The open lesson consists of two parts. In the first part, the accompanist-teacher reveals main topic lesson - features of the work of an accompanist-accordionist, making a generalization of the creative and pedagogical activities of an accompanist, highlights the psychological and professional quality, formulates the main stages of musical accompaniment, determines the features of the selection of musical fragments. The second part shows open lesson: exercise at the stanua, work in the middle of the hall.

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Municipal budgetary educational institution

additional education

"Simferopol Children's Art School"

Simferopol Republic of Crimea

Methodical report for an open lesson

“Features of the work of an accompanist-accordion player

In the folk dance class »

Prepared

additional education teacher,

accompanist of the 1st category

choreographic department,

bayan and accordion teacher

Smirnova Elena Ivanovna

Simferopol 2015

Lesson topic : "Features of the work of an accordion accompanist in a folk dance class"

Class : Grade 7 of the department of modern choreography of the SDSHA folk dance lesson

Lesson type : Lesson of complex application of knowledge

The purpose of the lesson : Generalization of the creative and pedagogical activity of the accompanist, determination of the main professional and psychological qualities necessary for the full-fledged work of the populist accompanist on the example of work in the SDSH with the 7th grade of the department of modern choreography at the folk dance lesson

Tasks of the lesson /choreographer/:

• development of skills to independently apply knowledge in a complex, in new conditions;
• practicing the basic movements of Russian, Belarusian, Western Ukrainian dances in exercise at the barre and in the middle, in dance compositions;
• education of artistry and musicality of movement performance

Lesson objectives /accompanist/:

• development musical perception metrorhythm;
• rhythmic execution of movements to music, the ability to perceive them in unity;
• development of the ability to coordinate the nature of movement with the nature of the music;
• emotional perception of folk music and sense of rhythm

Lesson plan:

I.I Methodological report

Introduction

1. Knowledge of the specifics of choreographic art

2. Pedagogical functions of an accompanist

3. Interaction of the accompanist with the choreographer

4.1. Methods and techniques of musical development of students

In choreography lessons

4.2. The main stages of musical accompaniment in the lessons

folk stage dance

4.3.Basic properties of musical fragments

5. Signs of selection of musical fragments

6. Knowledge, skills and abilities of an accompanist

Conclusion

Literature

II. Show part of an open lesson

Exercise at the barre, work in the middle of the hall

III. Discussion

Introduction

At the Simferopol School of Arts, I work as a bayan and accordion teacher, as an accompanist of the junior group vocal ensemble"Sudarushka", folk dance accompanist at the department of modern choreography and rhythm lessons. My labor activity began more than 30 years ago precisely with the work of a folk dance accompanist in a choreographic group.

With a choreography teacher, Demenova Irina Alekseevna, as an accompanist, I have been working in total for more than 5 years. And today we will show an excerpt from a lesson with students of the 7th grade of modern choreography on the subject of "Folk Dance". A feature of working with this class is that children study at the department of modern choreography and have only 4 folk dance lessons per week. According to the program, the study of folk dance movements is introductory. However, students study and practice them, which are later successfully used by the teacher in concert numbers.

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines. At the lessons of folk stage dance, children get acquainted with the dances of peoples of different nationalities, the main task of the teacher is to teach students to accurately and expressively convey the national character of the dance.

Folk dance is organically connected with music. She gives each movement expressiveness, completeness. The main principles of the musical design of the lesson is the correspondence of music to the nature of the movement, its tempo, rhythm, style. Selection musical works is carried out taking into account the nature of the movements. Music informs each movement of expressiveness, completeness, the musical material is bright, colorful and rhythmically convenient, corresponds to the movement in character, style, national coloring.

The design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics.

In the lessons of folk stage dance, students, getting acquainted with the dances of peoples of different nationalities, join the best examples of folk music, thus forming their musical culture, developing their ear for music and creative thinking, which help to perceive music and movement in unity during staged work. The accompanist unobtrusively teaches children to distinguish the nature of a piece of music

Knowledge of the specifics of choreographic art

A lesson in a choreographic class consists of a number of different movements, performed in the order of gradually increasing difficulties and repeated several times to develop and refine the technique of performance. AT creative plan The lesson consists of an exposition, a climax and a conclusion. The structure of the lesson contains three parts: exercise (from the French exercice - exercise) at the ballet barre, exercise in the middle of the hall and Allegro. Exercise consists of the same dance movements, following in a certain and established order - from simple to complex. All the movements of the lesson, all its educational material is voiced, made out by music.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginners to graduates), with teachers of different dance styles - classical choreography, folk and contemporary dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of this age category and the dance direction, is not easy. There is only one way - continuous improvement, a serious creative approach to work. An accompanist must be a "universal" musician.

First of all, a populist accompanist must know the specifics of choreographic art.

• Mastering dance terminology.

It is necessary to know exactly what exercise is being discussed. Music terms Italian origin, and choreographic - French. Therefore, the accompanist must understand the teacher-choreographer in order to choose the right musical accompaniment for a particular exercise. For example,Plie, Demi plie, Grands plie (French)- This is an exercise based on squats of different amplitudes: a half squat or a full, deep squat. This means that the musical accompaniment is of a smooth, soft nature at a slow pace (meter 4/4, 3/4). OrBattements tendus (Battements tendus jetes)- extension of the foot on the toe (or a sharp little throw). In these exercises, there is a sharp extension of the leg forward, to the side, back, and its return to the position. Therefore, the musical accompaniment must be very clear. The musical size for both exercises is 2/4, 4/4.

• Knowledge of the performance of a particular exercise.

In order to clearly imagine the structure of the exercise, imposing a piece of music on it, it is correct to emphasize, to help the movement with dynamic shades.

• The correct ratio, the correspondence of the exercise with the musical material. Be able to quickly navigate in the musical text.

The fact is that the teacher can stop the lesson at any place or start practicing any part of the exercise separately. And for this, the accompanist must know from which place in the musical material to play the passage to practice this or that movement.

• Knowledge of the performance of all choreographic exercises that students master in the classroom.

This is necessary in order to conduct a full-fledged lesson in the absence of a teacher, since pedagogical functions are also assigned to the accompanist.

• The work of an accompanist in an ensemble with dancers.

Proper work in an ensemble is a necessary quality in accompanist practice. While playing, the accompanist is clearly aware that he is not an independent performer, but by his playing helps to penetrate deeper into the emotional structure of the dance.

During the performance, the different physical abilities of the pupils are also taken into account. Here the problem of the tempo correspondence of the choreographic performance and its musical accompaniment appears. Every child has their own pace, for good reason. One pupil has, say, a small jump, little stability, another has excellent balance, natural ability for a high jump. Performing one movement, they perform it differently, therefore the accompanist conveys agogic micro-accelerations or slowdowns, almost imperceptible gradations that are present in the performance of each dancer.

