ENSEÑANZAS ELEMENTALES CRITERIOS DE EVALUACIÓN (GENERALES) A nivel general, los criterios de evaluación de los Instrumentos girarán en torno a los siguientes apartados (sirvan también los que se concretan para cada curso en el capítulo de “Repertorio”): 1. Mostrar una actitud receptiva y positiva en clase, como medio básico para asumir todos los procesos del aprendizaje. 2. Leer, interpretar y transmitir adecuadamente textos musicales de su nivel, a través de su instrumento, con fluidez y comprensión. 3. Dominar los procesos técnicos básicos adecuados a su nivel con el instrumento de manera que permitan exponer con libertad creativa el discurso musical. 4. Memorizar correctamente piezas apropiadas a su nivel. 5. Interpretar obras musicales de acuerdo con criterios básicos de cada estilo. 6. Adoptar una posición, movimientos, actitud corporal e integración con el instrumento correctos y adecuados. 7. Comprender y recrear con posterioridad a una audición, los rasgos característicos sonoros básicos de las obras escuchadas. 8. Conocer, describir e interpretar con los criterios de estilo adecuados, algunas obras significativas del patrimonio musical culto y popular de Andalucía o, en su caso, de inspiración andaluza. 9. Mostrar en clase, mediante la interpretación de los ejercicios, estudios y obras programados, la capacidad de planificación y trabajo autónomo en casa. 10. Interpretar adecuadamente en público las obras trabajadas en clase y representativas de su nivel. 11. Actuar con una correcta integración dentro de un
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grupo y manifestar la capacidad reflexiva y de adaptación, durante el proceso interpretativo del acto musical.
CONTENIDOS (GENERALES) 1. Práctica de ejercicios de relajación y control muscular que permitan adoptar una postura adecuada del cuerpo, posibilitando la correcta colocación ante el instrumento y la coordinación entre ambas manos. 2. Sentar las bases de una utilización consciente del peso del brazo. 3. Principios básicos de la digitación. 4. Desarrollo de la capacidad de obtener simultáneamente sonidos de distinta intensidad entre ambas manos, tratando de alcanzar una diferencia dinámica que resulta indispensable en un instrumento como el piano. 5. Conocimiento y práctica de los pedales. 6. Entrenamiento permanente y progresivo de la memoria. 7. Adquisición de técnicas y hábitos correctos y eficaces de estudio. 8. Práctica de la improvisación libre basada en efectos tímbricos, agógicos, etc., y/o dirigida, sobre esquemas armónicos sencillos, motivos melódicos, y rítmicos básicos. 9. Conocimiento de obras propias del repertorio del instrumento a través de medios audiovisuales desarrollando la audición crítica. 10. Lectura a vista de obras o fragmentos sencillos. 11. Iniciación a la comprensión de las estructuras musicales para llegar a través de ello a una interpretación consciente y no meramente intuitiva.
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14. Práctica de ejercicios que desarrollen la sensibilidad auditiva como premisa indispensable para la obtención de una buena calidad de sonido. 15. Aprendizaje de los diversos modos de ataque y de articulación adecuados a las enseñanzas elementales. 16. Trabajo de la dinámica, agógica y su relación con el fraseo y la textura musical. 17. Ejercicios, estudios y obras que se consideren útiles para el desarrollo conjunto de la capacidad musical y técnica del alumno/a. 18. Conocimiento de la fisiología, evolución, construcción y mantenimiento del instrumento. 19. Distinción mediante todo tipo de recursos de algunos de los instrumentos más representatvos de cuerda pulsada del
Renacimiento y del Barroco. 20. Identificación de la articulación, fraseo y digitaciones propias de la época.
CURSO 1º Objetivos: 1. Aprender a sentarse en el piano y a colocar las manos en el teclado. 2. Conocer el funcionamiento mecánico del piano, en sus fundamentos más elementales, y los sonidos que produce. 3. Familiarizar al alumno con el instrumento (topografía del teclado, sonidos, posibilidades, pedal, etc). 4. Desarrollar una técnica que le permita abordar las obras del curso. 5. Habituarse a memorizar.
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Contenidos: 1. Posición ante el piano: forma de sentarse, posición idónea del cuerpo, de los brazos, de los antebrazos y de las manos,etc. 2. Numeración de los dedos. 3. Topografía del teclado. Teclas blancas y negras; registro agudo y grave. 4. Funcionamiento mecánico del piano: introducción. 5. Técnica: - Movilidad e independencia de dedos. - Coordinación de manos. - Articulación. - Legato y staccato. - Pedal de resonancia: introducción. 6. Interpretación: - Indicaciones de carácter. - Dinámicas: fuerte, piano, mediofuerte, mediopiano y reguladores. - Indicaciones de tempo: andante, moderato, allegretto y allegro.
Criterios de Evaluación: 1. Memorizar e interpretar textos musicales empleando la medida, articulación y fraseo adecuados a su contenido. 2. Mostrar en los estudios y obras un nivel técnico adecuado al nivel. 3. Interpretar en público como solista y de memoria, obras representativas de su nivel de instrumento, con seguridad y control de la situación.
