Music games for preschool children
"Funny frogs".
Game progress: Children stand in a circle and sing the text:
At the edge of the swamp we are laughing frogs.
We will play spoons, sing songs loudly.
Kwa-kva, kva-kva. Kwa-kva, kva-kva!
The teacher on the spoons plays a simple rhythm, the children repeat it while playing on the spoons.
"Funny Matryoshkas".
Game progress: Several players take part in the game. An adult has a large bright nesting doll in his hands, children have small ones. “The big matryoshka teaches the little ones to dance,” says the adult. He taps a simple rhythmic pattern on the table with his matryoshka. The participants in the game repeat this rhythmic pattern with their nesting dolls. When the game is repeated, the child who correctly completed the task can become the leader.
"Three Bears".
Game material: flat figures of bears made of cardboard, painted in the Russian style. Children have cards with the image of three bears and circles.
Game progress:
Teacher: Do you guys remember the fairy tale "Three Bears"? In the last room Mashenka lay down for a minute in her bed and fell asleep. And at this time the bears returned home. Do you remember what they were called? (Children answer). Listen, who went into the hut first? (He taps out a rhythmic pattern on the instrument on one or two sounds. The children call who came.)
Teacher (brings out a figure): How is the bear going? Slow, hard. Clap the rhythm with your hands, how does it go? Now find where to put the chip. (Children put circles on the corresponding image.)
"Jump, jump, jump."
Purpose: To develop rhythmic memory, metric sense.
Game progress: The child, chosen by the bunny, sits in a circle with a drum in his hands. Children, holding hands, calmly walk with a song in a circle for 1-2 sentences. On the third - they stop and clap their hands on the accents, to which the "bunny" jumps as they move forward, a simple rhythm beats on the drum, the children must repeat it by clapping their hands. After that, a new "bunny" is selected.
Lyrics of the song: Why are you sitting, hare? What are you, bunny, silent?
One jump, two jump! Jump, jump, jump!
Bunny, don't be silent, bunny, you knock on the drum!
"The doll loves to dance."
Purpose: To develop a sense of rhythm.
Game progress: Any Russian folk melody sounds.
Teacher: Today, guys, I will introduce you to the amazing Glashenka doll. Oh, and she is a master at dancing! She can and will teach you! As she stomps, so do you repeat.
Children repeat the rhythmic pattern with claps, stomps. You can pick up spoons, sticks, tambourines .. if you divide the children into subgroups and give different musical instruments, you get an orchestra.
"Along the path."
Purpose: To fix the methods of sound extraction on tambourines, maracas, spoons. Develop children's rhythmic ear.
Course of the lesson: Children with a song move in a chain to sing, to lose they tap out a rhythmic pattern that the teacher sets.
Lyrics: 1. We go along the path to the forest, we go to the forest, we go to the forest.
We will find a hedgehog in the forest, we will find a hedgehog! (play maracas)
2. Let's go along the path to the forest, let's go to the forest, let's go to the forest.
We will find a bunny in the forest, we will find a bunny. (play on spoons)
3. We go along the path to the forest, we go into the forest, we go into the forest.
We will find a bear in the forest, We will find a bear. (play tambourines)
"Merry Bell"
Purpose: To develop the rhythmic hearing of children, the ability to correctly extract the sound on the bell.
Game progress: Children are given two bells each. The teacher sings odd phrases with words, and the children sing even phrases with onomatopoeia, playing along with the bells.
1. Cheerful bell - Ding, ding, ding.
Laughing and laughing - ding, ding, ding.
2. He sang barely audibly in winter - ding, ding, ding.
But again the sun came out - ding, ding, ding.
3. And ringing drops - ding, ding, ding.
In response, they sang to him - ding, ding, ding. (see note appendix)
"Do not snooze".
Purpose: to teach children to perceive and rhythmically reproduce a simple rhythmic pattern, to improve the ability to distinguish the structure of a musical work.
Game progress: The game is played with children sitting on a carpet in a circle. Children sing the text and pass musical instruments around. The teacher can set different tasks for the children:
Accurately reproduce the rhythm, and then pass the musical instrument to the neighbor;
Alternate loud and quiet performance;
Change alternately the techniques of performance on musical instruments.
Lyrics: One, two, three, don't yawn! Played - pass!
One - two or three, do not rush, teach how to play!
BIG AND SMALL
Program content: To teach children to distinguish between short and long sounds, to be able to clap the rhythm.
Game progress: The teacher invites the children to listen to who is walking along the path and repeat how the steps sound with their claps. When the children learn to distinguish between short and long claps, the teacher offers to identify “big and small” legs by ear, performing claps behind the screen or behind the back.
Big feet walked along the road: (long claps)
Top, top, top, top!
Little feet ran along the path: (short pops)
Top, top, top, top, top, top, top, top!
Program content: By auditory perception, teach children to distinguish between short and long sounds, thereby developing rhythmic memory, the ability to correlate their actions with music - the ability to clap the rhythmic pattern of a melody with their hands, develop musical and rhythmic perception.
Game rules: Listen to sounds of different duration, do not disturb others.
Game actions: Guess the duration of the sounds, clap them accordingly.
Game goal: Guess first
HARES.
Program content: Exercise children in perceiving and distinguishing the nature of music: cheerful, dancing and calm, lullaby.
Game progress: The teacher tells the kids that hares lived in the same house. They were very cheerful and loved to dance (shows the picture "Hares are dancing"). And when they got tired, they went to bed, and their mother sang a lullaby to them (the picture “Hares are sleeping”). Next, the teacher invites the children to guess from the picture what the hares are doing? And portray it with your actions (the children are “sleeping”, the children are dancing), to the music of the appropriate nature.
Program content: To develop auditory perception, elementary musical and analytical thinking - the ability to listen and compare music of a different nature (cheerful, dancing and calm, lullaby). Develop musical memory, an idea of the different nature of music.
Game rules: Listen to the end of the melody, do not interfere with others.
Game actions: Guessing the nature of the music, choosing the corresponding image or showing the corresponding actions.
Game goal: Be the first to show what the hares are doing.
LADDER.
Program content: Distinguish the gradual movement of the melody up and down, marking it with the position of the hand.
