Let's start studying sound in music from the simplest and most accessible - from the sounds that surround us. By its physical nature, sound is vibrations of an elastic body that form sound waves in the air. Having reached the ear, the airborne sound wave impacts the eardrum, from which vibrations are transmitted to the inner ear and further to the auditory nerve. This is how we hear sounds.

If everything is not clear yet, it doesn’t matter. Because that's not what music lessons are about How we hear. Our task is to figure it out What We hear and distinguish sounds in music from all the variety of audible sounds.

All sounds can be divided into musical and noise. In musical sounds, the human ear can pick out a certain frequency that sounds louder than others. Noise sounds contain many different frequencies, of which we cannot by ear distinguish any particular frequency by volume. In noise, sounds of different frequencies with approximately the same or varying volumes merge.

Listen to noise and music sounds:

• noise sounds

Some noise sounds are used in music. Of the three presented noise sounds, the first two are the sounds of musical instruments. First the bass drum sounds, then the triangle.

The third noise sound is the so-called “white noise”. It has a lot of components that change randomly. In the picture, white noise would look like this:

We will not study noise sounds, but will proceed straight to musical sounds.

• musical sounds:

If we isolate the loudest component from a musical sound and draw it, we will get something like this:

In real sound, the picture would be more complicated, but, nevertheless, the main thing is that in musical sound there is the loudest sound with one (certain) frequency. Melodies can be composed from such sounds.

Music lessons. So, in musical sounds a certain frequency can be identified. What are we talking about? Let's imagine a tightly stretched string. Let's hit it with a hammer. The string will begin to vibrate:

The frequency at which the string vibrates determines the frequency of the sound heard.
Frequency is measured in hertz: one hertz (1 Hz) is equal to one vibration per second. A person is able to hear sound in the range from 16 Hz to 20 thousand Hz (kHz) when vibrations are transmitted through the air. With age, hearing deteriorates and the sound range narrows. The upper limit of sounds audible by an adult is approximately 14 thousand Hz. In addition, a person hears an even narrower range of sounds most accurately and clearly: from approximately 16 to 4,200 Hz. Musical instruments also sound in this range.

Sound in music. Pitch of sound.

Depending on the frequency of sound, we distinguish between low and high sounds. Actually, any adjectives could be used here, for example, fat and skinny. However, the designation of sounds by height was not chosen by chance. It turns out that it is very convenient to draw musical sounds on paper. This is described on the “music notation” page.

The lower the frequency of a sound, the lower it appears. Thus, a sound with a frequency of 200 vibrations per second (200 Hz) seems low:

Sounds of higher frequency appear high-pitched.
A sound with a frequency of 4000 vibrations per second (4000 Hz) appears high:

Pitch is one of the characteristics of sound in music. Each sound in music has its own pitch (frequency) and its own name. Sounds in music have been selected in height experimentally over the centuries. Different peoples have different systems of musical sounds and their names. We will consider only the European system, which is the most widespread in the world and is used in Russia. The scale of the European system will be discussed on the next page, but now let’s move on to another characteristic of sound.

Sound in music. Sound duration.

Duration describes the amount of time a sound lasts.

For example, sound at 440 Hz for 6 seconds:

Same sound for 2 seconds:

I hope everything is clear with the duration. Let me clarify that in music duration is measured not in seconds or minutes. Duration in music is measured by rhythmic units, which can be expressed by counting, for example, one, two, three, four. This is discussed in detail on the page about tempo, meter and rhythm of music.

Sound in music. Sound amplitude.

Amplitude is the range of vibration of a sound source (for example, a string). The greater the range of oscillations, the greater their amplitude, they say. Its volume is directly dependent on the amplitude of the sound - the greater the amplitude, the greater the volume. Less amplitude means less volume. In addition to amplitude, volume is affected by the distance to the sound source - the closer the sound source, the louder it sounds (with the same amplitude). The loudness of the sound is also influenced by the peculiarities of human hearing - for example, with the same amplitude and distance to the sound source, sounds in the middle register will be heard loudest.

Here are two examples, same tone. Louder and quieter:

The volume of sound is also influenced by such factors as the type of vibrations. The vibrations can be damped (strike on a guitar string). In this case, along with the extinction of vibrations, the sound of the string will also fade away. There may also be undamped vibrations - in this case, the vibrations are maintained artificially, for example, by moving the bow along the string or singing. For continuous oscillations, the volume can be changed (decrease, increase or remain unchanged) depending on artistic goals and objectives.

Sound in music. Timbre of sound.

