - to complete the task, students are divided into small groups (3-5 people each);

Ш steam room - for example, when conducting experiments, performing various constructions, designing models;

Ш individual - each student performs a separate task.

Considering independent activity as cognitive, four varieties of it are distinguished in the learning process:

The student determines the purpose and plan of work with the help of the teacher.

The student determines the goal with the help of the teacher, and the plan independently.

The student determines the goal and plan independently, but the task is given by the teacher.

· Without the help of a teacher, the student himself determines the content, purpose, plan of work and independently performs it.

The first variety is the simplest, and with it the teacher should begin preparing the children for more complex stages of independent work. Then gradually, moving from stage to stage, the student gets the opportunity to fully demonstrate his knowledge, initiative, personal qualities and individual characteristics. Independent work is organized with the help of individual forms of education. The student works independently at home when doing homework, writing essays. The individual form involves the student's activity to perform tasks common to the entire class without contact with classmates, at the same pace for all. It is mainly used in the consolidation of knowledge, the formation of skills, knowledge control. Individual work in the classroom requires careful preparation from the teacher, a large expenditure of time and effort. However, this form of organization of cognitive activity does not always create conditions for complete independent activity of students. It is a good means of organizing the activities of conscious students. But it is often possible to observe a picture in the lessons when poorly performing students or do nothing, because they cannot cope with the task on their own. In this case, the teacher should act as a consultant, guiding the thinking of a poorly performing child. To organize greater independence of schoolchildren, an individualized form of education is used. Nowadays, differentiated independent work is being used more and more. In practice, up to four variants of multi-level tasks are usually used. This form implies such an organization of work in which each student performs his own task, different from others, taking into account learning opportunities.

However, when implementing any of the considered approaches, one has to overcome certain difficulties associated both with checking a large number of options for independent work and with organizing a discussion of the results of its implementation. The solution of the problems posed is facilitated by the use of independent work, in which only the assistance provided to students is differentiated. The basis of such work is the same tasks, only the system of instructions for groups of students with different levels of preparedness varies.

The most diverse types of independent work are classified according to the source and method of acquiring knowledge. The most common are:

Working with a book

Solving and compiling a problem,

· Laboratory and practical work,

· Preparation of reports and abstracts.

According to the form of execution, oral and written independent work is distinguished, and according to the place of execution - classroom and homework.

The successful completion of independent work by students is facilitated by clear instructions from the teacher about its purpose, content, methods of implementation, forms of expression of the results obtained. They can be presented in the form of memos that give recommendations on working with a mathematical text, solving problems, performing laboratory and practical work, writing reports and essays. At the same time, the process of forming the written and oral speech of students should not be left to chance. It should be systematically when performing both oral and written work, to accustom to fully, clearly, reasonably express one's thoughts.

Practical experience shows that:

1. Systematically conducted independent work (with a textbook on solving problems, performing observations and experiments), with its proper organization, helps students to obtain deeper and more solid knowledge compared to those that they acquire when the teacher communicates ready-made knowledge.

2. The organization of the implementation by students of various independent works in terms of didactic purpose and content contributes to the development of their cognitive and creative abilities, the development of thinking.

3. With a carefully thought-out methodology for conducting independent work, the pace of formation of practical skills and abilities in students is accelerated, and this, in turn, has a positive effect on the formation of cognitive skills and abilities.

Over time, with the systematic organization of independent work in the classroom and its combination with various types of homework on the subject, students develop stable skills for independent work. As a result, students spend significantly less time to perform work of approximately the same volume and degree of difficulty compared to students in classes in which independent work is practically not organized or is carried out irregularly. This allows you to gradually increase the pace of studying program material, increase the time for solving problems, performing experimental work and other types of creative work.

The development of independent work skills in students, including those with limited abilities.

Introduction

The work of a teacher is always a very difficult process. And in our time, when the prestige of the profession is falling, everything is especially complicated. In the field of art, the range of tasks facing the teacher is especially wide, hence the particular complexity of our profession. All our activities involve a creative approach to work. This, perhaps, is the main difficulty.

Creativity cannot be taught, but creativity can be taught. To do this, we strive to instill in students character, will, perseverance in the assimilation of knowledge, love for work. All these qualities help to educate a professionally competent music school teacher. In order to teach the student to be creative in the classroom, the teacher should strive not to present everything in an open form, but always give “food” for thought in homework.

We must teach our student to listen and hear, to observe and to make a selection. To instill in the student a common culture, to reveal to him the aesthetic and cognitive value of music, to cultivate an ear, to lead the education of pianistic skill.

The talent and skill of a musician-teacher are manifested in the ability to identify and develop the best inclinations of each student, to contribute to the formation of his individuality. An experienced teacher organically combines in his work upbringing - the identification and development of the student's best inclinations - and training, that is, the transfer of knowledge, skills, and methods of performing work to the student.

From my experience of working with students with low ability, I can say that such work not only benefits the student, but also enriches the methods of work of the teacher himself. If a capable student and a student with average data himself can learn a work by heart, then with an incapable student you have to do this in the classroom. Teach him to navigate in the key, maybe learn by heart with each hand separately, listen carefully to the melody, sing it, study and analyze harmonic inclinations.

Let's take this example: all students know to play with precise fingering. But this knowledge alone is not enough. It is necessary to explain to the student that it depends on the fingering how completely, technically perfectly and accurately he conveys the nature of the work. It is necessary to start such work with easier, for this student, material.

You can try to give an easy etude for analysis at home, having previously analyzed the fingering of another similar etude in the lesson. Then, in the next lesson, analyze in detail the fingering thought out and learned by the student at home. Moreover, note both the advantages and disadvantages of this work. Such a scheme, in principle, is suitable for any work.

If the student is directed immediately to this style of work, he will quickly realize that this is the shortest way to competently analyze and memorize the work. In the future, he himself will not want to complicate the work by relearning the fingering and will immediately take a creative approach to such work.

Psychological difficulties of performing on stage and evaluation criteria

The skill of a musician-teacher is manifested in how accurately he can identify and develop the best inclinations of each student, contribute to the formation of his individuality. This can be facilitated by the atmosphere of creativity, mutual understanding, goodwill, which must be created in your classroom.

As a rule, one teacher can have from 4 to 7 students with different degrees of training and talent. Therefore, it is necessary to create in the classroom an environment of healthy competition and respect for the personality of the student. Less capable students are especially vulnerable, therefore, in working with them, one must observe special tact and in no case allow ridicule and reproaches related either to their modest abilities or insufficient training in the past. This can develop an inferiority complex in the student, and then there can be no question of any work with him. It will become closed, it will be internally “clamped” all the time, which will not give the possibility of its growth and may lead to the fact that such a student will stop working. Although, with a different approach, he would have turned out to be a competent, conscientious, interested in his work, constantly improving his professional level teacher.

The performances of incompetent students must be included in general classroom concerts. This gives them confidence in their abilities and encourages them to work on more complex works. Such students need to accurately and clearly explain their advantages and disadvantages. Dignity in every possible way to develop and encourage every, even the smallest success. And the shortcomings are carefully analyzed and systematically strive to get rid of them.

