Yes, Mus Tilicheeva. Exercise: “March” by E. Tilicheeva. To the melody of the Russian folk song "I went up the hill"

A heart given to children.
To the 105th anniversary of the birth of composer E.N. Tilicheeva (1909 – 1997).
Composer E.N. Tilicheeva, whose 105th birthday was on November 17, 2014, belonged to that community of Russian composers of the 20th century who dedicated a significant part of their work to children. These included Z. Levina, A. Alexandrov, M. Krasev, M. Rauchwerger, Z. Partskhaladze, D. Kabalevsky and others.
The composer knew well and felt the specifics of music for children. She knew how to look at events Everyday life through the eyes of a child and convey it to the listeners. Tilicheeva wrote many songs for children who sang and sing in preschool educational institutions and schools throughout the country. Her works are both highly artistic and easily accessible to oneself. to a wide circle completely unprepared performers and listeners, young children.
In his work dedicated to children, E.N. Tilicheeva addressed a wide range of topics. These are solemn songs about the Motherland (“ Soviet country"), and songs dedicated to public calendar holidays ("Flags". "May", "Mother's Day March 8"), many songs dedicated to native nature(“Rain”, “Apple Tree”), the city life of a child (“Airplane”, “We are driving down the street”), as well as a large number of highly artistic adaptations of Russian folk songs, jokes, which made up several collections (“Rainbow”, “Our Day”), as well as a large number music games and fairy tales for children, which were performed both in broadcasts of the All-Union radio and in preschool institutions(for example, “Geese-swans and the wolf”, “Apple tree”). The composer also purposefully created didactic collections of children's songs intended for the formation and development of children's singing intonation and spelling skills. These are “Musical Primer” (1963), “Little Songs” (1961).
At the same time, the composer paid attention to songs dedicated to the study of musical literacy by younger children. school age. Such songs were created for the anthology “School choral singing"Professor Popov.
The main defining feature of all the work of E.N. Tilicheeva began with Russian folk song origins. Any song melody, no matter what its character, no matter what genre it belonged to, was permeated with Russian song and speech intonation. This was the strength of the composer’s creativity. Tilicheeva's melodies are clean, clear and inspired. They are not forced, but are written easily and freely, are well perceived by the ear and fit freely into the voice. At the same time, in musical texts one can see a large and painstaking work author, which is manifested in the brilliant finishing of both the vocal-melodic line and the accompaniment part, which carries a significant semantic load, performing not only the role of supporting the voice, but also complementing musical image textural, coloristic and harmonic means, introducing semantic ambiguity and emotional and semantic depth into the elementary melody of children's songs, helping to avoid clichéd presentation musical material. It is in the accompaniments that the brilliant skill of E.N. is revealed. Tilicheeva as a composer, creating against the background mainly diatonic melody, which was determined by the musical and didactic objectives of the works for young children, a richly developed textural and harmonious accompaniment.
We can safely say that the legacy of the composer E.N. Tilicheeva stands on the level the best samples academic music
Russia of the 20th century.
Elena Nikolaevna lived a long life. She passed away in 1997, at the age of 88. Her life path was complex and difficult, like that of the entire Russian people in the 20th century. Born in 1909, the composer survived I world war, the revolution of 1917, the difficult period of repression of the 30s, the Great Patriotic War Finally, at the end of the 40s, when, it would seem, the most difficult trials were behind us, the life paths of the composer and her husband V.Yu diverged. Tilicheev, famous pianist, professor at the Moscow Conservatory and the Musical Pedagogical Institute. Gnesins. Tilicheeva continued her further life journey alone. But despite all life’s difficulties, E.N. Tilicheeva, as contemporaries testify, always remained a bright, open and purposeful, friendly and modest person.
V.I. Sosunova (before Chuikov’s marriage) recalled: “I studied at a music school in solfeggio and composition class with Vladimir Yuryevich’s wife Elena Nikolaevna Tilicheeva. This was the beginning of the 30s... E.N. Tilicheeva was an absolutely amazing person, a wonderful musician, an excellent teacher, who selflessly loved children. She led a composition club... They met Vladimir Yuryevich at the Merzlyakov School, where they studied together. They loved each other very much - they had a wonderful family... She loved him as a person and appreciated him as a musician. She was a very modest and charming person..."