All of the latter examples used audio from a 440 Hz sound generator. This frequency in the examples was not chosen by chance. 440 Hz is the frequency of the note A of the first octave. Octaves are described on the scale page, but here it is important to note the following - although the A note of real musical instruments has the same frequency as the one that was set for the generator, the A note and the generator sound differently. Moreover, the note A does not sound exactly the same for different musical instruments. That is why we can unmistakably say which instrument sounds:

This is the sound generator:

and this is the piano:

this is the fiddle:

and this is the flute:

Why does the same note sound different, although the pitch is the same? The fact is that when a real musical instrument sounds, additional vibrations are superimposed on the main frequency of the note. When, for example, a string sounds, several vibrations are generated at once:

• the fundamental tone (the loudest) over the entire length of the string and
• overtones are a series of vibrations in half, third, quarter, and so on strings. The amplitude (loudness) of overtone vibrations decreases as the string “division” increases.

In addition, the sounds of vibrations of parts of the body of a musical instrument are added to the main tone and overtones. All this gives the sound a special individual coloring, which is called sound timbre. Timbre allows you to distinguish different musical instruments by ear.

Timbre is inherent in the sounds not only of musical instruments, but also of the human voice. Therefore, we easily distinguish the voices of different people.

The human ear is best at hearing the loudest (fundamental) tone in a musical sound. Partial tones (overtones) are not perceived as separate sounds; they give the main sound a certain flavor by merging with it. The overtones that make up a complex sound are called harmonics or harmonic components. The volume distribution between harmonics for different instruments is not always as linear as in theory. For example, in an oboe (a wind musical instrument), the second harmonic is louder than the fundamental tone, and the third is louder than the second, and only for subsequent harmonics the volume decreases.

On electronic musical instruments (synthesizers), by changing the ratio of harmonics in a complex sound, you can create any volume of overtones and select them so as to imitate the sound of any musical instruments. If you select the first, third and fifth harmonics, the clarinet will sound :)

So, we looked at the nature of sound in music and its characteristics: height, amplitude, duration and timbre.

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For learning to play wind musical instruments, we recommend the “Svirelka” program, which can be obtained here.

What are the sounds?

This development is proposed for conducting music lessons on the topic “elements of musical speech” both in correctional schools and in secondary schools, as well as for extracurricular activities. You can use the elements of this presentation to conduct game warm-ups in the classroom, as a physical education lesson. The topic is very broad, so it can be used in speech therapy classes on the correct pronunciation of syllables and sounds.

What are the sounds?

Sounds are all we hear around us.

There are a great many of them and they are all different.

Even when it is very quiet, they are still present around us, we just need to listen well. We can recognize familiar sounds by closing our eyes, or we can remember and imagine them without even hearing them. This is due to the fact that we have auditory memory.

Sounds are speech, non-speech and musical.

Speech sounds are the sounds of human speech, what you and I say.

(say your name, then sing it on one note, triad down from G to E, example: Misha, Mi-shen-ka)

Non-speech or noise - this is the sound of rain outside the window, clapping of hands, coughing, the buzzing of a bumblebee, the squeak of a mosquito, the rustling of leaves and other sounds of nature, human labor. (give examples of non-speech sounds (cuckoo crows, the wind blows, leaves rustle, clap our hands, buzz like a bee, etc.)

Vanya, you are in the forest now. We call you "au"!

Come on, close your eyes, don’t be shy

Find out who called you soon!

Noise sounds are used in music to create sound effects.

In order to depict how a stream flows or thunder roars, noise instruments are used:

Ratchets, drums, plates, spoons.

The rustling of trees can be represented by maracas (give an example by playing these musical noise instruments)

Musical sounds.

Musical sounds differ from noise sounds in that they can be played or sung.

They have a melody.

Musical sounds differ in timbre - the color of the sound.

Volume

By height sounds are:

High and low

By volume :

Loud and Quiet

By duration:

Long and short

By timbre:

Sharp and soft, melodious and hoarse and others (play examples on the button accordion).

Unlike musical sounds, noise cannot be determined

their height.

Without melody, music is unthinkable.

Musical instruments are capable of conveying many different shades in music.

The human voice is a magical instrument.

He can sing high and low sounds. Children have thin, high-pitched voices. Men's notes are booming and low, while women's are gentle and melodic. (listen to examples of a high female soprano voice, a low male voice - bass)

The change of seasons is the rhythm of the planet.

In any music, besides melody, rhythm is important. Everything in the world has a rhythm.

Our heart is a heart rhythm, there is a brain rhythm, there is a circadian rhythm - morning, day, evening and night.

Rhythm, translated from Greek, means “measurement” - this is a uniform alternation, repetition of short and long sounds.

Play examples of different rhythms (lullaby, march, waltz)

The smooth rhythm gives the music a lyrical quality.

Intermittent rhythm - creates a feeling of anxiety, excitement

Metronome –i source of rhythm in music.

Music without rhythm is perceived as a set of sounds and not a melody.

A metronome is a device with which you can set a rhythm, and it will tap it, like a “loud clock.”

It helps the musician maintain a certain rhythm for a long time.