Incompetent students have a kind of “fear” of a bad grade. If they get a three, then their mood falls, they begin to study with reluctance. Well, for example, you need to explain to the student that a good, strong triple also needs to be earned through hard work. And if the teacher is satisfied with the studies of this student, then the triple is a milestone assessment. We must continue to work calmly and the result will be higher.

You can encourage conscientious students by slightly overestimating the assessment score (it can even be half a point). From my work experience, I can say that, having entered the school with a grade of 3- (this applies to former collective farm scholarship holders), a student had a grade of 4- for state exams. In my practice, I have not met students who would not respond with good work to benevolence and conscientious work.

At the very beginning of my work, after classes with incompetent students, I felt dissatisfaction and fatigue. But then, when I realized that I helped many students, gave them the opportunity to work with dignity on their chosen path, I decided to work further in this direction and improve the methods of working with such students.

I saw that such work not only benefits the student, but also forces me to improve my skills more intensively. The teacher has to be more vigilant, more sensitive, try to choose a shorter path in achieving his goal, look for such a path himself, develop his own methods of work. And for each student you have to find a way separately. What suits one student very well may be unacceptable for another.

If a capable student and a student with average data himself can learn a work by heart, then with incompetent students it is necessary to deal with this specifically. Teach him to navigate in the key, maybe teach him by heart in the lesson with each hand separately, sing the melody, study it, analyze the tonal plan. Sometimes it is useful for the student to play by heart with his right hand, and the teacher with his left, then change parts. This enables the student to clearly complete all tasks, playing with one hand, but to hear the entire texture. That is, "remove" for the time being, temporarily, control over the coordination of hands. And then, gradually complicate the task.

There are students whose game is replete with "breakdowns", they often, due to mistakes, cannot finish playing the work to the end. Such students are very afraid of the stage (I emphasize - they are not worried, but they are afraid). Therefore, they cannot realize themselves on stage. After analyzing such situations and talking with the students, I came to the conclusion that they are afraid because they feel insecure, and they are insecure because they cannot play without mistakes.

So, I realized, it is necessary to remove the "complex of errors". Students are not even afraid of the mistakes themselves, but of the fact that they will not be able to finish the work to the end, they will not be able to remember the text after the mistake. I decided to conduct an experiment. To the girl, who especially frequently made mistakes and behaved badly on the stage, I suggested numbering all the measures in polyphony and etude. Then, by the number of measures, cut paper squares and number them too. Then, pulling out one square at a time, be able to play by heart from the measure indicated on the square. A month later, the girl confidently and steadily played the program on stage, and her confidence allowed her to show her achievements, which had previously been minimized due to nervous acting.

Work on polyphony, J. Bach, CTC, prelude and fugue, B flat minor

Particular difficulties arise when working on polyphonic works. Here, too, it is necessary to help disassemble the tonal plan, explain the expediency of fingering, analyze the structure of the work, learn the melody of each voice by heart. Since it is especially difficult to listen to the middle voice, I recommend that my students, when the work is completely learned, play by heart, highlighting the middle voice on purpose.

In the work on polyphony, questions arise not only related to the ratio of voices, but first of all - problems of legato, expressive intonation of each line.

In a complex polyphonic fabric, listening to and conducting each voice is a difficult task. You should especially listen to long sounds, make sure that subsequent motives flow smoothly from them, monitor the flexibility of the voice, bring the thought to its logical conclusion. Pay special attention to the moments of crossing voices. You can use dynamic opposition, as well as the game of voices in pairs with two hands.

The top voice or topic is heard by most students. But the whole fabric, in which developed lines are intertwined in a complex way, is not heard clearly. When a student does not hear, he does not understand what is required of him. It is necessary to listen together with the student in the lesson, to make him hear, requiring the greatest concentration of attention. After all, it is hearing that controls movement. Hearing himself, the performer corrects the movements.

Meaningfulness, a conscious attitude to work are necessary for students of various levels of training. This can be achieved only if the student understands the work, knows his tasks and listens attentively to his game. Each student hears, and listens either brightly gifted by nature, or one who has been helped to understand, to feel the expressiveness of the sound, who has been brought up with this skill.

Even when repeatedly playing a technically difficult place at a slow pace, with a large sound, the student needs to monitor the evenness of the sound, its fullness, and good maintenance of the melodic line. An incapable student must not only be shown, but also convinced that even with such a narrowly technical task, it is necessary to listen to the game, picky attitude to sound quality, and the ability to catch all its inaccuracies. Do not allow the student to play with distracted attention. And for this, it is necessary to carry out preliminary work on concentration of attention. First - on a small motive, then - on two motives, a sentence, etc.

Graduality is the key to the success of such work. The teacher should explain what type of movement is optimal for a given passage, for the difficulties encountered. The student must know how to realize his sound representation. We will have to help him understand the structure of the passage, fingering, show on the instrument how to play this passage and be sure to achieve the desired result in the lesson. Often the presence of unnecessary movements prevents success in the task at hand.

With incapable students, it is impossible in your work to immediately saturate your lessons with a large amount of information. The student, representing in general terms the ultimate goal of the work, must necessarily understand its immediate, particular tasks.

The most important thing is to encourage students to independently get acquainted with the work, to help them in this. For those who do not read well from a sheet, familiarization usually goes in parallel with the analysis of the text. Let the student, if not immediately, then as soon as possible, dare to play the piece in its entirety, in tempo, without corrections or stops, striving to capture and convey in general terms the character of the music, without fear of failure. This will create a perspective for further detailed analysis - the study of the text.

Music notation is psychologically difficult. It is necessary to check whether the student understands the musical terms, to explain the unknown.

In the work on the work, you can not rush the student, run ahead. Let him first expressively play at least individual fragments of the work, but he will do it himself. And the task of the teacher is to develop the first glimpses of expressiveness. But one should not show and explain to the student what he is able to do himself.

Sometimes, when working with incompetent students, especially at the very beginning of working with them, it is desirable to give such works that touched, aroused his interest. The vague emotions that the work evoked cannot always be expressed in words, some kind of comparisons, epithets. Let the student's suggestions be immature, subjective and not always adequate to the content of the work, nevertheless, they are dear to the teacher: he only needs to develop, deepen, maybe imperceptibly, differently illuminate the image that has arisen in the student's mind and rely on it in further work on work. It is worth the teacher to look down on or derisively treat the images that have arisen in the student - and the contact is broken, the student will stop sharing with the teacher, close, the contact will be broken.

It is extremely important to teach to love a good sound - full, soft, juicy, to try to instill the need for such a sound. As a rule, incompetent students do not have the ability (especially from peripheral music schools) to use the possibilities of the piano and their own hands. This skill is achieved by showing, explaining, working in the lessons (and often in additional lessons), attentive homework.

To teach the student to put his fingers and hand into the keys, into the “piano”, to feel the keyboard well, as if overcoming its resistance, to listen to how the instrument sounds

The feeling of support is easier to acquire when working on a piece of chord presentation that requires a lot of fullness of sound. In this case, it is easier to understand the essence of the task and free your pianistic apparatus, to feel how the whole hand rests on the fingers, to feel the help of the muscles of the shoulder and back, while simultaneously perceiving the sound result of immersion in the keys. Sometimes, at the cost of a lot of work and time, it is necessary to fill in the gap in the student's musical and pianistic training: otherwise, the instrument will not sound.