Repertorio, Secuenciación y Evaluación:
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lecciones del Tchokov. - Ejercicios 1ª carilla del CÓSUMB. Segundo Trimestre:
2ª Evaluación:
- CÓSUMB: nº 5, 7, 9 ,10, 11, 14, 599: 8, 9, 11. 23, 25, 27, 28, 34. - TCHOKOV PREPARATORIO: 7, 8, 18, 30, 35 (Edición nueva) 26, 28, 33, 39, 42 (Edición antigua). - CZERNY Op. 599: 8, 9, 11. Tercer Trimestre: Evaluación:
Czerny op.
3ª
- TCHOKOV PREPARATORIO: 96 y 100. nº 41 (nº 25 Ed. Nueva). - TCHOKOV 1º: Vals del gusano (pág. 51). - CÓSUMB: nº 44. - TCHOKOV 2º: 96 (variaciones modales-ambas manos) y 100.
Tchokov 2º:
CURSO 2º Objetivos: 1. Mantener una postura correcta ante el piano. 2. Conocer el funcionamiento mecánico del piano, en sus fundamentos más elementales, y los sonidos que produce. 3. Conocer el instrumento.
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6. Habituarse a interpretar en público. 7. Habituarse a tocar correctamente y con precisión lo escrito en la partitura. 8. Interpretar según estilos y épocas. 9. Conocer los movimientos de las articulaciones.
Contenidos: 1. Posición ante el piano: forma de sentarse, posición idónea del cuerpo, de los brazos, de los antebrazos y de las manos,etc. 2. Digitación. 3. Funcionamiento mecánico del piano. 4. Interpretación: - Indicaciones de carácter. - Dinámicas. - Indicaciones de tempo. 5. Técnica del aparato pianístico para conseguir mayor velocidad, independencia y diversidad de ataque. 6. Estudio de obras para piano de diferentes épocas y estilos. Criterios de Evaluación: 1. Memorizar e interpretar textos musicales empleando la medida, articulación y fraseo adecuados a su contenido. 2. Mostrar en los estudios y obras un nivel técnico adecuado al nivel. 3. Interpretar en público como solista y de memoria, obras representativas de su nivel de instrumento, con seguridad y control de la situación. 4. Interpretar obras de acuerdo con los criterios de estilo correspondiente.
Secuenciación de los contenidos y Evaluación:
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clásica, una obra romántica y una obra moderna. Total: 9 obras. Primer Trimestre: OBRAS 3 ESTUDIOS (A elegir entre los del anexo I) 1 OBRA BARROCA (A elegir entre las del anexo I)
1ª EVALUACIÓN Sorteo de un estudio entre los tres La obra barroca
Segundo Trimestre: OBRAS 2ª EVALUACIÓN 1 SONATINA (A elegir entre las del anexo Un Estudio por sorteo entre los cuatro I) 1 ESTUDIO ESTUDIO (A elegir entre los del anexo I) Un tiempo tiempo de la sonata por sorteo La obra barroca
Tercer Trimestre: OBRAS 1 OBRA BARROCA. (A elegir entre las del anexo I) 1 OBRA ROMÁNTICA ( “ “ “ “ ) 1 OBRA MODERNA ( “ “ “ “ )
3ª EVALUACIÓN Un estudio sorteado entre los cuatro Una obra barroca sorteada entre las dos Una obra elegida por el alumno
Dentro de la obra elegida por el alumno en el 3º Tr. se podrá incluir también un tiempo de la Sonata.
LOS ALUMNOS TRABAJARÁN TODO DURANTE TODO EL
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REPERTORIO (ANEXO I) ESTUDIOS: - Burgmüller op. 100: nº 1 al 13, 16, 17. - Loesschorn op. 181: Todo el volumen. - Köhler op. 50: 1-2, 5-6, 9-10, 13-14, 17-18 (Un par vale como un solo estudio). - Czerny op. 139: 8, 9, 13, 15, 17, 19, 23, 24, 42 y 70.
OBRAS BARROCAS: - J. S. Bach: Álbum Ana Magdalena Bach: 2, 3, 4, 15 y 20. Pequeños Preludios: nº 1 (939). - Denes Agay: Little suite in barroque style (una sola danza).
OBRA CLÁSICA: - Beethoven: Sonatinas en Sol y Fa. - Diabelli: Sonatina nº 1.
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OBRA ROMÁNTICA: - Tchaikovsky: Álbum de la juventud. 6 y 16. - R. Schumann: Álbum de la juventud. 1, 2, 3, 4, 5 y 16.
OBRA MODERNA: - Béla Bartók: For Children. Vol I. 1, 2, 3, 5, 8 y 12. - Béla Bartók: Mikrokosmos. Vol. II. 29, 40, 41, 45 y 50. - Béla Bartók: Mikrokosmos. Vol. III. 67 y 78. - Kabalevsky: op. 39. nº 18.