In Ryazhsky's funds local history museum A letter from E.N. Tilicheeva has been preserved, written in gratitude for publication in one of the newspapers in Ryazhsk and for being awarded with a certificate. The venerable composer wrote: “Dear Anna Afanasyevna! Thank you for everything! You really spoil me, it’s just inconvenient to receive certificates and constant mentions of my name in the newspaper for my modest work. Write who and to what address I should thank for receiving the certificate that was awarded to me.” Probably this document is best characteristic personal qualities composer, her modesty was legendary.
Elena Nikolaevna was born in Moscow. Her mother was a pianist. Graduated from the Moscow Conservatory. My father was a lawyer by profession, but later became a professional singer, he sang in the choir. Pyatnitsky, and then in the Red Banner Ensemble Soviet army.
In 1915, the Trinity family (such maiden name Tilicheeva) moved to Ryazhsk Ryazan region. There Lelya (that was her name in the family) heard Russian folk songs and tunes, which later became the basis for the formation of her vocal style. The girl did not want to study music, but she liked to sing in the choir, where she improvised a second voice with pleasure and ease.
It always sounded at home classical music- Mom gave piano lessons and often played herself. The growing Lelya's hearing distinguished Beethoven and Chopin. Lelya tried to select works by these authors by ear and play in different keys. In them she composed her improvisations.
In 1925, the family returned to Moscow, where 16-year-old Lelya began attending concerts, heard a symphony orchestra, and went to the opera.
To the music college (as they called it then) music schools) she came without knowing the bass clef. However, the teachers at the audition were able to discern genuine musical talent in the applicant.
During her training, Lele technically failed to catch up with her more advanced comrades, but she excelled in theoretical disciplines. A.F. Mutli, author famous collection problems in harmony, noticing the student’s outstanding abilities, he began to study composition with her.
During her years of study at the music college, Elena Nikolaevna met with V.Yu. Tilicheev, future husband. Sincere and touching mutual love broke out between them. This is how V.Yu. described his relationship with Lelya Troitskaya. Tilicheev: “I really needed to express my impression to someone ( we're talking about about the first visit to Professor G.G. Neuhaus),
I skipped to the technical school to look for Lelya Troitskaya, I wanted to tell her everything, everything, but I couldn’t find her. I looked in one door - Mutli was sitting, studying... I began to tell him, choking... I ran home from him... and then it was time to go to the technical school, I caught Lelya at the technical school, let’s tell her everything. She so sincerely, from the bottom of her heart, experienced my entire story and was terribly happy for me.” The young musician put on a par the names of the great G.G. Neuhaus and Lelya Troitskaya. The union of these two people, Vladimir Yuryevich and Elena Nikolaevna Tilicheev, became their professional unity.
Elena Nikolaevna was admitted to the Moscow Conservatory immediately as a 3rd year student. Tilicheeva’s composition teachers were R. Gliere and A. Alexandrov. Thesis work became a symphony (1937). Soon a sonata and sonatina for piano, a violin sonata, a fugue for quartet, romances based on poems by Pushkin and Lermontov were written. The romance “Adele” based on Pushkin’s poems became the young composer’s first published work (1937).
At that time, according to surviving testimony from contemporaries, V.Yu. Tilicheev often performed his wife’s works in concerts. So V.I. Sosunova, former student V.Yu. Tilicheeva wrote: “Few people know with what inner delight Viktor Yuryevich sat down at the instrument to perform his wife’s original works. For many years they were most his concert programs, dedicated modern music. The memories of those years testify to this. Concert name of V. Tilicheev in the late 1930s and early 1940s. was known as the name of the first artist piano works Elena Tilicheeva. This greatly expanded the pianist’s horizons, enriched the musical palette with new harmonies, sound combinations, modern language. Elena Nikolaevna highly appreciated his professional approach to her work and dedicated the best of her works to him. These two great musicians still live in my memory today.”
Thanks to close creative collaboration with her husband E.N. Tilicheeva, a fairly impressive number of works were written for academic staff in the 30-40s. These were chamber instrumental works - sonata for violin and piano 1938, string Quartet 1946, poem for violin and piano 1943, suite for violin and piano 1944, children's plays for violin 1946, pieces for piano, romances based on poems by Pushkin, Lermontov, Surkov, Kovalenkov.
