Sense of rhythm. Not so simple. Video exercises. Sense of rhythm, musical abilities. Exercises to develop a sense of rhythm

At first glance, it may seem that no one except musicians and dancers need a sense of rhythm. However, this is a big misconception. For a child to live normally, it is simply necessary, since it is directly related to coordination of movements and the ability to control his body.

Good coordination not only guarantees the relative safety of the baby, who falls less often and dodges chaotically running peers more easily, but also ensures the ability to play outdoor games, successful development large and fine motor skills. All this, in turn, directly affects mental capacity the child and the development of his personality as a whole.

More recently, it was believed that the sense of rhythm is innate and cannot be corrected, but, fortunately, it turned out that this is not entirely true. On the one hand, yes, many babies feel music and can move rhythmically almost from birth - they immediately begin to make conscious movements. . On the other hand, children who are deprived of this ability can develop it, and in an accessible playful form: the child will not even notice that you are teaching him something.

7 games to develop a sense of rhythm

March, left march!

The child marches to the count of one to four. The adult sets the rhythmic pattern, highlighting with his voice, for example, the first and third beats, on which you need to stamp harder. Then the rhythmic pattern changes. The next stage is marching to the music.

For example:
One two three four
or
One two three four
or
one two three four and so on.

Orchestra

We choose a poem that is already familiar to the baby (for example, “Cat House”) and voice it using various instruments - a tambourine, a drum, a xylophone, a whistle, or simply clapping our hands on strong beats. In this case, the parts of the instruments may be different. Let's say we beat the drum only on strong beats, and the whistle will always whistle, only the weak beats are quieter, and the strong beats are louder.

For example:
tili-bom, tili-bom,
The cat's house caught fire.

Naughty goats

Children (more fun if there are several of them) stand in a circle, they are goats playing in the meadow. An adult pronounces any syllables, placing accents at will. On weak syllables the goats kick (waving their legs back), and on strong syllables they butt (put their arms outstretched above their heads index fingers, like horns).

For example:
TA-TA-TA-TA-TA-TA-TA-TA-TA-TA-TA-TA.

Applause

Let's clap to the beat of our favorite song. First - only on the strong beats, then on everything, highlighting the accents with a stronger clap.

For example:
may there always be sunshine,
may there always be heaven
or
may there always be sunshine,
may there always be heaven.

Hedgehog and drum

The adult recites a poem about a hedgehog, and for each “boom” the child hits the drum (claps his hands or hits his knees with his hands). The leader can arbitrarily change the rhythmic pattern in each case, and the baby must repeat it.

For example:
A hedgehog walks with a drum.
Boom Boom Boom!(or, for example, BOOM-BOOM-boom-boom-boom)
The hedgehog plays all day long:
Boom Boom Boom!
With a drum behind your shoulders -
Boom Boom Boom! —
A hedgehog wandered into the garden by accident.
Boom Boom Boom!
He loved apples very much.
Boom Boom Boom!
He forgot the drum in the garden.
Boom Boom Boom!
At night the apples were picked:
Boom Boom Boom!
And the blows rang out:
Boom Boom Boom!

Rain

The adult pronounces the words, and the child claps his hands faster and faster (you don’t need to fall into the rhythm of the poem).

For example:
Drop - once! Drop - two!
Drops slowly at first...
The drops began to hit
Drop drop catch up.
And then, then, then
Everybody run, run, run.
Goodbye, thick forest!
Let's run home quickly!
or
Masha (child's name) went for a walk. Suddenly clouds rolled in and it started to rain. Masha opened her umbrella. At first, rare droplets fell on him, then they became stronger, then even stronger and turned into a real downpour! Then the rain began to subside... etc.

Repeat

The adult taps out the rhythm (claps, stomps, beats a tambourine or drum), and the child must repeat the rhythmic pattern. The game will become even more interesting if the child and the adult have different instruments, or the adult claps the rhythm, and the child stomps.