In parallel with the chord texture, you need to look for the sound - and - the feeling associated with it - when playing the melody. The student needs to master the ability to "listen ahead", that is, while playing and listening to the sound line, purposefully lead it by ear, somewhat anticipating the appearance of the real sound of each subsequent note, intonation, motive.

With a free hand, prepared fingers, without unnecessary movements and tension, alternately fall on the keys and calmly move from one to another. Listening attentively to the smoothness of the sound, that is, the transition of one sound into another, helps to ensure good quality of the entire sound line. If the finger that took the sound is immersed in the key, its "cushion" touches the key not passively, but with a feeling of great elasticity and stability.

The degree of saturation and the nature of the sound depends on the content of the music, on the density of the texture, on the register. Even fast episodes need to be played at a slower pace, with a more dense sound than will be needed later. A natural melodious, rich sound, which is possible only with a free apparatus, is not only one of the most important means of expression, it is the foundation of sound mastery.

The teacher must be a good "diagnostician" and always see what exactly prevents the student from finding the right sound: not enough - whether a bright auditory representation or excessive movement, stiffness or lack of sound extraction skills. It is necessary to systematically work on works of various genres, characters, styles. The main task is the problem of the organic relationship between the auditory representation of a specific sound goal and the special subtlety, sensitivity of the ends of the fingers of the player realizing it. It is necessary to educate not only the "pre-hearing" of the sound, but also a kind of "pre-sensation" at the end of the finger, as it were, of the sound itself - its character, color, the whole complex of expressive qualities. The method of "pronouncing" the sound, that is, the nature of the very touch of them (fingers), to the keys allows you to achieve the desired shade of sound. The finer and more accurate the sensations developed at the ends of the fingers, the more real the achievement of the sound goal represented by the ear. “All the accuracy is concentrated in them. . . After all, the touch of the fingertip on the key is decisive for sound, ”wrote G. G. Neuhaus.

Work on the meaningfulness and expressiveness of the performance, as it were, absorbs all the necessary means to reveal the composer's creative intent - these are phrasing, dynamic colors, strokes.

The school of dynamic gradations is endless. The timbre side of the sound is inextricably linked with it. Often, when playing the piano, students begin to be afraid of the very sound of the instrument, lose the accuracy of touch, the feeling of relying on the keys, and as a result, the sound becomes unclear, indefinite, devoid of timbre: the piano “does not sound”. It should be explained to students that the piano requires special precision in touching the keys and to achieve the correct touch in the lesson.

Now I propose an approximate plan for the analysis of a polyphonic work.

I. Bach. HTC 1 volume. Prelude and Fugue, B Flat Minor.

First, it must be said that Bach is a great German composer, years of life 1685 - 1750. He has a huge creative heritage, it is about 1000 works. His work can be divided into 3 parts, these are: music for organ, for clavier, and vocal and dramatic works. Bach's clavier work combines monumentality from the organ, melodiousness from vocals, mobility from the violin. His work has spread widely throughout the world.

PRELUDE. Her character is mournful, this is emphasized by the tonality (in Bach this tonality is the tonality of grief).

The prelude combines 2 styles: polyphonic and gamophone-harmonic. Composition 3 parts: exposition (7 bars), development of 2 sections (1st section 6 bars, it contains the 1st climax, 2nd section 7 bars) and a coda where the 2nd climax is located .

One of the most important tasks is the construction of the form, the feeling of the infinity of movement, the constant striving for the main point. There are 4 waves in the prelude, which show a change in emotional states and they must be separated from each other.

1st wave - exposure.

The character is sublimely mournful. The melody in the upper voice creates a sense of detachment, purity. Choral chords emphasize the sublime nature of the image, then the melody is transferred to the bass voice, which introduces a shading effect. The two types of movement are combined with each other. In the bass there is an even rhythmic pulsation, which seems to "measure" the continuously flowing time, reminiscent of a funeral procession. In the upper voice, the melody is built on ascending second intonations, is marked by variability and creates the impression of constant renewal. Such a comparison of movements creates an internal contrast of the image. On the one hand - personal, deep, hopeless grief, and on the other hand, the indifference of nature and time to the grief of people.

With a rather mobile tempo, it is difficult to maintain the timbre coloring of each voice of the chorale. What is needed here is the reception of a finger legato, a tight feel of the key with the entire pad to extract a melodious sound, and at the same time tenacity of the fingers to clearly distinguish all voices. To achieve legato, you can use a pedal, take a delayed pedal for eighths, it is better not to use it for sixteenths in order to avoid a dirty sound. The pedal, taken at a strong time, allows the hand to free itself and rebuild to extract the next consonance. But basically in the prelude, the pedal is taken on a weak time and removed on a strong one, this emphasizes the movement of the out-beats, which is very important for the overall movement.

One of the main difficulties of performance is to avoid stopping the movement after each short motive. To do this, you need to mentally feel the movement forward for each of the 3 repeated eighths.

In an interlude, one must separate one motif from another and at the same time keep the movement. To do this, the last note before the caesura is played tenuto if possible, then a short sigh before the start of the next section.

2nd wave - 1st section of development.

The character changes, quiet grief is replaced by a new emotional state that expresses protest. Dynamic expression is associated with polyphonic saturation of texture, melody and bass are gradually moving away from each other, creating the impression of significance, monumentality. This is the most dramatic part of the foreplay and requires the weight of the entire arm to be used.

3rd wave - 2nd section of development.

A pearl occurs. The music is enlightened, a transparent chorale sounds in a downward movement. The nature of the music is close to the exposition. The same sorrow, only enlightened.

4th wave - code.

At the beginning, the mood of the chorale continues, which is dramatized and passes into the 2nd climax, which, like the 1st, is solved by textural means. The climax ends with the mind. 7, sounds very stressful. This is the last surge of despair, the most powerful clash between the inner and the surrounding. At the end of two bars, you need to play at the same tempo, without slowing down.

The theme is the same as in es-moll fugue vol. 1.

In order to increase the impression of despair, Bach in the theme uses the move not on h. 5 up, but on h. 4 down (and therefore an interval of small 9 is formed, and not m. 2).

The difficulty of the fugue lies in the 5 voices. It is important not only to show all the implementation of the topic, but also to follow the development of other voices. Louder rendition of a theme is not the only way to make it clear. You can highlight a theme with a specific timbre that is different from other voices, even if it is less loud. A certain voice requires unity of timbre throughout the fugue. And for all voices, the difference of colors is obligatory. The second holding of the theme in the viola should not be emphasized, since its introduction is already clear, it is necessary to give this voice a certain, more solid timbre, thus, entering the second, the viola brings clarity to the two-voice, and then to the 3-voice, etc. This makes it possible to trace the development of all voices.

The exposition is followed by an eight-bar interlude.

The interlude of the choral warehouse anticipates the enlightened mood of the middle part. Long notes in the upper voices should rise significantly in timbre. In the lower voices, the movement in quarters should be performed extremely legato, so that there are no shocks, and the harmony of the chorale and the general movement, which is difficult to lead at a rather slow pace, are not disturbed. For maximum connectivity of the melody, it is necessary to take a delayed pedal for each quarter.