If the musician does not get into the rhythm, then the listener experiences a feeling of discomfort. (listening to the metronome)

Means of musical expression in music.

In addition to melody and rhythm, timbre, mode, dynamics, tempo and size are important in music.

Timbre is the color of sound.

Dynamics is the strength of the sound of music.

A piece of music can be performed loudly “Forte”, or quietly “piano”

Play the game “Recognize by voice”

Children stand in a circle and choose a driver. He stands in a circle, everyone walks in a circle holding hands with the words

Vanya, you are in the forest now,

we call you Au,

Come on, close your eyes, don’t be shy,

Find out who called you quickly!

the teacher points to one of the children, he says “Vanya!”, the one who is in the circle should open his eyes to recognize the timbre of the child’s voice, calling him by name.

Mode, Major, Minor

The pace is fast. slowly

There are two contrasting modes in music - major and minor.

Major music is perceived by listeners as light, clear, and joyful.

Minor – like sad and dreamy. Sing a major triad to Sun, show a picture of the sun,

Sing a cloud - show a picture of rain or clouds.

Sing the song “Chizhik-fawn” (distribute cards according to the number of children with a cloud drawn, meaning a minor, and a card with a sun, which draws a major)

Chizhik - fawn, where have you been?

I lived in a cage all winter

Where did you soak your beak?

I drank water in the cage.

Why have you lost weight, little boy?

I've been sick all winter

Why is a cell bad?

After all, bondage is so bitter.

Chizhik, do you want to come here?

Oh yes yes yes yes yes yes!

Come on, little siskin, fly out!

Ay yay yay yay yay yay!

Tempo is the speed at which a piece of music is performed. The pace can be slow, moderate and fast.

Italian words are used to indicate tempo, which are understood by all musicians in the world.

Fast tempo – allegro, presto; moderate tempo - andante; slow adagio.

Play the game "Carousel"(consolidating the concept of tempo)

Barely, barely, barely, barely,

the carousels started spinning

and then, then, then.

Everybody run, run, run

Hush hush, don't rush

Stop the carousel.

One, two, one two.

So the game is over.

The municipal government (correctional) general educational institution for students with disabilities is the Gorky special (correctional) general education boarding school.

B. Alekseev A. Myasoedov

Elementary Music Theory

Alekseev B., Myasoedov A.

Elementary music theory. -1986.-240 pp., notes. M.: Music.

Unlike existing textbooks on elementary music theory, which are designed mainly for general courses in music schools, this textbook corresponds to the program of a special course in music theory for theoretical departments of schools. In addition, it can also be used when working at a university.

"Music", 1986

Approved by the Directorate of Educational Institutions and Scientific Institutions of the USSR Ministry of Culture as a textbook for performing departments of music universities and theoretical departments of music schools

PREFACE

Music, like any other form of art - theater, painting, sculpture, poetry, cinema - is one of the forms of social consciousness. Unlike science, which systematizes knowledge about the objective world in scientific concepts, art reflects existing reality in artistic images. The specificity of music is the display of life phenomena in sound artistic images that contribute to emotional comprehension of the world.

Music - this ancient form of art - has long played a very significant ideological, cultural, educational and organizing role in society. The historical evolution of music is closely connected with the main stages of the development of society. This is easy to see if you imagine the role of music in eras of major social upheavals, in which its ideological, educational and organizing role can be seen especially clearly, as, for example, during the French Revolution, the Great October Socialist Revolution, during the Civil or Great Patriotic Wars .

Progressive professional musical art is always closely connected with folk national musical creativity. It is no coincidence that M. I. Glinka said: “The people create music, and we, composers, only arrange it.”

Reliance on the advanced ideas of his era contributes to the rise and flowering of realistic musical art. On the contrary, the separation of music from the advanced ideas of its time leads to degradation, decline and degeneration of music as an art.

Realistic features of musical art can manifest themselves differently in different national schools, movements, and styles. For example, in Soviet musical art they are manifested through the method of socialist realism.

The means of embodying musical images that directly affect perception are musical sounds. Various aspects of the organization of musical sounds also form various expressive means of music. These include: melody, harmony, instrumentation, musical syntax, modal organization, rhythm, texture, etc. However, not all of them (as well as their combinations) always play the same role. For example, it is known that melody plays a primary role. Nevertheless, the melody itself cannot exist without a modal basis and rhythm.

Regardless of whether the music is recorded in musical notation (professional creativity) or exists in an oral tradition (folklore), it, passed on from generation to generation, is perceived by the listener only in the process of performance. Based on its intended purpose for a particular performance, music is divided into instrumental and vocal, although in some cases this division is quite arbitrary. For example, the song refers to vocal music, although there are many songs that are sung with instrumental accompaniment. Strictly speaking, only unaccompanied singing (such as an a cappella choir) can be entirely classified as vocal music.