• The accompanist should contribute to the development of the activity of children's musical perception, their inclusion in the process of co-creation.

You can offer children two or three similar accompaniment themes to choose from and use the material that they like best by ear.

• Accompanist's attention.

It is voluminous. The amount of attention largely depends on the knowledge of objects and their relationships with each other: the work of hands, fur, musical material, attention to children and the teacher. How to help movement with tempo, emphasis, dynamic hues, etc. You need to keep the whole class in sight at all times.

• Work with musical material, selection of musical material for folk-stage exercise, concert performances.

The selection of musical fragments is subject to requirements for the following points: character, tempo, metro-rhythm, form of a musical work.

Pedagogical functions of an accompanist

The duties of the accompanist include participation in solving educational and educational problems. Naturally, education in the choreography class is impossible without a faithful assistant to the teacher - an accompanist, who is always present at all classes and rehearsals.

I. The primary task of an accompanist in choreography classes is musical and rhythmic education.

Musical-rhythmic movements are a type of activity based on the motor-plastic study of musical material.

The musical and rhythmic activity of children has 3 interrelated areas:

• provides musical development and includes the development of musical ear;
• assimilation of musical knowledge;
• the formation of skills to subordinate movements to music.

Musical and rhythmic activity gives the correct motor skills, provides the formation of the ability to control body movements. So, you need a knowledge base, skills and abilities. The choreographic base is given to the pupils by the teacher-choreographer, and the musical base is given by the accompanist.

II. The accompanist helps to create an artistic image.

Movements to music enhance the emotional impact of music, help to trace the development artistic image. Dance is the creation of an artistic image to music. It turns out that the role of the accompanist in this process is obvious. He must choose the musical material so that the music matches the image. The task of the classes is to educate in children the ability to listen to music, combine dance movements with music, instill a love for the musical movement, be able to move freely to any music, prepare sensitive listeners from children, and then performers who draw inspiration, joy, support from music, awaken they have creativity.

• Together with the teacher directly participates in educational process, musical education of students
• Carries out preparatory work for coordination of actions in the lesson
• Promotes the development of artistic taste in students, the expansion of musical and figurative representations, stimulating the development of creative individuality
• Awareness of basic movements, the ability to simultaneously play and see the dancers
• Participates in the activities of the pedagogical and other councils of the school, in the work of holding parent meetings, consultations, educational and other activities provided for by the program of the school, work plans
• Performs duties related to educational process- preparation and participation in competitions, concerts, seminars, etc., organization and holding of cultural events
• Replaces the lessons of a temporarily absent teacher
• Explore work experience aesthetic education children in choreographic groups of other organizations

Interaction of the accompanist with the choreographer.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and accompanist must certainlyto be in creative contact , it is good to know the choreographic and musical material of each lesson. And here we can talk about a subjective position, because a significant role is played bypsychological compatibility, personal qualities of an accompanist and choreographer. Real creativity requiresatmosphere of friendliness, ease, mutual understanding. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

The co-creation of a teacher-choreographer and an accompanist is necessary in all areas: planning, implementation of programs, educational and staging work. The construction of the lessons does not depend on the accompanist, it is decided by the choreographer. But what will be the return, at what emotional level they will pass, largely depends on the musician, on the music selected and offered by him.

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria, a sense of artistic proportion. The constant sounding of the same works in the lessons leads to a mechanical, unemotional exercise. The other extreme is also undesirable: too frequent change of accompaniments scatters the attention of students, does not contribute to the assimilation and memorization of movements.

Methods and techniques of musical development

Students in choreography lessons

• The primary source of knowledge is the music itself, only it awakens the "musical" feelings of a person. At first, work is underway to accumulate experience in listening to music.
• The second source of knowledge is the word of the teacher and accompanist, which leads to understanding and perception of the musical image of specific musical works.
• The third source is directly

Musical and dance activities of the children themselves.

To develop the "musicality" of the performance of the dance movement, the following methods of work are used:

• visual-auditory (listening to music while showing movements by the teacher)
• verbal (the teacher helps to understand the content of the musical work, awakens the imagination, promotes the manifestation of creative activity)
• practical (specific activity in the form of systematic exercises)

The main musical idea embedded in the work is the melody, the basis of music. The most important element of music is rhythm. Same way salient feature- the alternation of heavy sounds with lighter ones is the concept of meter in music. Tempo as speed is basically the same in both music and dance. Dancing children should know, understand, define all these characteristics. And that's the basics musical literacy. Rhythm, melody, meter, harmony, timbre - all together make up the language of music, and the accompanist teaches children to understand it.A subtle sense of music perception develops in children during the organic connection of movement and musical phrase (beginning and ending).

The concertmaster teaches the execution of "commands": the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is brought up.

The main stages of musical accompaniment

at the lessons of folk stage dance.

• First stage - initial acquaintance with a piece of music.

Here the tasks are set: to acquaint students with musical fragments, to teach them to listen and emotionally respond to the feelings expressed in them, to be able to accurately perform the introduction.

Auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer shows the movements to the musical accompaniment (the first stage is one or two lessons).

• Second phase – formation of skills in the field musical performance movements, perception of musical accompaniment in unity with movements.

Here the tasks are set: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, the nature of the melody, the presence of a beat, meter-rhythmic features, tempo, size).

• Third stage - education and consolidation of skills, that is, automation of ways to complete tasks in strict accordance with the nature, tempo, rhythmic pattern of a musical fragment.

He sets the following tasks: emotionally expressive performance of exercises, development of independent creative activity of children. At this stage, everything that was worked out in the learning process at the second stage is fixed. Auditory and visual control is supported by motor control. Automate the way the task is performed. Students consciously solve the tasks assigned to them, relying on the acquired listening and dancing skills.

In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, the brightness of the images. Children develop an interest and love for music. Through musical images children learn beauty in the surrounding reality.

Basic principles for selecting musical material

for folk stage dance.

The study of folk stage dance usually begins with learning the exercises at the barre. The selection of musical material in the classroom is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of learning folk stage dance, children are given basic initial ideas about it. On the initial stage this is done on familiar or uncomplicated musical material to make it easier for students to organize their movements according to the music. Further, the combinations become more complicated, the musical material becomes more complicated.

Musical accompaniment dance lessons should be very accurate, clearly and efficiently organized, as the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of the musical design of the lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined.

The musical accompaniment of folk stage dance lessons should be very diverse both in terms of melody and rhythm. The nature of the rhythms often changes during the lesson.

When a new movement or its individual elements is being studied, the rhythm should be simple, the melody should be simple, accessible. Then, in the process of work, the musical material becomes more complicated, the rhythmic pattern inside the measure becomes more complicated, the shape and size change.

musical fragment.