For example:
2-2-3
or
3-3-1-3-1
or
1-2-2-2
(numbers indicate the number of rhythmic beats, and dashes indicate pauses between beats).

The material was prepared by teachers of the Elitora Development and Education Center

Have you ever thought that rhythm is not just something from the world of music and dance? Rhythm is our very life. We sleep and are awake, again we sleep and are awake. A normal heart rate and rhythmic breathing (try to hold it for at least a long time) give us the opportunity to enjoy this life and what surrounds us. But what surrounds us is also rhythmic. Morning, day, evening and night, the change of seasons, ebb and flow - this is the rhythm of the planet on which we live. Developing a baby's sense of rhythm, we give him the opportunity to feel more harmonious in this world.

Why do we say “sense of rhythm” and how to develop it?

How general concept, rhythm is a uniform alternation of any elements. Musical rhythm is a combination of sounds of different durations in a certain order. A dance rhythm adds movement to the alternation of sounds. You have probably heard the following expressions more than once: “in the rhythm of a waltz”, “in the rhythm of a march”, “tango”.

You can play songs and chants, play the same rhythm on different instruments, accompany the reading of poetry by playing musical instruments:

With tambourines
We are all sitting with tambourines (Knock on the tambourine with our right palm.)
And we knock with our palms
The hand began to get tired,
I need to change the handle.

We are all sitting with tambourines (Knock on the tambourine with our left palm.)
And we knock with our palms.
The hand began to get tired,
You have to tap your fingers.

We are all sitting with tambourines, (Knock on the tambourine with our fingers right hand.)
We tap our fingers.
My fingers started to get tired
The handle needs to be changed.

We are all sitting with tambourines, (Knock on the tambourine with the fingers of our left hand.)
We tap our fingers.
My fingers started to get tired
You need to knock with your fist.

We are all sitting with tambourines, (Knock on the tambourine with our right fist.)
We knock our fists.
The hand began to get tired,
The handle needs to be changed.

We are all sitting with tambourines, (Knock on the tambourine with our left fist.)
We knock our fists.
The hand began to get tired,
The tambourine needs to be removed.
(E. Zheleznova)

Hedgehog and Drum
A hedgehog walks with a drum.
Boom Boom Boom!
The hedgehog plays all day long:
Boom Boom Boom!
With a drum behind your shoulders...
Boom Boom Boom!
A hedgehog wandered into the garden by accident.
Boom Boom Boom!
He loved apples very much.
Boom Boom Boom!
He forgot the drum in the garden.
Boom Boom Boom!
At night the apples were picked:
Boom Boom Boom!
And the blows rang out:
Boom Boom Boom!
Oh, how the bunnies got cold feet!
Boom Boom Boom!
We didn’t close our eyes until dawn!
Boom Boom Boom!
(G. Vieru)

The Zheleznov songs from the “Absolute Pitch” cycle are perfect for playing the metallophone. For example, the song “Two Cats”.

Listening to the downbeat(from 4 years old)

Give your baby a maracas, a drum, or any other noise or percussion instrument. Show how to make a sound on the downbeat. When the baby gets comfortable, invite him to play together: he plays the strong beat on the drum, and you play the weak beat on the rattle. When you have mastered this, give your baby two rattles: one is voiced, the other is dull. Let the baby play on the strong beat with a loud rattle, and on the weak beat with a dull rattle.

If suddenly there are no musical instruments at hand, you can clap your hands on the strong beat and quietly stomp your feet on the weak beat.

If it is difficult for your child to hear strong beats in music, try playing with words: a stressed syllable is a strong beat, unstressed syllables are weak beats.

It's simple

You have probably already noticed that playing games with your baby to develop a sense of rhythm will not require anything special from you - neither musical education nor absolute pitch. You just need a little time and desire, and sometimes you can do without musical instruments and musical accompaniment. And not to forget about games on development at the baby's sense of rhythm, record the necessary songs and chants on your phone and “link” the games to a routine moment - walks on the fresh air. By the way, you can have time to play even when you are going up and down in the elevator. And if the audience doesn’t bother you, games to develop a sense of rhythm will brighten up your wait in line (you just need to memorize the poems in advance or have a phone with you musical accompaniment).

