Lipneva, Borisova: Rhythmic sketches. Creative tasks for young musicians. Selecting a melody

Hello, here are the most useful little things, using which, together with the knowledge of simple harmony and the rules of interaction of notes in a key, you can make a bewitching and meaningful melody for your new composition even from the simplest and most boring sketch.

1. Note duration is the key to an interesting rhythmic melody

If your instrument or synthesizer timbre has the ability to delay the sound for a long time (sufficient sustain), then always try to alternate note durations - short and long, this most directly affects the rhythmic pattern in your melody.

And let it be that in some places these will be super long notes (until the next step used), and where there are short fragments, the most successful thing is to immediately after a long-sounding note make a breakdown on a short one.

1. Alternating different rhythms will make the melody more hypnotic

Like alternating note durations, alternating rhythms is an even more fundamentally important rule in writing an interesting melody. Yes, simplicity often works when we simply repeat an interesting pattern, changing only the pitches of those notes. But you can fall in love with a melody more when it's rhythmically interesting.

Rhythm has always worked for the human ear as hypnosis - and in particular this is the detection by our sense of rhythm of differences in rhythms - which is why the most interesting and famous melodies alternate the most different types of rhythms.

And the most popular and hypnotic alternation is direct rhythmic types and syncopated rhythmic types.

1. Quick transitions in the right places will give the melody movement and energy

The best way to add energy and movement to a melody + variety is to add super fast transitions and sometimes even rolls between the main or long steps of the melody. Typically, the Roll effect of a rhythm is achieved when using 32 note durations. But quick transitional strokes can be 16 notes long.

*for reference, the duration of notes is determined as follows: how many of these notes can fit in one bar \bar- (16th notes are called that because a total of 16 such notes can fit in a bar...)

And quick movements in the melody do their job well when using close / adjacent steps, moving step by step down - up or quickly alternating 2 adjacent notes.

These are the kind of touches you can add to the melody from the previous paragraph to make it more mobile and energetic!

1. Legato sliding and portamento effect are where timbre merges with harmony

Very often this effect of a pitch slide at the beginning of each note (Portamento) or a smooth slide of pitch between successive notes (Legato) takes root and gives your main melody the life and special atmosphere that it just needs!

In Sylenth1, for example, this is very easy to do; You just need to turn the “portamento” knob towards or towards the middle and put the switch next to the “S” (Slide) mode.

1. Delay on one note step gives a mesmerizing effect in harmony

For some reason, many people think for a very long time; what more complex and original movement in note heights can you come up with in a melody to get a super hit?

But sometimes a simple transitional stroke with a subsequent or preceding delay on just one note is enough, no matter repeating it with some kind of rhythmic stroke, or simply leaving it the entire duration in the melody until its next step.

1. Ostinato. Mesmerizing effect - stage 2

The easiest and fastest way to write an emotionally captivating melody, often in the Trance and House genres.

This is the same as the previous point, but this is the holding of one short melodic pattern in repetition, while the support of bass notes or chords by harmony progresses and changes, giving that same semantic and exciting context for a seemingly monotonous pattern in the melody.

But the important point is that it is not necessary to leave the repeating pattern ALWAYS exactly the same; there should be complete freedom of creativity in the melody, as elsewhere in music...

If you still have problems with the basics of harmony and music theory or the rules for the interaction of notes with each other, then I recommend immediately DOWNLOAD our free video course on the basics of harmony, for free writing of melodies and chord parts in electronic music, you can pick it up for free right now

This methodological development is a description of the lesson notes on the topic “Working on rhythm using rhythmic exercises and musical instruments.” The methodological development will be useful to teachers of choral studios and vocal ensembles.

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State budgetary institution

Additional education

House of children's creativity "SOYUZ"

Vyborg district of St. Petersburg

METHODOLOGICAL DEVELOPMENT

OPEN CLASSES

Additional education teacher Moskvina O.S.

Subject:

“Working on rhythm using rhythmic exercises and musical instruments”

Saint Petersburg

2016

Explanatory note

This methodological development is a description of the lesson notes on the topic “Working on rhythm with the help of rhythmic exercises and musical instruments.”

