About the concept of "musical timbre". What is timbre? Organizing time. Greetings

These are the colors we hear.

Look at any painting or photograph. But no painting would have turned out if it had all been painted with the same paint, without shades.
Look at how many of them there are, these talking shades.
Dozens of shades of the same color. Sound also has them.
The same note, the same sound, the same in pitch, can be played by different musical instruments. And although the pitch of the sound is exactly the same, we recognize either the voice of a violin, or the voice of a flute, or the voice of a trumpet, or a human voice.
How do we do this?

Our hearing is as sensitive as our eyesight. Even the most Small child Among many voices, he immediately recognizes the voice of his mother and does not confuse it with the voice of his grandmother. We recognize friends and acquaintances by the voice on the telephone. You probably immediately recognize the voices of your favorite artists and singers from the first sounds. And we all have fun together, guessing their voices in a playful imitation of the parody artist. To achieve similarity, he changes the color of his voice and timbre.
And we recognize different musical instruments because each of them has its own coloring of sound. The sound can be the same height, but sometimes with a whistle, sometimes slightly ringing, sometimes smooth, sometimes rough. A string sounds different than a metal plate, and a wooden tube doesn't sound the same. copper pipe. After all, every sound has overtones. These shades are overtones and change the “color” of the sound. The color of the sound is the timbre. And every musical instrument has its own.
TIMBRE- an important tool artistic expression. The same musical idea, depending on its timbre embodiment, can sound with varying degrees of brightness, brilliance, softness, tenderness, decisiveness, severity, severity, etc. Thus, timbre enhances the emotional impact of music, helps to understand its semantic shades and ultimately contributes to a deeper disclosure of the artistic image.
Changing timbre, widely used in instrumental compositions, often becomes an important factor musical expressiveness.
Initial classification of timbres orchestral instruments is to divide them into pure (simple) and mixed (complex) timbres.
The timbre is pure (simple) - the timbre of solo instruments, as well as all unison combinations of identical instruments. Pure timbre is used both in single-voice and polyphony (for example, ensembles of accordions or button accordions, domras or balalaikas).
The timbre is mixed (complex) - the result of combinations of various instruments. Used in monophony and polyphony. Such combinations are used to change the phonic qualities of voices and ensembles and are caused by expressive or formative factors.
In various compositions folk orchestra The greatest unity is found in ensembles of identical instruments, as well as instruments that are representatives of the same family. Balalaikas most organically merge with the group of domras, because performing techniques on domras, balalaikas, as well as on percussion instruments are based on general principles sound production: short sounds are performed by striking (plucking), and long sounds by means of a tremolo.
Blends very well with button accordions and accordions wind instruments(flutes, oboes). The timbre diversity of the sound of an accordion (bayan) is due to the presence of registers. Some of them received names similar to certain instruments symphony orchestra: clarinet, bassoon, organ, celesta, oboe.
The farthest degree of timbre similarity and unity of sound occurs when wind and percussion instruments are combined.
TIMBRAL RELATIONSHIPS of orchestral instruments and ensembles are a concept that determines the degree of their unity and contrast when sounding simultaneously.

Lesson 28

Topic: Timbres. Timbres are musical colors.

Lesson objectives:

Learn to perceive music as integral part life of every person.

Develop attentive and friendly attitude to the surrounding world.

Cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop an interest in music through creative self-expression, manifested in reflections on music and one’s own creativity.

Formation of a listening culture based on familiarization with the highest achievements of musical art.

Intelligent perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Musical lesson material:

N. Rimsky-Korsakov. Scheherazade's theme. From symphonic suite"Scheherazade" (listening).

N. Rimsky-Korsakov. Flight of the Bumblebee. From the opera “The Tale of Tsar Saltan”;

Musicians.German folk song (singing).

M. Slavkin, poetryI. Pivovarova. Violin (singing).

Additional material:

During the classes:

Organizing time.

Lesson topic message.

Work on the topic of the lesson.

Timbres - musical colors

Target: introduce students to the variety of timbres of a symphony orchestra.

Tasks:

form artistic culture students: listening attention, performing activity, as self-expression of experiences in singing, musical and rhythmic activity (playing instruments);

Develop an ear for music;

Optimize the creative qualities of the individual.

SLIDE No. 1

Teacher:

Here are two works: one is black and white, and the second is color. Which one is more expressive, bright, beautiful?

And what does the artist use to achieve this expressiveness and beauty?

Using PAINTS.

Sometimes a symphony orchestra is compared to a painter's palette. Can we talk about colors in music? And if so, what kind of paints are they?..