Rhythm and health: an unexpected plus

Development of a sense of rhythm not only prepares the child to perceive music, but also contributes to his health. Try to memorize the text by walking around the room in circles and learn the poem with your baby while sliding down the slide or on the swing. Most likely, you will succeed faster and easier. You've probably caught yourself listening to music you like, tapping the rhythm with your fingers or foot, or swaying to the beat of the music. In fact, we perceive rhythm not only through gross motor skills: the tongue and head, fingers and toes also move almost imperceptibly, the muscles of the larynx and chest contract.

Musical exercises to develop a sense of rhythm.

If you want to connect your life with music, then you have a lot of work to do on yourself. The voice needs to be developed, the vocal cords need to be protected and restored in case of damage. It’s not difficult if you don’t miss the moment. Another very important concept for you is the sense of rhythm. Rhythm is one of the most important aspects of music, and it is where learning the art of dancing or playing a musical instrument begins. Many people perfectly distinguish the correct rhythmic pattern, however, they themselves do not always fall in time. If this is not corrected from the very beginning, problems may arise in the future both with the performance and with the perception of music.

In such cases, it is usually advised to listen to music more often and attentively, but exercises to develop a sense of rhythm, which can be constantly practiced, will help achieve more effective results.

• Start with songs you usually listen to. Rock or hip-hop tunes work well in this exercise. When listening to compositions of these two genres, concentrate on the sound of the percussion instruments, that is, feel the rhythm.
• Choose a composition that is familiar and pleasant to your ears with a pronounced rhythm. On initial stage exercises to develop a sense of rhythm; competent selection of music with a clear rhythm is very important, since it is not always easy for even a professional to adapt to arrhythmic melodies. If you're having trouble finding one-two-three-four, try finding a song with a more obvious rhythm. Most rock and hip-hop songs are played in four-beat time.
• Try to predict in advance when the next blow will sound. At this stage of training, a metronome will be very useful for you; you will have the opportunity not only to hear, but also to “see” the next measure.
• Identify the first measure, which is usually the most distinct, as a starting point for your counting. In most cases you can count one-and, two-and, three-and, four-and, although there may be exceptions, such as a three-beat rhythm.
• Imagine yourself as a member of an orchestra, for example, beating each measure, imitating the drums, so that you can perform rhythmic exercises as confidently as possible.
• Now try to “play” four punches and kicks alternately. Try beating the rhythm twice as often, that is, use half and eighth notes. Complicate the task, change the sequence: for example, two steps - clap or three clap - step, watch the clarity. When performing exercises to develop a sense of rhythm, systematic training is important.
• The following exercise for a sense of rhythm also helps develop coordination. To perform it, you just need to rub your stomach with one palm and stroke your head with the other. Just try rubbing your belly and stroking your head at the same time. This is a great opportunity to learn to feel the rhythm with both hands.
• Play the rhythm of tunes you know well from memory, using the same step-and-clap pattern you're already familiar with. Then listen carefully to the piece again, then try to beat the beats to the music - you will see how easy it is. Over time, your movements will turn from clumsy to confident, coordinated and accurate, each arm and leg will be able to beat out its own part, and with different frequencies.

It is highly advisable not to stop there; whenever possible, dance to the music. Hard work will help you achieve results in almost any direction, so with the help of certain exercises you can even

A sense of rhythm is something that is extremely necessary for any musician, dancer, or artist. Often, teachers and all those who have an excellent feeling believe that this feeling is either “given” or “not given.” Sometimes this skill is poorly developed even among accomplished musicians who have graduated from college or even a conservatory. It is believed that more than a quarter of dancers (we are talking about amateurs, of course) do not hear the rhythm of the music, and, accordingly, cannot dance to the beat of it. You may ask: how is this possible? The answer is – by improving my performance technique.