Basic properties of musical fragments

To work at the machine

• Squareness - at the initial stage it is very important that the work can be divided into squares. This means that one movement is done 4 times: with a cross - forward, sideways, back, sideways. A square consists of measures in 2/4 or 4/4 time. In the future, as the dance technique is acquired, the pace accelerates, but the squareness remains.
• Certain rhythmic pattern and tempo.

For the execution of such movements as slow squats, circular movements of the foot, the rhythmic pattern does not have special significance but temp matters. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on the mobility of the foot and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. The execution of these movements is fast pace eighth notes, sixteenth and eighth durations must be present in musical fragments (size 2/4 or 4/4 for slow performance).

• The presence of back-beats - any back-beat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. Any start-up, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. Zatakt can be used in all exercises, as it is easier to start the movement from it.
• Tempo features - with accompaniment to the lesson musical tempo is determined by the frequency of coincidence of the pulsation with certain moments of movement. The students and the accompanist know in advance the basic tempo of the combination, because the nature and features of the elements suggest a certain pace of performance. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movement of the legs, because movements of the hands and head are most often smooth, leading or lagging.
• Metrorhythmic features - dance movement, if necessary, can be represented in any musical meter. Only the typical way of performing the movement in relation to the strong beat is important (“because of the measure” or “on time”).

Bipartite meters have such properties as clarity, elasticity, some elementality compared to other meters. Tripartite meters are perceived as more plastic, softer. Time signatures 6/8 and 12/8, along with the qualities inherent in triple meters, have a regularity and the ability to divide the measure in half, which is very convenient from the point of view of the choreographic score.

Signs of selection of musical fragments

for basic exercises at the machine.

Squats - size 4/4, 3/4, 2/4 music is smooth, tempo - moderato. The fragment must be square, the presence of an even rhythmic pattern does not matter. It is desirable to have a push.

Foot mobility exercises- size 2/4 34 character of music - clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. Rhythmic pattern is of great importance. In addition, the possibility of metric-rhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. Same way great importance has an upbeat and its accentuation for the accuracy of performance and the transfer of the nature of the movement.

small throws- size 2/4; tempo - allegro, a clear rhythmic pattern (if possible, syncopated). At the initial stage, squareness, a clear rhythm with an emphasis on "and" matters. The presence of an out-of-tact is necessary from the initial moment of study. Possible meter-rhythmic expansion up to a quarter. At the initial stage, the tempo in 2/4 time is slow, then fast.

Circular leg movements- size 2/4, 4/4, 3/4; the nature of the melody is smooth, the pace of performance is moderate, but increases as the movements are mastered. One movement is done in this case for 1 beat, thus slowing down the tempo. If a fragment is selected for 2/4, then the tempo should be slow, and if the size is 3/4 - faster.

Heel exercises- size 2/4, The nature of the melody is bright, cheerful, the tempo is allegro, a clear rhythmic pattern is needed. Squareness matters, overclocking is possible.

Low and high leg reversals- size 2/4, 4/4 and 34 the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, an upbeat is possible. Metrorhythmic expansion is required initially if time signature is given in 2/4 (if 4/4 is not); in this case, one movement is done for 1 beat, thus slowing down the tempo.

Fractional percussion- size 2/4, 3/4 The nature of the melody is bright, cheerful, the tempo is moderato, a clear rhythm is needed. Squareness matters. Possible hitch.

Relaxed foot exercises- size 2/4; tempo - moderato clear rhythm. Squareness matters only at the initial stage. Rhythmic pattern is desirable from small durations. There may be a hitch. Rhythmic expansion is needed more at the initial stage, when the tempo is slow, than when the movement is already "worked out".

Rope preparation- size 2/4, tempo-allegretto, moderato. The nature of the music is bright, cheerful. The rhythmic pattern is clear. Choose square musical fragments.

Opening the legs90 - size 4/4, 3/4; the nature of the music is smooth, calm, tempo moderato, possibly allegro moderato. For better assimilation, square musical fragments should be selected. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

big throws - size 2/4, 3/4; the nature of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. Rhythmic pattern plays an important role. Emphasis is needed on the strong beat. In 3/4 time there must be an overbeat. Decomposition into larger durations is possible at the initial stage of training; the pace varies depending on the technical "advancement" of the students - from slow to fast.

Based on the foregoing, it is possible to formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 measure).

All movements of the exercises at the barre are divided into slow and fast, with a clear rhythm, and smoothly sliding. Musical fragments are chosen according to the same principle: slow (in sizes 4/4, 2/4); with syncopated rhythm (in 2/4, 3/4, 4/4 time signatures); at a moderate pace (on 2/4 and 3/4).

It is necessary to remember about the squareness, that is, one movement is done in a cross for 4 cycles. The musical fragment is divided into phrases, each of which consists of four measures. A complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 measures, but it must be musically complete.

Preparation for each exercise for which the hands “open” is called the introduction. At the initial stage of training, this section can be expanded (8 measures or more), and then short (2 measures and 4 measures). All introductions should be performed exactly according to the tempo and character of the selected music. There must be a backlash-pause before starting the exercise (sigh).

At the initial stage, the exercises are learned to a strong share. And as you memorize them, you need to step up, especially for exercises for the development of the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on a strong and weak beat, with a small rhythmic pattern.

For movements in which the kick of the leg is accentuated, musical fragments are selected with an emphasis on the first beat, or you can independently accent it during the game. This applies primarily to large throws.

At the initial stage of learning, when a piece of music is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

Often the tempo is accelerated due to the fact that at first one movement is done for a whole measure, then only for strong beats. Thus, under the same piece of music, the movement can be performed both quickly and at a slow pace.

For simple combinations, simple musical fragments with a clear melody, in a simple time signature, with a simple rhythmic pattern should be given. In cases where more complex time signatures are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

The musical material in each year of study gradually becomes more complicated.

At a later stage of training, when more complex combinations are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the task of the accompanist is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, about tempo, size, lead-in, rhythmic pattern. When performing combinations, the close connection between music and movement is of great importance. Smooth, melodious music imparts a special expressiveness to a smooth, unified movement. A cheerful, lively clear rhythm emphasizes the lightness, clarity, cheerfulness of movements in folk dance.

So, the main principle of the musical design of the lesson

Folk stage dance is the correspondence of music to the nature of the movement, national color, its tempo, rhythm, style. The selection of musical works is competently conducted taking into account the nature of the movement and music.

Based on the foregoing, the accompanist will make the right choice in the musical design of the lesson, and then folk dance will help children enjoy life and movement in it and will be the most interesting and fun lesson.