Of course, we will talk about the coloring of voices musical instruments or about timbres.

Music also has its own colors, which composers skillfully use. After all, each instrument has its own unique voice or, as musicians say, its own timbre...

They can play the same note different instruments, but...a string will sound different than a metal or wooden plate, and a wooden tube will not sound the same as a glass one.

The topic of our lesson: “Timbres - musical colors” ( slide No. 2 )

And our tasks... (read on slide number 3):

Today welet's get acquainted with timbresbrass and drums tools and we will tryprove that the voices of these instruments are not onlydiffer from each other, but also havevarious colors .

Not only the guys who prepared the information about the tools will help me with this, but all of you as well.

When listening to the voices of instruments, you need to choose a “color” that matches the timbre of the instrument: for example, ringing - bright color, dull - dark. You can use shades of colors, you can combine several colors...

Teacher: So, let's get acquainted with a group of woodwind instruments. The very name “wind instruments” speaks about how the sound is extracted from these instruments... That's right, they blow. And they began to be called wooden because they were made from wood...

SLIDE No. 4

Once upon a time, wooden instruments were made from wood, hence their name “wooden”. But nowadays they are made from other materials, such as plastic, metal and even glass.

SLIDE No. 5 Flute

Student: FLUTE is one of the oldest musical instruments. Its origin is lost in the mists of time, but the modern flute has moved far from the ancient one. She has the most in a high voice among the brass. She has no equal in imitation of the natural world: bird voices, in the depiction of fairy-tale creatures inhabiting forests and rivers.

Its sound is light, sonorous, bright and mobile.

LISTEN(choose the color of the flute voice).

SLIDE No. 6 Oboe

Student: Having joined the orchestra in the 17th century, the oboe immediately became the idol of musicians and music lovers.

The oboe is best able to express lyrical moods, tender love, submissive complaint, bitter suffering.

The sound is warmer and thicker than that of a flute; its voice can be recognized as if by a “nasal” tint.

LISTEN(choose the color of the oboe voice).

SLIDE No. 7 Clarinet

Student: It appeared only in the 18th century, but it is the only one of all that can change the strength of sound from powerful to barely audible. The clarinet can do everything: it is good for expressing joy, passion, dramatic feelings.

The sound is very clear, transparent and round, distinguished by nobility.

LISTEN(choose the color of the clarinet voice).

SLIDE No. 8 Bassoon

Student: Last participant groups wooden instruments – bassoon . Appeared in the 17th century as the lowest sounding instrument. This is the bass. Its wooden trunk is so large that it is “folded” in half. In this way, it resembles a bundle of firewood, which is reflected in its name: “bassoon” from Italian means “faggot.”

Its sound is accurately characterized by the writer Griboyedov in “Woe from Wit”: “...Wheezing, strangled, bassoon...”. Indeed,The timbre of the bassoon is a little compressed, grumbling, like the voice of an old man.

He can be grumpy, mocking, or sad and sorrowful.

LISTEN(choose the color of the bassoon’s voice).

SLIDE No. 9 COPPER BAND

Teacher. The next group of wind instruments is COPPER. As the name indicates, the material from which the instruments are made is metal, although not necessarily copper, often brass, tin and other alloys. In an orchestra, brass can easily drown out other instruments, so composers use their sound with caution.

This group appeared later than others orchestral groups. It includes: trumpet, horn and tuba. Let's start getting acquainted with copper instruments with the Trumpet.

SLIDE No. 10 Pipe

Student: In the Middle Ages, the trumpet accompanied festivals and ceremonies, convened troops for battle, and opened knightly tournaments. She often performs warlike signals, which have come to be called “FANFARES.”

The sound is bright, far-flying, festive, solemn.

SLIDE No. 11 Horn

Student: originated from an ancient hunting horn. The name "horn" comes from the German word meaning "forest horn". The length of the metal tube reached almost 6 meters, so it was bent like a shell. A warm, soulful voice allows you to perform wide, smooth melodies.Sound – soft, “lazy”, warm.

SLIDE No. 12 Tuba

Student: Most low instrument In terms of sound, among the brass ones - tuba. It was created in the 19th century.

The sound is thick and deep, “clumsy”.

LISTEN(select the color of the tuba voice).

SLIDE No. 13 Percussion instruments

Teacher. We've come to last group orchestra - percussion instruments. This large group, which includes timpani, snare and big drums, tam-tam, triangle, bells, bells, xylophone. All of them are united by a common method of producing sound - impact. The element of these instruments is rhythm. No other instrument can give music such elasticity and dynamics as drums do.

The only permanent, obligatory member of the orchestra is the timpani.