So what is rhythm and can this feeling be developed? In order to feel it, so to speak, “touch it with your hands,” or rather feel it with your whole body, you must first understand what is meant by musical rhythm. What exactly should a musician or dancer feel?

Encyclopedias describe rhythm as a certain ratio of the duration of sounds and their sequence. To someone who is far from music theory, such an explanation will tell almost nothing. What is needed here is a simple and accessible comparison. And perhaps the easiest way to compare the rhythm is with the human pulse.

By listening to yourself, it is not difficult to hear or feel your heartbeat. The pulse is the simplest rhythmic figure of equally loud notes (impulses) and equal intervals between them. Such is the steady pulse healthy person. We can say that our internal rhythm taps our heart. And in music, this role is played by percussion instruments and the bass guitar. They form the basis musical composition, its rhythmic pattern, reproducing beats in a certain sequence at different intervals and placing different accents. We have to learn to distinguish and reproduce this rhythmic pattern.

The main mistake of beginning musicians is precisely that they try to concentrate on mastering the technique of movements and strive to master as many of them as possible. It is possible to learn a complex passage even for beginners, but to perform it correctly in a specific piece of music Not everyone succeeds the first time. Similar problems apply to vocalists. From the outside, this is clearly noticeable, and, as a rule, soon such a “miss” becomes obvious to the musician himself, especially if he plays or sings in pairs. This is how the lack of a sense of rhythm manifests itself. But does this mean that we should give up on classes? Not at all. Anyone can learn to hear music and develop a sense of rhythm.

What is a sense of rhythm? It’s not so easy to define it! I'll try to do this a little later, but first a little theory. (I believe that the basic terms, such as tempo, beat, time signature, beats, are for the reader to understand general outline familiar).

And so, here, as in many similar cases, two processes are at work:

• analysis – hear and “decipher”
• synthesis - play, reproduce

One skill process without another doesn't make much sense. Look, if a person is only able to perceive the sound stream and distinguish the rhythmic structure (analysis), but is not able to play rhythmically (synthesis), or, conversely, perfectly reproduces rhythmic figures and keeps the tempo, but is not capable of auditory analysis, then he is not an important musician . In an ensemble you need both skills at once! And, most likely, a person develops these two skills in parallel.

Unit of measurement and standard

When, for example, in construction, we need to measure the dimensions of an object (analysis), we take a tape measure. In a regular tape measure, the minimum unit/standard is 1 mm. It determines the maximum possible measurement accuracy. If we need to create an object of a certain length (synthesis), say, saw off a board, then we take the same tape measure... and again the achievable accuracy is 1 mm.

Those. A STANDARD is always used for measurements! If we need to understand, “remove” the structure of some phenomenon or time process, then we use a GRID with a step corresponding to the minimum unit of measurement. So, for example, to take a plan of a room, you can draw a grid on the floor with a step of 1 cm, and to record events within an hour, you can make marks directly on the dial of a mechanical watch... If you need more accuracy, make the grid finer!

To analyze and generate rhythmic events, a person also needs a GRID of small and equal time intervals (i.e., an “internal clock” - pulsation). And what is the temporary standard for a person? Heart beat, breathing rate...? These are rough units of measurement, and not constant, however, this is not scary - there is a way out!

There are no people who are born without a sense of rhythm. The reason why some people have it and others don't is because some people develop it from a young age and others don't. That's all. Some children play football, while others study their parents' music collection, carefully listen to instruments, vocals and different rhythms, thereby creating for yourself undeniable advantage before football players in terms of music perception.

If you have a rhythm problem, here's what you can do:

1. Listen to more music!

Quite often, people who attend dance parties do so to relax. They can come dance once a week and listen to music in the car for another twenty to forty minutes maximum. All. This is not enough! Listen to music constantly. At home and in the car. At work. Listen to music constantly and your sense of rhythm will begin to develop.

