How to learn to write dictations in solfeggio. Musical dictations Write dictations in solfeggio online

Hello, dear readers. On this page you can test your musical ear using the "Solfeggio online" block. Let's figure out how it works. To test your musical ear, click "Start". Previously, you can select one of the five presented keys, as well as a mode. By default, the “note” mode and the key of C major will be enabled.

You can guess one note - "note" mode, guess five notes - "test" mode, guess an interval - "intervals" mode.

rice. 1

By clicking on the "Start" button, either a note or an interval will be played to you, in accordance with the mode that you have chosen. Next, from the list, you need to select which note/interval was sounded and click on the “Check” button.

If you guessed correctly, the sun sign will appear. If you select the test mode, you will be shown how many of the proposed notes you guessed. By clicking the "Again" button, you can take the test again, select a different key or mode.

You can also enable or disable the display of the correct note or interval if you do not guess correctly (by default - off) by clicking on the green square with the note in the lower left corner:

rice. 2

And here is the test itself - I wish you good luck.

Note Test Intervals Chords

About intervals

You will hear that the sound of all intervals is different, but they can be divided into several groups - some sound sharp and dissonant - this group is called sharp or dissonant, these include seconds (m2, b2), sevenths (m7, b7) , as well as the tritone (which is called the diminished fifth - um5 or the augmented quart - uv4). All other intervals are euphonious.

But the latter can also be divided into large, small and pure. Major and minor euphonious intervals are thirds and sixths, pure fourths, fifths, octaves (pure ones are also called “empty”, since they have a sound neither major nor minor). Major and minor, as you remember, differ in their sound - major third (b3), for example, sounds major (cheerful) and is the main indicator of the major chord, minor (m3) - minor (sad), with sixths also - major (b6 ) - has a major sound; small (m6) - minor.

Now that you know how intervals are distributed in terms of sound, it will be easier for you to navigate the process of recognizing them by ear.

This manual is a collection of original melodic dictations aimed at students in the junior classes of the music department (8-year study period).

The main goal of creating the manual is to find new creative approaches to carrying out fruitful work with primary school students in solfeggio lessons.

Working with students on dictation is one of the most difficult activities in teaching solfeggio. As a rule, the dictation summarizes both theoretical knowledge and practical skills. All this is a whole complex aimed at performing several tasks at once, combined into one - writing a melody that is complete in meaning.

Where to start, how to organize work on the dictation? Developments in solving this issue are given in the proposed manual.

Undoubtedly, before a little first-grader musician can independently record a melody, he must master musical notation, meter and rhythm, accumulate auditory experience in the relationship of steps in a scale, and much more. In the process of learning the basics of musical literacy, we begin to write the first dictations, analyze musical fragments by ear and record them using graphic images (here the teacher can show his imagination). In such dictations, the teacher performs easy-to-understand pieces on the piano. After listening to them, students should, for example, hear and record the mood of the music, how the melody moves (after, of course, having talked about this), clap the pulse, you can count the beats, determine the strong one, etc.

Approximately from the second grade onwards, the level of difficulty increases in accordance with the curriculum. Here the child must already be proficient in musical notation, know certain keys, the principles of gravity in harmony, duration, and be able to group them.

Working with rhythm deserves special attention. Rhythmic dictations aimed at recording a rhythmic pattern provide excellent training. In melodic dictations, I find it convenient to record the rhythm separately from the melody (this is more relevant for elementary school students).

The process of writing a dictation is based on following a plan. After each playback, you need to determine and record:

• key;
• musical time signature, dictation form, structural features;
• Start dictation (first measure) - tonic, middle cadence(4th cycle) - presence of V stage, final cadence(7–8 bars) -

V stage tonic;

• rhythm;
• melodic intonations using graphic symbols;
• musical notation;

When performing a melody, students must be given a specific task. At the same time, I think it is important not to focus on hearing something specific, on the contrary, to note the maximum possible (based on the plan). It is not so important in what order you start recording what you hear - from the first note or from the end, it all depends on the specific melody. It is important to choose a “reference point”: it could be the tonic at the end, “what’s before the tonic?” and the V step in bar 4, “how did we get to it?” etc. It is also important to orient children not on the relationship between two adjacent notes, but on a motive of 5-6 sounds, perceiving it “as one word”, then children will quickly learn the entire melody. It is this skill that will subsequently help generalize the musical text when reading from sight in a specialty.

For the most part, the collection contains dictations in the form of a period, consisting of two sentences of repeated structure. We also write dictations of a similar structure in the classroom. Based on the classical tradition, we discuss with students that Start dictation - from tonic or other stable level, in bar 4 - middle cadence- presence of V stage, 7–8 bars - final cadence- V stage tonic;

After writing the rhythm (above the bars), we analyze the melody and the intonations that make it up. To do this, we identified the main elements of the melody and assigned each its own symbol. (Here the teacher’s imagination is limitless).