Game progress: The teacher performs the song "Ladder" by E. Tilicheeva. When repeated, he invites the children to play: show with his hand where the girl (doll, etc.) is moving - up the stairs or down. Then the teacher sings a chant, while he does not sing the last word, first in the first, and then in the second part of the chant, and invites the children to finish it themselves.
For middle, senior and preparatory groups a ladder of 5 steps is used, for the latter it is possible from 7. For the younger ones - from 3.
For 7 steps: For 5 steps: For 3 steps:
Do, re, mi, fa, Here I go up, I go up,
salt, la, si. And I go down. I'm going down. (on a triad).
Program content: To develop musical memory and musical-analytical thinking - the ability to distinguish between the progressive movement of a melody up and down. To teach children to correlate their actions with music (hand movements) by auditory perception.
Develop an ear for music - the ability to distinguish a melodious sound of a melody from a jerky one. Develop an understanding of the visual possibilities of music.
Game progress: The teacher invites the children to listen to how a little boy and an old grandmother, or a big bear and a little bunny, climb up the musical ladder and compare musical fragments.
Game rules: Listen carefully, do not interfere with others.
Game actions: Show by hand.
Game goal: Complete a musical phrase on your own.
SEA.
Program content: To develop in children an idea of the visual possibilities of music, its ability to reflect the phenomena of the surrounding nature.
Game progress: The teacher performs the play "The Sea" by N. Rimsky-Korsakov, the children share their impressions about the nature of the music. The teacher draws attention to the fact that the composer painted a vivid picture of the sea, showing its various states: it is either agitated, or raging, or calming down. One child, using cards, shows the change in the nature of the music throughout the play.
Program content: Strengthen the ability to distinguish between dynamic shades in music: soft (p), loud (), not too loud (), very loud (), etc. Through the ability to correlate musical and artistic images, to develop the imagination, the ability to present pictures of reality, transmitted using the means of musical expression.
Game rules: Listen to a piece of music, do not prompt others.
Game actions: Guess the melody, choose the image corresponding to it.
MUSIC CAROUSEL
Program content: To teach children to distinguish between changes in tempo in music.
Game progress: The teacher performs the song "Carousel", asks the children how they moved, is it always the same? Invites children to depict a change in tempo in music with their actions and answer questions: when the music played quickly, when slowly, etc.
Barely, barely, barely (children start moving)
The carousels started spinning.
And then, then, then (run)
Everyone run, run, run.
Hush, hush, don't rush! (slow down)
Stop the carousel! (stop).
Program content: Develop musical memory through tempo ear. To teach children by auditory perception to distinguish a change in tempo in music and correlate it with their actions, movements.
Game rules: Listen carefully to the melody, do not disturb others.
Game actions: Movements in a round dance with a change in tempo.
Game goal: Take part in a round dance.
MUSICAL LOTO.
Program content: To teach children to distinguish between the form of a piece of music (singal and chorus in a song), to convey the structure of the song, consisting of repeating elements in the form of a conditional image.
Game progress: The teacher sings a song and invites one child to lay out its conditional image from multi-colored circles (singing a song) and plain squares (chorus). The rest of the kids check
whether the task was completed correctly. Another time, the teacher himself lays out a conditional image of a song from circles and squares and asks the children to perform songs corresponding to the image.
Program content: To develop the musical and analytical activity of children - the ability to distinguish between the form of a musical work (singer, chorus), by comparison, comparison, to develop associative thinking - the ability to convey the form of a musical work using various graphic images.
Game rules: Listen to the melody to the end, do not prompt each other.
Game actions: Guessing the melody and laying out its conditional image from circles and squares and vice versa.
Game goal: Be the first to guess and post the melody.
FIND AND SHOW.
Program content: Exercise children in distinguishing sounds in height (re - la).
Game progress: The teacher introduces children to high and low sounds, using onomatopoeia familiar to children, draws attention to the fact that mothers sing in low voices, and children in high, thin ones; to do this, he tells the children that a duck lived in the same yard with ducklings (shows pictures), a goose with goslings, a chicken with chickens, and a bird with chicks on a tree, etc. One day, a strong wind blew, it began to rain, and everyone hid. Mother birds began to look for their children. The mother duck was the first to call her children:
Where are my ducklings, dear guys? Quack quack!
And the ducklings answer her:
Quack, we're here!
The duck was delighted that she had found her ducklings. Mother chicken came out, etc.
Program content: Through auditory perception, develop sound-pitch hearing in children: the ability to listen and distinguish between high and low sounds. (re-la).
Game rules: Listen to a musical question, answer it with a chant that is opposite in pitch.
Game actions: Guess who is called, sing the appropriate onomatopoeia.
Game goal: Help the birds find their chicks.
FIND MOM.
Program content: To develop sound-pitch perception in children: to learn to distinguish sounds within an octave (re1 - re2).
Game progress: The teacher introduces children to high and low sounds, says that Masha's doll has birds: chicken, duck, etc., they sing in low voices. And there are chicks: chickens, ducklings, etc., they sing in high, thin voices. The chicks played all day in the yard and got hungry, and began to look for their mother to feed them:
Pi, pi, pi! It's me! Where is my mother? the chickens sang in a thin voice. And mother chicken answers them:
All to me. Chickens, cute kids!
And all the other chicks began to call their mothers.
During the game, children can alternately play the role of both birds and chicks, while using pictures with their image.
Program content: Through auditory perception, develop sound-pitch hearing in children: the ability to listen and distinguish between high and low sounds. (re - la).
Game rules: Listen to a musical question, answer it with a chant of the opposite pitch.
Game actions: Sing onomatopoeia after the teacher.
Game goal: Help the birds find their chicks
IDENTIFY BY RHYTHM.
Program content: To convey the rhythmic pattern of familiar chants and recognize them from the image of the rhythmic pattern.
Game progress: While learning the song with the teacher, the children slap its rhythm, having learned this, they learn to recognize familiar songs from the proposed drawing.
"Cockerel" rus.n.m.
“We are walking with flags” E. Tilicheeva Rus.n.m.
"Rain"
Cockerel, cockerel, rain, rain
Golden comb! Have fun!
That you get up early, drip, drip,
Children do not sleep Do not be sorry!
give?
We go with flags
Red balls.