2. Listen to the rhythm section of the music

You will probably agree that most people, when they listen to music, listen to one thing - the one who sings. If you don't believe me, try naming a few famous bass players and drummers. That does not work? Attention is focused on the vocals because vocals are perceived better by the human ear than bass guitar or drums. People usually want to understand what the song is about, and this attracts attention. If you really want to develop a sense of rhythm, try to focus on the rhythm section: bass guitar, drums, etc. percussion instruments. Your attention to the rhythm section will immediately affect your sense of rhythm, and soon you will automatically begin to perceive what you hear in the bass and drums and match it in your movements.

3. Clap, drum on the table and knees to the rhythm of the music

Does it sound idiotic? It is possible, but it is very important that the internal perception of a rhythmic pattern, supported by movements to the beat, allows you to control yourself in the best possible way. To develop a sense of meter (equal beat), you can use any uniform movement: walking to a song, to instrumental music, the imitative movements you or your child make while playing. On the contrary, teaching rhythmic values ​​only through abstract explanations is detrimental musical development children. One of the most important tasks musical education is the development of internal hearing in children. This work begins not only when students already know the rhythmic quantities, their names, and musical notations, but much earlier.

The teacher shows the beginning of the movement and helps maintain the correct step, i.e. uniform rhythm. In the process of performing instrumental works, the teacher leads children to understand the tempo and feel the stress. Students usually have a good sense of accents and mark them more strong movement. Children with great joy perform rhythmic tasks associated with simple instrumental works. For example, one group performs the rhythmic pattern of the upper, the other - the lower. As such musical repertoire Many children's songs can be used.

Naturally, a rhythmic game can take no more than 5 - 10 minutes, but in the following lessons, songs and plays related to rhythmic tasks are repeated. With the help of such simple game techniques, we gradually lead children to more complex phenomena rhythm.

Well, if you want to find people in a club who have a good sense of rhythm, it's easy to do. They usually cannot sit still when music is playing. They tap their feet, snap their fingers, and drum on the edge of the table. If you don’t find such people, it means that they are in this moment rocking out on the dance floor with some sexy guy or some stunning beauty!

Components of the sense of rhythm

In analysis-perception this is:

• perceive tempo and its changes
• recognize size
• distinguish 1st beat (beats)
• distinguish between the 2nd and other beats (beats)
• distinguish small beats (i.e. 2,3,4,6 times more often than the main beats)

In fact, ALL THIS IS CONNECTED with skill, the ability to “throw” onto the perceived sound musical stream a measuring GRID of large and small beats, with “marks” where the first beat, i.e. the beginning of the beat.

In synthesis-execution it is:

• keep the tempo, be able to speed up and slow down the performance according to the requirements of musical expressiveness
• mentally imagine, “generate” to oneself a GRID of large and small parts
• fill the GRID with the actual musical texture– i.e. “put” (perform) notes-sounds exactly in the right place

And here, as you can see, you CANNOT do without a grid!

Absolute and relative time intervals.

Example

IN dance clubs a situation often arises when, having learned the movements in at a slow pace, the student cannot PROPORTIONALLY speed up the performance (increase the tempo) and, conversely, while performing quickly, cannot reproduce it slowly.

In choreographic circles, there is another problem: the teacher often gives the count (1,2,3,4 ...) not in equal parts of the measure, as musicians do, but according to the movement numbers -1,2, then a noticeable pause, then 3,4 and so on. It turns out that the uniform counting is interrupted and the teacher himself prevents the clear formation of a mental uniform GRID, a pulsation on which the movements are “strung”.

In both of these examples, the student “filmed, copied” the ABSOLUTE VALUES of time intervals between events. And, just like a teacher, he can reproduce them. Those. he performs movements without an internal “pulse, metronome” (GRID!), but on muscle and auditory memory. But without a net, he can't change the tempo at will!

