Learning to play the cello for children in the early ages. Positioning the left hand during an hour of playing the cello. Take one position at a time. What problems can children have when playing the cello?

Lesson 4 (mastering the first position, Gama in C major)

At the first lesson we sang the tune of the cello: la, re, sol, do (starting from the top). Ix can also be calculated 1,2,3,4 the string is perfect.

You should know the C major scale melodiously:

DO-RE-MI-FA-SOL-LA-SI-DO

And I may, like all major gams, be like this:

Tone Tone Napivton Tone Tone Tone Napivton

We also already know that between the skin of the finger of the left hand there is a thin, splayed patch. Well, we can already remove the scale in C major from the first position.

1. First note - before, play the lowest 4th string (plucked, pizzicato),

3. mi- 3rd finger (ring finger) 3rd – because between d and mi tone),

4.F- 4th finger (little finger) to the pvton, that is the sovereign finger,

5. salt- Open string (3rd string, it doesn’t get squeezed),

6. la- 1 finger (can be played with the 1st string open),

7. sі- 3rd finger,

8. before- 4th finger.

Ale mi na tsyomu don’t miss a beat, let’s say an octave to a friend , continue:

9. re- The string is open,

10. mi-1 finger,

11. F- 2nd finger, because from m to fa - pvtonu,

12.salt- 4th finger,

13. la- the string is open,

14. sі- 1 finger,

15. before- 2nd finger, because from si to note do - pivton.

Now it’s no longer possible to play at the gateway.

I see, you have struck my first position on all strings!

I lost only the memory of the place of re-treading on the fingerboard and on the staff. This is reached through the path of constant repetition.

Let's talk a little about positions. We already know where to be first position : 1st finger on the note (string C), A - on the string S, etc. The pointed finger secures the position of the hand, and by stretching the chords in C major at the 2nd octave, the hand does not collapse vertically.

U other positions The first finger is placed either on E-flat, or on E (string C) - where the third finger is.

Third position - the first finger on the note F or on the F-dez (string C) - there, where the 4th finger is.

Fourth position – the first finger is on the note sil (string C), it also sounds like i vykrita.

At the beginning stage, it is necessary to master the first position, carefully follow the position of the left hand and intonation. Good luck!

Municipal lighting installation

"Children's school of mysteries No. 1"

Vikladach for the cello class by Privalova T.P.

Subject: " Formation of a beginner's voice on the cello at the beginning stage of learning"

Vikonala:

orchestral department's bookkeeper

municipal initial mortgage

additional education for children

"Children's school of mysteries No. 1"

Privalova Tetyana Pavlivna

G. Balashov 2013

Plan

I. ENTRY

II. MAIN PART

1. Getting to know the tool
2. Formation of gaming skills in the game
3. Preparation right with an olive for the right hand
4. Preparation right for the left hand

III. VISNOVOK

ENTRY

The task of a teacher at the hour of the beginning of a musician’s learning

In the process of learning to play the instrument, the teacher develops an important musical-virtual work, developing a musical ear for music, a sense of rhythm, and artistic expressions about the character and style of the works that are being developed.

The role of the teacher is especially great during the early learning of a musician, when the foundations of his musical-mystical manifestations and Viconian mastery are laid. A teacher who works with children is responsible for deeply understanding the child’s interests, being able to correctly identify individual characteristics and learning abilities,

create a mind for self-realization, self-recognition and self-importance of specialness, develop such abilities that would help the child to develop healthy development and stimulate this development. It is necessary to carry out creative physical exercises during breaks during the lesson to coordinate the arms, relieve muscle tension, and follow the formation of the correct position (manual, correct posture behind the instrument), establish the principle of psychological comfort (created by a situation of success, which corresponds to increased self-esteem of students) , trust the form before the payment and the development of good-natured mutuals).

From the first lessons I learned it was important to listen to one’s own voice, to carefully control the brightness of the sound, the accuracy of intonation, and to exercise the strength of comfortable hands. By way of figurative explanations and demonstrations on the instrument, the teacher needs to ensure that the teaching of the minds to follow the rules and accept them in a clear manner in different situations.

It is necessary to master the learned willpower: vitrima, persistence in achieving the intended goal, commitment in the face of difficult problems, the ability to independently navigate the music-conducting work.

