Lesson summary "main harmonic functions in harmony". Harmony in solfeggio lessons at a music school Fragment of a solfeggio lesson selection of harmony

In this article, you will learn why some students of music do not like harmony, why it is so important to love these teachings and practice them regularly, and what results are achieved by those who approach the study of these disciplines with prudence, patience and humility.

Many musicians admit that during the years of their studies they did not like theoretical disciplines, simply considering them to be superfluous, unnecessary subjects in the program. As a rule, in a music school, solfeggio takes over such a crown: due to the saturation of the school solfeggio course, students of music schools (especially truants) often do not have time in this subject.

At the school, the situation is changing: solfeggio here appears in a “transformed” form and is liked by most students, and all former indignations fall on harmony - a subject that is not clear to those who did not cope with elementary theory in the first year. Of course, one cannot say that such statistics are accurate and characterize the attitude of the majority of students towards learning, but one thing is for sure: the situation of underestimation of musical theoretical disciplines is extremely common.

Why is this happening? The main reason is ordinary laziness, or, if you call it more decently, laboriousness. Courses in elementary music theory and harmony are based on a very rich program that needs to be mastered in an extremely small number of hours. From here comes the intensive nature of training and a large load on each lesson. None of the topics can be left without elaboration, otherwise you will not understand everything that follows, which certainly happens to those who allow themselves to skip classes or not do homework.

The accumulation of gaps in knowledge and the constant postponing of solving pressing problems until later leads to complete confusion, which only the most desperate student will move to clean up (and will gain a lot as a result). Thus, laziness leads to blocking the professional growth of a pupil or student due to the inclusion of inhibitory principles, for example, of the following type: “Why disassemble what is not clear - it is better to reject it” or “Harmony is complete nonsense and no one except extravagant theorists needs it ".

Meanwhile, the study of music theory in its various forms plays a huge role in the development of a musician. So, solfeggio classes are aimed at the formation and training of the most important professional instrument of a musician - his ear for music. The two main components of solfeggio - singing from notes and recognizing by ear - help to master two main skills:

- to see the notes and understand what kind of music is recorded in them;

- to hear the music and know how to record it with notes.

Elementary theory could be called the ABC of music, and harmony its physics. If knowledge of theory allows us to identify and analyze any particles that make up music, then harmony reveals the principles of the relationship of all these particles, tells how music is arranged from the inside, how it is organized in space and time.

Look through several biographies of any composers of the past, you will definitely find mentions of those people who taught them general bass (harmony) and counterpoint (polyphony). In the matter of training composers, it was these teachings that were considered the most important and necessary. Now this knowledge gives a musician a solid foundation in his daily work: he knows exactly how to pick up chords for songs, how to harmonize any melody, how to shape his musical thoughts, how not to play or sing a false note, how to memorize a musical text very well. quickly, etc.

Now you know why it is so important to practice harmony and solfeggio with full dedication if you decide to become a real musician. It remains to add that studying solfeggio and harmony is pleasant, exciting and interesting.

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Guseva A.V.

New about old:

harmony in solfeggio lessons at a music school

- Play the dominant seventh chord from the sound of salt.

The student played.

What tone does it belong to?

- So he same from sound!

From an overheard dialogue between a teacher and a student

For many decades now, a tradition has been preserved in our country - from the first to the seventh grade, the basics of classical music are studied at solfeggio lessons. At the next stage of learning music - at the school - almost the same thing happens. But can it be argued that eleven (!) years of communication with the discipline of solfeggio lead to positive results, namely, students sing the learned numbers clearly, sing from sight, hear all the classical elements studied during this period, write one-voice and two-voice dictations (we leave without a critical assessment of the established forms of work on solfeggio and, moreover, the ultimate goals of this academic discipline)? Unfortunately, we have to state the opposite: the more the theoretical platform of the subject, which is designed to educate and develop musical ear, is aggravated, especially in the primary grades of a music school, the more modest the results of the final exam in this case look. The issue related to the emotional attitude to solfeggio, with the formation of a sincere interest in music due to the hours spent in solfeggio lessons, is better to be omitted.

But in the yard already XX I century! And we are separated from the classical era, one might say, by a period of three centuries. Is it possible that during this time the methodology necessary for the speedy and successful development of the foundations of the classical system has not been developed? As soon as possible, because we still need to have time to get acquainted (at least a little) with some elements of musical speech, characteristic of the previous century - the twentieth century!

