Starting creation of orchestra at schools and the preschool organizations, the head needs to solve a number of the organizational moments.
As a rule, collective is formed taking into account material resources of educational institution in which it is created or already the orchestra as existence of instruments, conditions for training considerably influences definition of structure, the nature of teaching and educational and creative process functions. It is one of the first and important problems as the correct completing of orchestra is a basis with which the organization and then and educational and creative work with collective begins.
The organization of orchestras consists first of all in association of instruments in instrumental groups. In the course of performance musical кюев or works in connection with the maintenance of music, features of musical material this or that group of instruments is entrusted with the certain orchestral function: melodic, harmonic, rhythmic and etc. [30, c.22].
Process of maturing of an artistic design and process of its realization in concrete sound images at orchestral players and the soloist are various.
The most difficult period for pupils – acquaintance to a musical instrument, namely inability to concentrate, feeling of constraint, etc.
For this purpose the teacher (the head of orchestra) has to explain well to pupils that, playing instrument, it is necessary to sit correctly, without clamping and without straining any muscle, any joint. The head of orchestra is obliged, constantly to monitor implementation of requirements imposed on the student orchestral player, to correct it.
Certainly, for one-two lessons the pupil can't acquire everything, but under vigilant guardianship of the teacher he will get used to these rules and it is better to carry out them. It will develop correction of the movement of hands, reaction; control of the whole complex of the performed work will appear [35].
At the beginning pupils – orchestral players have to elicit sounds on open strings of an instrument (a dombra, a sherter, a bass-dombra etc.). There is the most important not sound extraction, but smooth, without sharp breakthroughs, the movement of the right hand or playing of certain exercises.
For example, on a dombra blows of the right hand have to be identical on a rhythm (one blow down – three blows up or two blows down – two blows up).
Important, and at the same time, complicated technique of sound production have dombra players, kobyz players, syrnay – tremolo.
It is necessary that the head led discussions directly with pupils in whom he tells about genres of a musical platform, to explain the purposes, tasks of work of orchestra.
Most, important – it is correct to select participants according to their natural data and professional qualities. If the beginning musicians come to collective, then the head has to reveal the level of their musical abilities – intonation hearing, feeling of a rhythm, musical memory, etc.
It is the best of all to check ear for music at beginners in the form of an easy conversation to remove excessive nervousness. During the conversation it is possible to obtain necessary data on the general development of future participant, his musical interests, an outlook, the reasons of arrival to this collective, knowledge of music, composers, certain performers of the Kazakhstan and foreign groups.
It is possible to lead a conversation about phonograph records which they collect, about tape recordings, compact disks, video recordings, etc.
The feeling of a rhythm can be checked, having taped at first rather simple rhythmic drawing with gradual complication and having asked a beginner to reproduce it.
Musical memory is checked as well as the ear for music only should be played unknown arriving phrases one-two bars and to ask to sing them by voice.
If collective is created from already playing musicians, then the head has to find out which of them in orchestra played musical instruments and on what, to check the level of development of professional qualities. Special attention needs to be paid on the repertoire which was executed by participants, being engaged earlier in music band (wind, variety, national instruments etc.), the nature of activity of orchestra (played at dancing–parties, were engaged in preparation of performances, independently played music etc.).
Then participants are offered to play one of works or exercise for the purpose of definition of extent of possession of an instrument and a performing manner. It has special value as formation of orchestra can't be carried out by mechanical association of the available musicians [30].
The next responsible moment in the organization of orchestra is the correct distribution of participants on instruments. The choice of an instrument contacts first of all desire of the participant to play the chosen instrument. However here the head often comes up against difficult situations. In the solution of this task he has to show strictly individual approach. On the one hand, it is necessary to consider specific features of an instrument, ability, an opportunity, the performing device and other physical data of the beginning musician, with another – interests and needs of collective.
Recently in the popularity among youth of a dombra became "instrument number one", and the majority coming to collective is wished to be learned to be played this instrument. Therefore quite often heads should convince the participant of expediency of studying of an instrument more suitable for it and creative process, necessary for the organization, in orchestra.
Orchestral activity bears in itself great opportunities and the prospects of development of creative potential of students to musical art. In this regard it is necessary to provide continuity in educational process. In average and higher educational institutions orchestral disciplines take the responsible place.