Just as vocal music can be combined with instrumental music, music as an art form can interact with other types of art. In this case, synthetic arts are formed, combining, for example, music and choreography (ballet), music, theater and painting (opera). Sound cinema also belongs to the synthetic arts.

The study of various types of arts is carried out by the science of art - art criticism (or art history). One of the branches of art history is musicology (musicology), which studies the art of music. In turn, musicology is divided into music theory and music history.

Music theory in the broad sense of the word includes many diverse branches of music science, among which are harmony, polyphony, the study of musical forms, instrumentation and orchestration, musical acoustics and psychology. Each of them is a separate independent discipline that requires detailed study, which, with varying degrees of completeness - depending on the specialty of the students - begins at a music school, and sometimes ends only at a university.

The educational cycle of musical theoretical disciplines certainly includes elementary theory music, giving students systematic knowledge of the most important elements of music. Elementary theory is a kind of root basis from which the above-mentioned educational disciplines of the musical theoretical cycle grew, developed and “branched off”. A solid mastery of the course in elementary music theory is absolutely necessary for students of any musical specialty; This is especially true for future musicologists (theorists, historians) and composers.

Until now, music theory textbooks by various authors have been published in the Soviet Union, the best of which, undoubtedly, is the textbook written about forty years ago by the Moscow Conservatory professor I.V. Sposobin and which has already gone through many editions.

However, none of them was intended for a special course in the theoretical departments of music schools, which, naturally, requires a more detailed and in-depth consideration of certain issues, and sometimes more complete coverage of a number of topics. It is these reasons that brought to life this work, in which an attempt was made to bring the music theory textbook closer to the tasks of a special course in theoretical departments of music schools and special eleven-year secondary schools, where future theoretical teachers and historians study and acquire professional knowledge and skills. The textbook can also be used in music departments of cultural institutes, pedagogical universities and in the study of music theory in general courses at conservatories (art institutes). The textbook is based on the timeless principles of classical music, which have not lost their meaning even today* [By the endXIX- the beginningXXcenturies, the musical language has become so complicated that in many cases its modal basis ceases to be felt. In the 20s of our century, representatives of the composers of the “new Viennese school” formed new principles for organizing musical material. Brief information about them, as well as about other systems and methods of composition, is contained in § 59 on p. 129.]

In its overall structure, this textbook does not differ significantly from other textbooks on elementary music theory. So, the first chapter, as usual, is devoted to musical sounds and their properties, followed by the chapters “Musical system. Notation of sounds”, “Temporal relationships in music (rhythm)”, “Intervals”, etc. However, this arrangement of the material, which also includes topics known to students from the school course in musical literacy and solfeggio, is not dictated by the desire to maintain tradition, but by the methodological expediency of a more systematic presentation required in a textbook intended for students of theoretical departments - future teachers of music theoretical disciplines, and in particular music theory.

At the same time, at first glance it may seem that the initial topics of the textbook are too divorced from living musical practice and this will not allow studying elementary theory using artistic material from the very beginning. But such an impression would be purely external and, in fact, incorrect, since it goes without saying that the musical text of works of art music and live musical sound must certainly be involved when studying all sections of the course without exception. It is natural, therefore, that even such a specific topic as “Musical sound and its properties” should not be mastered outside of music.

It is enough, for example, when studying it to explain the enormous importance of overtones in playing string (flageolettes) or wind (pereduvanny) instruments, and invite a violinist, balalaika player or trombonist to demonstrate this phenomenon in the class, or show rare cases of using overtones on piano (as, say, in Schumann’s “Carnival” during the transition from “Paganini” to the reprise of “The German Waltz”) - and live musical sound will help connect the presentation of theoretical material with musical practice.

Or, for example, the study of the keys of C (see the topic “Musical system. Notation of sounds”) must necessarily be accompanied by a display of musical works of ancient music, as well as modern pieces written in these keys. In general, as practice shows, playing as much music as possible in theory lessons significantly helps in mastering theoretical material.

Some paragraphs may, at first glance, be perceived as located at a considerable distance from the previous sections of the textbook thematically related to them. This impression may be formed, for example, in relation to § 92, which discusses the resolution of characteristic intervals, although the characteristic intervals themselves are practically studied at fairly early stages in the course of music theory, namely when mastering the harmonic types of major and minor. Nevertheless, in order not to disrupt the consistency in the presentation of the material and the structure of the textbook as a whole, the authors considered it possible to include the resolution of characteristic intervals, which are, in fact, chromatic, in Chapter IX (“Chromatism and modulation”), which, however, does not mean that the teacher leading the course cannot go through this section with students earlier (for example, where we were talking about the location of characteristic intervals in the mode and about mode resolution in general).