The middle movement begins in the light key of Des dur. The theme sounds as if from afar, very soft and gentle, which contrasts with the previous development and makes it especially expressive.

The peculiarity of the middle part is the use of stretta holdings of the theme. The climax of the middle movement passes like the first theme in D-flat major, sounds solemnly, joyfully.

An interesting melodic theme passes through the middle voice, which is transmitted from tenor to alto alternately. This topic needs to be highlighted. This melody has a declamatory nature, its timbre is close to the human voice, so it sounds very expressive. Its sequential execution leads to the beginning of the 2nd section of the middle part.

The double holding of the theme does not pose much difficulty, it is only important not to single out the soprano, since this voice, due to its timbre, will certainly interrupt the holding of themes in middle voices.

The development of two themes passes into a cadenza, then an interrupted revolution follows, after which there is a large repeated cadence, which constitutes the final part. In this part, the main culmination of the entire fugue is located - this is a stretto performance of themes in 5 voices in turn, starting with the soprano.

Here it is important to show not only the beginning of the themes, that is, the fourth move, but also the beginning of the downward movement, which will bring special expressiveness and tension to the climax.

The prelude and fugue refer to cycles that are one in regards to the nature of the music, unlike others in which the prelude and fugue are in contrast. In this case, the fugue continues the mood of the prelude.

Now consider an example of parsing a large form. In this case, we turn to the old sonata form.

A few words about the formation of sonata form. Of all the classical forms of instrumental music of the last three centuries, it is the most effective, vivid, and dramatically integral.

The process of the birth of the sonata form turned out to be indicative of the establishment of a new theme, the crystallization in it of the characteristic features of the artistic image, and the qualitative pattern. It is no coincidence that the classical form of sonata form arose along with the classical style.

From the compositional properties of other musical forms, the sonata form has absorbed the principles inherent in the basic laws of movement - contrast, through development and reprise.

Working on a large form. Sonatas by D. Scarlatti.

The scheme of the sonata form is approximately the same type. It consists of: 1. EXPOSURE - the main types of contrasting oppositions that arise in the material, in tonal terms and in the ways of presenting the material; 2. DEVELOPMENTS - places of development and bringing the contrast of opposite principles to the highest phase of their opposition, up to the maturation of a new quality in the material, in the ways of deploying the material, in the dramaturgy of the movement of tonal plans; 3. REPRIZES - the moment of resolving the accumulated energy charge and contradictions, removing previous forms of development and at the same time returning to the original, but with the rebirth of the material as the next phase of the thematic movement and its transformation into a new quality.

Three points - thematic, development, tonal plan - indicators of the composition.

The three phases of development in sonata form - exposition, development, reprise - are the milestones of dramaturgy: they indicate the stage of the dramatic deployment of an image, an idea.

The prehistory of the sonata form is in the depths of polyphonic music, in its various genres: overtures, preludes, allemandes, chimes, gigues, concertos and, finally, sonatas.

The core of the composition of the sonata form is in the movement of tonalities. Actually, the logic of comparing contrasts, the development and inhibition of movement, originally rested on the tonal development. The backbone of the tonal movement can be schematically expressed by the formula T - D in the first part and D - T - in the second (T - main key, D - secondary key). This way of logical reversal of the work was established for a long time in the pre-classical construction of the sonata form, called the old one and consisting of 2 sections: exposition and reprise (the 2nd part of the old sonata form can be called "development - reprise").

Outwardly, the scheme of the old sonata form in the works of D. Scarlatti is similar to a similar form in the works of J. Bach. In fact, these are completely different compositions. If everything in Bach was aimed at continuous deployment, and separately taken expositions and reprises (especially in allemandes and chimes) coincided in thematics and methods of its advancement with polyphonic periods of deployment, the boundaries of the parties were outlined only in tone and texture, then Scarlatti's sonata forms gradually lose their solidity. polyphonic deployment. In them, the opposite direction of the form is to saturate it with a large number of caesuras, and not only on the verges of sections (in polyphonic form, the most significant cadences arose at the end of sections), but also on the verges of parts and in the parts themselves. Moreover, thematism itself contains all the features of a set of cadence closures: it is formed from cadences and typical, simplest harmonic formulas. The composition is divided into main parties, a clear distinction between which is achieved primarily not by tonally textural means, but by harmonic and structural ones: continuous cadence and repetition (periodic or sequential), which underlie the thematic and in each new phase of development or sections.

Even in the sonatas of D. Scarlatti with purely polyphonic themes, one can distinguish harmonic and structural elements as the main carriers of development, movement, as an organizing, creative logical structure.

Let us take, for example, D. Scarlatti's sonata C-dur No.-32. It is interesting by the appearance of 3 sections: exposition, development and reprise. Such a 3-phase sonata form is an exception for Scarlatti, but all the more significant because it reflected the main trend in the formation of classical sonata form.

The moments of the most intensive development of the material are concentrated in an independent section of the form - development. The theme of the sonata is characteristic, clear according to the logic of harmonic movement, rather with a homophonic texture than polyphonic (according to the recording, this is a two-voice with a beat on the golden move of the horn), structurally fractional, but logically united into one thought. The goal is to memorize the characteristic initial motive of the theme and deploy it to the finished theme - thought.

Everything testifies to a new type of thinking and new methods of form development. Outwardly, they follow from the principles inherent in the polyphonic warehouse, but in essence, they are determined by a new type of thematicism.

The parts of the exposition are clearly outlined by tonal and structural means: G. P. - an open period, turning into a short sequence of a connecting move. P. P. is strikingly similar to the theme of P. P. from the Sonata d moll: it also consists of 3 repetitions of the cadence.

Z. P. is again not highlighted. The repetition of the cadence becomes the main method of forming secondary themes and conclusions. The change of parties begins to be associated with the exposure of a new theme that has taken shape, a new texture, with the discovery of the characteristic tonal and modal features of the party, with the exposure of its inherent structural patterns. The theme, the tonal development, the structure begin to unite in a joint action, outlining the logical direction of the form.

As a result, a new section is clearly outlined - a development designed to destroy the stable norms of exposition, to develop individual elements of the theme, tone, structure, to oppose the exposition with a qualitatively new reading of the material.

The main sign of development is instability: instability of tonality with its dynamic aspiration, instability of thematicism with its dispersion and fragmentation, instability of the structure with the absence of periods and periodic repetition in it. Development is saturated with pre-productive moves; periodicities are replaced by waves or phases of development. A large-scale disproportion arises with the phenomena of compression or expansion of individual links in the overall structure, despite the fact that a holistic presentation of topics is stubbornly excluded from all phases of development. There is a need to clearly define the boundaries of development: its beginning and its end.

The practice of polyphonic music suggested the structure of the development, but the final formation of the introductory section of the development, the actual development and preparation of the reprise is the achievement of homophonic music with its new principles of development and its reliance on harmonic norms. Convincing techniques are developed that organize the auditory perception of the new form. The moment of division into sections dominates the moment of merging into one stream of the entire development. For the introductory section, it becomes characteristic to show the most stable points of exposure (the beginning or end of the exposure), but with a violation of their stability. The material of the beginning of the exposition is selected, because this is how the second part of the old sonata form began. However, in development this is not a repetition of material in a new tonal illumination from a reprise of an old sonata form, but only the starting point for a qualitatively new type of material development.