At a stage of the primary music education which is carried out at the children's music schools (CMS) lack of systematic and systematically organized work in the field of orchestral performance is observed that, certainly, negatively influences development of a complex of musical and performing skills of pupils, breaks continuity in teaching and educational process, deprives of pupils of the richest possibility of self-identification through orchestral activity.
Thus, it is necessary to place correctly accents in the field of instrumental training of pupils in the conditions of teaching in music school, and along with cultural development of solo performance actively to develop culture of orchestral performance.
At all importance of orchestral work at any age stage, occupations as orchestra at teenage age have the defining value both from the point of view of professional, and from the point of view of personal development of pupils [20, c.76].
The atmosphere on occupations will completely be coordinated by orchestra with the above–stated psychological conditions of emergence of cognitive interest.
The lesson of the orchestra student can quantitatively cover more kyuis or works than in the classroom solo performance due to the distribution of musical material into several lots. Consequently, the number of rehearsing and performing works expands, experience is constantly updated. Each new product is new and fresh to read.
Objective value of the acquired knowledge, orchestral skills makes personal sense for pupils. First, the sphere of musical and art knowledge extends. With expansion of this sphere the teenager begins to operate with musical concepts at other qualitative level, more consciously to do conclusions, to remove new knowledge, connecting them with previous. Having felt the literacy and awareness, knowledge becomes for the teenager even more attractive. Secondly, orchestral skills have practical value for teenagers. It is connected with participation and aspiration to participation in various instrumental ensembles, manifestation of in collective performance and self-expression through orchestral activity.
On orchestral occupations the creative situation of cogitative search connected with search of the unified performing plan, coordination of all performing and art intentions of participant’s reigns. In orchestral activity creative participation of each orchestral player in creation of the general concept of the piece of music is important. Exchange of experience at the level of interchange by musical and performing receptions of technological level (mutually training) bears in it the positive moments connected with enrichment of the individual performing equipment of each participant of orchestra.
Activity of search actions or the correct solution of an educational and creative task receives positive assessment from the teacher and other participants of orchestra interested in realization of the general musical plan.
At lessons of orchestra there is a situation of creative tender where each participant wants to prove from the best party, to make so that his contribution to the common cause was the most valuable and significant. In the conditions of joint operation with other participants the competition moment where everyone doesn't want to be worse than others that positively influences result of joint performance in which the contribution of each participant is important plays a role.
Activation of orchestral activities in adolescence contributes to the factor that the development of cognitive interests contributes to the organization of training activities as a productive educational interaction between the student and teacher, student with other students.
In a situation of collective creativity, interpersonal cooperation in the form of a dialogue, discussions, educational interests are developing with the greatest efficiency, rather than in terms of purely individual learning. The student in this case interacts not just as subject with object, as a learner with the learning object and as a subject with the subject with the teacher and other students. In an environment of collaborative creativity in the classroom is not only an active assimilation of the subject content of the studied educational material, but also active communication, during which there is an intense mental development of the student's development of his motivational-requirement sphere, where one of the main motives of educational activity, cognitive interest.
The most relevant in adolescence along with the development of cognitive interests is the problem of communication.
According to D. B. Elkonin, the center of life in adolescence is transferred from the learning activities, although it remains the predominant, activity of communication. Communication is to man as man. Here there is assimilation of moral norms, developed a system of moral values. D. B. Elkonin was stressed that communication is extremely important for the formation of personality in the full sense of the word. In this work consciousness. "In adolescence, thanks to the activity of communication... there is not only a new level of self-awareness, but also deepening its social content".
The main thing – communication with colleagues – a source of emergence of new interests of pupils. Participants of orchestra learn to work together.
Having drawn the following conclusions I consider necessary in activity of pupils:
The teacher (the head of orchestra) at initial acquaintance to pupils orchestral players doesn't have need to speak about difficulties and difficulties in orchestra. What is necessary from the head - psychological support of orchestral players that is pupils have to feel the kind, warm, friendly attitude the teacher's relation.
From the first days of training is necessary to teach students to play the orchestra played the melody voice. The ability to solve direct will enhance the student's musical ear, acoustic analysis playback. A musician learns better melodic turns, better feel of the musical phrase and harmony.
The purpose of teaching and educational process consists in formation of musical taste of participants of orchestra, education of their ideological and moral and esthetic senses. This purpose is implemented through involvement of pupils in vigorous musical and creative activity – singing, playing musical instruments, hearing of music, and the message of theoretical knowledge by it.