Knowledge, skills and abilities of an accompanist

• Knowledge of legal documents Russian Federation on education, culture and the arts, including the Declaration on the Rights of the Child
• Knowledge of teaching methods, conducting classes and rehearsals, knowledge and compilation educational programs. Participation in the educational process, musical education of students
• Knowledge of the basics of pedagogy and psychology
• Development together with teachers of special and major disciplines thematic plans and programs
• Knowledge of the basics of choreography, ballet terminology classical dance, folk stage dance, historical and everyday, modern dance
• Knowledge musical literature, works of different eras, styles and genres, Russian, Soviet, foreign literature, ballet and instrumental, symphonic, opera, vocal music
• The ability to compose musical fragments, the selection of music for individual elements of movement, taking into account the individual abilities and physical data of students
• Ensuring highly artistic and professional performance of musical material in lessons, classes, performances
• Arrangements of musical works from scores, audio recordings, works of vocal and instrumental music
• Fluent sight reading
• Transposition of musical works
• Possession of elementary skills of improvisation
• Compilation of holistic musical compositions (by style, era, genres) for performances in high school in all disciplines of a special cycle
• Improving professional skills
• Updating the repertoire once a year at the request of the teacher-choreographer
• Knowledge of the rules and regulations of labor protection, internal labor regulations, safety and fire protection
• Possesses professional qualities: musical talent; the ability to work long and concentrated, artistry, endurance, tolerance, communication skills.
  

II. Class presentation:

Bow - in the Russian character, solemnly slowly (the theme of A. Varlamov "Red Sundress")

Warm-up in the middle of the gym(E. Karasev "Polka", Belarusian polka)

Exercise at the machine:

Plie (Plie) - on the topic - V. Kukarin "Ural lyric"

Battementtendu (Batman tandyu) -on the topic Western Ukrainian dance "Kolomyyka"

Battementtendujete (Batman tandyu zhete) - on the theme of the Belarusian dance "Bulba"

Heeled battement (Heeled batman) - on the theme of V. Temnov "Quadrille"

Rond de jambe parterre (Rond de jambe parterre) - on the topic Polish dance"Cuckoo"

Battementfondu (Batman fondue) - on the theme of Hungarian dance

Preparation for "Rope" - on the theme of r.n.t. "Lady" Part 1

Double "Rope" - on the theme of R.N.T. "Gander"

Grandbattement (Grand Batman) - the theme of the R.N.P. "I'll go outside"

Exercise in the middle of the hall:

Rotation with stop - var. on the theme "Lady" 1 hour

Rotation in running - var. on the theme "Lady" 2h.

"Pancakes" - pieces for accordion, - the theme of r.n.p. "Transport Dunya"

"Hammers" - "Drobushki"

"Motalochka" - "Dance with the button accordion"

The main move in a circle is dancing. Composition in the nature of the Russian dance "Yablochko"

Dance composition in the character of the Tatar dance

An extended combination based on male tricks - the theme of the song "Crew"

Praise from students.

Summing up the presentation.

Conclusion

Students are recommended to pay more attention to work on the ensemble, not to stop there, to comprehensively master the diverse and complex virtuoso technique of folk dance. And, of course, to take part in many concerts of the school, the city, in competitions and festivals of choreographic art.

The skill of an accompanist has a deep specificity. It requires from the musician not only great artistry, but also versatile musical and performing talents, excellent ear for music, special musical skills in reading and transposing various scores, in improvisational arrangement of musical material.

The activity of an accompanist requires a musician to apply multifaceted knowledge and skills in courses of harmony, solfeggio, polyphony, music history, and analysis of musical works.

A full-fledged professional activity of an accompanist implies that he has a complex of psychological personality traits, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unusual situations, endurance and will, pedagogical tact and sensitivity. The concertmaster must feed selfless love to his specialty, which does not bring external success. He always remains "in the shadows", his work is dissolved in the overall work of the entire team.

Used Books:

1. Blok L.D. Classical dance and modernity - M, 1987
2. Bezuglaya, G.A. Ballet accompanist: musical accompaniment of a classical dance lesson.
3. Work with the repertoire: Proc. allowance / G. A. Bezuglaya. - St. Petersburg: Academy of Russian Ballet. A. Ya. Vaganova, 2005.
4. Kryuchkov, N. A. The Art of Accompaniment as a Subject of Education / N. A. Kryuchkov.– L.: Muzgiz, 1961. 4. Music genres/ Common ed. T. V. Popova. - M .: Music, 1968.
5. T. Tkachenko. Folk dances. - M., 1975.
6. Klimov A. Fundamentals of Russian dance. - M., 1994.
7. Gusev G.P. Methods of teaching folk dance. Machine exercises. - M., 2002.
8. Gusev G.P. Methods of teaching folk dance. Dance movements and combinations in the middle of the hall. - M., 2004.
9. Revskaya, N. E. Classical dance: Music in the lesson. Exercise. Methods of musical arrangement of a classical dance lesson / N. E. Revskaya. - St. Petersburg: Composer, 2005.
10. Kholopova, V. N. Forms of musical works: Proc. allowance / V. N. Kholopova. - 3rd ed.,
11. Yarmolovich, L. I. Principles of musical arrangement of a classical dance lesson / L. I. Yarmolovich; Ed. V. M. Bogdanov-Berezovsky - 2nd ed. - L .: Music, 1968.

The main used Internet resources:

MANUAL FOR THE ACCOUNTER

IN THE CLASS OF CHOREOGRAPHY

ON

FOLK STAGE DANCE

Experience as an accompanist

MOU lyceum "MOK No. 2"

Dzhankoy, Crimea, Russia

Andrey Arkadievich Kaidalov

The role of the accompanist in the lessons of folk - stage dance.

The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical. The success of working with children largely depends on how correctly, expressively and artistically the accompanist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Choreography lessons are based on musical material from beginning to end. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. In choreography classes, students are introduced to the best examples of folk, classical and contemporary music and, thus, their musical culture is formed, their ear for music and figurative thinking develops, which help to perceive music and choreography in unity during staged work. The accompanist unobtrusively teaches children to distinguish between works of different eras, styles, and genres.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

The study of folk stage dance begins with exercises at the barre and continues in the middle of the hall. The selection of musical material in choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercise at the barre consists of specific exercises, each of which has its own specific musical requirements. In the process of work, there is an acquaintance with music and rhythmic pattern on simple musical examples. For the development of figurative thinking, small for perception are selected musical examples, but very bright in character and musical coloring, thanks to which the children, having listened to this piece of music, could create a mini-etude, or embody a specific image to the given music.

The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, as well as show an individual creative approach in the selection of musical arrangements for the lessons.

The manual includes mainly Russian, as well as Ukrainian, Belarusian, Estonian, Moldavian, Italian, Hungarian music arranged for button accordion or accordion. Musical material accompanies exercise exercises at the barre and in the middle of the hall. The musical examples correspond to the nature of the dance combinations. Slow exercises of a smooth nature alternate with fast and clear ones. The musical material corresponds to the order of exercises at the barre and in the middle of the hall throughout the lesson.