Imagine a well-stretched rubber strip, say 1 meter long. Let's stretch it to 1.5 meters, secure it, then line it for 4/4 time in 16th notes. There will be a total of 16 time slots. Now let’s fill “this measure” with some rhythmic pattern. Here, and now

• a) by releasing the strip, allowing it to return to its original length of 1 meter, we will see how ALL intervals have become proportionally smaller. But the musical “meaning” has not changed - this is the SAME pattern, only the tempo is faster!
• b) on the contrary, by stretching the strip even more, we will also not disturb the pattern, but will only slow down the pace.

And what allows us to do this?– “Strict binding of notes ( music events) to the net". Yes, in music RELATIONSHIPS, PROPORTIONS are much more important than absolute values. The musician is not required to accurately reproduce an interval of 10, 20 or 50 ms, but it is absolutely NECESSARY to maintain accurate proportions.

And in both examples given earlier, the students remembered and reproduced the absolute values ​​of time intervals quite well. But, not having the skill of representing the internal pulsation - the GRID when listening and performing, they could not change the tempo. They could easily be classified as those who do not have a developed sense of rhythm. Yes, and in an ensemble they would constantly make mistakes

Introduction to the Elements musical speech based on prototypes of the surrounding reality - a well-known technique that is becoming increasingly widespread in the methodology. In particular, the main rhythmic groups (quarters and eighths) are studied by children by comparing large and small images. This is natural for a child, since until a certain age, concepts such as good-bad, bittersweet, fun-sad, big-small are realized by him simultaneously in comparison. Later, with experience, children come to understand what is between “good” and “bad,” between “fun” and “sad,” etc.

Category length, and even more so divisions of duration, are conditional concepts for a child; they are formed at a later stage. The “image” of the rhythmic group is both understandable and multivariate, so we “dress up” quarters and eighths in the guise of animal mothers and fathers and their children. Objects can also be “big and small.” It is very valuable and "alive" methodological material, which removes at the initial stage of work on developing a sense of rhythm the neutrality of the durations recorded in calms. In addition, when working on rhythm in pictures, you can use onomatopoeic syllables, and not just rhythmic ones. With onomatopoeia, the characters in the drawing will certainly come to life with their own mood characteristics. Such a performance will contribute to the development of emotional intonation and the understanding that even “lines attached to notes” can be “eloquent.”

Work on developing a sense of basic durations includes various forms, including reading words. One thing to note important point: children should perceive the rhythm of a word from natural pronunciation, and not from special stretching of syllables. Quite often, while mastering quarters and eighths, teachers master these durations by pronouncing words measuredly and syllable by syllable - de-re-vo, tele-fon - leveling the rhythm. This contradicts the most important thing in the development of a sense of rhythm - instilling the skill of hearing the stress in a word, highlighting this syllable as a longer one (DE-re-vo, te-le-FON). There is no doubt that only two-syllable words with an accent in the first (cat, hare, etc.) are suitable for working on quarters, including because the main thing in the work will be the size of two quarters. For working on eighths, words of four syllables with an emphasis on the third (monkey, rattle) are convenient.

Words of three syllables with stress on the first (BA-boch-ka, DE-voch-ka) and third (kro-ko-DIL, o-gu-RETS) are simple combinations of quarter notes and eighth notes.
At this stage, words with a beat are not included in the work (ar-BUZ, pe-TUH, ro-MASH-ka, ma-SHI-na, kuz-NE-chik, etc.)
It is very useful to compile collections of pictures (words) for a particular group being studied. And if at the beginning the children select the most various pictures, then later you can offer a game in which pictures will be selected and arranged according to certain tasks.
For example, children are asked to select and name pictures with animals only in the rhythm of two quarters, and pictures with plants in the rhythm of a quarter and two eighths, etc. This form is very exciting and we have included it in this workbook.