The methodological development will be useful to teachers of choral studios and vocal ensembles. It is a range of rhythmic exercises for developing a sense of rhythm in children from 7 to 12 years old. The proposed rhythmic exercises will be most effective for children who are already familiar with the basic basics of musical notation: treble clef, staff, simple meters (2/4,3/4,4/4), durations (eighths, quarters).

Rhythmic tasks are one of the most interesting sections in working with a choir or vocal ensemble. They are of interest to children and always evoke collective positive emotions. This is primarily due to the fact that the exercises are carried out in a playful way and include exercises for attention, reaction, and speed. The tasks allow you to work with all children at the same time and divide children into teams and subgroups. This includes exercises of the canonical principle or exercises on the metro rhythm with alternating emphasis on strong and weak beats.

The main principle in practicing rhythmic exercises is to achieve synchronized execution of the rhythmic pattern in each specific task.

To achieve synchronized performance of rhythmic tasks during the lesson, various options for rhythmic exercises are offered using:

Hand clapping (in sitting, standing, moving positions)

Beating a rhythm with your feet (sitting, standing, in motion)

Use of rhythmic and verbal canons

Tongue twisters, phrases, phrases

Musical instruments: shaker, spoons, mallet, triangle, etc.

Target.

Development of a sense of rhythm in children.

Tasks.

Educational:

Learn technically meaningful performance of a piece;

- learn to determine the time signature by ear;

Study identify the simplest rhythmic combinations by ear;

Develop a sense of musical form;

It is easier to learn a piece from notes and by heart.

Educational:

- develop attention, imagination, musical memory;

Develop the emotional sphere of children;

- develop creative activity in search of new rhythmic patterns;

- develop motivation for musical activity;

Develop children's communication skills;

Educational:

Bring up kindness, respect for each other;

Improve communicative competencies in the process of group learning;

Fostering a conscious approach to learning.

Teaching methods:

Visual (auditory and visual);

Verbal (story, explanation, dialogue);

Illustrative combined with reproductive (showing by the teacher and reproducing what the students heard).

Empirical method (method of practical, experimental search for words understandable to a child, definitions for describing rhythmic tasks).

Methodical techniques:

Creative tasks and questions that stimulate thinking;

Encouraging self-control;

Encouragement (to stimulate their interest in activities) as a way to evoke positive emotions.

Modern educational technologies:

Technology of developmental education;

Health-saving technologies (breathing exercises, combinatorial exercises);

Gaming technologies: educational, developmental, communication.

Type of lesson: combined lesson.

Children's age: 7-10 years.

Forms of organization of cognitive activity:individual, group, frontal.

Means of education:

Visual aids: Tongue twisters, cards of words, phrases, phrases, cards “rhythmic figures”, cards with word pairs, musical instruments.

Equipment: piano, chairs.

Lesson plan:

1. Organizational moment. 2 minutes.

2. Questions for children. What do they know about “Rhythm” 3 min.

3. Teacher’s explanation of the topic “Rhythm” 3 min.

4. Showing simple rhythmic combinations - joint analysis. 3 min.

5. Game “Funny Tacts” 3 min.

6. Game “Collect the word”. 4 min.

7. Creative tasks for rhythm - “Tell someone else.” 3 min.

8. “Take the word away” 4 min.

9. Canonical Tic-Tac Game 3 min.

10. Live orchestra 15 min.

11. Summing up, reflection 5 min.

Progress of the lesson:

1. Organizational moment.

Hello guys! Today we are starting to get acquainted with an interesting topic that we encounter every day when we hear music, this is “Rhythm”! In our lesson today you will learn: what a sense of rhythm is, how it can be developed, you yourself will become teachers for each other for a short time, and in the end we will turn into a real live orchestra!

I wish everyone a good mood, new impressions, discoveries and acquired knowledge.

2. Questions for children. What do they know about Rhythm?

So, Rhythm! What is Rhythm? (children answer the teacher’s question)

Teacher, summing up: Rhythm is the organization of music in time. Each piece of music has its own rhythmic structure. The rhythmic structure of a musical composition is formed by a sequence of durations - sounds and pauses.

3 . The teacher explains the topic “Rhythm”.