SLIDE No. 14 Timpani

Student: Timpani - An ancient instrument, it consists of copper cauldrons covered with leather on top, which is struck with a small mallet with a round soft tip.

The sound of various shades: from a barely audible rustle to a powerful roar. Can convey a feeling of gradual accumulation of rhythmic energy. LISTEN

SLIDE No. 15 Xylophone

Student: Xylophone – an instrument with a set of wooden plates that are struck with two hammers.

The sound is sharp, clicking, strong.

LISTEN(we select the color of the timpani voice).

Teacher: And now, while the assistants place your work on the board, we will expressively read the characteristics of the timbres of all instruments

SLIDE No. 16 (Read expressively)

Flute: light, sonorous, bright and mobile.

Oboe: warm and thick with a “nasal” tint.

Clarinet: clean, transparent and round, noble.

Bassoon: squeezed, grumbling, “wheezing.”

Pipe: bright, far-flying, festive, solemn.

French horn : soft, lazy, warm.

Tuba: thick and deep, “clumsy”.

Timpani: from a barely audible rustle to a powerful roar (we tap on the desk with our hands with increasing intensity).

SLIDE No. 17 (Conclusion)

Why are musical timbres compared to colors?

Teacher : yes, the color of the sound of instruments is rich and varied. They can really be compared to paints in painting andyour drawings demonstrate how diverse the range of colors is, and therefore the voices of the instruments and timbres are just as diverse.

BLOCK No. 2

PLAYING INSTRUMENTS SLIDE No. 18

Teacher. The orchestra is a special country. She lives by her own laws. Any instrument in the hands of a musician has its own responsibilities and if it does not fulfill them, it destroys the whole and violates HARMONY.

EXERCISE:

Now several students will try to come up with their own rhythmic accompaniment on percussion instruments (tambourine, spoons, flute and maracas).

CALL 2-3 times and evaluate the performance.

Teacher. The guys performed the rhythm on percussion instruments very well, and felt that it was not very easy to create HARMONY IN AN ORCHESTRA.

Block No. 3 SLIDE No. 19 CROSSWORD (each crossword word opens by clicking)

Teacher. And now it’s time to check how you remember the instruments of the wind group, one of the most diverse voices in color.

Do you have Sheet No. 2 on your desks?(Appendix 2) , in which you enter the answers, and then we check everything together.

SLIDE No. 20 Ancient Greek theater.

Teacher.

Vocal and choral work.

Music is generally inseparable from the timbre in which it sounds. Whether a human voice sings or a shepherd's pipe, the melody of a violin or the grumbling voice of a bassoon is heard - any of these sounds is included in the multi-color palette of timbre embodiments of music.

Music makes you think, awakens your imagination... Let's imagine that we are in Ancient Greece and our class is “ORCHESTRA” - the place where the choir was located, and you and I are the choir. And we will end the lesson with the beautiful song “MUSIC SOUNDS”, and your work for this song can be seen on the screen.

SLIDES from 21 – 37 Student drawings for the song “Music Sounds.”

Crossword

Horizontally.

He leads the entire orchestra.

In the Middle Ages, playing this copper instrument accompanied knightly tournaments and military ceremonies.

In Ancient Greece, this was the name for the choir place.

This woodwind instrument has a low voice.

The name of this brass instrument translated from German means “forest horn”.

Woodwind instrument.

The ancestors of this woodwind instrument are reed pipes and pipes.

Homework.

Students' drawings for the song "Music Sounds."

10. Special remedy

We became acquainted with almost all means of musical expression. But there is one more special thing left. And it relates not only to music, but also to physics. Let's think about what other properties each sound has, besides height and duration. Volume? Yes. But there is another property. The same melody can be played on the piano, violin, flute, and guitar. Or you can sing. And even if you play it on all these instruments in the same key, at the same tempo, with the same nuances and strokes, the sound will still be different. With what? The very color of the sound, it timbre.

Remember overtones? These are the ones that mainly influence the timbre. Each sound is a vibration of air in the form of a wave. Along with the main tone, the pitch of which we hear, it includes overtones that give this wave a special color - timbre. Can sound be without overtones? Yes, but it can only be obtained in special laboratory conditions. And it sounds pretty disgusting. There are no such sounds in nature; it is brighter and more beautiful.

Having studied and decomposed timbre waves, scientists have invented a synthesizer that can create new timbres and imitate existing ones, sometimes quite successfully. Of course, artificial synthesizer tones cannot replace live voices and instruments. But modern music life is no longer possible without a synthesizer.