In addition to words, the notebook offers interesting poetic texts for learning and consolidating durations, which should be read based on the size of the letters - syllables written in capital letters should be read in quarter durations, syllables written in small letters in the rhythm of eighths. The proposed technique for working on poetic texts, when they are written syllable by syllable in large and small letters (or in simple and bold font) has long been known in world practice. This helps children not so much to read, but to memorize the poem by ear and navigate its rhythmic structure. The execution of texts with their visual distribution according to rhythmic formulas is methodically combined with “large and small” images of rhythm in pictures.

The text is learned from the performance of the teacher, the reading is usually accompanied by rhythmic claps or combinations of sounding gestures (claps, slaps, stamps). After learning, it is advisable to draw the children’s attention to writing the text in letters of different sizes, so that they can orient themselves in the rhythmic structure of the model.

The attitude towards rhythmic syllables, despite its considerable age (about two centuries!), is not yet sufficiently understood.

« Aimé Paris- famous French teacher of music and singing mid-19th century, the theorist of the relative system of ear education - introduced rhythmic syllables into the system of teaching music, creating a “language of durations”.

Often rhythmic syllables are replaced by counting - “one-and-two-and”, which in no way reflects any emotional criterion musical rhythm, no rhythmic pattern for the simple reason, for example, that counting is incomprehensible to children (“the temporary difference in durations is not visible”), whereas when reading in syllables, the rhythm becomes “visible.” Compare - “one-and-two-and, one-and-two-and” and “ti-ti-TA, TA-TA.” The difference is obvious!

“The mother did not understand that Asya, due to her early age, was simply unbearably bored at the piano and only missed (the notes!) from falling asleep, like a blind puppy missed the saucer. Or maybe she played two notes at once, thinking that she would sooner play all the notes?.. One way or another, the playing was not only deplorable, but also tearful, with streams of small dirty tears and boring mosquitoes: and, and, and -and, and-and, from which everyone in the house, even the janitor, clutched their heads with a hopeless exclamation: “Well, it started!”

“The student counts: “one-and-two-and-three-and-one-and”, etc., and sees his task as making sounds simultaneously with the name of the corresponding counting unit... In this case, it is assumed that one hundred rhythm it will work out by itself, it will “add up” on its own if the sounds fit correctly into this counted scheme. Such an account can be called an arithmetic account. It is certainly harmful, since it teaches the student to build musical movement not on the basis of a sense of rhythm, but on the basis of arithmetic calculation. For students with a weak sense of rhythm, the use of this technique (especially in the first period music training) can have disastrous consequences for all further rhythmic development."

Rhythmic syllables have stood the test of time, and the basic syllables “ta” and “ti-ti” have variants - “don - di-li”, “tak - ti-ki”, “step - run”. However, despite the variation in assigning quarters and eighths to certain syllables, they have one undeniable commonality - the vowels “a” or “o”, which in their semantics are defined as large, joyful, while “i, e” in their meaning they carry small, less. Even a simple example of your own pronunciation of “a” and “i” will prove this difference to you.

“Shouldn’t we try to somehow evaluate individual sounds? We tried it. Small children are shown two nesting dolls - identical in every way, only one is very small, the other is large. They say: “Here are two sisters. One is called A, the other is I. Guess which one is called I? And imagine - most children point to a small matryoshka doll.
One girl was asked:
- Why do you think that this nesting doll’s name is “I”?
She answers:
- Because she is small.

That’s how tightly her sound is connected with a certain idea.”
We use the main syllables (ta, ti-ti), although all the others are also given in figurative pictures. Here the choice is up to the teacher and his preference.
The value of rhythmic syllables is that:

• any of the rhythmic sequences can be learned quite quickly;
• rhythmic durations and groups are learned more successfully and naturally;
• with the help of rhythmic syllables, words are translated into rhythm faster and easier;
• rhythmic syllables make it easier and more free to improvise and compose;
• rhythm implies movement and causes motor reactions - this is always joy and pleasure for children.