In the textbook offered to the attention of readers, chapters I, II, III, (§ 23-25), IV, V (§ 37-49 and 58), VI, VII, IX, XII and XIII were written by Associate Professor B.K. Alekseev, and chapters III (§ 14-22), V (§ 50-57), VIII, X, XI and XIV - by associate professor A.N. Myasoedov.

The authors express deep gratitude to all members of the Department of Music Theory of the Moscow State Conservatory who took part in the discussion of this work. They express special gratitude to the head of the Department of Music Theory, Doctor of Art History, Professor E.V. Nezaykinsky, Professor T.F. Muller, senior lecturer of the Department of Theory and History of Music of the Military Conducting Faculty of the Moscow Conservatory, Honored Artist of the RSFSR V.I. Tutunov and the teacher of the music school at the Moscow Conservatory, candidate of art history E.I. Chigareva, who provided great assistance in working on the textbook with their valuable advice and practical suggestions.

Chapter I. Musical sounds and their properties

Each type of art deals with its own special material: painting with paints, sculpture and architecture with various building materials, music with sounds. An artist-creator who creates a work of art is by no means indifferent to the properties of the material he uses. Whether the sculptor chooses bronze or marble, plaster or wood depends on the artistic concept. Gouache, watercolor, oil - different types of paints - have different properties, and these properties are taken into account by the painter and used for certain artistic purposes.

Musicians also need to know what the physical properties of musical sounds are, how individual sounds and their combinations affect a person. The study of the properties of musical sounds and the peculiarities of their perception is carried out, in addition to music theory, by musical acoustics and partly by musical psychology; These issues are also given significant attention in courses on instrumentation and orchestration.

§ 1. The concept of sound

Sound- this is an objectively existing physical phenomenon in nature, caused by mechanical vibrations of any elastic body (a tightly stretched string or membrane, vocal cords, metal or wooden plate, air column filling the body of wind instruments, etc.), resulting in the formation sound waves perceived by the ear and converted into nerve impulses.

Sound waves are called periodically alternating condensations and resolutions in the surrounding elastic - for example, air (that is, gas) - medium (sound-conducting media are also liquids and solids), outside of which, as, say, in a vacuum, sound cannot arise at all. Sound waves propagating in the atmosphere from a sound source evenly in all directions (like radio waves) are perceived by our hearing organs and, with the help of certain parts of the nervous system, are transmitted to the brain, where they are recognized as specific sounds.

In the nature around us, there is a huge number of very diverse sounds, which fall into two groups: sounds with a certain pitch (the so-called musical sounds) and with an indefinite pitch (noise). Musical sounds that have a certain height, in contrast to noise, also have a number of distinctive properties and form the basis (that is, the sound fund) of music, while the use of noise sounds is limited only to the occasional use of some of them in individual musical works to achieve certain goals. effects*. [For these purposes, for example, instruments belonging to the percussion family are used, such as cymbals, tambourines, tom-toms, large and small drums and others, usually included in both a large symphony orchestra and orchestras of other profiles.]

§ 2. Properties of musical sounds

Any musical sound has four main properties that we perceive as manifestations of certain qualities sound:

1) height,

2) duration,

3) volume,

4) timbre.

These properties are determined by various physical prerequisites*. [In addition to these properties, when perceiving sound, its spatial localization is essential, that is, the position of the sound source relative to the listener (in front or behind, far or close, indoors or in an open area, etc.].Sometimes this is recorded in the musical notation with various stage directions, such as “The singer’s song behind the stage” (see the opera “Raphael” by A. Arensky), etc.) Let's look at the properties of sound in order.

Height sound is determined by the frequency of oscillations of the sounding body and is directly dependent on it: the more oscillations per unit of time (which is taken to be a second) the sound source makes, the higher the sound will be, and vice versa, as the number of oscillations decreases, the sound decreases.

In turn, the number of vibrations per second depends on the size (length and thickness) and elasticity of the sounding body. Let's take a string as an example. The longer it is (all other things being equal), the less frequent its vibrations and, accordingly, the lower the sound it produces. And vice versa, the shorter the string, the more frequent the vibrations and the higher the sound. The same dependence is usually observed in relation to the cross section: the larger (thicker) it is, the less often vibrations will occur and the sound will correspondingly decrease, and the smaller (thinner) the cross section, the more often vibrations will occur and the sound will become higher. As can be seen, in both of these cases an inverse relationship is found.

As for the influence of elasticity (in this case, the degree of tension of the string) on ​​the pitch of the sound, there is a direct relationship: the tighter the string is, the higher the sound, and vice versa, the weaker the tension, the lower the sound.