This is what some sound waves look like:

But what do these physical graphs have to do with musical expression? Very big. Voices are for a composer like paints are for an artist. How many different timbres do you think there are in a symphony orchestra? At least twelve (and many more instruments). And in large, expanded orchestra compositions there can be more than thirty different timbres (and more than a hundred instruments). But that's only clean timbres of individual instruments. Just as artists mix paints to create new colors and shades, composers often use mixed timbres, combinations of various instruments.

How many timbres can there be in piano music? Only one piano timbre. If orchestral music can be compared to a painting painted oil paints, That piano music this is a pencil drawing. But great artists master the pencil so well that they can convey the smallest shades in black and white pencil drawings and create the illusion of colors. Great pianists know how to create the impression of a large colorful orchestra on their “black and white” instrument. And in terms of the subtlety of conveying the smallest nuances, the piano is even superior to the orchestra. Some pianists talk about different piano tones and teach how to play with different tones. And although this is not entirely true from a physical point of view, we can indeed hear these different timbres. Because art is a miracle, and a miracle can contradict the laws of physics.

Why is timbre a special means of musical expression? Because the nature of this expressiveness is special, not the same as that of other means. Melody, harmony, mode and rhythm ours main means, the “face” of music depends entirely on composer. The texture and register depend on the composer, but not always. Can be processed musical piece, without changing its “face”, but changing registers and texture. Pace, strokes, dynamics may be specified by the composer, but very much depend on performer. It is precisely because of the tempo, strokes and dynamics that each musician makes the same pieces sound slightly different. A timbre depends on the tool. Only the choice of instrument depends on the composer, and its beautiful sound depends on the performer.

(Presentation for the lesson "Timbres - musical colors")

"Timbres - musical colors"

(lesson development for 6th grade)

Target: Formation of the need to communicate with music through artistic and creative activities.

Tasks:

Educational- Introduce the variety of timbres of a symphony orchestra

Educational - To cultivate musical taste, performing culture, listening culture; create a sense of personal responsibility for the results of teamwork

Developmental - Develop skills, abilities, methods of musical creative activity (choral singing, vocal and instrumental improvisation)

Lesson problem: Why timbres in music can be called musical colors?

Lesson type: A lesson in discovering new knowledge

Teaching methods:

Verbal-inductive (conversation, dialogue)

Method of "playing music"

Method of "complicity"

Immersion method

Forms of training: collective, group

Material for the lesson: Johann Strauss "Waltz of the Rose of the South"; ON THE. Rimsky-Korsakov Symphonic Suite “Scheherazade”; I. Strauss “Polka - pizzicato”; P.I. Tchaikovsky "Neapolitan Dance" from the ballet " Swan Lake"; I.S. Bach Suite No. 2 “Joke”; G.A. Struve “A friend is with us!”; reproduction of A. Lyamin’s painting “Waltz”; poem by Japanese poet Hitakara Hakushu “Ton.ton.ton”

Lesson equipment: computer , projector, screen, musical instruments (piano, xylophone, metallophone, drum, darbuka, bells, claves, boxes, maracas, triangle), 3MP3 player, colored pencils, cards with musical instruments

Terms, concepts: pizzicato, image, mode, tempo, dynamics, timbre

During the classes.

Lesson Introduction:

Musical greeting.

U: Guys, we just greeted each other. How did our greeting sound?

D: Joyful, light and beautiful.

U: And if you mentally take paints, brushes and draw a greeting like a picture - what colors will prevail in it?

D: yellow, red...

U: Look around - the world is full of colors, it is multi-colored. Remember spring garden, summer meadows, autumn forest, winter snow sparkle. Yes, it surrounds us colorful world, artists have learned to express it on canvas - with the help of paints, but what about in music? What colors will be in music that will help us play and sing a multi-colored world?

SLIDE №1

The topic of our lesson: “Timbres - musical colors.”

Each lesson involves repeating what is known and discovering something new. What new things would you like to learn?

D: Why timbre is called musical colors, find out how different instruments sound.

T: This will be the purpose of our lesson.

Let's determine what tasks we have to solve in the lesson so that our goal is achieved?

D: You need to listen to pieces of music, try to hear how the timbre of musical instruments makes them colorful; you need to learn to compare paintings by artists and pieces of music.

U: Great, that’s what we’ll devote our lesson to. You are good students, and we have completed the part of the lesson where you were just students.

And now you and I will be transformed: there are very rare professions, thanks to which culture is preserved and passed on to the next generations from century to century.

Let's get acquainted:

Before you - restorers - this is group No. 1.

Group No. 2 - art critics.

Group No. 3 - musicians from the symphony orchestra.