In response, you can hear the objections of teachers: “What are the innovations of the twentieth century? We would like to learn the basics of the classics.” But children in their specialty play something from the music of the 20th century, for example, plays by Bartok, Prokofiev, Slonimsky, Metallidi. This means that at least some of the innovations of the previous century should be reflected in solfeggio. Considering that pianists and string players do not have a subject called solfeggio at the university, and when they enter the conservatory, they show knowledge of only classical elements, then it is worth recognizing that auditory work for mastering the features of the musical language of the twentieth century, curricula are not currently provided.

A modern student, by the way, not only plays something from Bartok, Sigmeister, Prokofiev and anyone else of our time in the lessons of his specialty, but also calls on a mobile phone, has been actively playing computer games since the age of six, during the holidays travels to Egypt, Finland or Switzerland. And in the solfeggio music notebooks of a music school graduate, you can find the following tasks: build a dominant seventh chord from the B flat sound down, resolve the tritone by all available means, determine by ear the tonic, dominant, and sometimes subdominant chords that are in proud isolation, by themselves , i.e., belonging to different keys and, of course, without reference to any musical text. On the part of the teacher, genuine indignation can be caused, for example, by students' ignorance of the key signs of F sharp minor. At the same time, the standard admission requirements for solfeggio when entering a music school, despite the numerous tests included in this exam, do not include a single task that reveals the musical responsiveness of the applicant, as well as his practical skills in the field of music.

The critical state of modern music education in recent years has increasingly become the subject of scientific discussions, scientific and methodological conferences. The painful problems of music education received a kind of concentration in a very symptomatic collection of articles “How to teach solfeggio in the 20th century”. I century”, released in 2006. The editor-compiler of this collection, M. Karaseva, notes that “the question of survival musical and theoretical disciplines (and solfeggio among them) at any level of national education is more acute today than ever. E. Derunets points to the reason for the crisis state of affairs in the educational process: “The isolation of musical and theoretical disciplines from the immediate needs of performing practice leads to the fact that the knowledge gained by students turns out to be fragile, and a significant part of them soon disappears from memory.” E. Lerner comes to the conclusion that it is necessary to use radical measures: "a draft of a new program in theoretical subjects can be developed only under one condition - a revision of the concept of the entire system of music education" .

Fixing his attention on the formation of the foundations of musical thinking in line with the subject of solfeggio, V. Sereda practically indicates the direction in which one should look for ways to "revise the concept" of this academic discipline. The author of the article builds his method of teaching solfeggio based on the integrity and consistency of the musical language. The chosen methodological position determines V. Sereda's sharply negative attitude to the common form of conducting solfeggio lessons, where the elements of the musical language flourish in maximum isolation from each other: “Students study solfeggio not melody, harmony, mode and texture, but sounds, intervals, chords and scales cut off from the living and ever-changing context in which they exist in music. works<…>Musical ear is manifested not in the ability to distinguish the pitch of sounds and recognize isolated harmonies of different colors, but in the ability of a person to perceive and evaluate the semantic relationships of the elements of muses. language. Its basis is intonation - the conjugation of sounds, consonances, voices of the musical fabric, as well as any of its temporary units - beats, motives and phrases.

In search of new methodological guidelines, consonant with our time, it is worth considering first: why, in fact, the subject of solfeggio fell into the heading of theoretical disciplines. Once, in a private conversation, choir conductor V. Chernushenkov was indignant about this: “how can solfeggio be called a theoretical subject, this is the most practical discipline!” It is worth adding to this that such subjects as harmony, polyphony, analysis should be considered disciplines that have the most applied character. But the history of music is a theory, the content of which is to comprehend the logic of the course of historical events. In this light, it would be nice for every teacher who teaches one or another “theoretical” discipline to answer the question - what set of practical skills necessary for performing or listening to music does his student have when completing his studies in this discipline. At the same time, it must be remembered that only one that is spiritualized by the lively interest of the one who demonstrates it should be considered a practical skill related to the field of music. Is it possible to consider the so-called "singing from a sight" or even just singing a previously learned melody as an acquired practical skill, if it is always (!) reproduced in all solfeggio groups in the same monotonous voice, equally at some average tempo that is not related to this melody, with errors in intonational reading, since its genre characteristic remains undisclosed due to a misunderstanding of the metric system and, finally, never acts as an analogue of singing a melody on a particular instrument and, moreover, does not personify singing as such, as a type of musical activity?