Each piece of music is filled with different rhythms. Several rhythmic figures can occur in one musical phrase.Let's try to figure out where we need to start in order to learn to find logic and feel the structure of music in the general influx of various sounds.

Rhythm specifica musical composition is extremely diverse and is never formed by durations of the same length. Temporal relationships arise between durations of different sizes. By combining, durations and pauses can form a rhythmic pattern of a musical work.

4. Demonstration of simple rhythmic combinations - joint analysis.

The structure of musical works is determined by musical meters. The meter defines a coordinate grid of strong and weak beats with equal distances between the beats. It is the size of the beat that helps us navigate the strong and weak beats. Let's try to identify strong and weak beats using simple words as an example. For example: Ho-ro-vod, Ba-boch-ka. We denote a stressed syllable by the syllable “ta,” and an unstressed syllable by the syllable “ti.” A stressed syllable is always slightly longer than an unstressed one. Let's add clapping to the pronunciation of words. And then we clap the word “Ho-ro-vod”: “ti-ti-Ta” - two short and one long clap, the word “Ba-boch-ka” - “Ta-ti-ti” - one long and two short . Thus, we get two rhythmic patterns. In the first: the first two beats are short, the third is long. In the second, the first beat is long, the second and third are short. We write down both schemes in the music notebook. (Children are shown cards with rhythm:A quarter, two eighths. Two eighths, a quarter. The quarters are signed “Ta”, the eighths are signed “Ti”).

5. Game “Funny Tacts”

So, we already know how to distinguish between long and short sounds, and now let's place them in bars. In 2/4 time we place our patterns: “Ta-ti-ti”, “ti-ti-Ta”. Now I will name the words, and you will write them down in a music book under the staff and put an emphasis on each word. Then on the staff we will write the durations corresponding to the long and short sounds. What should we get? (Children answer: a long sound is a quarter, a short sound is an eighth)

6. Game "Collect the word."

Now let's try it ourselves. Everyone comes up with a word, taps its rhythm and names which beat is long and which beat(s) is short. Guys, now who has already succeeded, let’s make up small phrases. For example: “It’s a beautiful day.” We also divide into syllables, place stress and clap the rhythm, taking into account long and short beats. (Beautiful day - ti-ta-ti-ta.)

7. Creative tasks for rhythm - “Tell someone else.”

The next task is called “Tell someone else!” We are counting on the first or second. The first will have their own rhythmic combination, the second will have their own. Now I will offer you a rhythm for everyone. So, the first ones make one long clap (teacher demonstrates, children repeat). Then the second ones make two short claps (teacher demonstrates, children repeat). When clapping, the first ones say “Ta”, the second ones say “ti”. We should get the following rhythm: “Ta-ti-ti-Ta-ti-ti-Ta-ti-ti-Ta...” And now in a circle, in turn, we begin to clap, each with its own rhythm. (At the end, when you achieve synchronized performance, you can put on a fragment of the song “We will rock you” by Queen and clap along to it).

8. Game “Take the Word Out”

And now I suggest you and I try to play a game in which the words will gradually decrease. (Cards with words are offered in pairs).

We will perform this task while standing. On 4 counts we pronounce words in a row and clap our hands for each word. Then we will remove one word at a time in random order, and instead we will stomp our feet. Who can guess what the place in a musical phrase during which the sound is interrupted will be called in musical language? (Children's answer).

That's right, pause. There is no sound during pause. We will mark the pause with our feet.

(During the game, different words are closed in random order, thus turning into pauses).

9. Canonical Tic-Tac Game

To complete the next task, let's split into two teams. Let's remember the song “Sleep, little angel, sleep.” The first team will clap the rhythm of the first phrase, the second - the rhythm of the second, then again - the first and then again - the second. Thus, we clap the rhythm of the entire piece one by one, observing all durations and pauses.

10. Live orchestra.

To perform the song “The Last Poem” we will use musical instruments. Mallet - will beat the rhythm in small durations (eighth notes). Spoons – large lengths (quarters). Shaker – denotes strong and weak beats. Triangle – fills pauses. Now we will distribute sections and phrases throughout the score during which certain instruments should sound. Each musician with an instrument will have his own instrumental part. (The tools are distributed among the children. Each one receives a specific task, then the tools are passed on to other children).