The head of the orchestra, like any teacher, you must know the General laws of psychological development of students and their individual characteristics. Usually guys at this age are characterized by heightened emotional sensitivity; they have the growth of conscious attitude to reality, the expansion of cognitive interest, a manifestation of the ability to think critically, the personal choice of the ideal [5].
You guys should bring in the orchestra, socializing with friends, the ability to play music for themselves, to speak in public; it is interesting to spend leisure time.
Occupations in orchestra are a fascinating way of knowledge and self-expression. It is obvious that for the first music is no other than prestigious pastime, spiritual creative search is characteristic of the second [5, c.22].
How to introduce children to the instruments?
Familiarizing school children with musical instruments. Of course, future musicians must be familiar with the musical instruments gradually, namely, that each of the musicians were able to focus on one of them.
For example, the story about the musical instrument the lute, the history of the origin of which these instruments performed, biographical information on composers and performers, and you can start with auditions kyuis of songs or works.
In the beginning for example, you can start with the creation of dombra orchestra (circles).
Practice shows that it is inexpedient to remove in group all instruments at once: children won't be able to concentrate on one of them. It is better to acquaint instruments gradually that each pupil could consider attentively him, get used to the treatment of him, to extraction of the corresponding sound, and also get acquainted with a timbre of a sound which is characteristic to this instrument.
- Work with preschool orchestras
Children's orchestra – one of types of collective playing music. There are several kinds of children's orchestra: noise (including different types of the percussion instruments which don't have a scale), the ensemble (consisting of identical or same instruments), and the mixed orchestra (including different groups of instruments).
The simplest, available of them – noise orchestra. It can be organized already with children of younger age if they are able to reproduce rhythmically cottons downbeats of bars, to note music meter. Performed by orchestra of children's percussion and percussion instruments songs, marches, dancing, national melodies can sound. Better those from them in which the rhythm is emphasized sound, there are accents, pauses, graphic elements: clatter of hoofs, drumbeat, rain knock, wind noise, etc.
The musical activity of pupils on orchestra occupation is more active and more various, the happening process of musical education is more effective, and, therefore, the objectives are more successfully achieved it.
In preschool institutions the orchestra than in schools, it is more expedient to arrange with percussion instruments (small drum, cymbals, small drums, triangles, castanets, konyrau, asatayak, dabyl, dauylpaz, box, etc).
Certainly occupations to playing these instruments have to be conducted individually that promotes rapprochement of the child with the teacher.
For performance on musical instruments at the beginning it is necessary to take simple and it is good to children familiar melodies from animated films, movies or fairy tales as children will regulate or control the performance by hearing.
As well as at school, it is better to acquaint children with musical instruments gradually that each child could consider attentively him, get used to the treatment of him, to extraction of the corresponding sound, and also get acquainted with a timbre of a sound which is characteristic to this instrument.
At the beginning children have to be accustomed to elicit strong and weak sounds from an instrument.
After children get acquainted with two-three types of contrast sounding instruments, will begin to understand the nature of their sounding, it is possible to enter at once two-three such instruments that children could compare the nature of their sounding.
For example, the drum and a hand bell is given. The teacher executes the play on a synthesizer, a piano, an accordion, or a bayan, etc.
When playing in an upper case the children who received hand bells play, and when playing in low – drummers.
Next, you need to teach kids how to hear and distinguish children's musical instruments (drum, tambourine, rattle, dombra, bayan-accordion, bell, etc.), and to respond to soft and loud sound of musical instruments.
The musical director well knowing each preschool child, has to notice his interest in musical instruments in time, support those children who seek to express the creativity in independent activity take the first steps in playing musical instruments.
Music for the child begins with the movement, with the rhythmic organization of a human body (to march, dance, and tick a music rhythm).
The feeling of a rhythm is one of musical abilities without which any musical activity is almost impossible.
Rhythm – one of the central, fundamental elements of music. Formation of feeling of a rhythm - the most important task of the teacher.
It is known that playing in orchestra as well as possible disciplines rhythmic, improves ability to sight-read, helps the pupil to develop technical skills, and also gives the child huge pleasure and joy to a large extent, than solo performance.
Orchestral playing music learns to listen to the partner, teaches musical thinking – it is art to conduct dialogue with the partner, i.e. to understand each other, to be able to give in time cues and in time to concede, cultivates feeling of a collectivism.