Subsequently, most of the works listed above were, unfortunately, not published and were kept in manuscripts at the author’s home. However, in the 90s, the entire composer’s archive after her death was lost due to the irresponsible actions of neighbors who inherited the apartment bequeathed to them by E.N. Tilicheeva.
Not only the musical texts and manuscripts were not preserved, all photographs and newspaper publications related to the work of E.N. disappeared. Tilicheeva. A few archival materials were found in the collections of the Ryazhsky Museum of Local Lore, whose staff closely followed the composer’s creative path during his lifetime and carefully preserved photographs and publications about the composer in local press. Low bow to them for this.
Today, of the above, we can only imagine children’s plays for violin and piano and the romance “Adele” based on Pushkin’s poems. But these essays can also give an idea of ​​the features creative manner author.
At the end of the 40s, life and creative ways E.N. Tilicheeva and V.Yu. Tilicheeva disperse. Since 1946 E.N. Tilicheeva devotes herself to creating music for children. It was then that V. Fere and M. Rauchwerger invited her to join the children's section of the Union of Composers.
The first composition about children and for children, the vocal suite “Misha’s Day at the Dacha” (1946). E.N. Tilicheeva wrote on her own poems.
The cycle “Misha’s Day” is close in theme to Mussorgsky’s cycle “Children’s Room”. These are romance-scenes in which the inner world children. The narration is told on behalf of the main character of the cycle - the boy Misha. Other images of the cycle arise from Misha’s references - this is sister Ella, mom, dad, as well as a steam locomotive flying forward. The cycle represents the child’s entire day, hour by hour, from early morning till late evening. And each time of the day and experience is dedicated to a separate issue of the cycle, all of them are interconnected according to the principle of contrasting picture dramaturgy. For example, “Morning”, “Sister Ella”, “Running to meet dad”.
Children's period of creativity.
Since 1948, the composer has been writing music exclusively for children to perform. Focusing on Opportunities child's voice and using exclusively the middle range of the vocal part (from “D” of the first octave to “C” - “D” of the second), the author richly colors the accompaniment with harmonic colors, uses the techniques of orchestral writing, likening the sound of a piano symphony orchestra. For example, it is worth noting the bold register and dynamic contrasts in the texture of the accompaniments, which give the sound of the piano the color and dynamics of a symphony orchestra.
Even in works for the youngest performers E.N. Tilicheeva showed exceptional ingenuity and compositional skill in coloring the accompaniment part, while never overloading it texturally and dynamically and without forgetting about the dynamic capabilities of the child’s voice (children sing with the ends of the chords in dynamics from “p” to “mp”).
For infants and toddlers preschool age, from 1 year 6 months to 3 years, compositions were written for musical and rhythmic movements, which are very easily acquired by children, do not require memorization, and at the same time the music is not elementary. Many of the exercises mentioned involve speaking and singing by children. early age syllables available to them (ta - ta, la - la, top - top, clap - clap, etc.). Examples of such compositions include “Little Polechka”, “Exercise”, “Yes - yes yes!”, “The doll walks and runs”, “Airplane” from the collection “Music in Kindergarten” edited by N.A. Vetlugina.
Great importance of T.N. Tilicheeva gave importance to the assimilation of Russian song intonation by young children. She created songs in authentic Russian folk texts, translating into them musical intonations Russian song folklore. Thus, the composer continued the traditions of Russian classics, including the names of M.I. Glinka, N.A. Rimsky-Korsakov, M.P. Mussorgsky, M.A. Balakireva, S.V. Rachmaninov (collections “Our Day” - 1953, “Rainbow” - 1948).
Using spare and laconic means, the composer creates precise and vivid images. The songs in these cycles alternated according to the principle of contrast, embodying stylistic features folk song genres, such as chants, choruses, ritual-work, dance, round dance songs and ditties. An example of this kind of songs from the collection “Rainbow” is, for example, the song “Rainbow”, written in the zklyk genre. From the collection “Our Day” one can cite the most striking examples of the genres of the song “Come, Spring!” (round dance) and “I am milking peas” (ritual - labor). In 1948, a cycle was written based on the text by S.Ya. Marshak "All Year Round" The cycle contains 12 songs. Despite the meagerness of the vocal picture, due to the age limitations of the child’s voice, the songs of the cycle make a vivid artistic impression due to the author’s masterful use of the artistic and expressive capabilities of the accompaniment part.