It is important to pay great attention to the proper organization of household activities such as studies, health care services, individual data, as many hours as can be allocated for those who need to use the instrument.

Chapter I. Understanding the tool.

Well, the first acquaintance with the instrument, from the sound of the cello from the viconic teacher and from the light of music can brighten up, but if you learn to play the cello and bow, it will be psychologically and physiologically he spits because he thinks it’s even more important, so the first skills are three This sword must be practiced on sheep or clubs, so as not to cry out to the student out of fear.

In the first lessons, the teacher will familiarize students with the details of the instrument and bow, the names of the open strings. Of great importance is the correct selection of the instrument and the mixer, which is consistent with the growth and physical structure of the player. The most complete time to sit is approximately½ The seat is in a straight position, the back is straight, the body bends forward three times, the legs must be placed with the entire foot. Then choose a height of such height that the student can easily reach his feet with his feet. The cello is supported at three points:

1 . On the spiers.

2 . At the breasts - closer to the right side.

3 . At the knee of the left leg.

In a number of cases, the cello is also supported by the right foot. For ease of use, the cello is installed carefully. The strength of the instrument is adjusted using a pin. Today's cello playing will have not only straight, but also curved spiers. Vigin is not to blame for being above-worldly. The greatest dovezhna of the spire is indicated by the last way. To make sure that you are comfortable with the bow on the A and D strings of the cello, turn your right hand just a little bit (in the direction of the plucker), but not too much, otherwise the freedom of the right hand when playing on the C string will be limited.

Due to the beginning of the developmental period, an onset of stereotype development begins: the initial position of the hands, the development of notes, and the further study of the song according to the “Chrestomatiya”, in which the new song includes new technological difficulties. The activities will range from simple to complex. Small successes lead to great successes, and they also lead to further learning. Listening to a song is already musical creativity, and it can bring joy and satisfaction to the song when the song “comes out.” Such activities bring joy, and at the same time they bring great peace to the smooth, intuitive use of the hands, the muscles of the gaming machine and the instrument.

Section II. Formation of gaming skills like game.

Much more than the first stage, the beginning of vikorystuvovat impersonal simple rights, which are given to students as a rule. Each of these rights can be named and in class, in addition to training, it is time to take up these rights, which are constantly being updated. So, step by step, learn how to develop the first steps in the formation of all gaming skills and techniques in the simplest form. The student, with the correct understanding of the principles of game reflexes, develops intuition before realizing new tasks. Since the Wyconian intuition is poorly developed and inactive, then when interacting with the new “important” Wyconian material, insignificant physiological effects on the gaming apparatus may appear, which may Now to bring to the stress of already great pains, but you know, in your heart, before changing the configuration. hand placements It is very important to correct the wrong ones, and often the plan of work in the initial musical foundation does not allow you to slow down, go back a little, or do something to prevent the placement of your hands. Incorrectities are being scattered, piled up, and the teaching becomes unpromising.

Work on musical and musical technique depends on the fact that one plays a constant concentration, a conscious display of will, activity and initiative, effortlessness in the tasks at hand, and sitting in activities. All this sweetness, vibrancy, and character of the school is learned from her, from the out-of-world school, and from various community organizations. To whom may be given great respect and illumination of the musical foundations.

Preschool education is based on the figurative and emotional content of music. The ability to understand music and respond emotionally is initially highly advanced in children of the age of play. It is necessary for the child to consistently and comprehensively develop the baby on the basis of the understanding of speech, hearing, learning of musical notation, selection of melodies, transposition with staging of hands, rights, aiming at developing the gaming device for your tension. Care must be taken to show that children cannot play harmonies and arpeggios for too long, through a lack of respect and sitting stillness. As long as students grow up, they will never be able to give them many rights. One of the most necessary types of work in the preschool period is sleeping. The understanding of the songs should be fully developed in the range of the great second and gradually increased. This contributes to the development of pitch hearing, the established connection “bachu-chu - I create.” In this way, the pitch characteristics of sounds and their designations on the musical staff become familiar. Next, it is possible to move on to the analysis of the melody line of the song: the high or low level of the melody, step by step or cut, repetition of the same sound. Given the nature of the mood of the song, it inevitably connects them with their experiences.