The development itself begins immediately after the discovery of the instability of the starting point. In the future, the introductory section is separated from the main development section by a caesura of any value: a pause, a cadence, a textural shift, a timbre or dynamic intrusion, a change in material, etc. All these techniques were formed gradually, during not only the pre-classical formation of the sonata form, but also in the most classical stage of its existence.

In the little sonata in C major, one can detect the differentiation of development into sections that has begun.

Indeed, at the first moment the theme of G. P. sounds, but in the key of the side (and the key of the end of the exposition) and in the new modal lighting - in minor. The texture - the highlighted melody of the G. P. theme and dense harmonic accompaniment (3 voices together with the melody, in the most intense moments - five voices) - increases the tension and conflict of the tonal development (c-f c), and the structural fragmentation that has begun into motives and their sequential development leads to a predicate with a concentration of interrogative intonation - a gamma-like move to the dominant, cessation of repetition of fractional elements, fermata.

All of these techniques were aimed at destroying the integrity of the thematic structure, at making the tonal sound unstable, at exacerbating the modal contrast with dissonant harmonies. After such a development, the reprise acts as a restoration of stability, balance, as a concentration of the figurative beginning in the thematic.

In this case, small changes in the quality of the exposition material in the reprise are necessary: the obligatory subordination of P.P. and the Conclusion of the main key. The beginning of the P.P. merged with the end of the G.P. due to the uselessness of the connecting move.

In the logic of the development of the form, the reprise begins to play the role of the final, effective, final presentation of the material. This is a different semantic and logical level: it acquires the meaning of achieving the desired, confirmation of the given, synthesis of the opposite, and finally, a logical conclusion.

Of course, Sonata No. 32 cannot be attributed to a complete understanding of the logical functions of exposition, development, reprise, to explain the clear logical direction of the composition in it, but the trend has already emerged. It lies in the symmetry of the three-part composition, in its balance and proportionality, in the repetition of what has been covered at a new level, in the convergence of the parts by bringing the form to a uniform key-key (C dur), in the detection and resolution of the main form-tonal conflict. In this sonata, the tonal conflict is revealed within the exposition by opposing the main and secondary keys, and the modal contrast arose in opposing the major exposition to the minor development with a return to major in the reprise.

The formation of the architectonics of the sonata form takes place in various directions: the crystallization of the characteristic thematics, the release of the main sections and the search for their leading functional orientation, the search for types of figurative movement, connecting moves, introductory and final constructions.

Conclusion

From a teacher who has students with low ability, great restraint, patience and a great desire to develop, albeit modest, the inclinations of his student are required.

When we begin to work with such students it is necessary to take into account the influence of prior learning. You should carefully study the personality of the student, carefully check his skills and knowledge. A more or less long trial period is needed, during which, on the basis of the first "trial" program, the teacher comprehensively checks the musical "baggage" of the student, weeds out the best from the worst, while showing flexibility and goodwill.

In his work, the teacher must form intonational thinking in the development of the student's virtuoso technique.

One of the main tasks in the formation of professional skills of a musician-pianist is the education of a culture of intonation. What is the importance of developing the skills of intonational thinking in creating the technical foundation of the student.

“When they talk about piano technique, they mean the sum of skills, skills, techniques of playing the piano, with the help of which the pianist achieves the desired artistic, sound result. Technique cannot exist outside the musical task,” E. Lieberman writes in his book “Work on Piano Technique”. Some teachers, creating some kind of abstract "technical base", ignore the student's consciousness and hearing, do not instill in him the ability to comprehend the performing process in virtuoso works, relying only on training. In such cases, the technical equipment of the student does not help to reveal the content of the music, but becomes an end in itself. “Technique without musical will is an ability without a goal, and becoming an end in itself, it cannot serve art in any way,” wrote Joseph Hoffman. Continuity is very important in the development of intonational thinking skills among students. Skills acquired at the beginning of training can eventually develop into the fundamental basis of pianism. Intonational meaningfulness in working on the simplest instructive etudes will help to perform highly artistic and deeply meaningful etudes by Chopin, Liszt, Rachmaninov.

Often one has to deal with the fact that the name "etude" is identified with the concept loudly and quickly. The student begins to learn an etude by setting only these goals for himself, in various ways on staccato, apartment, with stops, doubling, etc., at a time when the meaning of the etude is not yet clear. Exercises of this kind can only bring harm, since by fixing inaccurate movements, they deprive the performance of natural breathing, which can lead to accidental stops in the most unexpected places. First of all, the pianist must imagine with his inner ear what he will strive for, understand the stylistic features of the work, character, tempo.

“The clearer what needs to be done, the clearer how to do it,” says G. Neuhaus. The fact that work on technique is a mental process was said and written in their works by outstanding teachers - pianists - Thalberg, Liszt, N. Rubinstein, Neuhaus. What should be paid attention to when cultivating intonational thinking in working on technique.

Since ancient times, piano intonation has been associated mainly with the performance of a melody with its dynamic and phrasing expressiveness. But even in virtuoso works “Not only cantilena should be sung, but also technique in the narrow sense of the word,” writes L. Ginsburg. The instrumental compositions of Liszt, Chopin, Tchaikovsky, Glazunov, Rachmaninov, Ravel, Shostakovich, Prokofiev require a melodious technique. Thus, in working on any technically complex material, it is necessary first of all to reveal the melodic interconnection of sounds in it. At the same time, without forgetting that it is very important to have good fingers, and the hand, shoulder, forearm and body help them. Finger training should never be forgotten, but it must be carried out on a different level, making it dependent on the meaning of the work. Any etude by Czerny or Clementi-Tausig, despite its instructive nature, is distinguished by a clear logic of development and is not devoid of melodic linearity. The task of the teacher is to help the student to combine sounds into intonation-correct microstructures, to find points of gravity in them, to determine the moments of breathing, that is, to make the performance competent and meaningful.

The melody helps, first of all, to determine the natural dissection of music. This dismemberment is comparable to the dismemberment of colloquial speech. But in musical speech, this process is more complicated, since you have to speak with your fingers, and they, of course, are not so mobile and require a lot of training. In addition, the musical fabric can be so coherent that it is not always immediately possible to divide it into meaningful units. The teacher from the first steps of training should help the student to combine sounds into complete motives. As the honored teacher of Russia Timakin writes: “First of all, when developing the skills of parsing and learning pieces, one should from the first steps ensure that the student perceives the musical text at once in groups of 2-3-4 notes, depending on how they fit into motives, measures or words (if it is a song with a text)” The thoroughness of detailing the text in the work on etudes is of particular importance, because due to the significant fusion of texture and fast tempo, the clarity of articulation in them is easily violated.

The placement of semantic accents in the work under study depends on many factors: on the style of the work, rhythmic organization and the individuality of the performer. But the student must learn to feel the dynamic center in any phrase, both slow and fast, from childhood.

In virtuoso music, such reference points are very important. They facilitate the movement, because a clear goal makes it much easier to achieve it.