“February” seems interesting, which combines the musical and visual element of the howls of the February blizzard with the intonations of the chiming clock march, dedicated to the Day Soviet army. The author managed to overcome the limits small form and reach the level of a dramatically contrasting two-part musical form.
"January". The author uses sparing means to convey the numbness of nature in the January cold.
This is a monotonous melody based on repeated repetition of one sound, a fifth organ point in the bass, spare harmonization, onomatopoeic passages in the upper register of the accompaniment, reminiscent of the tinkling of ice floes.
It should be noted that in most of E.N. Tilicheeva’s songs, the child’s world is inextricably linked with the natural world. In her work, nature is an integral natural sphere of life for a growing person. Obviously, the childhood impressions of the author, who grew up in a small town in central Russia, had an impact, where a person is not separated from nature by the barriers of civilization, bringing the illusion of comfort, material well-being and security, but lives in a natural natural environment, being part of it. In this regard, the work of E.N. Tilicheeva can be called environmentally friendly, since it returns us to the delight of summer rain, autumn leaf fall, spring drops, birds chirping, walks in the forest and similar values.
In 1952 E.N. Tilicheeva met the talented musical director one of the kindergartens in Moscow by Vera Konstantinovna Kolosova. As a result of the creative collaboration between a musician-teacher and a composer, the album “Little Songs” (1953) was created, which became an experience in creating music school for babies. The songs that make up the collection are essentially vocal exercises for young children.
In the preface to the collection V.K. Kolosova wrote: “In most children, especially in preschool age, the tongue is inactive and interferes with the ease of sound. For example, exercises on the syllables la-la-la (while the tip of the tongue vibrates) are very useful. In the song “Balalaika” these exercises are conveniently combined with the text. In the songs “Trumpet” and “Airplane”, exercises on the vowel letter “u” are useful.
Exercises on the syllables Ha-ha-ha are especially convenient and necessary! Ha-ha-ha! (in the songs “Nonsense”, “Geese”) and on the syllables But! But! But! (in the song “Horse”), Tra-ta-ta! (in the song "Drum")
IN practical work When it comes to singing, among those who sing correctly, there are often children with low, humming voices on one sound. These children do not hear themselves and with their “buzzing” they confuse others.
It’s good to work on “Little Songs” with children who sing low and have underdeveloped ear for music, but healthy vocal cords. You should start with high sounds in the upper register, because the child hears them better than sounds in the middle register. For example, in the songs “Geese”, “Drum”, “Horse”, the child initially sings only the upper sounds on the syllables Ga-ga-ga! - But! But! But! “Tra-ta-ta!”
Each of the songs in the collection is a pearl of children's vocals - song repertoire, combining artistic and vocal-didactic advantages. Author of the article from own experience can claim that when working on performing these songs, 2-3 year old children begin to intonate. The songs “Cuckoo”, “In the Forest”, “Horse”, “Nonsense” are especially good for this purpose.
In collaboration with V.N. Kolosova, a significant number of musical fairy tales for children. T.N. Tilicheeva had the gift of creating dramatic compositions, based on elementary musical material corresponding to the capabilities musical perception children of preschool age. These are, for example, fairy tales “Hares and the Fox”, “Snow Maiden”, fairy tales - games “Chooks”, “Apple Tree”, etc. A striking example of the embodiment of dramatic tasks of this kind is the song - game “Kitten - cat”, where the main dramatic device is the contrast between the chanting and narrative remarks of the presenter and the response patter of the choir group.
Great importance E.N. Tilicheeva contributed to the creation of songs dedicated to children's calendar holidays. She never neglected such work and wrote these songs professionally and inventively, carefully finishing the texture to the utmost perfection.
For example, the song “What We Like in Winter” was probably created for New Year's holidays. In the essay musical means the bustle of cheerful people is masterfully conveyed winter fun children (rapidly running down and then soaring up the line of the vocal part, the moving line of the melody of the postlude with piano accompaniment, the rapid pace of the music in small durations).