The first songs, until they have mastered the technique of trimanna and bowing, continue playing with a “pinch” - the pizzicato technique on soft strings. We soon become accustomed to trimming the bow correctly, practicing, as they said, on a sheep. Correctly applied key will ensure that the sound production can be reached by the weakest hands of all parts of the hand. And the hands of the hand should lie under the vicorized part of the bow and the nature of the strokes. The development of equal sound is important in the process of mixing different zusils. So, it's about time piano at the block you have to press the bow "on the vase", in the middle without pressure, at the end - with a slight pressure. It's time to warm up forte With the lower part of the bow, the hand presses tightly onto the string; on the middle and especially on the upper parts of the bow, a significant vice is required. The support of the hand is focused on the middle and great fingers. The mark is made from a small tip of the reed at the back of the fingerboard.

In practice, there are a variety of ways to trim a bow, but there is no way to trim the bowl without strain at the same time to achieve a “smooth” and smooth finish; vin (method) of calling to the correct, strong use of the bow and, through, the attainment of a high-acoustic sound.

Section III. Prepare the right with an olivets for the right hand.

Correct lens configuration parameters:

4 fingers are slightly separated, rounded, the thumb is also rounded and placed opposite the other;

While touching the vase of olives, hit the “pad” alternately with the skin (1-4) fingers, without rubbing the other fingers;

Three-footed the sheep, roll it between the fingers and thumbs, trying to achieve the free plasticity of the arms;

Roll around the oval arms with a pencil in one direction or the other;

Vibrate, tremble the olive, crumble up and down (as if you were shaking when saying goodbye or playing in the ball about a forgery);

Continue moving along the tree (club) using your fingers;

By pressing alternately with the 1st and 4th fingers, achieve the effect of the goydalok;

Approach and sweep the olive up to the valley, bending and unwinking your fingers.

Viroblennya of cob novichok vednya smichka:

The main goal of learning music from the beginning stage is to learn how to practice the music that is necessary for that other gaming direction and the music that is necessary for that direction. So, in preparation, you need to make sure you use the bow correctly:

1. Right-gra “Pull”.

Place the bowl on the table (hair down) as if to show the “slats”. Let’s take a “pull” with only the 2nd and large rounded fingers and stretch it with “slats”. The brush at various points in the space becomes unchanged, the configuration of the pencil, in relation to the bow, does not change during the hour of play, it only changes between the pencil and the forearm.

2. Right-gra “Goydalka”.

Pass the entire “goydalok” between the 2nd and big fingers. The 1st and 4th fingers steadily coordinate the pressure of each of their fingers on the reed along the same axis.

3. Right-gra “Turnik”.

The student lowers his fingers to the point of the bend of the first phalanges on the bow, which the teacher holds in front of him, level with his chest, and his whole hand hangs limply on this horizontal bar. When a teacher steals a zipper from side to side, the student’s hand is relaxed and is forced to collapse slenderly, freely sagging at all joints. Here we set the goal of learning how to practice the singing of the hands autonomously, with complete relaxation of the whole hand, with the calmness of the other muscles of the hand and the whole body. The teacher is responsible for ensuring proper control over the correctness of all parameters of the trimann bow. At this stage, it is necessary to completely vikorize the smallest, strongest, because Trimanya on the vase of an important switch can be pressed from the hand. When playing, the bow curls up onto the string with its own force.

4. Right-gra “Pull-shtovhai.”

Students need to step by step master the most important movements of the hands: when moving the key down (P), it is necessary to “pull”, and when moving it “up” (V), it is necessary to “pull”.

Section IV. Preparation right for the left hand

Place the first and great fingers together so that a ring emerges. The same thing - with other fingers, tap the skin finger on the great finger. When connecting with the thumb, try to save the ring, in which only one finger works, the others do not need to help, and, if possible, do not need to get caught in your hand. I have special respect for this. Further, you have the right to work on the fretboard, with different fingering options:

Pressed down with a light blow

1st 2nd

1st and 2nd 3rd

1st, 2nd and 3rd 4th

1st, 2nd, 3rd and 4th time

1st, 2nd and 3rd one hour

1st and 2nd 3rd and 4th one hour

2nd 1st and 3rd

1st and 3rd 2nd and 4th

2nd 1st and 3rd alternately

1st and 3rd 2nd and 4th alternately

1st and 2nd 3rd and 4th alternately

This kind of relaxation often occurs among students when, after the 1st pressed finger, it is lowered onto the string only the 3rd without the 2nd, which at this time is no longer lifted, leading to tension in the pencil. A brush that is “woody” and embossed loses its plasticity. When playing with vibration, use only one playing (vibrating) finger on the string. And in technical sequences, the front fingers move on the string. It is necessary to place your fingers on the pads, because... There itself is the most sensitive, most intelligent area of ​​the finger - the receptor, the nerve terminal. The thumb is constantly pressed to the neck, then. is obliged to hide on the neck and make a “ring” with the 1st finger, as it is to the right. This type of play requires minimal use of the proximal fingers (playing fingers and thumb) to ensure that the strings are pressed to the fingerboard.

1. Right-gra “Semaphore”

The finger is obliged to “memorize” well due to the light forging and mitten galmuvaniya for the help of a short-hour strengthening of the vice. The buzzer needs to work exactly on the boundary in front of the “semaphore”. The roc vibrates even faster, and the tooth vibrates even faster. This technique needs to be practiced both straight up and down, close to the skin of 4 fingers.

2. Right-gra “Propeller”

Squeeze the teaching line in your fist and wrap it in one or the other wrapper as tightly as possible. The main wrap in this form will be the forearm and hand, which will stand straight. With these kinds of changes, the hand may lose its absolute freedom. This to the right is a preparatory form for the development of vibration. We must not forget about those who in the early days of life cannot occupy themselves with the same activity for a long time. Therefore, the teacher is obliged to give him the necessary adjustments in the world and spend time on learning notes, cleaning the instrument, etc.

The teacher is responsible for constantly working on the development of auditory and figurative manifestations of subsequent creations. From the first lessons and continuing further, it is necessary to achieve the intonation and rhythmic accuracy of the poem. Softness, purity and fullness of sound are the main benefits at all stages of learning. Without allowing too much force in the sound, as well as a superficial sound, it is necessary to first awaken in the study the responsiveness of the sound and the vibrancy of the sound.

The work with an accompanist is of great importance for the development of musical studies. The victorious study of works with accompaniment enriches the musical composition of the study, helping to better understand the work, and to create a sophisticated ensemble sound.

In the lessons of this specialty, students can master the first skills of playing in an ensemble. Classes in the ensemble can be carried out initially in pairs with a teacher (the teacher plays the most important role). For students of intermediate abilities, playing in an ensemble is often the only opportunity to take part in a concert performance.

VISNOVOK

We took a look at the problems that arise for violin class teachers who are working with students at the beginning stage of their education. This very stage, where the foundation is laid for the formation of the study of a Viconian musician, receives great respect from musicians-methodologists, psychologists and physiologists. All problems can be seen from the beginning of playing the cello, but teachers need to develop in detail the preparatory period, which may lead to changes in the psychophysiological difficulties that arise in a young musician in his first music lessons. Having begun the optimization process, the teacher should widely use a systematic method to solve existing problems, find new creative solutions, and create a wide field for the thorough musical culture of the next generations.

Literature

O.Brown. "Draw the technique of playing the cello." Moscow. 1989

R. Shevtsiv. “The beginnings of a cellist-coachist.” Moscow, 1998

H.Becker. “Technique and mystique of the cello.” Moscow. 1978

V. Birina “Peculiarities of early learning to play the cello (preschool group). Moscow. 1988

M.Boitsova “History of instrumental viconacy” 2005 Berlyanchik

The role of a teacher in a newlywed cellist. First lessons. Methodology for developing the right planting and cello installation in the cob. Positioning of the left and right hands. Take the first position. The development of the cob stem of the vedennya smychka.