The human hearing system is able to perceive sounds in the frequency range of approximately 16 to 20,000 hertz* [Hertz (abbreviated as Hz) is a unit of measurement of frequency (in this case, oscillations per second), named after the German physicist Heinrich Hertz.)],but people hear the upper sounds of this range only in very early childhood. With age, the upper limit of high-frequency sounds audible to humans decreases to approximately 14,000 vibrations per second. However, the human ear is most accurately and clearly capable of perceiving the pitch of musical sound within a narrower range - from approximately 16 to 4200 hertz, and it is this frequency range that is used in music*.(If we talk about vocal art, then the total range of human singing voices is even smaller - from approximately 60 to 1500 hertz.]

In the extreme registers (that is, outside the specified range), musical pitch is perceived less accurately. For example, if sounds have a frequency exceeding 4200 hertz, then it is still possible to distinguish by ear in this register which sound is higher and which is lower, but it is difficult to establish interval relationships. In such a high register it is almost impossible to recognize even a well-known melody. It is these features of the perception of the pitch of sounds in the extreme registers that determine the limitation of the musical range to the sounds of the above frequencies. The ability of human hearing to most accurately perceive sounds in the middle register is apparently associated with the practice of human speech and singing.

The relationship between vibration frequency and sound pitch manifests itself not in arithmetic, but in geometric progression. So, if you increase the frequency by the same amount, for example by 110 Hz (which practically corresponds to shortening the length of the string by half), starting from the sound la large octave, which has exactly this number of vibrations per second, then in a given sequence of sounds (counting from the previous tone) the interval of a pure octave will be formed first, the second - the interval of a perfect fifth, the third - a perfect fourth, then - a major third, a minor third, another minor third, and then several major seconds and several minor ones. With a further increase in the oscillation frequency by the same amount, that is, with further shortening of the string, even narrower intervals will form. This series of sounds corresponds to the natural series of numbers: one, two, three, four, five, six and so on. This is the number of times the oscillation frequency increases (the string is shortened) compared to the original, which is why this scale is called a natural scale. It can be obtained by dividing, for example, a string into two, three, four, five, six or more parts. So, violinists and cellists, balalaika players and domristas, in short - everyone who plays stringed musical instruments uses this when performing harmonics. (Harmonics are partial tones of a natural scale, produced on stringed musical instruments by lightly touching the string with a finger in those places where it is divided into two, three, four (etc.) parts. Using harmonics, you can play very high sounds. )

Duration sound is the time expressed in rhythmic units during which the oscillatory movements of a sounding body occur: the longer the oscillations last, the longer the sound will be, and vice versa.

Volume sound is directly dependent primarily on amplitude* [The amplitude (i.e., amplitude) of vibration is the greatest distance between the extreme points of deviation of a vibrating elastic body from its initial quiet position.] vibrations of the sound source: the larger it is, the louder the sound, and vice versa, the smaller the amplitude, the quieter the sound will be. In addition, the perception of loudness is influenced by the distance from the sound source and partly by the vibration frequency. Thus, with the same amplitude and distance from the source, sounds in the middle register seem louder.

Note to diagram No. 1. The dotted line indicates the initial position of the string in a quiet state. Curved lines indicate the position of the string when vibrating during sounding.

A transverse double-sided arrow indicates the amplitude of oscillations.

There are two types of vibrations: fading(that is, with an amplitude gradually decreasing due to air resistance and internal braking, as, for example, in string instruments - piano, harp, balalaika, domra, etc.) and undamped(with a constant or arbitrarily changing amplitude, such as, for example, an organ or violin when played with a bow).

With damping oscillations, the volume of the sound gradually decreases (although its height remains practically unchanged) and finally naturally fades away altogether. With undamped oscillations, the volume of sound on a number of instruments and when singing can be varied: reduced, left unchanged and increased - depending on artistic goals and objectives.

Sometimes loudness is called the strength of sound, but this is inaccurate, because although these concepts are close in meaning and even dependent on each other, they are by no means adequate in meaning. For example, with an increase in the objective strength of sound by 100 times, its volume, that is, the perception of sound strength by our ears, will increase only twofold, and a thousandfold increase in sound strength will only give a threefold increase in volume, etc. Sound intensity is measured in decibels (db)* [Decibel is a tenth of a bel, which is a logarithmic unit of sound intensity; named after the inventor of the telephone, A. G. Bell.) and the volume is in the backgrounds (Background(Greek -phone) - literally translated means “sound”. In musical acoustics, a unit of measurement, sound volume.]

In musical practice, the volume of sound is denoted by various terms: loud sound - forte(Italian - loud), fortissimo (superlative from forte) And forte fortissimo (even louder than fortissimo); the signs correspond to this f, ffffff. In more rare cases, very loud sonority is indicated by four characters forte (ffff), and sometimes five (fffff). Quiet sound is indicated in the same way - p, pp, rrr(the initial letters of the Italian word piano - quiet). Number of signs R can also occasionally reach four, even five. (Designationrrrrrcan be found, for example, in the score of P. Tchaikovsky’s Sixth Symphony before the development of the first movement began.)