However, it is necessary not only to know where to lead the passage, but also to perform it qualitatively. In this regard, sound control is very important. Comprehending points of intonational gravity in etudes contributes to the division of texture into different sound planes. And this removes sound overload, saves the pianist's physical strength, which is very important for the performance of virtuoso works. This duality is concealed in the texture of instructive etudes, for example, Czerny etudes op. 299-#23, op. 740 No. 4, 8. In concert etudes, this becomes their main characteristic feature.

Diversity in etudes - plays requires special attention, certain methods of work. Very often their texture is a combination of the leading melodic line, which carries the main semantic load, and the accompaniment, which, as a rule, is fraught with various technical difficulties. It is quite difficult to work on works where the melody and accompaniment are closely intertwined.

The second plan in artistic studies can be technically difficult, and students often begin to learn it separately, forgetting about the subordinate meaning, that is, they learn without connection with the intonation-semantic basis of the melodic line.

The melodic basis will tell you the exact semantic accents, will allow you to find the moments of greatest tension and relaxation, and therefore natural breathing.

Correct, deeply meaningful reading of the text also gives rise to precise, rational movements of the pianistic apparatus. Asafiev paid great attention to the connection between music and movement, calling it "plastic intonation". Being a source of performing freedom, it helps to overcome pianistic difficulties. Much has been written about the motor process of the pianist. But in working with students you are constantly confronted with a fettered apparatus, with an inability to subordinate your movements to the artistic concept of the work being performed. And if a student thinks in separate sounds, he plays like that, forgetting about convenient, expedient unifying movements.

As Lieberman writes in the book “Working on Piano Technique” - “In work, one must constantly be persistent, not put up with what does not work out, not sit at the instrument without desire and thought, look for ways to make it easier to overcome certain difficulties, put before musical and technical problems until they are resolved.

It is very important to teach the student to understand the nature of movements. In the beginning they will be simple and elementary, like plays and etudes being performed. But then the movements will acquire real freedom and naturalness.

Often in the work one has to deal with completely wrong movements in a waltz-type accompaniment (Cherny op. 299 No. 31, 33.) The 3rd beat or all three beats in a bar can be pushed out - bass and chords are taken by several uncombined hand movements. In this case, it is more convenient to combine, starting not from the first share, but as if moving towards it. The chord chain moves towards the bass. The bass becomes the target, the result of the movement. Thus, taking the bass is prepared, accidents are excluded. The movements of the piano apparatus are natural and comfortable. The left hand makes a "snap" on the bass (anchor point), and from harmonic filling - a "repulsion" movement.

Thus, for a whole intonation structure, the Hand makes one flexible circular movement. All these little things in virtuoso music are very important, as they remove unnecessary weight loads, save the pianist's strength, giving him moments of rest during his performance.

Work on the intonational comprehension of the text should not destroy the idea of the whole. Therefore, it is necessary at the beginning of learning to play the entire etude in slow motion. This makes it possible to cover the whole etude as a whole, understanding well and accurately fulfilling all the tasks set, not forgetting about the future. As the skills are consolidated, the pace accelerates, and therefore, the details are enlarged, obeying more and more generalized tasks. In the process of combining, careful preliminary detailing will help, even at a very fast pace, not to allow the student to play carelessly, fussily, outside the author's intention.

When we begin to work with students, it is necessary to take into account the influence of previous learning. You should carefully study the personality of the student, carefully check his skills and knowledge. A more or less long period is needed, during which, on the basis of the first "trial" program, the teacher comprehensively checks the entire musical "baggage" of the student, weeds out the best from the worst, while showing great flexibility and goodwill.

One must be able to appreciate everything that is somewhat acceptable from the "legacy" of the teacher's predecessor.

Almost always, the teacher has to re-educate the student, change the methods he has learned earlier, but it is very important not to criticize, but, on the contrary, to teach something new and better.

It is necessary to think over an individual plan well. A plan is more than a list of works to be studied. The plan is a pedagogical diagnosis and prognosis.

Such a plan must begin with a well-thought-out characterization of the student. The student has more inclinations than clearly defined qualities. The teacher is required not only to see the obvious today, but also to capture the timid, inconspicuous - what is barely breaking through today, what, perhaps, belongs to the future. It depends on the teacher to a greater extent whether these sprouts of the new will flourish or, unnoticed, unencouraged, wither.

Incapacitated students at first, you can start a diary and write down the task. The teacher should give small assignments for homework, but require that they be completed very accurately and on time. It is also impossible to overload students with information, try to make tasks understandable, specific and accessible for them to understand. Every way to encourage good work.

One should never approach work with such students with the thought that because they are less capable, it is not worth setting big tasks.

Pedagogical art consists in the teacher's ability to resolve unforeseen situations that arise in the lesson, to do it in an interesting and unobtrusive way. The main stages of the lesson can be defined as follows:

1) checking homework,

2) explanation of the new problem,

3) determination of the main provisions and rules for mastering the skill,

4) determination of methods of work aimed at consolidating this skill through independent homework of the student,

5) demonstration of how to work on one or more tasks,

6) oral summary of the problems being worked out,

7) work at home - the purpose of which is to consolidate the relevant knowledge and skills.

In working with students, we cannot hope that they will all become performers, but it is in our power to prepare competent teachers for children's music schools. And for this, the teacher himself must know a lot and constantly expand his knowledge, no matter how difficult it may be. The teacher must also remember the inseparable connection between education and upbringing. Always remember this, educate consciously and systematically. First of all, by example. We must always remember that teaching is not a profession, but a way of life.

Bibliography

G. Neuhaus "On the art of piano playing"

E. Lieberman "Work on piano technique"

S. Feinberg "The Mastery of the Pianist"

Ginzburg "Contemporary Art: Problems and Means"

Asafiev "Speech intonation"

Goldenweiser Pianists Tell.

For the preparation of this work, materials from the site http://www.refcentr.ru/

State budgetary educational institution

Republican gymnasium - boarding school named after. G. Almukhametova

Republic of Bashkortostan

FORMATION IN SCHOOLCHILDREN

INDEPENDENT WORK SKILLS

METHODOLOGICAL WORK

Ufa, 2014

Independent work of students is the same educational work as the whole process of mastering performing skills in general. Independent work of students is carried out:

IN THE LESSON ITSELF - and then it follows from the work that is directly carried out in it;

In HOMEWORK - when students perform tasks received in the lesson, and then it complements and reinforces what was covered in the previous lesson and is a means for mastering students' skills and abilities of playing the instrument in the process of home preparation of tasks.

The modern school is characterized by the desire to produce students prepared for life, able to work independently, think, able to apply the acquired knowledge in life, in work, develop the creative abilities of students, i.e. independent determination of the applicability of knowledge in practice.

Independent work is a work full of thought, initiative, will and creative imagination. The following statement of the great Russian teacher K.D. Ushinsky sounds modern: “... the task of the school is to awaken the mental abilities for independence and to inform children of the habit of it; direct the activity of the child, helping her where necessary and leaving her to act where she can act on her own; to develop desire and ability independently, without a teacher, to acquire new knowledge.