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• To find such a teacher, who will never let you down again. It is important to recognize the strength in your abilities. A financial planner, as you deserve, but one who does not correct your plans, because asking you to do things that you don’t want to do, is unlikely to help you achieve your goals.
• Penzlik, who presses the strings, is always guilty of bending with an arc.
• Don't forget that you may need quite an hour to learn how to play clear sounds on the cello. Rich professional musicians didn’t know this right away. If you know how to play the bass guitar, it will be easier for you; violins and violists need more than an hour; I decided to spend a lot of time and energy on this. Months may pass before you reach a pleasant sound, but in the end you may be strengthened by rocks. It's a pity, it's so effective.
• There are a lot of musicians-cobs who want to play Bach's suite. Since you’ve just started getting started, you’ll be able to finish everything first, and you’ll be able to play in just 5 days (after 3 days, since you’re doing a lot of work). The suites are written with increasing complexity. Most of the suites are one of the most complex works for the cello, and not all professional musicians are on the same level. And if you want, you can read the notes, one on the right - please read them and everything else - play the song.
• Enjoy the activities! Find a cob musician like you and play with him or join the orchestra.
• Don’t be embarrassed because you can’t go out. Let's stretch out your instrument for a couple of hours and see the most heathery sounds from time to time. You just do it, and sometimes you find that you are not leaning forward at all. Remember - you collapse forward. At the next moment you can move on to more complex and useful creations.
• When tuning the cello, do not overtighten the string - it may snap, jump out and hit you in the arms or incriminate you. To avoid such a situation, tune the instrument with the help of a tuner or move it far away from the environment.
• Start creating a memory. Play freely with a metronome: start slow, then increase the tempo. Don’t rush, break the musical text into parts.
• If you feel like playing the same, try transposing the song into a different key. It is important to put things in order.
• Sit right on the edge of the table. The feet ache and are pressed to the ground.
• Once a week, play whatever you want.
• Create a special table where you can enter the results and work through your work. Let me allow you to reach your mark.
• Choose what you want to create. Improvise.
• Every now and then, record your performance on a voice recorder. Every day, listen to the old recordings again - you can clearly feel the difference. In addition, you can sense that you feel bad and work on it.
• You will have to master three keys: bass, tenor and violin. The bass clef is played most often, but after a few rocks you will begin to play the tenor clef, and then the violin clef. Most concert scores must be composed using at least three keys.
• It’s time to play in an orchestra for a small group. Once you learn to play in an ensemble, you will be able to achieve much greater success. In addition, this way you will become more creative.
• Master other musical instruments, especially the piano. Although you, who have done everything, will not have enough time to give other instruments as much respect as cellos, piano skills will never be as impressive.

In practice, there are a variety of ways to trim a butterfly bowl, or in any other way: trim the bowl without straining at the same time to achieve a “crispy” and smooth finish.

The fingers are slightly bent. The end of the middle finger is exposed to the hair of the metal lining of the block; the end of the thumb rests partly against the ridge of the block, partly against the bow reed; The vulgar finger is spread on the reed in the place of the bend of the first and other phalanges. Ensure that the small finger is removed from the others, so that the pressure on the bow is relieved; The ring finger and little finger are free to stretch out on the well, and it helps to press down the bow (with the head, when playing with the lower part).

During the process, the position of the fingers also changes in the position of the part of the knuckle that is being twisted. The method of making a bow also depends on the individual folding of the hand and fingers; In the call of acceptance of the correct, strong use of the bow and, finally, the attainment of a high-quality sound.

VEDENNYA SMICHKA

Correctly applying the stroke will ensure that the sound production can be reached by the weakest hands of all parts of the hand. Place the hands of the hand under the vicorized part of the mark and the nature of the strokes.

From the block to approximately the middle of the stroke, the bow is worked mainly with the whole hand, from the middle to the end, with the head chin, the forearm of the forearm. The pen and fingers that align directly with the bow must be more elastic. Some short strokes (for example, spaccato) are drawn, with a head rank, with a pencil.

The development of equal sound is important in the process of mixing different zusils. So, when playing piano with white pads, you have to hold the bow “on the vase”, in the middle without pressure, at the end - with a slight zusilla. When playing forte with the lower part of the bow, the hand is firmly pressed onto the string, in the middle and especially at the upper part of the bow, the required pressure is applied. The support of the hand is located on your hand, most importantly, on your first and great fingers.

The smile is made from a small tuft of hair on the back of the neck. To keep the sound consistent, this tip does not need to be noticeably changed by stretching the entire bow.

Students need to gradually acquire the most important hand signals: when moving the bow down (P), it is necessary to “pull”, and when moving up (U), it is necessary to “pull”.