In addition to the basic designations, you can also find derivatives: mf, mp (mezzo forte, mezzo piano), meaning, respectively, - not very loud, not very quiet; sf, sp (subito forte, subito piano), what it corresponds to: suddenly loud, suddenly quiet.

To denote the gradual increase or decrease in sound, the terms are used crescendo And diminuendo, often replaced by “forks”: And . Sometimes to words crescendo And diminuendo designation is added roso a roso, which means - gradually, little by little. If the term crescendo (similar to diminuendo) must operate over several measures, the notation is written in syllables separated by dotted lines: cre- scene- do, or by the way crescendo the word is added sempre (sempre crescendo- all the time strengthening, up to the next designation).

Timbre. Timbre is the character of the sound, or the color of the fat. Timbre depends on many reasons, both objective and subjective properties: the design of the instrument, the material from which it is made and its quality (for example, the type of wood, the composition of the metal alloy, etc.), the method of sound production and the skill of the performer, the environment , in which sound travels, and the distance from its source. But especially important for the formation of the timbre of musical sounds is natural scale.

It is known that every sound is complex, that is, it consists of several simultaneously sounding tones*. [In this sense, sound can be compared to a ray of light, which, refractingatWhen passed through a transparent prism, it is decomposed into different bands of color, forming a spectrum consisting of the seven visible colors of the rainbow: red-orange, yellow, green, blue, indigo and violet.] A sounding string, for example, is simultaneously divided into its halves, thirds, quarters, fifths, sixths, and so on, which will vibrate independently. Below are the string vibration patterns:

a) diagram of vibrations of the string as a whole and its individual parts (halves, thirds, quarters, etc.);

b) general pattern of oscillations in simultaneity (complex form)*. [It is quite difficult to accurately depict the complex form of vibration of a string (as well as another sounding body) graphically, and any drawing, abstractly showing the phenomenon itself, will be just a more or less successful approximation to the actual picture. It should be borne in mind that the vibrations noted in the diagram occur during the entire sounding time for any deviation of the vibrating body (in this case, the strings) from its initial calm state.]

, Extracurricular activities , Speech therapy, Corrective pedagogy

What are the sounds?

Sounds - that's all we hear around us.
There are a great many of them and they are all different.
Even when it is very quiet, they are still present around us, we just need to listen well. We can recognize familiar sounds by closing our eyes, or we can remember and imagine them without even hearing them. This is due to the fact that we have auditory memory.

There are sounds speech, non-speech And musical.

Speech sounds - these are the sounds of human speech, what we are talking about.
(say your name, then sing it on one note, triad down from G to E for example: Misha, Mi-shen-ka)

Non-speech or noise - this is the sound of rain outside the window, clapping of hands, coughing, the buzzing of a bumblebee, the squeak of a mosquito, the rustling of leaves and other sounds of nature, human labor. (give examples of non-speech sounds (cuckoo crows, the wind blows, leaves rustle, clap our hands, buzz like a bee, etc.)

Game "Recognize by voice"

Vanya, you are in the forest now.
We call you: “ay”!
Come on, close your eyes, don’t be shy

Noise sounds are used in music to create sound effects.
In order to depict how a stream flows or thunder roars, noise instruments are used:
Ratchets, drums, plates, spoons.
The rustling of trees can be represented by maracas (give an example by playing these musical noise instruments)

Musical sounds

Musical sounds differ from noise sounds in that they can be played or sung.
They have a melody.
Musical sounds differ in timbre - the color of the sound.
Volume
Duration
Height
The human voice is also a musical instrument
By height sounds are:
High and low
By volume :
Loud and Quiet
By duration:
Long and short
By timbre:
Sharp and soft, melodious and hoarse and others (play examples on the button accordion).
Unlike musical sounds, noise cannot be determined
their height.

Without melody, music is unthinkable.
Musical instruments are capable of conveying many different shades in music.

The human voice is a magical instrument

He can sing high and low sounds. Children have thin, high-pitched voices. Men's notes are booming and low, while women's are gentle and melodic. (examples listen to a high female voice - soprano, a male low voice - bass)

The change of seasons is the rhythm of the planet

In any music, besides melody, rhythm is important. Everything in the world has a rhythm.
Our heart is a heart rhythm, there is a brain rhythm, there is a circadian rhythm - morning, afternoon, evening and night.
Rhythm translated from Greek means “measurement” - this is a uniform alternation, repetition of short and long sounds.
Play examples of different rhythms (lullaby, march, waltz)
The smooth rhythm gives the music a lyrical quality.
Intermittent rhythm - creates a feeling of anxiety, excitement

Metronome - the source of rhythm in music

Music without rhythm is perceived as a set of sounds and not a melody.
Metronome - this is a device with which you can set a rhythm, and it will tap it out like a “loud clock.”
It helps the musician maintain a certain rhythm for a long time.
If the musician does not get into the rhythm, then the listener experiences a feeling of discomfort. (Listening to the metronome)