So what about the music that has just been composed (some 50 - 100 years ago!)? Will it ever get into the solfeggio program of a music school, or will the student be doomed to study only the techniques of classical tonality for a long time to come? By the way, there are still many remarkable artistic phenomena in the preclassical period, in different national cultures. Or is our main task to look for new methodological ways of resuscitation of solfeggio, remaining within the framework of the system in which it is required to play "sol - si - re - fa - mi - do - do - do" in one breath?

The paradox of today's state of affairs lies in the fact that if we approach the solfeggio program at a music school from a chronological position - first the classics, and then ... - we will never catch up with our own shadow, since the study of any style, any era has no boundaries. Moreover, the fear and misunderstanding of the evolution of the musical language today are becoming an indicator of misunderstanding of the classical system itself. The main changes in the music of the 20th century, for example, a different interaction of melody with harmony, the organization of tonality require a different attitude to the classical system: what are the theoretical guidelines for determining the tonality by the last sound, or the definition of tonality by key signs, finally, the definition of tonic in the form only the first degree of the scale. All this is an anachronism akin to the definition of the old man Hottabych about the location of the Earth, which rests on three whales.

A new methodology for teaching solfeggio in a music school, even at the very initial stage of training, must be built taking into account a deep understanding of the most important system-forming elements for each historical period, which are rooted in various principles of interaction between harmony and melody, more broadly, in various vertical and horizontal relationships. The classical system is a major-minor tonality, the essence of which lies in its harmonic being. Harmony generates everything: melody, rhythm, metrics, texture, syntax, fingering, dynamics, instrumentation. And vice versa: pre-classical, as well as post-classical systems establish other relations of subordination: harmony obeys the horizontal, harmony becomes unpredictable. Almost all components of the musical language are endowed with freedom of implementation. At the same time, the integrity of the musical organization is achieved by other conditions: in each individual case, one must look for something that unites the components of the musical language into an artistic whole. And here a lot of different situations arise - from rhythmic and harmonic ostinato to intonation similarity based on imitations, variance, repetition, etc.

If students in a music school are offered to write down as a dictation a melody born of major-minor harmonic functionality, then why not introduce students to this melody along with this harmonic functionality inherent in it? You can do the opposite: first, introduce students to the harmonic grid of a given melody, and then to the melody itself, while experiencing the joy of meeting with another variation on the theme “tonic - dominant”. In accordance with the harmonic basis of the melody, it is possible (and necessary!) to offer to compose a two-voice harmonic pedal for the corresponding vocal composition, or to write out a harmonic three-voice (traditional three voices, but without bass, which teachers know from the classical harmony course) also for subsequent vocal dubbing. Not chords by themselves, in an abstract sequence, but chords that embody the essence of the classical tonal system.

Working on a melody in close contact with harmony can eventually lead to an art form that includes solo singing with the words of the original melody (or playing it on an instrument if it is instrumental in nature), harmonic accompaniment, having the form of four-note chords in a simple rhythmic textured version (the left hand plays the bass, and the right hand plays the other three sounds), a vocal two- or three-voice pedal that counterpoints a melody composed on the basis of the same harmony. Then, perhaps, in the mind of the student, the idea will finally form that there is no chord in the melody (recall the expressions “the melody moves along the sounds of the dominant seventh chord” or “the melody includes a tonic fourth-sixth chord”, etc.), but there is a melody that has grown on the basis of one or another chord and, therefore, on a reduced fifth by VII steps and to a small seventh on V steps accompanied by a dominant seventh chord can be played. Then, perhaps, it will develop in the mind of the student that the tonic in the classical system is not one single first step, but a chord that includes I, III, V steps in any combination, in any register, with any number of duplication of these steps. And intervals do not exist on their own, but are carriers of the modal function of one or another classical chord. Then, finally, it will be possible to develop an ear for music on the basis of harmonic intonation prediction, i.e., to find the boundaries of the length of one harmony in a particular melody and respond to the deployment of a melody (or any linear element of texture) as a transition from one harmonic intonation to the next. Then, perhaps, there will finally be an interdisciplinary connection between solfeggio and a specialty, in which the skills acquired in solfeggio harmonic intonation will contribute to the education of a competent musician.