“Motherland” seems to be an interesting example of a children’s patriotic song. performed in the best traditions of Russian patriotic songs and anthem Soviet period, which is manifested in the majestic sound of the chord texture of the accompaniment and the anthemic nature of the vocal part. The song can completely become an adornment of a modern children's party dedicated civil event or anniversary.
In the early 60s, E.N. Tilicheeva was invited by a group of methodological scientists to create a “Musical Primer”, conceived as a teaching aid musical literacy preschoolers.
Famous Russian scientist - methodologist N.A. Vetlugina of the Soviet period wrote in the “Methodological Instructions” for the “Musical Primer”: “The book is the first attempt to create a system of teaching music to young children in order to ensure the development of melodic hearing, sense of rhythm, voice (all exercises are given on the sounds “FA” of the first octaves - “BEFORE” the second octave, that is, on sounds convenient for singing by children of this age).
The manual consists of 4 sections. For the first section of E.N. Tilicheeva wrote 21 miniature songs, the intonation of each song represents the interval from prima to seventh. Gradually the material becomes more melodically developed, vocal part includes combinations of various melodic intervals and various rhythmic ratios of durations. Thus, the song “Chicks” is built on the interval of the prima, “Swing” - on the interval of the seventh, in the song “Echo” the seventh is played out, etc. According to the authors of the manual, such a study of intervals is figuratively - game form should lead to the young student mastering the basic intervallic relationships of the European musical system. According to the author of the article, these songs, after detailed vocal and choral elaboration, can be used for a game of guessing intervals.
Several numbers of the first section are written for singing on one sound for singing long sounds on “LE” and short sounds on “LI” in various rhythmic combinations, which makes it possible to actively develop children’s rhythmic sense at the same time as developing children’s pitch hearing and singing intonation. All numbers in the section are carefully harmonized by the author, which leaves the impression of an artistically perfect musical text, despite the extreme fragmentation of the exercises included in the collection.
The second section of the primer, “We will sing by notes,” is devoted to a preschool child learning the basics of musical notation. The authors gradually lead the little student from the ratios of durations musical sounds to the concept stave depending on their height.
The third section “Sing to the notes! Includes 8 songs by E.N. Tilicheeva and 2 Russian folk songs – the play “Shadow-Shadow” and the dance song “About raw oak" The songs written by Tilicheeva represent examples of different genres - the march “To Visit the Pioneers,” a lullaby, lyrical song“March 8”, folk - play “Rain”, dance “Polka”, landscape miniature “Evening”, vocal-instrumental miniature of a programmatic nature with a figurative element “Riddle”. Working on these songs will require the child to perform a variety of musical performance tasks in sound production, sound science, diction, dynamics, according to the nature of the music being performed.
The fourth section is an application - the game “Note Lotto” with blank cards for arranging them on the staff.
Exactly on final stage passing teaching aid It is advisable to conduct a final game based on the pages of the “Primer” - “Guessing Games”, i.e. the task is set in the songs “Chicks”, “Starlings and Crows”, “Echo”, “Swing”, etc. determine the name, what interval is the basis of the melody, in the song “Riddle” - determine by the sound of the accompaniment, without words, who the song is about. There may be other options for assignments, it all depends on the teacher’s imagination.
Elena Nikolaevna wrote a lot of plays for children to perform on toy musical instruments. The composer apparently created these plays by order of N.A. Vetlugina, for the collections “Music in Kindergarten”, of which she was the compiler long years in collaboration with I. Dzerzhinskaya and T. Lomova.
We stopped at the main ones musical genres for preschool children, in which composer E.N. created her compositions. Tilicheeva. Based on the material shown at the seminar, I would like to hope that the composer’s legacy will not be forgotten, as it turned out, unfortunately, the legacy has been lost early period, dedicated to music for academic staff.
Legacy of E.N. Tilicheeva created for children is undoubtedly of lasting value in cultural heritage Russia, because her works bear the stamp of great talent and high professionalism.
Everything created by Elena Nikolaevna for children is a bright page in Russian music pedagogy and is still waiting for its researcher and deserves to be published and systematized.