Basic elements of musical intonation:

An example of a dictation with graphic symbols:

The “key” to successful dictation writing is the ability to analyze and think logically. In practical work, I had to meet students with a good musical memory, with pure “naturally” intonation, who experienced difficulties in writing a dictation. On the contrary, a student who has weak intonation and memorizes a melody for a long time, with the ability to think logically, copes well with dictation. Hence the conclusion that in order to successfully write a dictation, children should be taught not only to memorize, but analyze heard .

Musical dictation is an interesting and fruitful form of work in the solfeggio course. It concentrates modal, intonation, and meter-rhythmic difficulties. Working on a dictation organizes students' attention, develops auditory memory and the ability to analyze what they hear. The development of all of the above fundamentals occurs equally in all disciplines studied in music schools, art schools, especially in specialty and solfeggio. These items are certainly complementary. However, the approach to studying a new work in the specialty and a dictation in solfeggio is noticeably different: by reproducing the musical text from the notes in the specialty, a finished work is gradually formed from the details in the student’s mind. This is reflected in the diagram:

When creating a musical notation of a listened piece in solfeggio, the process of working with new material occurs in the opposite direction: first, students are offered the sound of the finished piece, then the teacher helps analyze it, then what they have learned is turned into a musical text:

At the stage of dictation analysis, it is important to follow from the general (features of structure and phrasing) to the specific (the direction of movement of the melody, for example), without disturbing the natural flow of the process.

Recording a dictation is not creating a whole from individual elements (melody + rhythm + meter + shape = result), but the ability to analyze the whole as a complex of its constituent elements.

In order for students to get used to actively perceiving a musical text, different forms of working on dictation are very useful. For example:

• Stepped dictation - the teacher plays a melody, which the students write down as a step sequence. This type of dictation helps to expand orientation in harmony and develops the useful ability to think in steps.
• Dictation with errors - a dictation is written on the board, but with errors. The children's task is to correct them and write down the correct option.
• Dictation with options - useful for expanding musical horizons and understanding the possibilities of developing musical material. In such dictations, you can use both rhythmic and melodic variations.
• Dictation from memory - the dictation is analyzed and learned until every student remembers it. The task is to formulate the musical text correctly from memory.
• Graphic dictation - the teacher indicates on the board only some steps, graphic symbols indicating elements of melodic intonation.
• Dictation with completion of the melody develops students' creative abilities based on three stages of melodic development: beginning, middle (development) and conclusion.
• Selection and recording of familiar melodies . First, the melody is selected on the instrument, and then compiled in writing.
• Self-dictation - recording from memory the numbers learned from the textbook. In this form of dictation, inner hearing develops and the ability to graphically formulate what is heard occurs.
• Dictation without preparation (control) - reflects the degree of mastery of the material. As a material, you can choose a dictation that is one or two grades easier.

Any form of dictation is a kind of monitoring of the development of a child’s musical thinking, the level of his assimilation of new material, as well as a way to give children the opportunity to realize their skills independently or make “discoveries” under the guidance of a teacher.

Examples of dictations for grade 2:

Examples of dictations for grade 3:

Examples of dictations for grade 4:

The dictations presented in the manual are created on the basis of the elements of musical intonation described above and are classified as instructive. In my opinion, in this form it is convenient to “hear” and analyze them, and therefore cope with the task without difficulty. This is what I wish for our students - young musicians!

I hope for a creative approach from teachers to the material presented in this manual.

________________________________________

To purchase Lyudmila Sinitsina’s manual “Solfeggio Dictations for Junior Grades,” please contact the author at

The first part of the textbook “Solfeggio with Pleasure” is intended for high school students of children's music schools and children's art schools and consists of an explanatory note, including some methodological recommendations, a collection of dictations and an audio CD. The collection of dictations includes 151 samples of classical and modern music by domestic and foreign authors, as well as samples of modern pop music and meets the requirements of children's music schools and children's art schools for each level of education.

Task of this manual - intensification of the educational process, expansion of the auditory base of students, formation of their artistic taste, and most importantly purpose is to educate a wide range of competent music lovers who, depending on their abilities, can become simply listeners or music lovers, and with certain abilities and efforts - professionals.

The manual was created on the basis of the author’s 35 years of experience. All presented materials have been tested over 15 years of work at the Akkord State Budgetary Educational Institution of Children's Art School. The author presents musical dictation as a series of exciting tasks. In addition, many examples can be used for auditory analysis and solfege, for example Nos. 29, 33, 35, 36, 64, 73.

Download:

Preview:

To use the preview, create a Google account and log in to it: https://accounts.google.com

On the topic: methodological developments, presentations and notes

Collection of dictations. 8-9 grade

The collection presents selected holistic and adapted dictation texts for current and final control of the knowledge of students in grades 8-9....

Collection of dictations

A collection of test texts on writing and speech development for students in grades 5-9 of a special (correctional) school of the VIII type...

A collection of dictations with grammar tasks for grades 9-11.