Playing in orchestra demands first of all synchronism of performance, the subway – rhythmic stability, brightness of rhythmic imagination, ability to present not only the part, but also another, to hear each other.
Playing on noise and, especially, percussions, instruments promotes development of feeling of a rhythm in children. Studying playing children's musical instruments, children open for themselves the world of musical sounds, feel more consciously and distinguish beauty of sound of various instruments.
The musical director has to watch closely progress of children in training at musical instruments, reveal and encourage the most capable children. That furthers these children were the best assistants in training of the colleagues. Process of training has to give joy and pleasure to that and another, that is children – "teachers" feel great joy, having taught to play not in time, and children – "pupils" are happy that they were taught by peers.
Musical development gives the chance most fully to disclose all internal psychological qualities of pupils (thinking, imagination, memory, will, etc.), to bring up the emotional and sensual sphere of mentality of the child (a subtlety, keenness, ability through musical art to learn depth of sincere experiences), and that the most important is a constant possibility of self-realization.
Music gives the incomparable chance for development of the spiritual sphere of the person, his creative potential, especially at children's age as at this time the organism is most susceptible to all new.
Playing music assumes desire of children "to communicate" with music, to sing and play in ensemble, deriving from it emotional pleasure.
The orchestra of children's percussion and percussion instruments is an effective development tool of musical perception and hearing, musical and rhythmic abilities, memories. Creation of such orchestras is a remarkable development tool of metro rhythmic hearing at the child.
Presence of orchestra of children's percussion and percussion instruments broadens the sphere of musical activity of the child and increases his interest in music.
"The noise orchestra is a playing where there is a place of the imagination, various options of an orchestration, replacement and exchanges of roles, but not performance once and for all of the one and only learned version is possible.
The main principles of system – activity and creativity help to turn a lesson in fascinating musically – esthetic playing".
Playing musical instruments promotes all-round development of children, namely the ear for music, rhythmic feeling is improved. Playing in orchestra develops not only melodic, but also harmonic hearing: children pay attention to accompanying of a piano, an accordion, bayan, etc., begin to realize as it decorates, supplements the melodic line executed on instruments.
Playing in orchestra cultivates at children active attention, assiduity, endurance, persistence, will, feeling of solidarity, mutual aid.
Of course, children receive initial skills of playing musical instruments in the course of the musical occupations.
Ability to play in orchestra – the most important indicator of professional skill of the musician of any level. Development of orchestral culture is one of the main tasks of training and education in instrumental and performing classes.
Musical development gives the chance most fully to disclose all internal psychological qualities of pupils (thinking, imagination, memory, will, etc.), to bring up the emotional and sensual sphere of mentality of the child (a subtlety, keenness, ability through musical art to learn depth of sincere experiences), and that the most important is a constant possibility of self-realization.
Music gives the incomparable chance for development of the spiritual sphere of the person, his creative potential, especially at children's age as at this time the organism is most susceptible to all new.
Playing music assumes desire of children "to communicate" with music, to sing and play in ensemble, deriving from it emotional pleasure.
The orchestra of children's percussion and percussion instruments is an effective development tool of musical perception and hearing, musical and rhythmic abilities, memories. Creation of such orchestras is a remarkable development tool of metro rhythmic hearing at the child.
Presence of orchestra of children's percussion and percussion instruments broadens the sphere of musical activity of the child and increases his interest in music.
"The noise orchestra is a playing where there is a place of the imagination, various options of an orchestration, replacement and exchanges of roles, but not performances once and for all of the one and only learned version are possible.
The main principles of system – activity and creativity help to turn a lesson in fascinating musically – esthetic playing".
Playing musical instruments promotes all-round development of children, namely the ear for music, rhythmic feeling is improved. Playing in orchestra develops not only melodic, but also harmonic hearing: children pay attention to accompanying of a piano, an accordion, bayan, etc., begin to realize as it decorates, supplements the melodic line executed on instruments.
Playing in orchestra cultivates at children active attention, assiduity, endurance, persistence, will, feeling of solidarity, mutual aid.
Of course, children receive initial skills of playing musical instruments in the course of the musical occupations.
Ability to play in orchestra – the most important indicator of professional skill of the musician of any level. Development of orchestral culture is one of the main tasks of training and education in instrumental and performing classes.