Topic: “My garden” (Games and toys)

LESSON No. 1

"HELLO CHILDREN!"

Software tasks: Get to know children and arouse their interest in music lessons, the desire to listen to music, to attract attention to dance music, to teach to understand its perky, cheerful character, to learn to use a rattle as a musical instrument, to perform simple movements. Teach children to navigate the space of the music hall.

1. Plyasovaya "Polyanka" r. n. m.
2. Dance according to the show of the river. n. m.
3. Playing with rattles n. m.

Material: Beautiful box, doll, tambourine, rattles (for each child)

Progress of the lesson:

Meeting in a group, invitation to the music room. In the hall they examine the situation.

Musical director: Guys, this is the most favorite room in our kindergarten, it’s called the music room. Why do all the guys love our music room? kindergarten? (It’s big, bright, here children play, dance, sing, people pass here happy holidays). Where is the floor? (Below) Stomp your feet on the floor. Where's the ceiling? (above) Let's stretch higher. Let's try to reach the ceiling with our hands. This is how tall our hall is. Let's name all the words what our music hall is. (Big, beautiful, bright, spacious, tall). I really want you to always feel fun and comfortable in our hall.

Look! Here is a table with a box on it. I'll look into it. Someone is sitting there... (I take out the doll, examine it)

This is Katyusha doll, she loves to listen to songs.

Look at her and invite her to class.

Katyusha wants to meet you. Whoever the doll approaches will tell it his name. (The children introduce themselves, I repeat their names in endearing form). The doll enjoys visiting us, she even clapped her hands. Do you know how to clap your hands? (clapping) Well done! Now let’s clap our hands to cheerful music, and Katyusha will dance.

Come on, Katya, dance, oh - your legs are good!

PLASOVAYA "POLYANKA" r. n. m.

The doll dances in the hands of the teacher.

Musical director: Oh yes, dancing doll, Katenka, what did you bring us in the box? Here is a carved, intricate, painted box!

(I take out a tambourine from the box) Look, this tambourine is a musical instrument. Listen to how fun he sounds. (I play the tambourine, singing a dance song) And now Katenka will play, and the children will dance.

“DANCE FOR SHOW” p. n. m.