A selection of musical material for the lessons of folk - stage dance in the choreography class.

Machine exercises.

1. Plie - in the nature of Ukrainian dance. Musical size 4/4.

"Ukrainian lyric"

2. Battement Tendu - in the nature of Estonian dance. Musical size 3/4.

"Linen"

3. Battementtendujete - in character Italian dance. Musical size 6/8.

"Tarantella"

4. Heeled battementtendu

“Ah, Samara is a small town!”

5. Flik – flak - musical size 2/4.

"Slovak polka"

6. Ronddejambparterreetronddepied - in the nature of the Belarusian dance. Musical size 4/4.

"Yurachka"

7. Battementfondu - in the nature of Moldovan dance. Musical size 6/8.

"Hora"

8. Preparing for the rope - in the character of Russian dance. Musical size 2/4.

"Like thin ice"

9. Battementdeveloppe - in the Hungarian character. Musical size 2/4.

"Hungarian Folk Dance"

10 . grandbattementjete - - in the Ukrainian character. Musical size 2/4.

"Gopak"

Exercises in the middle of the hall.

jump combination.

Winder combination.

3. Kovyryalochka on jumps.

1. Key combination.

Rope combination.

Fraction.

Overtases.

Hungarian dance etude.

Belarusian dance etude.

Diagonal.

Running in a turn with a blow to the floor.

2. A combination of a winder with a picker.

Bibliography

"Introductory Course in Playing the Bayan". Compiled by: A. Ivanov. Moscow. Music. 2000

Bayan in the Music School. Issue 36. Plays for grades 3-4. St. Petersburg. Composer. 2000

Children's musical school "Bayan 3rd grade". Compiled by: I.D. Alekseev, N.I. Koretsky. Moscow. Kifara.2004

Children's musical school "Bayan 4th grade". Compiled by: I.D. Alekseev, N.I. Koretsky Moscow. Kifara. 2004

Bayan 4th grade. Educational repertoire Children's music school. Kyiv. Musical Ukraine. 2001

"School of playing the button accordion". Compiled by: Yu. Akimov Moscow. Music. 2008

Album for beginner accordionists. Issue 33. Moscow. Composer. 2000

Accordion Reader. Children's music school 3-4 classes. Moscow. Music. 2000

Reader of an accordion player. 3-4 classes of music school. Moscow. Music. 2000

Reader of an accordion player. Senior classes of children's music school. Moscow. Music.2000

Beginning accordion player's album No. 22. Compiled by: A. Talakin Moscow Composer. 2000

Folk melodies for button accordion (accordion). St. Petersburg. Composer. 2007

A. Mirek. Tutorial for playing the accordion. Salon musical instruments. Accord. 2000

Folk songs and dances arranged for button accordion. Issue 18. St. Petersburg. Composer. 2008

Musical watercolor. Pieces for accordion. Issue 9. Moscow. Composer. 2000

Young musician bayanist-accordionist. 5th grade music school. "Phoenix". Rostov-on-Don. 2010

R. N. Bazhilin. Accordion school. Publishing house of Vladimir Katansky. Moscow. 2008

V. Semyonov. Modern school of accordion playing. "Music". Moscow. 2010

Reader of an accordion player. 5th grade children's music school. Compiled by V. Nesterov and A. Chinyakov. Moscow. Music. 2000

The work of an accompanist in an art school includes purely creative (artistic) and pedagogical activities. Musical and creative aspects are manifested in work with students of any specialties. The pedagogical side of the activity is especially clearly revealed in the work with students of the vocal and choreographic classes.

The skill of an accompanist is deeply specific. It requires from a pianist not only great artistry, but also versatile musical and performing talents, the use of versatile knowledge and skills in courses of harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interconnections.

A full-fledged professional activity of an accompanist implies that he has a complex of psychological personality traits, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.

The specifics of the work of an accompanist in a children's art school requires him to have special universalism, mobility, and the ability, if necessary, to switch to work with students of various specialties. An accompanist must have a special, disinterested love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains "in the shadows", his work is dissolved in the overall work of the entire team. An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher.

The work of an accompanist in the choreography class

Consider the activity of a pianist accompanist working with children of different age groups in choreography classes.

The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical.

The success of working with children largely depends on how correctly, expressively and artistically the pianist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity is an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Choreography lessons are based on musical material from beginning to end. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, follows the development of musical images, forms a general idea of ​​the structure of the work, determines its character. Children form primary aesthetic assessments. In choreography classes, students are introduced to the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and figurative thinking develops, which help to perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish between works of different eras, styles, and genres.

Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, metro-rhythm. Music evokes motor reactions and deepens them, not only accompanies movements, but determines their essence. Thus, the task of the accompanist is to develop the "musicality" of dance movements.

1. Tasks musical education

In the process of teaching choreography, the following tasks of musical education are carried out:

1. Development of musical perception of the metrorhythm;
2. Rhythmic execution of movements to music, the ability to perceive them in unity;
3. The ability to coordinate the nature of the movement with the nature of the music;
4. Development of imagination, artistic and creative abilities;
5. Increasing students' interest in music, developing the ability to emotionally perceive it;
6. Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginners to graduates), with teachers of various dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of this age category and the dance direction, is not easy. There is only one way - continuous improvement, a serious creative approach to work.

2. Duties of an accompanist

The duties of the accompanist of choreographic classes include:

1. Repertory selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
2. Studying the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;
3. Acquaintance with new methods of "moving to the music";
4. Systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility, personal qualities of the accompanist and choreographer play no small role. For real creativity, an atmosphere of friendliness, ease, mutual understanding is needed. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

3. Selection of a piece of music

The technology for selecting musical works is based on the deep knowledge of the accompanist of system-choreographic education and involves:

1. Knowledge of schools and areas dance art;
2. knowledge traditional forms and stages of teaching choreography to children;
3. knowledge of the forms of constructing classes, obligatory improvisational moments;
4. knowledge of choreographic terminology (in particular, in French);

The selection of musical fragments requires the following points:

1. character
2. pace;
3. metro-rhythm (meter, accents and rhythmic pattern);
4. the form of a musical work (one-part, two-part, three-part, introduction, conclusion).

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria, a sense of artistic proportion. The constant sounding of the same march or waltz in the lessons leads to a mechanical, non-emotional performance of the exercises by the dancers. The other extreme is also undesirable: too frequent change of accompaniments scatters the attention of students; does not contribute to the assimilation and memorization of movements by them.