The collection presents holistic and adapted dictation texts for intermediate and final control of knowledge of students in grades 9-11. The texts are accompanied by grammar tasks. Sat...

Musical dictations are one of the most interesting and useful exercises for ear development; it is a pity that many do not like this form of work in the classroom. To the question “why?”, the answer is usually: “we don’t know how.” Well, then it's time to learn. Let us comprehend this wisdom. Here are two rules for you.

Rule one. It's corny, of course, but in order to learn how to write dictations in solfeggio, you just need to write them! Often and a lot. This leads to the first and most important rule: do not miss lessons, since a musical dictation is written at each of them.

Rule two. Act independently and boldly!

After each play, you should strive to write down as much as possible in your notebook - not just one note in the first bar, but a lot of things in different places (at the end, in the middle, in the penultimate bar, in the fifth bar, in the third, etc.). There is no need to be afraid of writing something down incorrectly! A mistake can always be corrected, but getting stuck somewhere at the beginning and leaving the sheet of music empty for a long time is very unpleasant.

First of all, before the playback starts, we decide on the tonality, immediately set the key signs and imagine this tonality (well, a scale, a tonic triad, introductory degrees, etc.). Before starting a dictation, the teacher usually sets the class to the tone of the dictation. Rest assured, if you sang steps in A major for half the lesson, then with a 90% probability the dictation will be in the same key. Hence the new rule: if you were told that the key has five flats, then don’t pull the cat by the tail, and immediately put these flats where they should be - better right on two lines.

First playback of a musical dictation.

Usually, after the first playback, the dictation is discussed in approximately the following way: how many bars? what size? are there any repeats? What note does it start with and what note does it end with? Are there any unusual rhythmic patterns (dotted rhythm, syncopation, sixteenth notes, triplets, rests, etc.)? All these questions you should ask yourself, they should serve as a guideline for you before listening, and after playing you, of course, should answer them.

Ideally, after the first playback in your notebook you should have:

• key signs,
• size,
• all measures are marked,
• the first and last notes are written.

Regarding the number of cycles. There are usually eight bars. How should they be marked? Either all eight bars are on one line, or four bars on one line and four on the other- this is the only way, and nothing else! If you do it differently (5+3 or 6+2, in especially difficult cases 7+1), then, sorry, you are a loser! Sometimes there are 16 bars, in this case we mark either 4 per line, or 8. Very rarely there are 9 (3+3+3) or 12 (6+6) bars, even less often, but sometimes there are dictations of 10 bars ( 4+6).

Dictation in solfeggio - second play

We listen to the second playback with the following settings: what motives does the melody begin with and how does it develop further: are there any repetitions in it?, which ones and in which places. For example, repetition in sentences– the beginnings of sentences are often repeated in music – measures 1-2 and 5-6; the melody may also contain sequences- this is when the same motive is repeated from different steps, usually all repetitions are clearly audible.

After the second playback, you also need to remember and write down what is in the first measure and in the penultimate one, and in the fourth, if you remember. If the second sentence begins with a repetition of the first, then it is also better to write out this repetition immediately.

Very important! If, after the second playback, you still don’t have the time signature, the first and last notes written in your notebook, and the bars aren’t marked, then you need to “get active.” You can’t get stuck on this, you need to brazenly ask: “Hey, teacher, how many bars and what size?” If the teacher does not answer, then someone from the class will probably react, and if not, then we ask a neighbor loudly. In general, we act as we want, we are arbitrary, but we find out everything we need.

Writing a dictation in solfeggio - third and subsequent plays

Third and subsequent plays. Firstly, it is necessary conduct , remember and record the rhythm. Secondly, if you can’t immediately hear the notes, then you need to actively analyze the melody , for example, according to the following parameters: direction of movement (up or down), smoothness (in a row in steps or in jumps - at what intervals), movement according to the sounds of chords, etc. Thirdly, you need listen to hints , which the teacher tells the other children when “walking around” during a solfeggio dictation, and correct what is written in your notebook.

The last two plays are intended to test a ready-made musical dictation. You need to check not only the pitch of the notes, but also the correct spelling of stems, leagues, and the placement of accidental signs (for example, after a bekar, restoring a sharp or flat).

Today we talked about how to learn how to write dictations in solfeggio. As you can see, writing musical dictations is not at all difficult if you approach it wisely. In conclusion, get a couple more recommendations for developing skills that will help in musical dictation.

1. Listen at home works that are covered in musical literature, following the notes (you get music from VKontakte, you also find sheet music on the Internet).
2. Sing the notes those plays that you play in your specialty. For example, when you study at home.
3. Sometimes rewrite notes manually . You can use the same plays that you study in your specialty; it will be especially useful to rewrite a polyphonic work. This method also helps to quickly learn by heart.

These are proven ways to develop the skill of recording dictations in solfeggio, so take it at your leisure - you yourself will be surprised at the result: you will write musical dictations with a bang!