In rhythmic patterns, squares represent short sounds, rectangles represent long sounds.
Program content: Listen to the song to the end, do not interfere, respond to others.
Game actions: Guess familiar chants, choose the corresponding graphic images, clap the rhythm of the chants.
Game goal: Guess first.
LISTEN CAREFULLY.
Program content: To develop an understanding of the main genres of music, the ability to distinguish between a song, dance, march.
Game progress: The teacher performs musical works of different genres: lullaby, polka, march. Draws the attention of children to their features, offers to find distinctive features. One child is asked to determine the genre of the given melody by ear and select the appropriate picture, the rest of the children indicate their answer on the playing canvases with the image corresponding to different genres of music.
Game progress: The teacher performs musical works of different genres: lullaby, polka, march. Draws the attention of children to their features, offers to find distinctive features. Children are invited to play - determine by ear the genre of a given melody, select a picture with the corresponding image on the playing canvas and cover it with a chip. At the same time, the child must explain the name of this genre of music and what can be done to such music.
Game actions: Guessing the genre, performing the appropriate movements.
Game goal: Guess first.
THE SUN AND THE CLOUD.
Program content: To develop in children an idea of the different nature of music (cheerful, calm, sad).
Game progress: Children are given playing canvases depicting the sun, a cloud and the sun behind a cloud, which correspond to cheerful, sad and calm music. The teacher performs alternately songs of a different nature (dance, lullaby, calm), and invites the children to play - cover with a chip an image that matches the mood of the character of the music. IN junior group only funny and sad melodies that contrast in sound are offered.
Program content: Develop musical memory, children's ideas about the different nature of music (cheerful, calm, sad). Develop auditory perception, elementary musical and analytical thinking - the ability to compare, contrast music of a different nature.
Game rules: Listen to the melody to the end, do not disturb others.
Game actions: Guessing the nature of the music, choosing the appropriate image.
Game goal: Guess first.
Many researchers (R.E. Levina, G.A. Nikashina, G.A. Kashe, etc.) give the leading place in the integrated approach to the correction of general underdevelopment of speech to the formation of phonemic perception, i.e. ability to perceive and distinguish speech sounds (phonemes). The development of phonemic perception has a positive effect on the formation of the entire phonetic side of speech, including the syllabic structure of words. With the help of developing articulation skills, you can achieve only a minimal effect, and at the same time a temporary one. A stable correction of pronunciation can only be guaranteed with the advanced formation of phonemic perception. Subsequently, this has a positive effect on the development of writing.
There is no doubt the connection between phonemic and lexico-grammatical representations. With systematic work on the development of phonemic hearing, children perceive and distinguish much better: word endings, prefixes in single-root words, common suffixes, prepositions when consonants come together, etc.
In addition, without a sufficient formation of phonemic perception, it is impossible to form its highest level - sound analysis, the operation of mental division into constituent elements (phonemes) of various sound complexes: combinations of sounds, syllables and words. In turn, without long-term special exercises on the formation of sound analysis skills (combining sound elements into a single whole), children with general underdevelopment of speech do not master literate reading and writing.
Doctor of Sciences, Professor Levina R.E., who stood at the origins of Russian speech therapy, wrote: “When choosing ways and means to overcome and prevent speech disorders in children, it is necessary to focus on the nodal formations on which the normal course of not one, but a number of speech processes depends.”
Such a nodal formation, a key point in the system of correction of general underdevelopment of speech, is phonemic perception and sound analysis. “ Formation of nodules, - further notes R.E. Levina, - allows with the greatest savings and expediency to achieve a pedagogical effect”(i.e. correction of speech underdevelopment).
DICTIONARY:
auditory attention - the ability to determine by ear the sound and its direction.
Phoneme - sound, the ability to distinguish each sound in a word.
phonemic hearing - the ability to distinguish and recognize phonemes in words ([d], [o], [m]), to understand
The meaning of words.
Phonemic perception - mental actions to distinguish phonemes and establish the sound structure of a word: whale - [k`] - soft, consonant sound, [i] - vowel sound, [t] - hard, consonant sound; the first sound is [k`], the second is [and], the third is [t].
Children 5-7 years old can :
6. Analyze the sound composition of the word.
Vowel sound, denoted by a red chip;
A solid sound, a consonant, is denoted by a blue chip;
A soft sound, a consonant, is denoted by a green chip.
8. Compose and analyze proposals: The pencil fell under the table. There are 4 words in a sentence.
The first word is pencil;
The second word - fell;
The third word is under (short word);
The fourth word is table.
9. Own the concept of "sound", "syllable", "word", "sentence".
Work on the formation of phonemic hearing, sound analysis and synthesis is carried out in the following sequence:
1. Formation of phonemic hearing:
2. Development of sound analysis and synthesis skills:
The game "Be careful!".
Target: Develop the ability to hear a given sound among a number of sounds, syllables, words.
If you hear a given sound, raise your hand (clap your hands). For example, the sound [R]:
l, r, c, r, h; la, for, ra, mo, ry; table, hand, buttercup.
The game "Name the pictures."
Target: Learn to distinguish a given sound from the objects shown in the picture.
Name and show objects that have the sound [Ш] in their names. For example, pictures (you can toys): a mouse, a car, a jar, a hat, a banana, etc.
Game "Think of a word"
Target: Learn to select words for a given sound, syllable.
Think of a word, the name of a boy (girl), etc. to a given sound [C], syllable MA, etc.
Game "Name the first sound in the word."
Target: Learn to recognize the first sound in a word.
Name the objects in the pictures and highlight only the first sound in the word. For example: cat - [K], needle - [I].
Game "Name the last sound in the word."
Target: Learn to highlight the last sound in a word.
Name the objects shown in the pictures, highlighting the last sounds in the words. For example: house - [M], elephant - [n].
The game "Slap the word."
Target: Learn to divide words into syllables.
Slap the word and name the number of syllables in the word
(you can later with complication - name each syllable in the word). For example: dog - 3 syllables.
rule: how many vowels are so many syllables.
Game Find a Pair.
Target: Exercise children in the selection of words that differ from each other in one sound.