Independent work should take place at all stages of training. It is necessary to awaken independent thought as early as possible, starting from an early age, even in the elementary grades. The more intense and systematic the student solves certain tasks in the lesson, the more effective his homework is. Improving the quality of a student's independent work means consistently developing his thinking and independent role, accustoming him to overcome difficulties, to the ability to cope with tasks himself, to take the initiative in selecting the methods and techniques necessary to complete the task.

Before giving the student a task for self-processing, it is necessary to explain to him the essence of the task. Analyze the ways to complete it, teach practical implementation. Then check right there in the lesson practically how much the student understood the task and how he is trying to complete it. When performing, after analyzing the errors, one should seek to correct them independently. All this applies to exercises, and to etudes, and to work on a play.

For example, let's take the work on the text of a new, but already parsed play. Notes, text already dismantled with both hands. However, there are still many shortcomings in this analysis: there is no clarity in the coordination of the left and right hands, the structure of the piece (parts, sentences, phrases, etc.) is not comprehended, the rhythmic side is not specified, the fingering is incorrect, there is no clarity in the approach to mastering those or other technical difficulties, there are errors in the reproduction of the new text.

How can the student approach the independent solution of all the problems that have arisen in the process of learning this piece? First of all, one, but the most important task should be brought to the fore, leaving for a while, as if aside, the implementation of other tasks, so that they turn on gradually, as if "overlapping" each other and linking them with the previous ones.

a) The first priority would be the EXACT REPRODUCTION of the MUSIC TEXT. But it is important not only to correctly transfer the notes from the stave to the keyboard, but also to perceive and comprehend the notes as constituent elements of a musical phrase, its melodic-harmonic structure. Then analyze the piece on the basis of playing individual pieces. Only after that, invite the student to slowly play the piece himself, drawing his attention to mistakes and correct it right there in the lesson, achieving conscious consolidation of the corrected one. When playing a musical text, it is necessary to explain to the student what and how should be done, so that the purpose of the work is clear to him. The task, practically checked in the lesson, is given at home for consolidation. In the same lesson, instructions are given regarding fingering.

b) The next element of the work is the CLARIFICATION of RHYTHMIC REPRESENTATIONS in the piece, which, correctly formed when "reading" the text, are firmly connected by melodic movement.

c) Mastering the text should be accompanied by COMPREHENSION of the STRUCTURE of a musical work (parts, sentences, phrases).

d) The relationship in the implementation of all these previous tasks is the main

condition in the selection of the necessary means to overcome technical difficulties. only by going from the content of the work and understanding its meaning to its implementation, the student can correctly fulfill the technical tasks facing him. How often in practice one can observe the reverse path! First - just "notes", without a proper connection between them, then - cramming - frequent repetition of the same place with the fixation of false notes, rhythmic errors, incorrect playing techniques, premature mechanical memorization by heart ... The result is a pile of fixed errors , incorrect playing skills, which you then have to get rid of with great difficulty - this is why it is so dangerous to give a task to a student in a general form: "Take apart the play at home and prepare it for the next lesson." Such a task can be given to a sufficiently prepared student, and then with preliminary explanations. At the initial stage of training, the student in his independent work must rely on the instructions of the teacher that he understands well.

e) And, finally, the SELECTION OF THE EXPRESSIVE MEANS NECESSARY FOR PERFORMANCE: the nature of the sound, the techniques of sound science (legato, stock-kato, strokes, leagues, accents, etc.), dynamic characteristics, tempo. The student must learn from the very first lessons to understand them and achieve their exact implementation (as well as pauses and other signs of musical notation). The meaningful performance of the text is inextricably linked with the abilities of musical phrasing (the movement of a melodic line to its top, the rise and fall of a melody, the beginning and end of a phrase, etc.).

These are the provisions that are common to all cases of work on a work. At the same time, it is necessary to take into account the age capabilities of students, the level of their preparation at the moment, the characteristics of their psyche (concentration or absent-mindedness, endurance, focus, will, attention, etc.). Therefore, the volume and nature of the independent task should correspond to the student's capabilities. So that each new task is based on what was learned earlier under the guidance of the teacher. Homework is an exercise in reinforcing previous lessons.

Thus, the basis of the work is:

education of purposefulness of attention;

teaching skills for independent completion of tasks in the classroom.

At the same time, it is important to check which way the student is to complete the task, show him his mistakes in time, encourage the initiative shown in finding the necessary techniques, consolidate the success of their implementation and achieve conscious self-control.

"First, imagine clearly what and how it should sound, and then play it, and when playing, check with your hearing whether it turned out what you planned."

DEVELOPMENT OF HEARING SELF-CONTROL

Auditory self-control is one of the conditions for the formation of musical and auditory representations. In the process of work, it is necessary to achieve: the students' translation of notes into a sound representation, careful listening to the sound, auditory self-control and immediate correction of the heard shortcomings.

Independent work of students is checked in the process of completing the task. It is also useful to practice verbal reports of students, which contribute to a better clarification of the causes of errors and ways to self-check and gives the skills to independently resolve difficulties that arise in the process of work.

One of the most important issues in the independent work of students is the question of the pace at which a given work should be worked out.

Everyone knows that you need to learn at a slow pace. This means fixing the connection of sound with the corresponding movement, with pitch and rhythmic representations, fixing auditory-motor connections, mastering the mechanism of game movements.

"The slowness of movement in the perception of new skills is necessary because with slow movement one gets a clear feeling from each movement."

"The transition from slow to fast playing is easy (with sufficient assimilation of the passage), while from fast to slow playing is much more difficult. It is necessary to return to slow playing after the final assimilation of a piece of music" (S. Kleshchev).

Outstanding music teachers-performers have always attached great importance to slow playing. “Working at a slow pace is of great benefit,” A.I. Yampolsky, an excellent teacher, pointed out, “but it should not be formal and empty. Work at a slow pace should not only be done on the intonation and technical side, but also on the work as a whole, on sound, nuance, style, artistic finish, carefully listening to the performance at the same time... the exact tempo and nature of the work should be clear to the performer at the very beginning of studying the work.

It is necessary to play slowly in such a way that the integrity of musical images is preserved in the performance, so that the melodic and rhythmic structure of the work does not collapse at its core. A long period of slow playing, if used without taking into account the tempo at which a given work should be performed, can slow down the correct performance, make it heavy in the motor sense. It is therefore necessary, after slowly working through a piece, to try to play it at the proper tempo from time to time, in order to get an idea of what to aim for.

The development of a student's musical and performing independence is the main condition for the success of his advancement. The role of consciousness in this work is important.

The development of skills begins with mastering the skill, i.e. means by which a specific goal is achieved. The constancy and stability of the developed methods and techniques is a condition for their automation. Skills are automated elements of conscious activity. Playing an instrument is a conscious activity, a complex activity that combines skill and creativity. The more we master the playing skills, the more creativity we can bring to the performance. Creativity is manifested in finding ways of action, in comprehending them, in showing initiative, in overcoming patterns, i.e. mechanical application of the developed methods.