11. Summing up. Reflection.

So, let's summarize our lesson.

What new knowledge did you discover during the lesson?

What did you enjoy doing most today?

What from today's lesson would you like to tell your parents?

Literature:

1. “Music for children”, Metlov N., M., Education, 1985.

2. “Language, music, mathematics”, B. Varga, Y. Dimen, E. Loparits.

3. “The Golden Proportion”, N. Vasyutkin.

Walter Pater



We invite your baby to take the first important steps into the world of music - listen to the rhythm,...

"All art strives to become music."
Walter Pater
Music occupies a special place in our lives. We listen to music both in joy and in sadness. Not a single holiday or significant event is complete without it. Lullabies and lyrical melodies, symphonies and modern rhythms, solemn hymns and bard songs. There are many musical styles, but whatever the music, one must be able to listen to it, and for this a person must have a developed musical culture.
The components of musical culture are rhythm and sound.
Of course, first of all, rhythmic talent is necessary for a musician, dancer, poet... But even if the profession has nothing to do with music, one cannot do without a developed sense of rhythm. It contributes to a more complete perception of the surrounding world, makes it possible to live in unity with it - after all, rhythm permeates the entire universe.
We invite your child to take the first important steps into the world of music - listen to the rhythm, get acquainted with the means of musical language, musical expressiveness. As you know, musical (including rhythmic) skills are like language: they should begin to be developed in early childhood. By the way! Developing a sense of rhythm is necessary for a child’s health! Practicing rhythms develops correct, even breathing, prevents violations of the syllable structure, speech becomes smooth and beautiful.
We know that a poet uses words that we understand in his work, an artist creates his paintings using lines and colors. Music, to a greater extent than other types of art, is connected with the world of our feelings and emotions. In order for the music to sound more expressive and be able to more accurately convey the mood or even “draw” a “picture” or “image”, the musician also has his own assistants - means of musical expressiveness. You can introduce your child to some of them by working with the “creative” cards from our game.
Good luck to you and have fun in your musical studies! We hope that our game will help make your lessons more fun and educational, develop intelligence and ingenuity, and teach your child to have a creative approach to any task!
The set contains: 21 playing fields, 46 small cards.
For children from 6 years old.
Made in Russia.

Surely you have already come across in tutorials or other sources suggested methods of playing accompaniment on a guitar in the form RHYTHMIC PATTERNS.
What is it rhythmic pattern? And how to read it?
First, let's look at the simplest elements (movements with the right hand in graphic form), combining which we obtain rhythmic techniques for producing sound:

All melodies can be divided into parts of equal duration - BARKS. Also all melodies have rhythmic pattern- specifically expressed rhythmic alternation And with all this, this pattern does not change throughout the entire melody.

The main feature of the pattern is its SIZE - the number of more energetic and bright notes in one measure. Often this pattern exists only in the musician's head, who counts the melodies from the very beginning to the end, following the long notes and pauses.

The most commonly used sizes are: "TWO" - "THREE" - "FOUR" - "SIX". For example, when soldiers walk, they follow the count: “ONE – TWO – LEFT – RIGHT”- this is size “FOUR”. Let’s say that the same soldiers also sing a song, then in order not to lose their step they will also have to sing in this meter.
Using the song as an example:

If a chord sounds for each beat of the song, then we will have a simple type of accompaniment. Its graphical appearance is as follows:

Due to the fact that all consonant sounds do not stretch, they cannot be sung and it turns out that all the beats fall on the vowels. From the figure we see that the accompaniment goes in a circle all the time. To depict a pattern of this rhythm, it is easier to depict something that is repeated.

Examples are shown to make a point! There can be a lot of RHYTHM PATTERNS.

Practice:

You need to practice each technique very slowly, counting (preferably out loud) the beat digits (written under the arrows).
To begin, practice the rhythm without chords on muted strings. And then hold down an easy chord (for example E, C, D) and practice on one chord. The rhythm should be clear, slow and even. Only after these exercises learn to connect chords, starting with .

What is rhythm in music? We study and master rhythm.

Rhythm is a fundamental element in the performance of a piece of music. In this case, we can talk about the independence of rhythm from melody. Thus, each person could observe around him thousands of examples of separate existence, from the beating of the heart to percussion instruments that do not have a pitch component. There can practically be no melody without rhythm.