4. Working methods

To develop the "musicality" of the performance of the dance movement, the following methods of work are used:

1. visual-auditory(listening to music while showing movements by the teacher);
2. verbal(the teacher helps to understand the content of the musical work, stimulates the imagination, promotes the manifestation of creative activity);
3. practical(specific activity in the form of systematic exercises).

In terms of musical education, the accompanist has the opportunity to teach children the following:

1. highlight the main thing in music;
2. convey by movement a different intonational meaning (rhythmic, melodic, dynamic beginning).

This can be done at any stage of the lesson: both in exercises and in dance etudes.

5. The main stages of introducing children to musical accompaniment in the lessons of classical and folk stage exercise.

First stage- initial acquaintance with a piece of music. Here are the tasks:

1. to introduce students to musical fragments,
2. learn to listen and respond emotionally to the feelings expressed in them.

Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. Here are the tasks:

1. the ability to perform movements in accordance with the nature of the music,
2. in-depth perception and transmission of the mood of music in motion,
3. coordination of hearing and character of movements.

At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement of the classical and folk-stage exercise in accordance with the requirements (squareness, rhythmic pattern, the nature of the melody, the presence of a beat, metro-rhythmic features, tempo, size).

Third stage- education and consolidation of skills, that is, automation of ways to complete tasks in strict accordance with the nature, tempo, rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was worked out in the learning process at the second stage is fixed. Auditory and visual control is supported by motor control.

Automate the way the task is performed. Students consciously solve the tasks assigned to them, relying on the acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of form, images. Children develop an interest and love for music. Through musical images, children learn the beauty of the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning the classical exercise, which is the main part of the lesson (exercise at the stick, in the middle of the hall and allegro). The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall. The selection of musical material in choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. The exercise at the stick consists of specific exercises, each of which has its own specific musical requirements. In the first year of study, children are engaged in rhythm. At this moment, the correct coordination of movements is developed, the setting of the body, head, arms, the muscles of the legs develop. In the process of these lessons, they gain knowledge about the rhythmic organization, sizes, musical images that they embody in dances and etudes.

In the process of work, one gets acquainted with the music and the rhythmic pattern of the march, polka, waltz, mazurka, polonaise, using simple musical examples. For the development of figurative thinking, not large and not difficult to perceive musical examples are selected, but very bright in character and musical coloring, thanks to which the children, after listening to this piece of music, could create a mini-etude, or embody a specific image to a specifically given music (“ Clowns”, “The sea is worried”, etc.).

At the next stage of learning, children again encounter these dances or movements, but on more complex musical material.

In the second year of choreography training, classical dance is introduced as the basis of all subsequent training, built on the best examples of world choreographic art.

In the first year of learning classical dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complicated, the musical material becomes more complicated.

The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in the lessons of folk stage and classical dance), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of musical arrangement lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for the lessons of classical exercise at the stick. Classical exercise throughout the entire training has a certain set of elements that are studied from year to year, but as they are mastered, they constantly become more complicated and combined. The musical arrangement of classical dance lessons should be very diverse both in terms of melody and rhythm. The nature of the rhythms often changes during the lesson. When a new movement or its individual elements is being studied, the rhythm should be simple, the melody uncomplicated, accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complicated, the shape and size of the musical fragment changes, especially in jumps, or when various exercises are combined into a single combination. In addition to the use of musical material, musical improvisations by the pianist are possible and desirable.

6. Principles of selection of musical fragments for classical exercise.

Musical fragments for classical exercise must have the following properties:

1. Squareness.
2. Certain rhythmic pattern and tempo.
3. The presence of triggers.
4. Tempo and metric features.

Summing up the above, I would like to once again note the specificity of the work of an accompanist in the choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, and at the same time show artistry and versatile musical and performing talents.

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Municipal state educational institution

additional education for children

"Manturovskaya children's art school"

abstract

on the topic "Principles for the selection of musical material in the lessons of folk stage dance"

Choreography teacher

Bolotova Natalya Ivanovna

With. Manturovo

2. Aspects of the activity of an accompanist

4. Requirements for musical material in the lessons of folk stage dance

Conclusion

1. Concertmaster - full participant creative process

Dance is born from music, so the role of those who create this music is great.

An accompanist is a full participant in the creative process, a co-author of a teacher. In addition to mastering the technique of performance, the choreography accompanist must know and understand the technology of movement, help students hear the music and, having felt it with their muscles, translate it into plastic, create an emotional atmosphere for the lesson.

We list the knowledge and skills necessary for a choreography accompanist to start a professional career in a children's art school:

knowledge of the basics of choreography in order to correctly organize the musical accompaniment to the dancers; awareness of the basic movements, the ability to simultaneously play and see the dancers; the ability to lead a whole ensemble of dancers; the ability to improvise (select) the introduction of the conclusion, necessary in the educational process in the choreography classes;

the ability to pick up a melody and accompaniment "on the go"; improvisation skills, that is, the ability to play the simplest stylizations on folk themes, without preparation to develop a given theme in texture, to select by ear harmonies to a given theme in a simple texture;

knowledge of the history of musical culture.

2. Aspects of the activity of an accompanist in an art school

One of the important aspects of the activity of an accompanist is the ability to read from a sheet fluently. You can't become a professional accompanist if you don't have this skill. In the educational practice of the Children's School of Art, there are often situations when the accompanist does not have time to familiarize himself with the musical text in advance. In addition, the abundance of the repertoire that is in the work with students of different specialties does not create conditions for memorizing texts and they always have to be played from notes. The accompanist is required to quickly orient himself in the musical text.

Before starting to accompany from a sheet, the musician must mentally cover the entire musical text, imagine the character and mood of the music, determine the basic key and tempo. mental reading material is effective method to master the skills of reading from a sheet. However, the moment of mental grasp of the musical text precedes the game in the process of accompaniment, since the reading of notes always precedes their execution.

The specifics of the work of an accompanist in an art school suggests the desirability, and in some cases the necessity, of possessing such skills as selecting accompaniment to a melody by ear, elementary improvisation of the introduction, acting out, and conclusion.

The ability to play by ear makes it possible for an accompanist to free his attention (take his eyes off the notes) in order to keep the dancers in sight. If there is a contradiction between playing according to notes and the need for constant visual control over a moving group, the accompanist facilitates his task by accompanying by ear, partially improvising the author's and his own version of accompaniment, which frees him from the fettering attachment to the musical text. The ability to improvise musical inserts, introductions and conclusions (for the moments of exit, restructuring of the dance group, in the nature of the performed accompaniment is absolutely necessary for the successful conduct of choreography classes.

3. Music and dance are a means of developing the emotional sphere of children

lesson choreography dance musical

Consider the activities of an accompanist working with children of different age groups in choreography classes. The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and an accompanist. Children receive not only physical development, but also musical. Important role in the process of education, musical accompaniment plays, which is the basis of each lesson.