The child is offered paired pictures: a goat - a scythe, a bear - a mouse, a poppy - cancer, a house - smoke, a bowl - a bear, a hatch - a bow, a jackdaw - pebbles, etc. Pictures are distributed, they call their picture in turn, the one who names a pair of this or that picture wins.
Game "Find the word".
Target: Learn to find words with a given sound when listening to a poetic text.
An adult is invited to listen to a poem (or a short story) where there are words with the sound [C]. The child needs to name words with the sound [S].
The game "Spread the pictures."
Target: Learn to differentiate sounds in words.
The child is invited to decompose pictures (toys) into sounds [C] - [W], [З] - [З`].
Add-ons game.
Target: Learn to form words by adding a given sound to the beginning or end of a word.
By adding the given sound to the beginning (end) of the word, name the resulting words. For example: sound [W] ... uba (fur coat), ... apka (hat), ... ar (ball), etc.
The game "Determine the place of the sound in the word."
Target: Develop the ability to determine the place of sound in a word (beginning, middle, end).
Determine where the given sound “lives” in the word: at the beginning, in the middle, at the end of the word. For example: the sound [Ш] in the words: mouse (at the end), hat (at the beginning), car (in the middle).
The game "Who will suit the apartment?".
Target: Learn to identify the number of sounds in a word.
Children have pictures of various animals. The adult shows the house. Children need to pick up a word (animal) for this scheme, then name each sound separately.
Game "Chain of words".
Target: Learn to distinguish the first and last sound in words in words.
The adult calls the word, the child highlights the last sound in the word and comes up with a new word for this sound. For example: cheese - fish - watermelon - umbrella, etc.
Game "Guess the word".
Target: Learn to compose words according to the first sounds of objects depicted in the pictures.
Guess the word by the first sounds shown in the pictures of objects. For example: swan, needle, table, watermelon (fox).
Game "Name the word"
Target: Learn to name words with a certain number of syllables.
The child is asked to name words with 1 syllable (for example, juice, house, smoke), with 2 syllables (mom, porridge), with 3 (milk, bun).
The preschooler's path to literacy lies through games of sounds and letters. After all, writing is the translation of speech sounds into letters, and reading is the translation of letters into sounding speech.
Elena Prikhodko
Musical games for senior preschool age
Music games. senior preschool age
Purpose: To develop emotions, expressiveness of movements, the ability to coordinate movements with music and text.
Game progress: Children - bears stand in a circle. 3-4 children stand in the center of the circle. These are "bees".
Bear children, holding hands, walk in a circle and sing, "bees" show movements.
On a high hummock Children join hands above their heads.
There is a large barrel. Round the arms in front of the chest, showing the barrel.
Bees guard the barrel, Rotate in front of the chest with index fingers.
Bears are not given honey. They threaten with a finger.
One two three four five!
Bears will catch up! They clap their hands. They stomp their feet, putting their hands on their belts.
The bears run away, the "bees" try to "sting".
Purpose: To develop emotions, expressiveness of movements. To cultivate endurance, the ability to obey the rules of the game, to strengthen friendly, benevolent relationships.
Game progress: Two "spider" children take both hands and raise them ("trap"). The rest of the “flies” children join hands and go through the “trap” to the song.
There lived a spider in the world, a fleet-footed old man.
The spider needs skill, he will deftly spread the net -
And the trap is hanging, beware, flies!
The "trap" slams shut with the end of the singing. The caught child stands in a circle, takes the “spider” children by the hands and raises their hands up with them. The game is repeated, only the "flies" move "snake" through the "trap". With each repetition of the game, the "trap" becomes larger. The kids who don't get caught win.
Purpose: To develop coordination of movements, a sense of rhythm, the ability to expressively perform movements in accordance with the text of the song.
Game progress: Children stand in pairs in a column, turning to face in one direction. A "hare" is jumping from one column, and a "fox" is standing on the other. The children sing the song while performing the movements.
Stop, little hare, don't run Children wag their fingers.
Along a narrow path, Straight arms are stretched forward, bringing them closer
to each other ("path").
You better take care They threaten with a finger.
Tail with his kurguzenky hands cover the "tail".
The hare stands behind the column. On the other side
the fox is sneaking.
The fox sneaks along the path - in turn put their hands forward, spreading
fingers like claws.
It is unlikely that he is looking for mushrooms - they shake their heads, hands on their belts.
Click-click, top-top-top. Snap fingers (2 times, stomp (3 times)
"Fox" stands next to the hare. They form
last couple.
You, hare, don't yawn, they threaten with a finger,
And run away from the fox! run in place.
Children hold hands and raise them, forming a "gate". To lose, the “hare” and “foxes” go through the “gates” and stand in front of everyone. They turn their backs on each other.
One two Three! Run! They clap their hands. "Fox" runs around the column with one
side, "hare" - on the other. Returning to the same place
the child is the winner.
"Find a puppy"
Purpose: Development of dynamic hearing in combination with expressive singing.
Game material: a small figurine of a puppy.
Game progress: Children sit in a semicircle. The teacher, together with the children, chooses a driver who closes his eyes. Children stretch their closed palms to the teacher, he hides a puppy in someone’s palms (according to the principle of the “Ring” game).
The children call the driver: Here our puppy ran away, hid behind the barrels.
There are so many of them in the yard, there is no way to find it.
Come on, Sasha, hurry up and find us a puppy!
We will not help, we will sing a song!
The leader substitutes both palms for each child, in which the children alternately put their closed ones. At the same time, the children sing a familiar song quieter or louder, and the driver tries to find the puppy by its dynamic sound.
Purpose: To develop dynamic ear in combination with purity of intonation in singing. Cultivate friendly, benevolent relations in children.
Musical material: any song familiar to children that can be sung without musical accompaniment.
Game material: a playing field, a hammer and several small objects depicting a haystack, a log, a stump, an anthill, a Christmas tree.
Game progress: The teacher arranges all the figures on the playing field in any order. Children examine the figures, and then, together with the teacher, choose a driver who turns away from the rest of the players. The children agree on which figure they will hide the “bun” behind and call the driver:
The gingerbread man rolled away, the gingerbread man - a ruddy side.
How can we find him, bring him to his grandparents?
Come on, Lena, walk along the path, walk
And by the song, find a cheerful kolobok.