Already established skills have a positive effect on the development of new ones. So, for example, the correct skill of transferring the hand from sound to sound at close range creates a setting for the formation of skills of transferring the hand over long distances - from bass to chord; mastering a figure of the same type in accompaniment or melody is then easily transferred to more complex figures, similar in form, but containing more complex sound combinations; it is enough to master the fingering of the C-major scale, so that then, having understood the pattern of its construction, transfer what you have learned to a number of major scales from the white keys (scales D, E, G, A-major), etc. However, the negative impact of previously acquired incorrect playing techniques and methods is also known, which are difficult to correct and hinder the acquisition of other necessary skills (for example, incorrect hand placement, pinching it, flat or vice versa, crooked fingers interfere with the development of motor skills, etc.) , and they are dangerous especially when they become fixed uncontrollably, which happens in students' independent homework. Therefore, it is important to make the student realize his mistakes in time and correct them right there in the lesson, so that at home he could meaningfully achieve the necessary results.

Skills are formed and consolidated in the process of exercises. The role of exercises and the methods of their application is especially great in the independent work of students, since in the process of exercises, already learned actions are consolidated and they are restructured. It is important to teach students to correctly evaluate their achievements and shortcomings. Perhaps nowhere is the threat of thoughtless, meaningless cramming more real than when working on exercises.

By exercise, we often understand the repeated repetition of a particular technique. Repeated repetitions to consolidate skills should not turn into mechanical training, it should be specifically indicated which exercises the student needs to learn for the next time and how to work on them. At the same time, it is important to direct his attention to learning the task, overcoming the difficulty, achieving good performance at such and such a pace - this creates a situation so that the student does not lose, but really works on them. The meaning of the exercises is that they should lead students in a concise and generalized form to master the most typical technical tasks for this instrument.

To overcome a certain mechanistic nature that is characteristic of etudes, artistic material is usually introduced into the curriculum, which evokes an emotional response in the student and thereby helps him quickly master the required minimum of skills and abilities.

Features of learning to play the piano always present great difficulties for beginners associated with sound production and mastery of motor skills. In this regard, it is essential, firstly, to gradually master the difficulties, and secondly, to include them in work on such material that is easily and vividly perceived by students and quickly assimilated. This is a creative approach to the selection of studies and exercises. But, sometimes, in practice, there is a mechanical application of exercises and the inclusion of sketches in the work. For example, the requirement for beginners to perform long arpeggios until the hand is established and the student has mastered the elementary techniques of playing, their performance, which requires large turns and complex combined movements, adversely affects the assimilation of simple movements: the hand tenses, the movements become unnatural, all this is fixed and leads to negative results.

Working on scales, in many cases, not only does not contribute to the development of students' musical technique, but, on the contrary, turns into a "compulsory assortment", tires students. This is caused primarily not by understanding the essence of the scale, but only by mechanical memorization of accidental signs and fingering, known errors appear in putting and shifting fingers, etc.

Meanwhile, work on scales should go inextricably linked with the development of an ear for music, with the singing of scales in singing and musical literacy lessons. It is important to achieve in students an attitude to scales as a melodic line, a beautiful melodious sound, a sense of harmony and the relationship of all its constituent sounds. The internal logic of building scales, selecting fingerings, and using accidentals is important.

When studying scales, it is necessary to take into account those characteristic difficulties that are associated with their execution and help students consciously overcome them. So the performance of scales on the piano is easy for intonation (ready-made sound and clarity of the keyboard), but difficult in terms of fingering and putting the 1st finger.

Therefore, at the initial stage of learning to play the piano, one should begin by studying the scales after the exercises on 2, 3, 4 sounds have been mastered (2-3, 2-3-4, 2-3-4-5 fingers ) that do not require the insertion of the 1st finger. These exercises must be played separately with each hand, then move on to exercises with the insertion of the 1st finger and after that proceed to the study of scales.

With regard to fingering, it is necessary to draw the attention of students to the principles of its application and combine the corresponding scales with a single fingering. So, for example, scales from white keys - do, re, mi, salt and la - are played with the same fingering; in the scale from F - the left hand is similar to those indicated above, and the change is only in the right, etc.

The requirement for meaningfulness and expressiveness of performance applies to scales and exercises, systematic and concentration in work, concentration of attention and auditory self-control are reliable conditions for really mastering the technique of performance.

STUDY MODE

Of great importance in the student's home independent work is its mode.

The correct mode of homework requires compliance with a number of conditions:

regularity and systematic work;

targeted attention;

conscientiousness and accuracy in performing tasks;

self-control (the ability to evaluate one's achievements and shortcomings);

perseverance in overcoming difficulties;

independence at work.

1. In order to achieve regularity in work, it is necessary to set aside more or less constant time for music lessons and practice daily. This contributes to the comprehension and deepening of knowledge and skills, the gradual improvement of their quality and, most importantly, keeps the student in a "collected" state all the time.

It is advisable to take a break during classes - for students of the 1st grade after 15-20 minutes, for older students - after 20-30 minutes. Otherwise, attention becomes dull and work ceases to be productive.

2. Purposeful attention - characterized by stability, a constant increase in volume, the ability to distribute it. An approximate establishment of the order in which tasks are to be performed is essential. For example, you can draw up a work program for the student for each day and indicate how much time he should spend on exercises, sketches, plays, and so on. Such a "calendar" of work for the little ones is of great importance. He helps them build their work systematically and attention easily switches to the next section of the task. Therefore, the principle of educating purposeful attention in the process of work is preserved.

It is important at the same time that older students consciously "refresh" the order of classes, alternate sections of work (first exercises and Scales, then plays, etc.), would not repeat the same routine every day, since this is to some extent templates the work and the student's attention is dulled.

Children should know what they should mainly pay attention to at this time, what to refine, what to repeat, etc. (the teacher should lead all this).

Z. In homework, conscientiousness and accuracy in completing the task are necessary. It is necessary to teach the student to work, and not to "lose" an etude, play or exercise from the beginning to the end, and even at an arbitrary pace.

As a rule, homework is given to learn a play, an etude by heart. In addition to conscious mastery of the text and technical consolidation of it, the student, therefore, is also required to know it by memory, which is one of the central tasks in the independent work of students, the main support of memory is semantic connections. To develop your memory, you need to constantly develop the ability to remember, keep in memory, and then recall what you have learned. Then it will be conscious reproduction.

Memory "failures" are caused by motor-auditory involuntary memorization. Breakdowns can be avoided only by consciously and purposefully memorizing separate pieces of the work that are complete in thought, by establishing semantic connections between them, which is strengthened in the process of slow playback of what has been passed through at certain intervals (1-2 days).

Thus, when learning from memory, you should:

avoid mechanical churning;

continuously refer to musical notation.

To accumulate a repertoire, such work must be carried out from time to time with previously learned things. The piece being repeated must go all the way to learning it as if for the first time. Any other work (playing at a tempo, playing just from memory, etc.) leads only to "chattering", often to a distortion of the main meaning and plan of performance.

One of the widespread deficiencies in homework is poor seating at the piano and other instruments, which negatively affects the student's technical performance. This is of particular importance at the beginning of training, when the skills of the game are still in their infancy. A good fit disciplines the student, promotes concentration and composure.

The decisive condition in the implementation of the homework regime is the education in students of responsibility for the task they perform, creative activity in the implementation.

This should be the main job of the teacher.

All of these provisions apply to playing any musical instrument.

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Formation of skills of independent work of students in the classroom. Formation of independent work skills for students in the piano class - methodological page - assol

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