The success of working with children largely depends on how correctly and expressively the accompanist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity is an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Undoubtedly, classical dance plays the main role in the choreography.

It is during the lessons of classical dance that the setting of the body, the turnout, the positions of the arms and legs are developed, therefore, when coming to the folk dance class, the children already have some skills in choreography, which greatly helps them in mastering a new subject.

4. Requirements for musical material in the lessons of folk stage dance

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines, expanding and enriching the performance capabilities of students. At the lessons of folk stage dance, children get acquainted with the dances of peoples of different nationalities. Since one of the main tasks of a teacher of folk stage dance is to teach students to accurately and expressively convey the national character of the dance, the musical material should be bright, colorful and rhythmically convenient.

Folk dance is organically connected with music. She gives each movement expressiveness, completeness. The main principles of the musical design of the lesson is the correspondence of music to the nature of the movement, its tempo, rhythm, style. The selection of musical works is carried out taking into account the nature of movements and music. She gives each movement expressiveness, completeness.

Folk stage dance lessons are based on musical material from beginning to end. The bow, the transition from one exercise to another should be musically designed so that the students get used to organizing their movements according to the music. The musical material must correspond to the movement in character, style, national coloring. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, follows the development of musical images, forms a general idea of ​​the structure of the work, determines its character. Children form primary aesthetic assessments. In the lessons of folk stage dance, students, getting acquainted with the dances of peoples of different nationalities, join the best examples of folk music, thus forming their musical culture, developing their ear for music and imaginative thinking, which help to perceive music and movement in unity during staged work. . The accompanist unobtrusively teaches children to distinguish the nature of a piece of music.

5. Tasks of musical education

Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, metro-rhythm. Music evokes motor reactions and deepens them, not only accompanies movements, but determines their essence. Thus, the task of the accompanist is to develop the "musicality" of dance movements.

In the process of teaching choreography, the following tasks of musical education are carried out:

development of musical perception of the metrorhythm;

rhythmic execution of movements to music, the ability to perceive them in unity;

the ability to coordinate the nature of the movement with the nature of the music;

development of imagination, artistic and creative abilities;

increasing students' interest in music, developing the ability to emotionally perceive it;

Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginners to graduates), with teachers of different dance styles - classical choreography, folk and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of this age category and the dance direction, is not easy. There is only one way - continuous improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

· repertory selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;

study of the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;

Acquaintance with new methods of "moving to the music";

· systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

6. Creative community of the teacher-choreographer and musician

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and the accompanist must certainly be in creative contact, they must know the choreographic and musical material of each lesson well. And here we can talk about a subjective position, because a significant role is played by psychological compatibility, the personal qualities of the accompanist and choreographer. For real creativity, an atmosphere of friendliness, ease, mutual understanding is needed. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

The teacher-choreographer programs and plans work in choreographic classes. The accompanist often has to work with several teachers, and most often the accompanist comes to a ready-made program. Thematic planning educational material choreography is also done by the teacher. The accompanist must know both the program and the plan of each year of study, and the plan of each lesson. The co-creation of a teacher-choreographer and an accompanist is necessary in all areas (planning, implementation of programs of educational and staging work). The construction of the lessons does not depend on the accompanist, it is decided by the choreographer. But what will be the return, at what emotional level they will pass, largely depends on the musician, on the music selected and offered by him.

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria, a sense of artistic proportion. The constant sounding of the same pieces in the lessons leads to a mechanical, unemotional performance of the exercises by the dancers. The other extreme is also undesirable: too frequent change of accompaniments scatters the attention of students, does not contribute to the assimilation and memorization of movements.

7. Methods and techniques of musical development of students in choreography lessons

Musical development in choreography lessons is carried out using certain methods and techniques. The primary source of knowledge is the music itself, only it awakens the "musical" feelings of a person. At first, work is underway to accumulate experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to understanding and perception of the musical image of specific musical works. The third source is directly the musical and dance activities of the children themselves.

To develop the "musicality" of the performance of the dance movement, the following methods of work are used:

visual-auditory (listening to music while showing movements by the teacher);

verbal (the teacher helps to understand the content of the musical work, awakens the imagination, promotes the manifestation of creative activity);

practical (specific activity in the form of systematic exercises)

The main musical idea embedded in the work is the melody, the basis of music. The most important element of music is rhythm. Also a characteristic feature - the alternation of heavy sounds with lighter ones - is the concept of meter in music. Tempo as speed is basically the same in both music and dance. Dancing children should know, understand, define all these characteristics. And this is the basics of musical literacy. Rhythm, melody, meter, harmony, timbre - together make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during the organic connection of movement and musical phrase (beginning and ending). The concertmaster teaches the execution of "commands": the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is brought up.

8. The main stages of introducing children to musical accompaniment in the lessons of folk stage dance

Consider the main stages of introducing children to musical accompaniment in the lessons of folk stage dance.

The first stage is the initial acquaintance with the piece of music. Here the tasks are set: to acquaint students with musical fragments, to teach them to listen and emotionally respond to the feelings expressed in them, to be able to accurately perform the introduction.

Auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer shows the movements to the musical accompaniment (the first stage is one or two lessons).

The second stage is the formation of skills in the field of musical performance of movements, the perception of musical accompaniment in unity with movements. Here the tasks are set: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, the nature of the melody, the presence of a beat, meter-rhythmic features, tempo, size).

The third stage is the formation and consolidation of skills, that is, the automation of ways to complete tasks in strict accordance with the nature, tempo, and rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercises, development of independent creative activity of children. At this stage, everything that was worked out in the learning process at the second stage is fixed. Auditory and visual control is supported by motor control. Automate the way the task is performed. Students consciously solve the tasks assigned to them, relying on the acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, the brightness of the images. Children develop an interest and love for music. Through musical images, children learn the beauty of the surrounding reality.

The study of folk stage dance usually begins with learning the exercises at the barre, but unlike classical dance, the exercises here are much simpler. A folk dance lesson, especially at the beginning of training, does not line up right away. Gradually, training combinations are formed from individual elements, movements. The selection of musical material in the classroom is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of learning folk stage dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complicated, the musical material becomes more complicated.

The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of the musical design of the lessons.

9. Principles for selecting musical fragments for exercises at the barre

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined. The musical accompaniment of folk stage dance lessons should be very diverse both in terms of melody and rhythm. The nature of the rhythms often changes during the lesson. When a new movement or its individual elements is being studied, the rhythm should be simple, the melody should be simple, accessible. Then, in the process of work, the musical material becomes more complicated, the rhythmic pattern inside the measure becomes more complicated, the shape and size of the musical fragment changes. In addition to the use of musical material, musical improvisations by the pianist are possible and desirable.