Children sing any familiar song, and the driver at this time takes a hammer and drives it around the playing field from figure to figure. If the hammer is far from the figure behind which the bun is hidden, the children sing softly, if close - loudly.
Purpose: To develop in children the ability to perceive rhythmic variety (long, short sounds) through movements to music. Cultivate friendly, benevolent relations in children.
Musical material: “March” by I. Dunayevsky from the film “Merry Fellows”, “Polka” by S. Rachmaninov - 2nd part.
Movements used in the game: a vigorous step on a full foot and a light run on toes.
Game progress: Children are divided into first-second numbers or "daisies, bells." Children with the same number become pairs, forming a circle. Pairs under the first numbers alternate with pairs under the second numbers. To the sound of the march, all the children in pairs walk in a circle with an energetic step. With the end of the sound of music (in a pause between musical fragments), the teacher or child-leader gives a command, for example: “First numbers!” - and this means that the children standing under these numbers must quickly raise their clasped hands up, forming "collars".
To the sound of the polka, the unnamed numbers run lightly into the “gates” formed by the named numbers. Then the game is repeated from the beginning, but the “gates” can form other numbers.
Purpose: To develop in children the perception of tempo changes in music and the exact reaction to it through movement.
Game progress: Children choose "blind man's buff". Slow music sounds, the children kneel on one knee (the back is straight, the blind man's blind man walks between them. To the sound of fast music, the children easily run around the blind man's blind man, who is "sleeping." With the end of the music, the blind man's blind man catches the children. If the blind man's blind man catches up with someone then they switch roles.
Purpose: To convey the nature of the song, to act in accordance with its content.
Cultivate friendly, benevolent relations in children.
Game progress: Children stand in a free group, on the opposite side the Mishka (child) “sleeps”. Children go to Mishka and sing:
Along the path, along the path, we will approach the lair.
We clap our hands and wait a bit.
The bear wakes up, stretches. He sings, addressing first one child, then another: Who was clapping here? Who stomped here?
Children: No, not me. No, not me!
Bear: Did you clap here? Did you stomp here? I'll catch up with you! Rrr…
At the end of the game, the Bear catches up with the children.
Game progress: Children, grouping freely, walk around the room and sing:
White geese go to the stream, white geese lead goslings.
The white geese went out into the meadows, the geese called out: "Ha-ha-ha!"
When they finish the song, they stop. The host says:
A cunning fox came out of the forest, out of the woods!
Lisa comes to the meeting and says:
Geese, geese, I'll eat you!
Geese: Wait, fox, don't eat,
Listen to our song! Ha-ha-ha! (sing).
Fox: I'm tired of listening to you, I'll eat you now!
Geese children run away to their places, the fox catches them.
Purpose: To develop the imagery and expressiveness of movements, perform movements in accordance with the content of the song text, conveying the characteristic features of the game image.
Game progress: A Bear is chosen for the game, which sits aside and pretends to sleep in its lair.
Let's hold hands together, we'll go to the green forest. The children go for a walk in the forest.
We will walk along the clearing, we will sing a song merrily!
Bend over, look at what's blushing under the bush? stop
picking strawberries.
Don't hide, strawberry, we'll find you anyway.
Mosquitoes ring above us, mosquitoes bite on the forehead.
We are at war with mosquitoes, we clap - clap, clap, clap! They clap their hands.
With the end of the singing, the Bear wakes up, leaves the lair, says:
Who is singing this? Doesn't let me sleep?
Children quickly sit down, sit without moving.
Bear: No, there is no one near my house.
I'm going back to the lair to sleep!
The bear leaves, and the children repeat the song. With the end of the singing, the Bear appears again: Who is walking in the forest? Who's stopping me from sleeping?
The children quickly sit down, hiding from the Bear. If someone moves, the Bear takes him by the hand and says:
That's who walked here, who prevented me from sleeping.
Caught by the Bear takes him to his lair. Children approach the Bear, ask him:
Bear, don't drag, bear, let go!
Bear: So be it, I won’t drag it! So be it, I'll let go! Let him just sleep!
Children together with the Bear dance to a cheerful folk melody.
Purpose: To develop coordination of movements, a sense of rhythm, the ability to distinguish between contrasting parts of music, to develop dance creativity.
Game progress: Children are arranged in two circles. The boys around are the Rooster, the girls around are the Foxes. Any folk melody sounds, to the first part of the music - the Fox and the Rooster play musical instruments (The Fox - on rattles, the Rooster - on a tambourine, the children, holding hands, move in a stomping step in a circle. For the second part of the music, the children clap their hands, Fox and the Rooster dance using Russian folk dance movements.For the third part of the music, the children dance in all directions, then squat down with their eyes closed.The Fox and the Rooster quietly take their new place in the hall.When the music ends, the children should find their circle and hold hands.
Purpose: To develop the imagery and expressiveness of movements, perform movements in accordance with the content of the song text, conveying the characteristic features of the game image.
Game progress: The Cat-child stands in the center, the children move on their toes around the “cat”, depicting mice, sing:
1. Quiet mouse, quiet mouse! The cat is sitting on our roof!
An old cat, a fat cat, sings a song loudly!
The cat sings: Mur-mur-meow! Moore-mur-meow! Moore-mur-meow! I understand everyone!
Children: 2. He, slyly squinting his eyes, guards, probably us!
An old cat, a fat cat sings a song loudly ...
The cat sings a chorus.
Children: But today, Vaska is evil, you won’t catch a single one.
You won't catch, you won't catch, you won't catch a single one!
At the end of the game, the Cat catches the mice.
Purpose: To develop the songwriting of children, to arouse interest in composing melodies of different moods, to achieve expressive song improvisations.
Game progress:
Children stand in a circle, holding hands, and sing:
“The bee has been in a hurry all day, she has things to do in the morning.
To the clearing for honey, and then to the bee house "
Children stop, turn to the "bee":
“Bee, bee, buzz, tell us about yourself,
Bee, bee buzz about yourself tell us"
At the end of the song, the Bee performs a song improvisation. Participants of the game must determine the mood of the song with words. The leading player becomes the one who selects the most accurate definitions.
Purpose: To form in children the auditory sensations of the phrase, its beginning and end. Keep the pace of movements throughout the game, develop a sense of rhythm.