Means of musical expression in music

In addition to melody and rhythm in music, it is important timbre, okay, dynamics, pace And size.
Timbre - This is the color of the sound.
Each human voice has its own timbre. Thanks to timbre, we can distinguish the voice of a person or a musical instrument without seeing it, but only by hearing it.
Dynamics – this is the power of the sound of music.
A piece of music can be performed loudly “Forte”, or quietly “piano”

Children stand in a circle and choose a driver. He stands in a circle, everyone walks in a circle holding hands with the words:

Vanya, you are in the forest now,
We call you: Ay,
Come on, close your eyes, don’t be shy,
Find out who called you soon!

The teacher points to one of the children, he says “Vanya!”, the one who is in the circle must open his eyes to recognize the timbre of the child’s voice, calling him by name.

Mode: major, minor

Tempo: fast, slow

There are two contrasting modes in music - major and minor.
Major music is perceived by listeners as light, clear, and joyful.
Minor – like sad and dreamy. Sing a major triad to Sun, show a picture of the sun,
Sing a cloud - show a picture of rain or clouds.
Sing the song “Chizhik-fawn” (distribute cards according to the number of children with a cloud drawn, meaning a minor, and a card with a sun, which draws a major)

Chizhik-fawn, where have you been?
I lived in a cage all winter
Where did you soak your beak?
I drank water in the cage.
Why have you lost weight, little boy?
I've been sick all winter
Why is a cell bad?
After all, bondage is so bitter.
Chizhik, do you want to come here?
Oh yes yes yes yes yes yes!
Come on, little siskin, fly out!
Ay-yay-yay-yay-yay-yay-yay!

Tempo is the speed at which a piece of music is performed. The pace can be slow, moderate and fast.
Italian words are used to indicate tempo, which are understood by all musicians in the world.
Fast tempo – allegro, presto; moderate tempo - andante; slow adagio.

Play the game "Carousel"(consolidating the concept of tempo)

Barely, barely, barely, barely,
the carousels started spinning
and then, then, then.
Everybody run, run, run
Hush hush, don't rush
Stop the carousel.
One, two, one two.
So the game is over.

1. Getting to know the student.

2. Conversation with a child about meaning literature, music and painting in people's lives.

The teacher explains to the student how uninteresting it would be for him to live if he never heard beautiful music, never saw paintings by artists and did not have books. Then the teacher reveals the expressive capabilities of the three types of art, what is common and what is the difference between them. It is proposed to do this as follows:

The teacher shows reproductions of paintings by I. Levitan “Golden Autumn”, I. Ostroukhov “Golden Autumn”, reads A. Pushkin’s poem “Sad time! The charm of the eyes!” and performs a fragment of “Autumn Song” by P. Tchaikovsky. After this, you should prompt the child that a poet, a writer use words in their work, an artist uses colors, and a composer uses sounds, but all of them, using their artistic means and techniques, talk about someone something or about something.

3. Explanation of the concepts of “musical and noise sounds”. In the poem given for this topic, noise sounds are explained, and musical sounds are deliberately only mentioned at the end.

4. Task 1. When completing the task, it is important to lead the child to an independent understanding of what a musical sound is.

Turn. Listening to D. Kabalevsky's play "Clowns". The play is performed by a teacher. In the 1st and 3rd parts, for each strong beat the child makes a loud clap of his hands, and in the 2nd part he marks the strong beats with quiet claps. You can use children's musical instruments (metallophone, maracas, rumba, rattle, etc.).

It's a sad time! Ouch charm!
Your farewell beauty is pleasant to me -
I love the lush decay of nature,
Forests dressed in scarlet and gold,
In their canopy there is noise and fresh breath,
And the skies are covered with wavy darkness,
And a rare ray of sunshine, and the first frosts,
And distant gray winter threats.
A. Pushkin

Musical and noise sounds

Children know everything in the world
There are different sounds.
Farewell cries of cranes,
The plane makes a loud rumble.

The hum of a car in the yard,
Dog barking in the kennel
The sound of wheels and the noise of the machine,
The quiet rustle of the breeze.

These are noise sounds.
There are just others:
No rustling, no knocking -
Musical sounds are sounds.

Exercise 1
Look at the pictures. Name when noise sounds are heard and when musical sounds are heard.

HOMEWORK
1. Come up with examples of musical and noise sounds.
2. Learn by heart any poem about autumn, or A. Pushkin’s poem “Sad time! The charm of the eyes!”, be able to read it expressively and draw a picture for it.
3. Bring game cards to your next lesson and make them together with your parents.

Assignment for parents
Cut out the animal cards (see Lesson 2). Glue them onto cardboard or thick paper. Cut along the contour lines. Complete the task together with your child.

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