Regardless of the degree of professionalism, every musician must take into account the basics of rhythm, know specific terminology, and also be able to reproduce a piece or musical fragment in the proposed rhythm. This page explains the basic concepts and terminology necessary for practice.

Rhythm, duration and pauses

Let's look at what it is rhythm. A musical term represents a clear organization of music in time space. A structure is formed from a sequence of durations and pauses. The table shows the durations, as well as their designation.

Duration name	Notation when recording		Number of accountsfor one duration
	On the staff	Outside the staff
Whole			1 and 2 and 3 and 4 and
Half			1 and 2 and
Quarter			1 and
Eighth		or
Sixteenth		or	Half an eighth

There is a special table showing the relationship between the durations.

It is worth understanding such a concept as pause in musical rhythm. A pause is a period of time in music that is filled with silence. There are the following pause sizes:

1. A whole pause. The duration is equal to a whole note. Indicated by a black, filled rectangle above the third line of the staff.
2. Half pause. Equal to a half note. It is indicated by a black rectangle located on the third line of the staff.
3. A quarter rest is equivalent to a quarter. It is indicated figuratively on almost the entire staff.
4. The eighth pause is similar in duration to the eighth. The designation resembles the capital letter “h”.
5. The sixteenth pause is equal to the corresponding note. The length in the letter is similar to the previous one, the difference is that the tail is doubled.

It should be noted that some musicians perceive pauses as stops, as a result of which they stray from the general rhythmic outline. A pause is a sign of silence that plays a big role in the work. It is strongly recommended not to eat up pauses at the expense of another preceding note, lengthening its duration. Otherwise, the musical idea is lost. It is especially important to take this principle into account when playing in an orchestra, ensemble or group. After all, if pauses are not taken into account, then the sounds will overlap each other, creating a cacophony.

Basic terminology

Rhythm in professional music cannot do without such concepts as beat, meter, tempo and size.

• Meter represents a uniform alternation of accents in a piece of music.
• Tact is a unit of measurement of the meter, which is counted in notes or rests. In four-quarter time, the first note in a measure is a strong beat, the second is a weak beat, the third is relatively strong, and the fourth is weak. The measures are separated by a line. The work closes with a double bar.

• Size- two numbers, located one above the other, standing at the beginning of the staff. The top number shows the number of durations in a bar, and the bottom number shows which duration predominates. The designation is located after the key and key characters. It is noteworthy that the indicator is duplicated only once at the beginning of the work; on the following lines there is no need to indicate the size again. The exception is changing to a new one.

The picture shows the size 4/4 (four quarters)

Specifying quarter notes does not mean that only duration data will be used in the measure. Durations of different sizes can be used, but their sum should not exceed the size. Let's look at correct and incorrect examples.

It is worth considering that sizes can be simple, complex, mixed and variable.

The first simple group includes mainly two or three-beat sizes, in which there is only one emphasis on the strong beat. The most common sizes are two quarters, two half, two eighths, three quarters, three eighths and three half.

Complex meters appear when two simple ones merge; usually they have, in addition to the main emphasis on the strong beat, an additional relative one. This group includes: four quarters, six eighths, twelve eighths, six quarters, etc.

Mixed people constitute a special category. They are formed from the connection of several simple unequal sizes with each other. The group includes units such as five quarters, five eighths, as well as seven quarters and seven eighths.

Variable meter is characteristic primarily of folk music, primarily of Russian folk song. A striking example is the song “Vanya was sitting.”

The popular four-quarter size is depicted as a capital letter C, so do not be intimidated by this designation.

• Pace is a musical characteristic that determines the speed of performance of a musical instrument. Usually the tempo is placed at the beginning of the piece above the staff, and is written in Italian. There are three groups of slow, moderate and fast tempo designations. Depending on the value set, the piece may sound different. Usually the tempo is set on a special device called a metronome. The higher the value, the faster the tempo will be.

Additional signs

There are some notation signs that actively participate in the formation of rhythm. If two notes located at the same pitch level are linked, this means that the first sound must be maintained for the total amount of time. This is usually required to maintain grouping in complex sizes.