Game progress: Children stand in a circle facing each other (children have musical instruments in their hands). The teacher holds the hare in his hands and with the words goes in a circle from the outside.
Bunny - faithful, good friend, he came to us to play in a circle.
With whom he is friends, name, do not miss anyone.
At the end of the first sentence, the teacher stops in front of one of the children and touches one player with the hare's paw. The rest call his name (for example, "with Sasha"). The child taps the rhythm on the instrument, the children repeat it. “Sasha” goes to the second offer in a circle with a toy and touches one of the players with a hare’s paw. Children call the name of this participant in the game, etc.
One of the most fascinating and absolutely necessary forms for childrenprimary knowledge of the sound world, and through it the foundations of musical art, are the playing of sounds. The author who developed the idea of playing with sounds as the initial form of introducing children to the world of music is the Austrian composer Wilhelm Keller, an associate and colleague of Karl Orff.
The world of sounds surrounding us is amazing. There are so many of them, and they are so different: a cat meows plaintively, crystal tinkles thinly, leaves mysteriously rustle underfoot, a car screeches with brakes, and a violin sings. And every sound can become music. You just have to try to hear it. It only seems to us adults that all music has long been concentrated in the piano or in a symphony orchestra. In fact, this is not so - fantasy and imagination can breathe colorful life into ordinary everyday sounds. "March of Wooden Cubes", "Polka of Colored Pencils" or "Squeaky Rondo" - such plays will captivate not only kids.
Everyone knows the color of the sky, the sun, the night, the fire... And what does the night sound like? It shimmers with velvet-black piano sounds or sparkles with a shining starry rain of bells and crystal glasses? Maybe she is melodious and cool, like the sounds of a metallophone? Can we imagine and play "a conversation between two grasshoppers", "a choir of planets", "dance of blades of grass", "march of ants"? It seems incredible, but we can, and easily.
Even very young children are able to improvise their music. Born of their imagination, it is simple and wonderful, like the country of childhood itself. Here, a flickering light of a firefly is born from an ordinary metallophone, simple fishing bells "talk" to each other about friendship, and boxes of cereals will tell you how leaves rustle sadly under your feet in autumn. One has only to listen - and in the light tapping of a pencil on the table you can hear the unpretentious song of the rain, and in the rustle of paper - a whole fairy tale told by a simple paper leaf.
The very pedagogical process of "musicizing" everyday noises (ringing, rustling, knocking, rustling, ringing) is based on the child's desire on one's own organize sounds, thereby turning them into music. When dynamic, rhythmic, structural or other ways of organizing sounds are not yet available to children, spontaneous combinatorics, animated by an internal impulse, becomes the only possible way of formation and education:"This is my music!"
The use of noise and timbre improvisations on noise instruments in musical education does not contradict the essence of musical education itself. The construction of such compositions is only one of the forms of active music-making for children. Children create their music at that level of expressiveness, which can be called primarily universal, discovering for themselves the well-known elementary intonations.
We cannot, we have no right to expect from children melodies, works similar to musical masterpieces. Children's music, which kids improvise or even compose, has no existence in the adult world, our concepts of beauty only slightly extend to it.
It has the main meaning - applied, it helps children to study and explore the world, as well as form their attitude towards it by means of musical and didactic games.
Improvisation, which in its essence is a game based on variation, transformation, recomposing, most of all corresponds to the child's model of knowing the world. Improvisational training has not only a purely musical meaning, its meaning is much wider and affects the sphere of the formation of the internal qualities of the individual.
At the same time, creative music-making as a musical-aesthetic game cannot but strive for certain qualitative characteristics. How to determine the quality of music-making with children who know little? What can act as a benchmark in this case? You can try to express the quality through an extremely generalized condition:the simplest (let it be two sounds ondrum) should be inspired and organized. These words contain the whole philosophy of creative work with children.
Playing with sounds is an unlimited flight of fancy, freedom of expression, the joy of being able to be what you want, that everyone accepts you and do not appreciate according to the principle of "bad or good" you did something. Playing with sounds is a creative exploration that serves several important purposes.pedagogical goals:
The study of the sound properties of various materials and objects made from them
Paper, wood, glass, metal); children's musical
Instruments (Orff and noise, as well as voice and articulatory
Apparatus);
Acquiring a versatile experience of sound sensations;
Exploring different ways of getting sound and acquiring skills
Instrument games;
The development of subtle timbre, and through it the pitch.
From the point of view of the method of playing with sounds, they are based on the principles of elementary improvisation, in fact, being it.
The key phrase "play as YOU want" starts the whole mechanism of this improvisation.
Expedient sequence of actions of the teacherin words that encourage children to certain actions:
1. "Play your instrument, learn what sounds live in it, try to find different ones" (work with the whole group at the same time).
2. "Play music on the instrument - as you want" (free individual solos in a circle, spontaneous combinatorics).
3. "Be a conductor, show the musicians so that they understand how to play the music you want" - the child conducts an orchestra of 3-4 noise instruments that solo in turn.
4. "Think about what instruments are suitable to play "rain music", "wind song", "hedgehog dance", sunlight, "little ice symphony", "your mood today", "joyful thought" on them.
The steps of this process will be correct if we move from onomatopoeic intonations like "cap-cap", "tik-tik", which have a direct associative connection with their life prototype, to a gradual increase in the degree of mediation of the associative connection.
5. "Try to pick up the instruments and voice the poem" - here the method of imposing a free in the metro-rhythmic sense of children's improvisation on a structurally and rhythmically organized poetic text is used.
6. "Talk to your neighbor, tell him what you want" - dialogues of instruments, for example, boxes and maracas (more free combinatorics, due to the need to respond to the partner's actions).
Sound games, being the primary form of improvisation, are based on severalfundamental principles:
Formation in children of an attitude to sound, word, gesture, movement as
Game material that creates the foundation for creativity;
The collective-distributive nature of elementary improvisation,
Allowing everyone to take part in it;
Simplicity and accessibility.
Search, free figurative associations and free combination constitute the mechanism of children's improvisation.