If we learn how to form a methodology for teaching solfeggio based on consistency, then we can competently oppose the classical system of major-minor to the systems of pre-classical and modern music, where the opposite situation reigns - freedom of harmonic choice for any melody. This is where you can get creative! There are already manuals for music lessons in kindergarten, in which it is proposed to play according to various drawings (these drawings are a direct reflection of the model of modern scores, for example, Cage). One of the most powerful sources of convenient forms of mastering the patterns of modern music is the scale identity of melody and harmony, where the chord is born as a resultant element of the melody, not connected either by the number of tones or the obligatory tertian structure. Imagine for a moment what a grandiose symphony can be composed to the text "Ding-dong, ding-dong, the cat's house is on fire ...", the melody of which includes any sequence of two adjacent black keys, and on the piano simultaneously with the melody in all seven registers is played this second harmonically, i.e., a chord! The accompaniment can be realized as a bell ringing - with alternating high and low registers.

Further "invasion" into the field of contemporary music is methodically convenient to carry out in the following directions. One of them is based on the comparison of the familiar and the modification of this familiar. It is possible to offer in comparison third chords and chords with a substitute tone, diatonic and the same, but altered chords, variance of scales in melodies with similar movement, etc. Another direction is the simultaneous correlation of the familiar and the unfamiliar (a familiar melodic turn, but an unfamiliar harmonic "clothing" or vice versa), which allows in the most active form to draw attention to both the pole familiar, and to the pole unfamiliar.

It is believed that the economic crisis that is now being experienced in many countries of the world is necessary to intensify the search for a new form of prosperity for society. Apparently, similar processes are taking place in the field of music education, and a competent assessment of the old methods of work will help determine the desire to search for new methods that are vital for our children for their successful spiritual existence.

In December 2008, the Seventh, which has already become traditional, International Scientific and Practical Conference "Modern Music Education" was held, which is organized by two leading universities in St. Petersburg - the Russian State Pedagogical University. A. I. Herzen and the St. Petersburg State Conservatory. N. A. Rimsky-Korsakov. M. Karaseva gives an apt description of the current state of affairs, defining solfeggio at school as a “pre-harmonic” stage, and at a college-university school as “pre-harmonic” ( M. Karaseva. Russian solfeggio of the postmodern era, or postmodern in the mirror of methodology / SATOR TENET OPERA ROTAS. Yuri Nikolaevich Kholopov and his scientific school. M., 2003. S. 334.

But in solfeggio textbooks, you can first find an independent paragraph devoted to movement along the sounds of the dominant seventh chord, and later, somewhere in two or three paragraphs, the situation associated with the reproduction of a small seventh on the fifth step is considered.

The author of this article has previously considered possible ways to include the innovations of the music of the twentieth century in the training course of solfeggio at the initial stage of training: Guseva A. V. Search for new ways: the beginning of creativity / Methodological problems of modern music education. Materials of the interuniversity scientific-practical seminar on March 21, 2008. RGPU them. A. I. Herzen. SPb., 2008. S. 67 - 79.

The musical composition consists of several components - rhythm, melody, harmony.

Moreover, if the rhythm with the melody is like a single whole, then harmony is what decorates any piece of music, what the accompaniment consists of, which you dream of playing on the piano or guitar.

Musical harmony is a set of chords, without which no song or piece will be full-fledged, full-sounding.

Properly selected harmony caresses the ear, ennobles the sound, presenting us to fully enjoy the wonderful sounds of the piano, guitar or instrumental ensemble. Melody can be sung, harmony can only be played. (By the way, it is also possible to sing harmony, but not to one person, but at least to three, and, provided that they can sing, this is what artists of the choir and vocal ensembles learn).

A play or a song without harmony is like an uncolored picture in children's books - it is drawn, but there is no color, no colors, no brightness. That is why violinists, cellists, domrists, balalaika players play accompanied by an accompanist - unlike these instruments, you can play a chord on the piano. Well, or play domra or flute in an ensemble or orchestra, where chords are created due to the number of instruments.

In music schools, colleges and conservatories there is a special discipline - harmony, where students study all the chords existing in music theory, learn to apply them in practice and even solve problems in harmony.

I will not delve into the wilds of theory, but will talk about the most popular chords used in modern compositions. Often they are the same. There is a certain block of chords wandering from one song to another. Accordingly, a lot of musical works can be performed on one such block.