Group No. 4 are spectators who came to the Philharmonic with a subscription to a smart meeting dedicated to timbre in music.

Each group will complete a very important task. And I will act as a senior assistant accompanying group research, as a moderator (leader) of a musical lecture and as a conductor.

(children receive cards with a task and answer questions within 3-4 minutes)

Task for group No. 1:

Dear restorers! A sad event happened: painting contemporary artist Alexey Lyamina has lost its colors and name. Please restore both.

What changed in the picture after the color and title were returned?

Start your answer like this...

“We looked at the painting by the artist Alexey Lyamin and decided that it should contain_________________________________________________________________________

colors because __________________________________________________________

______________________________________________________________________.

When the painting acquired color, we felt that it was _____________________

___________________________________________________________________________________________________________________________________________________________________________________________________________________»

Group assignment No. 2:

Dear art critics! Look closely at the painting by artist Alexey Lyamin and listen to a piece of music performed by a symphony orchestra. What unites a work of music and a work of painting? How are they different?

(LISTENING TO THE RECORDING WITH HEADPHONES) I. Strauss "Waltz"

Group assignment No. 3:

Dear musicians! Look at a photograph of a symphony orchestra. Get ready to tell everyone what a symphony orchestra is. What instruments are played in a symphony orchestra? Organize your tools into groups.

Get ready to tell how you grouped them together.

Arrange the instruments as they would in an orchestra. Why do instruments occupy such a place in the orchestra?

Group assignment No. 4

Dear viewers! We already know that music and painting are consonant. But how is it built? musical drawing a poetic work, especially one in which there is no rhyme? Let's try to catch musical rhythm and play with the timbre of your voice while reading poems by the Japanese poet Hitakari Hakoshu. Each of you has your own voice timbre, let's create an orchestra of voices.

Read the poem rhythmically, choosing the timbre of your voice.

And now - a word to the young guardians of culture!

SLIDE No. 2

U: A word to the restorers:

(at this time there is a slide of the picture on the screen). Children answer the question.

U: CONCLUSION. So you felt that the picture sounded in a new way.

SLIDE No. 3

U: Over to you, art critics:

At this time, a color picture appears on the screen and waltz music sounds. Children answer questions .

U: To sum up your work, we can say that in music and painting there are general funds expressiveness.

U: Over to you, musicians!

Well done, each group did a very good job!

And now it’s time to visit our music lecture hall. The topic of our conversation is the timbres of musical instruments.

So, the queen of music sounds - the violin.

SLIDE No. 4

Listening to an excerpt from the symphonic suite by N.A. Rimsky - Korsakov “Shezerazade”

D: smoothly, melodiously, tenderly...

U: In the next piece of music you will hear the sound of not only the violin, but also other musical instruments. Notice if the sound of the violin has changed?

Listening to an excerpt from piece of music I. Strauss “Polka-pizzicato”

D: changed

U: What causes the different color of the sound?

D: depending on the extraction method.

U: This method of extraction is called pizzicato. (ON THE SCREEN)

SLIDE No. 5

U: Now let's get acquainted with the timbres of wind instruments. In the Middle Ages, this instrument accompanied festivals and ceremonies, and called together the army for battle. What instrument do you think about? we're talking about? Look at the screen.

D: this is a pipe.

Listening to an excerpt from P.I. Tchaikovsky "Neapolitan Dance"

from the ballet "Swan Lake"

U: Choose adjectives that describe the sound of the trumpet.

D: The sound is bright, far-flying, festive, solemn.

U: Look: in my hands is one of the most famous wind instruments: the flute. Listen to how it sounds (the teacher plays the flute). This is an instrument for beginner musicians, and on the screen you see the flute of a symphony orchestra. Pay attention to the sound of the flute.

I.S. Bach "Joke from Suite No. 2"

T: What did the flute sound like?

D: (children's answers)

U: Thank you for your active and creative participation in our lecture hall, and we move to the stage: now we are an orchestra, and we are rehearsing one of the fragments of the future lecture hall: we need to combine the timbre of the voice and the timbre of musical instruments. We have a youth orchestra, and therefore we love rhythm very much, and, therefore, percussion instruments. There are percussion musical instruments on the table - choose the instrument you like. Each of them has its own timbre: listen to the chosen instrument, how does it sound?

SLIDE No. 7

U: Now I ask you to show the completed work to the participants of group No. 4.

U: Guys, be careful, now the adult participants will read the text of the poem, and the task of our orchestra is to match the timbre of a particular musical instrument to the poetic image of the poem.

ADULTS READ.

U: How much poetic images can you highlight?