Since any practical activity is carried out with the help of a tool of labor, then children learning music should also have their own "tools" - children's musical instruments, with the help of which they learn this type of activity. Obviously, the instruments cannot be technically difficult to master, the child must understand how to play them as a result of simple manipulations. Such properties are possessed by Orff staffpipes - metallophones and xylophones with removable plates, created especially for children. These instruments respond to the slightest touch with wonderful sounds: they can be played with sticks, pads and finger bones, just clicks and even cams.
Noise instruments also meet the conditions of simplicity, accessibility and variability. The external attractiveness and unusualness of the instrument is the main thing that influences the emergence of children's interest in it and the desire to take the instrument in hand. Children are attracted not only by the sound and appearance of the instrument, but also by the fact that they themselves, without anyone's help, extract sounds from them. The ease of independent actions with noise instruments, the possibility of manipulations are the main factors of pedagogical success in working with them.
An analysis of pedagogical practice shows that there is a direct relationship between the simplicity of the instrument and the age of the children: the younger the child, the easier it is for him to use the instrument. At the same time, there is a connection of a different kind: the poorer the child's musical experience (regardless of his age), the lower the general level of development of his musicality, the simpler instruments should begin his musical education.
Since at the initial stage of the formation of the musicality of children rhythm acts as its fundamental basis, then the first instruments of children are noise in all their richness and diversity. In addition, the premature use of a complex instrument can inhibit the natural development of children's musicality. For them, many opportunities will be missed forever, which are opened only with the help of the simplest tools.
It is difficult even to enumerate the variety of noise and percussion instruments: triangles, bells and bells, bracelets with them, finger cymbals, tambourines and tambourines, wooden boxes, tone blocks, maracas, hand drums and cymbals, etc.
The "noise stage" in training is never short, it cannot be completed within a few lessons. This is due to the fact that with the help of noise instruments in the musical education of children, a number of important stages are gradually being passed, which takes time.
Thus, the formation of a metrorhythmic feeling takes several years, and all this time the noise instrument will be the best assistant to the teacher. A full-fledged work on the subtlety, sensitivity of timbre hearing, preparing it for more complex auditory cognition is also not limited to familiarity with the instruments during one or two lessons.
As for the development of the primary skills of elementary improvisation in playing with sounds, here, too, only noise instruments can replace sound gestures. Noise instruments are involved in the development of the foundations of intonational hearing and figurative-associative thinking. With their help, children carry out a direct transfer of natural and everyday sounds to the instrument (sound-visual scoring of poems and fairy tales). In this case, a certain meaning is assigned to the sounds (rain, clock, thunder, stream, etc.). Later, children are also able to establish an indirect connection between the sound and the simulated sound image (the choir of planets, the music of the stars, the song of the firefly, etc.).
Children's musical instruments at the very initial level should be toys in the highest sense of the word. musical toys , which awaken creative thought, help to understand where and how sounds are born, without fear that they will break the instrument. And if they break, they will be able to make a similar one, from unpretentious auxiliary materials.
It is well known that the prototypes of maracas, drums, castanets, bells, whistles among our ancient ancestors were dried pumpkins with rustling seeds, pieces of hollow logs, simple wooden blocks, ordinary pieces of iron hung on a twig, and pods of various plants. In our modern life, there are immeasurably more opportunities for sound creation. They are only limited by their imagination and the desire to invent. For the manufacture of homemade tools, everything can come in handy:
Various paper (celafan, parchment, newspaper, corrugated, etc.).
Wooden cubes, pencils, coils, sticks of various thicknesses, sticks.
Boxes made of different materials (cardboard, plastic, metal,
Jars of yogurt, chocolate eggs)
Fishing line, simple and woolen threads, wire, fabric.
Natural materials: acorns, chestnuts, cones, nuts, their shells,
Various cereals, pebbles, shells.
Pieces of plastic, small metal objects (keys, brackets, nuts).
Metal cans of different sizes.
Glass bottles and glasses.
Buttons, balloons, rubber bands, bells, empty lipstick tubes, combs.
- And much more, from which you can only extract sounds!
Speech exercises are veryeffective formcreative work with children. It is based on the commonality of expressive means of speech and music, primarily rhythm. Rhythmic and instrumental speech is wonderful music.
Speech music-making opens up great opportunities for children to master almost the entire complex of expressive means of music at a very early stage. For musical education, speech exercises are important, first of all, because musical ear develops in close connection with speech hearing. Speech hearing is one of the foundations of musical hearing.
From his very first experience, the child draws and learns to use the expressive means common to speech and music. These include: tempo (agogics), rhythm, register, tempo, pitch pattern (line), articulation, strokes, dynamics, tessitura, texture, phrasing, accentuation, form.
The main genre of speech music-making is a speech play. It can be defined as a musical-pedagogical model in which the text is not sung, but recited rhythmically. In musical speech pieces, speech, musical instruments, sounding gestures, movement, sonoristic and coloristic means, onomatopoeia can be successfully combined.
The basis for speech exercises is, as a rule, children's folklore: counting rhymes, teasers, nursery rhymes, jokes, incantations, sayings, names, rhymes. Exquisitely refined verses are not at all suitable for speech music-making with preschoolers, even if they are about toys, droplets or autumn leaves. The symbolic meaning of such verses is simply not clear to children, therefore their use, as a rule, is more interesting for the teacher than for children.
Speech exercises serve as the basis for comprehending the richness and diversity of rhythms and intonations, educating intonation, polyrhythmic and polyphonic hearing, preparing the vocal apparatus for singing; give ideas about the primary musical structures and ways of deploying forms, texture; serve as a reliable bridge for independent actions of children in improvisations. They lend themselves perfectly to systematization, distribution according to the level of complexity, being an indispensable form of work with children in terms of pedagogical value.
Texts in speech exercises performsupportive and educational function, helping to clarify and intuitively understand the semantics of expressive means. A good text that immediately interests children is the best prerequisite for fruitful meowling. When choosing a text, one should take into account both the content and the sound-rhythmic side. From the experience of many teachers it is known with what enthusiasm children perceive sound nonsense. The gibberish, nonsense rhymes (ene-bene-rab, misli-masli-compa-teli, hockey-dockery) are accepted with pleasure and processed musically. K. Chukovsky, in particular, wrote about this in great detail in the book "From Two to Five", dedicated to the formation and development of children's speech. An interesting idea about the natural nature of such a game was expressed by the musicologist M. Harlap: "Between speech and music there is a stage of babbling - a rhythmic game with sounds. This rhythmic structure isbackground music education».