For example, let's take the size four quarters. It is complex and has one strong accent on the first beat, and one relatively strong one on the third beat. Thus, there should be notes on the first and third beats of the bar. To record the quarter, half and quarter rhythm, you must follow the basic grouping rules.

So if there is a dot after a note, then this increases its sound by exactly half. For example, a quarter note with a dot is equal in sound to a quarter note with an eighth note.

Often duration with a dot goes along with such a concept as dotted rhythm. The term denotes a rhythmic figure consisting of a duration with a dot and its logical conclusion. So the most common variations are dotted quarter and eighth, dotted eighth and sixteenth. Let's look at a musical example.

As you can see from the image, the dotted rhythm is used mainly on strong or relatively strong beats of the bar.

Another additional sign can be called fermata.

This musical sign indicates that the performer can sustain the note marked fermata for an unlimited amount of time.

Basic systems of rhythmic syllables

There is a special system of rhythmic syllables that helps in practice to learn how to correctly reproduce various durations. This system was invented in Hungary in the last century and is actively used in music schools in the first years of music education, when the rhythmic foundation is laid. So, there are the following rhythmology:

• Whole - Ta-a-a-a
• Half - Ta-a
• Quarter – Ta
• Eighth – Tee
• 2 sixteenth notes – Ti-ri
• Dotted rhythm: dotted quarter note and eighth note - ta-ai - ti.

Special rhythm syllables have also been developed to determine pauses:

• Whole - Pa-u-uz.
• Half - Pa-a
• Quarter note – Pa
• Eighth - pi

This perception of durations allows you to master even complex rhythmic figures several times faster and learn to quickly sight-read musical works.

Exercise No. 1. Mastering rhythmic syllables

Sing the melody in the suggested rhythm, using rhythm syllables.

Compare with the answer below:

Tips for quickly mastering rhythm and exercises

1. Daily practice. No matter how trivial it may be, only daily practice can lead you to good results. It is necessary to work on the rhythm for about half an hour a day to achieve a solid base.
2. The first time you should use a metronome. Tap the suggested rhythm on the table or piano lid. Set a slow tempo at first, from 40 to 60 beats, then move on to a more active tempo. Try to hit the strong beats straight away.
3. Use the system of rhythmic syllables.

It is worth considering that when playing the piano, two hands are involved in the work. In this case, the rhythm in each of the hands can be different; in order to work out the technique in advance, you need to do special exercises.

Exercises for alternately involving the right and left hands, creating a roll call. The top line is for the right hand, the bottom line is for the left. You need to tap the rhythm at an average tempo, at which you will not make mistakes. If errors or stops occur, you need to switch to a slower pace. You can tap on a table or on the top of a piano under a metronome.

№1

№2

More complex exercises are those in which rhythmic figures are beaten simultaneously with both hands.

№1

№2

If you want more exercises, we recommend that you get acquainted with Olga Berak’s textbook “School of Rhythm”. The manual is divided into several parts according to size. First there are two-lobed sizes, then there are three-lobed sizes.

Programs for self-control in studying

If a person tries to independently master the rhythm without professional help, then he needs to carry out control, which is achieved with the help of modern technologies. There are special programs in which you can test your own knowledge of rhythm.

Absolute pitch 2

This program has developed a special section “Rhythm”, in which you can find the following sections for mastering rhythmic figures:

• Theory. The category provides minimal basic information regarding rhythm, and you can also listen to how various durations sound over time.
• Reading. Using the metronome built into the application, you need to tap out the rhythm recorded above, without making mistakes.
• Dictation. It is necessary to correctly record the rhythmic pattern that you heard.
• Imitation. After listening to the rhythmic figures, you need to write them down correctly.

Each of the above sections has additional subdivisions into specific rhythmic figures. This allows for rhythmic perfection.

It is worth noting that there are a huge number of electronic metronomes on the Internet, which are in no way inferior to their real counterparts. They are quite easy to set up, and each person can independently tap out the rhythm in which he is going to perform a piece or piece of music.

On this page we introduced the basic terminology that will be useful to a beginning musician, and also gave the necessary exercises and recommendations for mastering the topic. The material will help you better understand the musical text, as well as quickly navigate and more accurately reproduce musical notation.