D: maple leaf, mountain wind, moonlight.

U: Do they sound the same or different? What tools best convey the image? maple leaf? (maracas, spring)

Mountain wind? (dishes)

Moonlight? (metallophone, triangle)

U: Now let’s try it together: adults read, and we voice these lines.

(CONDUCTING)

U: Thank you. We have a good creative team.

Do you think we managed to combine the timbre of the voice and the timbre of musical instruments?

(thank you adults, take your seats)

U: By creating and presenting multi-colored paintings under the influence of the timbre of the voice and the timbre of instruments, can we say that timbre is the colors in music?

Thank you for your smart answers, put down your tools and take a seat.

What is the most important thing for an orchestra?

Professionalism and talent of musicians, unity, cooperation.

T: At the beginning of the lesson you defined what an orchestra is. Remember your feelings when working in an orchestra, and in one word say: an orchestra is.....

W: Do you think such qualities as co-creativity, cohesion, friendship will remain important if we create an orchestra, only from voices - a choir? How can we use the timbre of our voices to convey the joy of having real friends nearby, that together we can do many, many good deeds?

D: Sing a song together!

SLIDE No. 8

Performing the song “A friend is with us!” G.A. Struve

Lesson developments (lesson notes)

Basic general education

UMK line V.V. Aleeva. Music (5-9)

Attention! The site administration is not responsible for the content of methodological developments, as well as for the compliance of the development with the Federal State Educational Standard.

UMK“Music” by V.V. Aleev and others.

The purpose of the lesson: hear and feel the role of timbre in creating a musical and pictorial image

Lesson objectives:

1. emotionally, consciously, holistically perceive music at the level of key knowledge;
2. nurturing the culture of listener, reader, viewer, performer;
3. formation of vocal and choral skills.

Subject competencies

• expand the idea of ​​timbre as a means of musical expression
• find out what timbre and painterly colors have in common and how they differ from each other
• enrich knowledge about the timbre characteristics of the violin, cello, flute
• get acquainted with the work of composers Nikolai Andreevich Rimsky-Korsakov, Sergei Vasilyevich Rachmaninov, Johann Sebastian Bach
• learn about the role of timbre in the portrayal of a musical “hero” (symphonic suite “Scheherazade”, opera “The Tale of Tsar Saltan”, Suite No. 2 for orchestra
• learn to listen to the timbre and picturesque beauty of music
• develop vocal and choral literacy

Information competence

• find key knowledge in text material (timbre as a means of musical expressiveness, timbre as painterly colors, timbre as a reflection of images and emotional state)
• develop an understanding of reading a musical educational text (by reading musicological terms, remember their spelling, reading detailed, artistically designed texts enriches speech culture, reading a text creates a theatrical effect in the lesson)
• be able to write short notes of lesson material

Social competence

• find productive cooperation with peers in the process of preparing for song competitions, music concerts(choice of song, choice of ensemble members, coordination of rehearsal time)

Communicative competence

• cultivate a culture of communication through reading and playing musicological educational text(hear and listen to the answer of another student)
• to form a culture of text analysis using the example of the “description” technique - a description of the timbre characteristics of musical instruments

Personal competence

• direct yourself to build an independent route of communication with art (independent listening to music at home, purchasing records classical music for home music library, attending concerts, participating in music competitions songs, learning to play musical instruments, reading literature on art)

UMK: Music. 6th grade: according to the V.V. Program Aleeva, T.I. Naumenko, T.N. Kichak:

1. Naumenko, T.I., Music. 6th grade: textbook. for general education Institutions / T.I. Naumenko, V.V. Aleev.– 6th ed., stereotype.-M.: Bustard, 2006.– 117
2. T.I. Naumenko, V.V. Aleev, Music. 6th grade Phonochrestomathy. – M.: Bustard, 2009, 2CD
3. Naumenko T.I. Music. Diary of musical reflections. 6th grade: manual for general education. institutions / T.I. Naumenko, V.V. Aleev, T.N. Kichak. – M.: Bustard, 2009. – P.72
4. T.N. Naumenko, V.V. Aleev Music Reader and guidelines for the teacher. – M.: Bustard

Musical instruments: accordion, piano.

Equipment: computer, multimedia projector, screen.