To begin with, we determine the tonic (the main note in the musical composition) and remember - together with the tonic, the subdominant and dominant. We take the step of the mode and build a triad from it (notes through one). Very often they are enough to play a simple piece. But not always. So, in addition to the triads of the main steps, the triads of the 3rd, 2nd and 6th steps are used. Rarely - 7th. Let me explain with an example in the key of C major.

Examples of chord progressions

I put the chords in descending order of their popularity:

C major

• C major, F major, G major (these are the main triads of the mode);
• whether minor (this is nothing more than a triad of the 6th degree);
• E major, less often - E minor (triads of the 3rd degree);
• D minor (2nd step);
• si - diminished triad of the 7th degree.

And this is another way to use the 6th degree triad in musical compositions:

But the fact is that these musical harmonies are characteristic only if the note DO is taken as the tonic. If suddenly the tonality of C major is inconvenient for you, or the piece sounds, say, in D major, we simply shift the entire block and get the following chords.

D major

• D major, G major, A major (1, 4, 5 steps - main triads)
• B minor (triad 6th step)
• F# major (triads of the 3rd degree)
• E minor (2nd step)
• to # reduced 7th step.

For your convenience, I will show the block in a minor key, slightly different steps are popular there, and it can no longer be said that chords of the 3rd and 2nd steps are rarely used. Not so rare.

La Minor

The standard set of chords in A minor looks like this

Well, in addition to the standard - 1, 4 and 5 steps - bases of any key, the following harmonies are used:

• A minor, D minor, E major (main);
• E seventh chord (related to E major, used frequently)
• in F major (triad of the 6th degree);
• C major (triad of the 3rd degree);
• G major (triad of the 2nd degree);
• A major or A seventh chord (the major of the same name, often used as a kind of transitional chord).

How to find a tonic

A question that plagues many. And how to determine the tonic, that is, the main key, from which you need to start when searching for chords. I explain - you need to sing or play a melody. What note it ends on is the tonic. And the mode (major or minor) is determined only by ear. But I must say that in music it often happens that a song begins in one key and ends in another, and it can be extremely difficult to determine the tonic.

Only hearing, musical intuition and knowledge of theory will help here. Often the end of a poetic text coincides with the end of a musical text. Tonic is always something stable, affirming, unshakable. Once the tonic has been determined, it is already possible to select musical harmonies based on the above formulas.

Well, the last thing I would like to say. The flight of the composer's creative inspiration can be unpredictable - seemingly completely unpredictable chords sound harmonious and beautiful. This is already aerobatics. If only the main steps of the mode are used in a musical composition, then they say about this - “a simple accompaniment”. It is really simple - with basic knowledge, even a beginner will be able to pick them up. But more complex musical harmonies are closer to professionalism. Therefore, it is called “pick up” the chords for the song. So let's recap:

1. We determine the tonic, and for this we play or hum a melody and look for the main note.
2. We build triads from all steps of the mode and try to remember them
3. Playing the chords in the above blocks - i.e. standard chords
4. We sing (or play) a melody and “select” a chord by ear so that they create a harmonious and beautiful sound. We start from the main steps, if they are not suitable, we “feel” other triads.
5. We rehearse the song and enjoy our own performance.

As a tip, it is convenient to select musical harmonies along with the sound of the original on a music center, computer or tape recorder. Listen several times, and then take a fragment, say, 1 verse and, after pausing, pick it up on the piano. Go ahead. Selecting musical harmonies is a matter of practice.

Open solfeggio lesson for grade 4

children's music school

"Journey to the Kingdom of Harmony"

Prepared by:

Ivanova E. V.

Music teacher

Theoretical disciplines

Lesson topic: "Journey to the Kingdom of Harmony".

The purpose of the lesson: Show different methods of working on the development of harmonic hearing.

Tasks:

1. Know the basic laws of the harmonic language;
2. Know the theoretical rules for building chords;
3. Possess the skill of competent recording of chords;
4. To be able to carry out harmonic analysis of musical text;
5. Possess the skills of genre variation;
6. Master the skills of three-part singing;
7. Possess the initial skills of vocal improvisation;
8. Master the skills of auditory analysis.

Equipment:

1. piano;
2. Board with magnets.