That is why speech music-making begins with games with phonemes, phonemic syllables - this huge arsenal of sound means forms an active "instrumental" dictionary of the child for improvisations from the very first lessons.
The rhythm enclosed in words, phrases, is felt by children naturally and is “extracted” without any difficulty: it slams, is transferred to noise instruments. The special ease for children of working with speech rhythms lies in the support of the rhythm by articulatory movement. As a reinforcement, impulses coming from the speech muscles act. The supporting function in speech exercises is also performed by the text itself, which helps to remember and maintain the correct rhythm.
Speech canon available even for preschoolers, contributing to the formation of distributed differentiated attention.
The formation of movement in a person occurs with the participation of speech, and speech - with the participation of movement.
Sign language, bodily - plastic human activity preceded the sound language historically. Speech is based on movement, and here lies the cause that links gesture and word. Gesture as a special form of movement canaccompany, decorate or replace speech, helping to establish coordination between verbal and non-verbal communication.
And what an exciting activity - to dance poetry! Here, for example, the text, in the amount of three quarters, the children dance improvised, and one or two children accompany their dance with improvisation on metallophones.
The snow is so sparkling in winter and glitters,
Hundreds of sparks burn brightly!
Plasticity introduces pantomime and theatrical possibilities into speech music-making,contributing to the individual interpretation of the image, emotional self-expression. It turns a speech play into a theatrical game, bringing speech music making closer to an impromptu theater. The commonality of expressive means of speech, movement and music, the availability and ease of speech improvisation are the basis for children's creative actions.
Search for plastic text accompaniment - ismethod of emotional involvement of the child in the learning process.
The plastic display of the text creates a special "motivational
space" in which each child is a co-creator. It’s not worth it to “invent” movements to the text, straining your head.
The plastic display of the text is, as a rule, spontaneous gestural improvisation, itself-valuable as a creative phenomenon.
There is very little sense in the special memorization of the motor accompaniment of the text composed by the teacher, no matter how perfect it may seem.
The simplest movement and at the same time the simplest plastic display of the text will be the use of sounding gestures during recitation. Any children's poem must first be recited metrically, accompanied by clapping or spanking.
Speech exercises also serve as an effective means of developing intonation and timbre hearing.Intonal hearing refers to the ability to hear and understand the meaningful meaning of music. It is from speech that the child gradually draws more and more subtle shades of meaning and associates them with sound characteristics. Each speech model implies different interpretations in dynamics, register (low, high, falsetto, whistle), timbre, with different articulation, at different tempos, and also in a whisper. "Probing" the image in various interpretations of the text is a natural and logical way to comprehend the depth and diversity of intonations.
Such diverse work with one model allows not conceptually, but practically and in a very accessible form to present to children the expressive possibilities of musical means, the relationship of all the properties of sound in musical intonation. This is the surest way to comprehend the intonational meaning of music.
One of the artistic forms of speech music-making is rhythmic recitation -rhythmic pronunciation of the text against the background of sounding music.
In rhythmic recitation as a form rigidly fixed by the author, there is not much room for children's creativity. There is only an opportunity to experiment with speech intonations and voice dynamics. At the same time, it should be borne in mind that rhythmic recitation against the background of live music (piano) is always more effective than on the basis of a phonogram, which alienates the child from hearing sound in combination with speech.
Methods and techniqueswith the help of which speech music-making becomes creative, since learning a speech piece or rhythmic recitation invented by a teacher against the background of music invented by him is not inherently such.
The main meaning of creative search in speech music-making lies in the rhythmic variation of the text, its timbre and texture design, the construction of the form - from a simple repetition of a phrase to imitation - polyphonic pieces. Many options are possible: "Fruit Rondo", "Toy Canon".
Children gradually learn the technique of constructing speech plays - an elementary oral composition. For example, the proposed poetic text (4 lines) each creative Group tries to rhythmize in his own way, expressively recite, playing with him mimicry. Then the children can add noise accompaniment to their “preparation”. Sometimes a teacher can intervene in the creative process, suggesting that with some kind of movement their play will be more expressive. Groups continue to search, some can take xylophones, others can develop the form at the expense of texture, inventing an accompaniment.
Several variation "rehearsals" before the show complete the creative process, which takes one session. An impromptu concert of the bands for each other is a mandatory learning moment. Children will follow and compare their play with the interpretation of their comrades with unusual attention, they will not need to be persuaded to watch and listen.
At the end of the lesson, there should be a discussion about what was done interestingly. There are no mistakes. The teacher will receive full information about the results of their activities, the real musical competence of each of the children, the development of their creative skills, the ability to improvise, the ability to cooperate, without conducting any surveys, testing and diagnostics.
Speech exercises -the most accessible and the first means for developing the prerequisites for the ability to improvise. The very first improvisation is a verbal fantasy game that launches the very mechanism of spontaneous ingenuity, resourcefulness, closely related to the speed of reaction, the activity of perception.
At the very beginning, children's speech improvisation can only be expressed in the addition of a new word or line to create a version of a favorite verse or song, in the search for a word that matches the rhythm of a given model, in the formation of various combinations from a rhythmic chain of words.
"Wind and Echo"
(A comic speech play with elements of the canon and two-voice speech).
The teacher suggests that the children first copy his speech as an echo, then gradually sound imitation of the wind and the word is added to the recitation, resulting in a two-voice speech. The game can be developed as a comic dialogue with different intonations. So, in the second part of the play, the children pronounce the words with a jocularly formidable intonation.
After learning a speech piece, it can go like a game: children stand in the hall with their eyes closed and “talk” with the teacher, the “wind” between them moves and sounds at the right time. At the end of the game, the child - the wind tries to "dump" as many children as possible.
"Sunshine Rain"
(rhythm declamation)
In the model, children have the opportunity to look for intonations and more suitable instruments for onomatopoeia. This model can be recited in two "semi-choirs".
1. Solar rain ran across the earth -
Each leaf sparkled with silver.
2. A rainbow stands in the spring sky,
As if the feather of the Firebird is on fire.
Sunny rain, sunny rain
It's good that you, rain, are coming!