Sources:

1. Aleev V.V. Music. Grades 1-4: Program for educational institutions/ V.V. Aleev, T.I. Naumenko, T.N. Kichak-M.: Bustard, 2010. – P. 53
2. Aleev V.V. Music. 1-4 grades, 5-8 grades: programs for educational institutions / V.V. Aleev, T.I. Naumenko, T.N. Kichak.– 6th ed., stereotype.-M.: Bustard, 2008.– P. 53
3. V.V. Aleev On the role of the textbook in music lessons // Art and Education. Journal of methodology, theory and practice art education And aesthetic education. No. 5 (55).-M.: 2008.– P.71
4. Ivanov D. Competencies and competency-based approach in modern education/ Dmitry Ivanov. – M.: Chistye Prudy(Library “First of September”, series “Upbringing. Education. Pedagogy”. Issue 6 (12)). – 2007. – P.8
5. O. Lokteva Interior design through the prism of art of the 20th century // Art No. 14 (446), July 15-31, 2010. Educational and methodological newspaper for MHC teachers, Music, Fine Arts. Publishing House“First of September.” – M. 2010. – P.4
6. T.V. Merkulova, T.V. Beglova Time management for children, or How to teach schoolchildren to organize their time. – M.: Pedagogical University “First of September” 2011. – 40 p.
7. Shelontsev V.A., Shelontseva L.N. Implementation of a competency-based approach to training: Textbook. Omsk: BOU "RIAC". – 2009. – P. 4; 5

Teacher's home library: reading for music lesson

1. Mikheeva L. Musical dictionary in stories.-M.: 1984.-P.141
2. Rapatskaya L.A., Sergeeva G.P., Shmagina T.S. Russian music at school / Ed. L.A. Rapatskaya.-M.: Humanit. ed. VLADOS center, 2003. – P.185
3. A word about music: Russian. Composers XIX century.: Reader: Book. For students of Art. classes / Comp. V.B. Grigorovich, Z.M. Andreeva. – 2nd ed., revised – M.: Education, 1990. – P. 191
4. Smirnova E. Russian musical literature: for VI –VII grades. DMSh. Textbook.-M.: Music.-2000.– P.106
5. Sposobin I.V. Elementary Music Theory: A Textbook for music schools.– 7th ed. M.: Music: 1979.-P.48

During the classes

1. Organizational moment. Greetings

Student's assessment sheet for the lesson:

1. “The best interlocutor” (the ability to listen and hear students’ answers)
2. “The best researcher” (ability to work with text teaching aid- Textbook, Workbook)
3. "Best Listener" (listening to music)
4. « Best Performer"(performance of song repertoire)

Notebook entry:

Lesson topic: Timbres - musical colors

The purpose of the lesson:

1. expand knowledge about timbre
2. hear the role of timbre in creating a musical and pictorial image

2. Experience of creative activity of students in the process of mastering musical knowledge

Teacher: IN primary school you compared musical sounds with paints in painting, they said that each musical instrument has its own unique sound, its own TIMBRE. So, the organ and the flute sound different. Annex 1 .

Notebook entry: Timbre – “sound color”

Teacher: Why do you think musical timbres are often compared to colors in painting?

Student: Like paints that express the color richness of the surrounding world, creating the color of a work of art and its mood, musical timbres also convey the diversity of the world, its images and emotional states.

(The student finds a detailed answer on page 117 of the textbook “Music”).

Teacher: Explain the expression: “Music is inseparable from the timbre in which it sounds.”

Student: Music consists of a variety of incarnations, and in each of them one can discern its own soul, unique appearance and character. Therefore, composers never create music that can be intended for any timbre; Each, even the smallest, work certainly contains an indication of the instrument that should perform it.

Student: …(your own answer)

Teacher: Let's look at Music Example 38, page 117 of our textbook.

A fragment from the symphonic suite “Scheherazade” by Nikolai Andreevich Rimsky-Korsakov is presented (Appendix 2, Appendix 3)

The composer indicated musical tempo Lento (slow), solo instrument – ​​VIOLIN from the string family bowed instruments(it is shown in the illustration) and determined the character of the sound (expressively).

Teacher: What is known about the nature of the sound of a violin?

Student: Every musician knows that the violin has a special melodiousness, so it is often assigned melodies of a SMOOTH, SONG CHARACTER, with a special roundness of lines. (Our textbook, page 118, helps to remember previously acquired knowledge)

Notebook entry: The violin is melodious and song-like.

Listening to music: CD 2, No. 8. N. Rimsky–Korsakov, Theme “Scheherazade”, From the suite “Scheherazade”, fragment

Teacher: The violin has not only the ability to be melodious and song-like. She has many talents. What other ability does a violin have?

Student: The VIRTUOSITY of the violin is also known, its ability to perform the most rapid melodies with extraordinary ease and brilliance. (Our Textbook helps to reveal another ability of the violin).