Musical director: How you danced merrily, how loudly the tambourine sounded! Your arms and legs were also dancing and a little tired. Sit down on the chairs, let's see what else Katenka has in the box. (I show the rattles, explain how to hold them correctly, distribute them to all children, show 2 techniques: shake them in the air, tap your palm)

Here's a fun toy called a rattle!

The children's rattles ring very happily!

“GAME WITH RATTLES” p. n. m.

When the music ends, children hide the rattles behind their backs and then put them in a box.

Musical director: Our Katenka was tired and danced very merrily.

Now she will go and rest a little.

Quiet, quiet, don't make any noise, don't wake up my Katya.

Come to us again - Katya and I will dance.

Did you like it in music hall? (answer) Songs, dances, games, fairy tales live here - music lives here. Come here to listen to music. I will be waiting for you! Goodbye!

LESSON No. 2

"Visiting the kitty"

(Artistically - aesthetic development, socially communication development, cognitive development, physical development, speech development)

Software tasks:

1. Contribute to the creation of a comfortable environment, bringing children closer to each other and to the music director. Give children the pleasure of interacting with their favorite toys.
2. Satisfy children's need for emotional and motor self-expression through music. To develop children's emotionality, the ability to perceive, experience and understand music.
3. Master rhythmic walking in a flock around the hall with a teacher.
4. Introduce children to new song, master the melody. Learn to sing melodiously and drawlingly.
5. Introduce children to music of a gentle, affectionate nature - a lullaby. Respond emotionally to music of a contrasting nature: lullaby, dance.
6. Introduce children to high and low sounds. Play these sounds.
7. Teach children to hear the beginning and ending of a piece of music. Develop a sense of rhythm. Develop the ability to improvise on musical instruments.
8. Actively master dance movements as shown.

1. Exercise: “March” by E. Tilicheeva
2. Singing: “Ladushki” r. n. P.
3. Listening: “Bayu-bayu” by Krasev, “Plyasovaya” r.n. m.
4. Musically - didactic game: “Bird and chicks”
5. Playing musical instruments: “Rattles” b. n. P.
6. Free dance r. n. m.

Material: screen, cat toy, rattles for each child, teaching aid “Bird and Chicks”

Progress of the lesson:

Under the calm beautiful music children enter the music room.

Musical director: Guys, this morning I met a cat I know, she invited us to visit her. Children, do you want to go visit the cat? (Children's response)

Exercise: “March” by E. Tilicheeva

A teacher with children marches around the hall. Then the children go on their own.

Meowing is heard. The children approach the screen. The teacher shows a toy - a cat.

Musical director: Children, we came to visit the pussy. Let's say hello to her - let's let her pussy stroke our hands.

Program content. Teach children to coordinate movements with the nature and form of program musical works; expressively embody the images of the game.

Tasks. Improve music perception skills; cultivate attention, endurance, spatial orientation, and develop creative activity.

But one day, trappers came to the forest to catch animals for the zoo. The trappers set up their camp at the edge of the forest and carefully entered the forest. They walk through the forest, stop, and listen to the rustling sounds of the forest. We went into the thicket and lay down in the bushes. And it’s quiet in the forest. Only the cuckoo crows and the birds chirp. But then the bears came out of their dens. They walk through the forest, waddle. They approached the bushes... clever trappers jumped out of the bushes, threw large nets over the bears and caught them all. They sent the bears to their camp, and hid again. Silence fell again.

Suddenly wolves jumped out of the thicket. They crossed the clearing in big leaps, stopped and howled protractedly. The trappers ran out from the bushes and caught all the wolves. They were also sent to the camp, and they themselves again hid in the bushes near a beautiful clearing. They waited a long time. It was quiet in the forest. But then the bunnies jumped out into the clearing. They circled on the green grass and found themselves very close to the bushes. And the trappers are already right there. All the bunnies were caught and brought to their camp. There, the trappers put all the animals in cages, loaded the cages onto a large truck and took them to the zoo.”