Visual aids:

1. Colored cards depicting the King, Queen, Princess and courtiers.

Handout:

1. Notebooks;
2. Simple pencils;
3. Poetry sheets for each student.

Note material:

1. “School of playing the piano” (Under the general editorship of A.N. Nikolaev)

4th grade music school.

Lesson plan.

1. Organizing time.
2. Conversation about harmony.
3. Intonation tuning in D major.
4. Repetition of the basic laws of the harmonic language, the definition of the "color" of chords.
5. Harmonic analysis of musical text.
6. Playing a chord chain in another genre - in the polka genre.
7. Auditory work - recording a chord chain by ear.
8. Singing a three-part sequence.
9. Vocal improvisation on a chord chain.
10. Homework - composing a melody for a given chord sequence in different genres: polka, waltz, march.

Lesson outline.

Teacher:

Hello guys! Today we are going on a fabulous journey. In the vast country of Music there is a large Kingdom of Harmony. I wonder who lives in this kingdom? Let's remember what harmony is?

Students:

These are chords, chord progression, chord chains.

Teacher:

What is a chord?

Students:

A chord is a combination of three or more sounds.

Teacher:

Guys, what chords do you know?

Students:

Triad, quarter-sixth chord, seventh chord, second chord...

Teacher:

The Kingdom of Harmony is big, today we will be transported to the Castle of Three-Sound Chords. Remember what chords of three sounds you know?

Students:

Triad, sixth chord and quarter-sextchord.

Teacher:

We open the heavy door of the castle and immediately see the announcement: “Today the Day of D major is announced in the Castle of Three-Sound Chords.”

So, we tune in, sing the main triads in D major.

The guys sing, the teacher attaches colored cards on the board with images of the King, Queen and Princess.

Teacher:

So, the Tonic triad is the King, he is the ruler, he is strong, confident, the most important. The dominant triad is the Queen, she obeys only the King. The subdominant triad is the Princess, she obeys both the king and the queen. And now we sing the triads of the side steps and immediately determine the “color” of the triads.

Pupils sing and define "paint": II 53 - minor, III 53 - minor, VI 53 - minor, VII53 - reduced. The teacher attaches colored cards on the board with the image of various courtiers - a page, a maid of honor, a vizier, etc. Together with the children, they select cards for triads of II, III, VI, VII steps.

Teacher:

The whole kingdom is together. However, you can use triads not only in the main form, but also in the form of sixth chords and quarter-sextchords. We must remember that you need to combine chords in a certain order: observe smooth voice leading and exclude the move D - S. Again, what is smooth voicing?

Students:

Common chord sounds remain in place.

Triads are applied in reversed form.

Teacher:

And now let's see in what order the King, the Queen and the courtiers of the castle of Three-sound chords lined up in front of us. Harmonic analysis - definition of chords of the second half of the period in the Sonatina in D major, composer Pleyel.

The student plays the second half of the 1st period of the Sonatina on the piano.

Teacher:

According to the musical notation, we sign each chord, we find the cadence turnover.

The students complete the task.

Teacher:

Where is the cadence used, what chords does it consist of?

Students:

The sequence of main triads forms a cadence revolution or cadence.

Cadence is used to complete a whole piece of music, parts of it, or a particular period. It creates a feeling of completion.

The cadence consists of T-S-D-T or T-S-T-D-T.

The teacher together with the children check the correctness of the harmonic analysis.

Teacher:

Next task: play this polka chord progression.

The student plays a signed polka chord chain.

Teacher:

And now the auditory work. Record the chord chain in D major by ear.

The teacher plays a chord progression

T 53 - D 6 - VI 53 - III 6 - S 53 - K 64 - D 6 - T 53.

Teacher:

Write down the bass and chord notation. We decipher, paint with notes and sing according to the voices, then we sing the three-part.

Students write down the chord progression by ear.

Teacher:

The next task is to play this waltz chord progression and we'll try to compose a melody to it. Before you is a poem, mentally, to yourself, with your inner ear, sing a melody to a given chord progression.

One student plays, the rest sing inaudibly - to themselves.

Poetry

Up and down where the air is clean

A yellow leaf is falling.

In an old castle, by candlelight,

The pianist is playing.

Teacher:

Who would like to show what happened?

One student plays, the other sings.

Teacher:

With this interesting vocal improvisation, we will say goodbye to the Kingdom of Harmony. Homework: to compose an instrumental melody for a chord sequence in different genres: polka, waltz, march.

Thanks to all. Goodbye.