We continue to write in the notebook: -virtuoso

Teacher: Indeed, this ability allows many composers to create not only virtuoso pieces for the violin, but also use it to convey sounds not musical nature! Today we will listen to “Flight of the Bumblebee” from the opera by N.A. Rimsky-Korsakov "The Tale of Tsar Saltan". Let's remember literary plot about the flight of the Bumblebee.

Student: The angry Bumblebee, preparing to sting Babarikha, makes its famous flight. The sound of this flight, which the music reproduces with fine precision and great wit, is created by a violin melody so swift that the listener is truly left with the impression of a menacing bumblebee buzzing.

Teacher: Before listening to the music, let’s study Music Example 39, page 118. The fast tempo “vivace” ​​- “live” is indicated. The rapid flight of sixteenth notes depicts the circling movement of the Bumblebee.

Listening to music: CD 2, No. 9. N. Rimsky–Korsakov, “Flight of the Bumblebee,” from the opera “The Tale of Tsar Saltan,” fragment

Teacher: The family of bowed string instruments also includes the CELLO. Appendix 5. The instrument is shown in the illustration on page 119. What do we know about the character of the cello's sound?

Student: The extraordinary warmth and expressiveness of the cello brings its intonations closer to a living voice - deep, excitingly emotional.

Notebook entry: Cello – warmth, depth of sound

Teacher: This amazing ability of the cello to sound unusually warm and expressive made it possible to perform vocal works in an instrumental arrangement. On page 119 there is an illustration of the instrument and the musical version of “Vocalise” by S.V. Rachmaninov, with a wide, all-encompassing, singing legato (an arc connecting sounds).

Teacher: Let's open the Diary of Musical Reflections, page 19. Read the assignment.

Student: Write the names of musical instruments. Indicate the groups of the symphony orchestra that these instruments belong to.

The task is being completed: “short ribbon” - enter the word “cello”, “long ribbon” - “string bow group”.

Listening to music: CD 2, No. 10. S. Rachmaninov, “Vocalise” (arranged for cello), fragment

Teacher: In our lesson we will also hear the timbre of an instrument from the woodwind family - the timbre of the FLUTE. Appendix 6.

An illustration of it is presented on page 120 of the textbook. Where there is lightness, elegance and grace in music, there the flute reigns. What do you think is characteristic of the flute's timbre?

Student: The sophistication and transparency of timbre, combined with its inherent high register, give the flute both touching expressiveness (as in “Melody” from K. Gluck’s opera “Orpheus and Eurydice”) and graceful wit.

Teacher:“Joke” by I.S. Bach from Suite No. 2 for orchestra is an example of such an elegantly humorous sound of the flute. In Music Example 41 we will see an “openwork”, “fluttering” musical notation of the score for the flute.

Teacher: Let's reopen the Diary of Musical Reflections, page 19. Let's continue the task. Which musical instrument or symphony orchestra group will you include?

Student:“Short ribbon” – enter the word “flute”, “long ribbon” – “woodwind group”.

Listening to music: CD 2, No. 11. I.S. Bach, "Joke". From Suite No. 2 for orchestra, fragment

3. Conclusion

Teacher: Studied musical material lesson. What can be concluded?

(Students determine the conclusion of the lesson independently and with the help of the studied text material from the textbook)

Among them:

1. Each musical instrument has its own timbre
2. Musical timbres can be compared to colors in painting
3. Timbre helps you “see” musical hero
4. Music is inseparable from timbre
5. ...(Your answer)

Writing in a notebook: Each musical instrument has its own timbre(or recording the output of what was previously voiced)

4. Homework

Diary of musical observations (P.18)

Teacher: During the lesson, you expanded your knowledge of timbre and listened to music performed by the violin, flute, and cello. Let's read in the Diary of Musical Observations, page 18 of the task.

1. What instrumental timbres would different sounds of nature have?

The overflow of sea waves...

Nightingale singing...

2. Is it possible to “voice” silent nature, to endow it with its own timbre?

wild flower…

mighty tree (oak)…

(Due to the fact that the task is determined within the framework of studying the material only this lesson, that is, the timbre of the violin, cello, flute, then the answers are already heard in the lesson. At home, all that remains is to write down the answers.)

5. Vocal and choral activities

Diary of musical observations, P. 72. “Violin”, Poems by I. Pivovarova, Music by M. Slavkin

Teacher: So, in our lesson:

1. we have expanded our knowledge of timbre
2. learned to listen and distinguish the timbre beauty of the violin, cello, flute
3. read musical texts in a textbook;
4. learned to sing beautifully and correctly
5. reviewed homework.

Thanks for your creativity in class!