Learning technique. During the first lesson, children listen to a figurative story and music for the game. The distribution of roles is carried out at the request of the children (all movements of the characters are previously learned in figurative exercises). The teacher monitors the progress of the game without stopping it. After completing the game, he gives explanations and plays the game again. If there are inaccuracies in the children’s actions, in subsequent lessons the teacher again conducts a series of figurative exercises. In the future, when improving the game, you can alternate the figurative story with listening to music, use musical riddles, telling the story by one of the children, playing the game in subgroups (artists - spectators) with the assessment of movements by comrades. It is recommended to use the learned game as a performance, including it in the scenario of a leisure evening or holiday.

Tasks:

formation of the skill of rhythmic walking, development of auditory attention, the ability to start and finish movements to music.

1. The legs started walking - top, top, top!

Come on, more fun - top, top, top.

That's how we do it - top, top, top.

2. The legs started walking - top, top, top!

Right along the path - top, top, top.

Boots stomp - stomp, stomp, stomp.

These are our legs - top, top, top.

While the teacher sings, the children march around the room and stop at the end of the music - stop.

2 . PALM

To the melody of Russian folk song"I was going up the hill"

Tasks:

This exercise helps to establish a warm, trusting relationship between the teacher and the child.

1. Give me your palm, my little one,

I will stroke your palm.

2. On the palm of your hand, my little one,

You stroke my palm.

The teacher offers to show their palms, the children hold them out. For the first verse, the teacher strokes the children’s palms with both hands, and for the second verse, he extends his palms to the children, and they stroke. We must have time to greet all the children!

3. YES-YES-YES!

Words by Yu. Ostrovsky, music by E. Tilicheeva

The exercise develops children's auditory attention, coordination of movements, and sense of rhythm.

1. We will clap our hands - yes, yes, yes, yes!

We stamp our feet - yes, yes, yes, yes!

2. Let's wave our hands - yes, yes, yes, yes!

Let's dance with our feet - yes, yes, yes, yes!

Children perform movements according to the text, and finally run and squat down.

Words by I. Plakida, music by T. Lomova

The exercise develops coordination of movements and a sense of rhythm. Helps increase emotional tone and create a good mood.

1. Where, where are our legs, Children are squatting

Where are our legs? hugging my knees.

Where, where are our legs -

Our legs are missing.

Here, here are our legs, They stand up and stomp their feet.

That's where our legs are!

Our feet are dancing, dancing,

Our feet are dancing.

2. Where, where are our hands, They hide their hands behind their backs.

Where are our pens?

Where, where are our pens -

We don't have our pens.

Here, here are our hands, Hands are shown

These are our hands, rotating the brushes.

Our hands are dancing, dancing,

Our hands are dancing!

3. Where, where are our children - Cover your eyes with your palms.

Where are our children?

Where, where are our children -

Our children are missing.

Here, here are our children, They open their eyes,

These are our children! dance and

Dance, dance our children, clap their hands.

Little kids!

5. CHOCK YES CHOCK!

Words and music by E. Makshantseva

The exercise develops basic dance skills in children, expands their motor experience, and develops the ability to coordinate movements with music.

1. Chok da chok - children dance. Extend your legs

Chok-chok-chok, chok-chok-chok! on the heel.

Chok da chok - the children are dancing,

Exposing the heel.

Chorus: Our children ran Children run in circles

Faster and faster one after another.

Our children danced

Have fun, have fun!

2. Clap and clap - children are dancing. Children clap their hands–

Clap and clap - they started dancing, two claps on the right and left.

Clap and clap - the children are dancing,

We have a lot of fun!

Chorus.

3. Our children squat Children do half squats

They squat together at once. handles on the belt.

Our children squat -

That's how much fun we have!

Chorus. Children run in a circle after each other.

4. Chok da chok - children dance. Repeat movements