Musical fragments for exercises at the barre must have the following properties:

· Squareness.

At the initial stage, it is very important that the work can be divided into squares. This means that one movement is done 4 times: with a cross - forward, sideways, back, sideways. A square consists of measures in 2/4 or 4/4 time. In the future, as the dance technique is acquired, the pace accelerates, but the squareness remains.

· A certain rhythmic pattern and tempo.

For the execution of movements such as slow squats, circular movements of the foot, the rhythmic pattern does not really matter, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on the mobility of the foot and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo with eighth notes; sixteenth and eighth notes must be present in the musical fragments (2/4 or 4/4 size for slow performance).

· Presence of triggers.

Any backbeat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on the strong beat, the lead time does not play a decisive role, since the movements at this stage are performed at a slow pace in squares on the strong beat. In the future, this quality plays an important role. Any start-up, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. Zatakt can be used in all exercises, as it is easier to start the movement from it.

· Tempo features.

When accompanying a lesson, the musical tempo is determined by the frequency of the coincidence of the pulsation with certain moments of movement. The students and the accompanist know in advance the basic tempo of the combination, because the nature and features of the elements suggest a certain pace of performance. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movement of the legs, because movements of the hands and head are most often smooth, leading or lagging.

The pace of accompaniment is determined by the following factors:

The multi-level nature of education. On the early stage mastering the exercises, all movements are performed slowly. Gradually the pace picks up.

The nature and way of performing the movements themselves. Smooth elements are performed slowly, active and sharp - at a more mobile pace.

· Metro-rhythmic features.

Dance movement, if necessary, can be represented in any musical meter. Only the typical way of performing the movement in relation to the strong beat is important (“because of the measure” or “on time”).

10. Selection of musical fragments for basic exercises at the barre

Squats - size 4/4, 3/4, 2/4 music is smooth, tempo is moderato. The fragment must be square, the presence of an even rhythmic pattern does not matter. It is desirable to have a push.

Exercises for the development of foot mobility - size 2/4 34 the nature of the music - clear, peppy, allegro or allegretto tempo. For a musical fragment, squareness is desirable. Rhythmic pattern is of great importance. In addition, the possibility of metric-rhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The lead time and its accentuation are also of great importance for the accuracy of performance and the transfer of the nature of the movement.

Small throws - size 2/4; tempo - allegro, a clear rhythmic pattern (if possible, syncopated). At the initial stage, squareness, a clear rhythm with an emphasis on "and" matters. The presence of an out-of-tact is necessary from the initial moment of study. Possible meter-rhythmic expansion up to a quarter. At the initial stage, the tempo in 2/4 time is slow, then fast.

Circular movements of the foot - size 2/4, 4/4, 3/4; the nature of the melody is smooth, the pace of performance is moderate, but increases as the movements are mastered. One movement is done in this case for 1 beat, thus slowing down the tempo. If a fragment is selected for 2/4, then the tempo should be slow, and if the size is 3/4 - faster.

Heel exercises - size 2/4, The nature of the melody is bright, cheerful, the tempo is allegro, a clear rhythmic pattern is needed. The squareness matters, the beat is possible.

Low and high foot turns - size 2/4, 4/4 and 34 the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, an upbeat is possible. Metrorhythmic expansion is required initially if a time signature of 2/4 is given (if 4/4 is not); in this case, one movement is done for 1 beat, thus slowing down the tempo.

Fractional percussions - size 2/4, 3/4 The nature of the melody is bright, cheerful, tempo moderato, a clear rhythm is needed. Squareness matters. Possible hitch.

Relaxed foot exercises - size 2/4; tempo - moderato clear rhythm. Squareness matters only at the initial stage. Rhythmic pattern is desirable from small durations. There may be a hitch. Rhythmic expansion is needed more at the initial stage, when the tempo is slow, than when the movement is already "worked out".

Preparation for rope size 2/4, tempo-allegretto, moderato. The nature of the music is bright, cheerful. The rhythmic pattern is clear. You should select square musical fragments.

Leg opening 90 - size 4/4, 3/4; the nature of the music is smooth, calm, tempo moderato, possibly allegro moderato. For better assimilation, square musical fragments should be selected. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

Big throws - size 2/4, 3/4; the nature of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. Rhythmic pattern plays an important role. Emphasis is needed on the strong beat. In 3/4 time there must be an overbeat. Decomposition into larger durations is possible at the initial stage of training; the pace varies depending on the technical "advancement" of the students - from slow to fast.

Based on the foregoing, it is possible to formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

All movements of the exercises at the barre are divided into slow and fast, with a clear rhythm, and smoothly sliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4 sizes); with syncopated rhythm (in 2/4, 3/4, 4/4 time signatures); at a moderate pace (on 2/4 and 3/4).

It is necessary to remember about the squareness, that is, one movement is done in a cross for 4 cycles. The musical fragment is divided into phrases, each of which consists of four measures. A complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 measures, but it must be musically complete.

Preparation for each exercise for which hands are “opened” is called an introduction. At the initial stage of training, this section can be expanded (8 measures or more), and then short (2 measures and 4 measures). All introductions should be performed exactly according to the tempo and character of the selected music.

At the initial stage, exercises are learned for a strong share. And as you memorize them, you need to step up, especially for exercises for the development of the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on a strong and weak beat, with a small rhythmic pattern.

· Musical fragments with an emphasis on the first beat are selected for movements in which the kick of the leg is accentuated, or you can independently accentuate it during the game. This applies primarily to large throws.

· At the initial stage of learning, when a 2/4 musical fragment with a small rhythm is taken, it is important to decompose it into larger durations, but so that the character of the music does not change.

Often the tempo is accelerated due to the fact that at the beginning one movement is done for a whole measure, then only for strong beats. Thus, under the same piece of music, the movement can be performed both quickly and at a slow pace.

· For simple combinations, simple musical fragments with a clear melody, in a simple meter, with a simple rhythmic pattern should be given. In cases where more complex time signatures are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

· Musical material in each year of study is gradually becoming more complicated.

· At a later stage of training, when more complex combinations are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the task of the accompanist is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, about tempo, size, lead-in, rhythmic pattern. When performing combinations, the close connection between music and movement is of great importance. Smooth, melodious music imparts a special expressiveness to a smooth, unified movement. A cheerful, lively clear rhythm emphasizes the lightness, clarity, cheerfulness of movements in folk dance.

Conclusion

So, the main principles of the musical design of the lesson of folk stage dance is the correspondence of music to the nature of the movement, national color, its tempo, rhythm, style. The selection of musical works is competently conducted taking into account the nature of the movement and music.

Based on the foregoing, the accompanist will make the right choice in the musical arrangement of the lesson, and then folk dance will help children enjoy life and movement in it and become the most interesting and fun lesson.

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