ENSEÑANZAS PROFESIONALES CRITERIOS DE EVALUACIÓN (GENERALES) 1. Utilizar el esfuerzo muscular y relajación adecuados a las exigencias de la ejecución instrumental. Con este criterio se pretende evaluar el dominio de la coordinación motriz y el equilibrio entre los indispensables esfuerzos musculares que requiere la ejecución instrumental y el grado de relajación necesaria para evitar tensiones que conduzcan a una pérdida de control en la ejecución.
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4. Demostrar capacidad para abordar individualmente el estudio de las obras de repertorio. Con este criterio se pretende evaluar la autonomía del alumnado y su competencia para emprender el estudio individualizado y la resolución de los problemas que se le planteen en el estudio. 5. Demostrar solvencia en la lectura a primera vista y capacidad progresiva en la improvisación sobre el instrumento. Este criterio evalúa la competencia progresiva que adquiera el alumnado en la lectura a primera vista, así como su desenvoltura para abordar la improvisación en el instrumento, aplicando los conocimientos adquiridos. 6. Interpretar obras de las distintas épocas y estilos como solista y en grupo. Se trata de evaluar el conocimiento que el alumnado posee del repertorio de su instrumento y de sus obras más representativas, así como el grado de sensibilidad e imaginación para aplicar los criterios estéticos correspondientes. 7. Interpretar de memoria obras del repertorio solístico, de acuerdo con los criterios del estilo correspondiente. Mediante este criterio se valora el dominio y la comprensión que el alumnado posee de las obras, así como la capacidad de concentración sobre el resultado sonoro de las mismas. 8. Demostrar la autonomía necesaria para abordar la interpretación, dentro de los márgenes de flexibilidad que permita el texto musical, tanto como solista, como con pianista acompañante, en las especialidades que así lo requieran. Este criterio evalúa el concepto personal estilístico y la libertad de interpretación solística y en conjunto dentro del respeto al
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CRITERIOS DE EVALUACIÓN (ESPECÍFICOS) 1. Buena posición del cuerpo manteniendo el imprescindible equilibrio. 2. Relajación necesaria para una interpretación correcta. 3. Corrección en la lectura en todos sus aspectos: Notación, figuración, digitación, medida, ritmo, tempo, dinámica, fraseo y articulación (legato-stacatto). 4. Leer textos a primera vista con relativa fluidez y comprensión. 5. Demostrar el suficiente control de la pulsación y su incidencia en la calidad del sonido. 6. Poseer un conocimiento básico en los posibles movimientos partiendo de las distintas articulaciones del brazo. 7. Suficiente control y coordinación de ambas manos. 8. Distinguir entre melodía y acompañamiento. 9. Interpretar en público obras representativas de su nivel con seguridad y control de la situación de memoria. 10. Mostrar una velocidad de ejecución óptima. 11. Capacidad y flexibilidad rítmica (acelerando y ritardando). 12. Ejecución expresiva: comienzos, clímax y finales de frase. 13. Demostrar que se entienden las estructuras musicales.
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20. Realizar los ejercicios del Hanon. Por curso son 10 ejercicios. (Véase Organización y secuencia de los contenidos). 21. Los alumnos/as deberán mostrar un nivel adecuado de cumplimiento de la programación. 22. Es condición indispensable para poder aprobar, es decir, superar los contenidos y objetivos de esta programación que los alumnos de 4º de G.E. y los de 1º a 6º de las E.P. se presenten a las audiciones trimestrales que realiza este Departamento. Estas audiciones se llevan a cabo con la finalidad de que poco a poco se vayan acostumbrando a tocar delante de un grupo de profesores para posteriores pruebas, así como el equilibrar los niveles por cursos teniendo en cuenta las posibilidades de cada alumno/a. Estos Criterios de Evaluación específicos se encuadran dentro de cada uno de los cursos de las E.P., puesto que son exigibles desde que empiezan en 1º.
CONTENIDOS 1. Estudio en profundidad de la digitación y su problemática.
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8. Entrenamiento permanente y progresivo de la memoria. 9. Práctica de la lectura a vista. 10. Audiciones comparadas de grandes intérpretes, para analizar, de manera crítica, las características de sus diferentes versiones. 11. Práctica de conjunto. 12. Iniciación a la interpretación de la Música contemporánea. 13. Conocimiento de las obras más representativas del Patrimonio musical andaluz.
ORGANIZACIÓN Y SECUENCIA DE LOS CONTENIDOS La enseñanza profesional de la música consta de seis cursos, por tanto, es preciso que la distribución de los contenidos por curso de adecúe y se conjugue desde el inicio del proceso a la enseñanza y aprendizaje, la comprensión y la expresión, el conocimiento y la realización. Este complejo proceso de educación artística debe tener presente que los contenidos esenciales en la formación de un músico que se
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siguiente forma:
1º ENSEÑANZAS PROFESIONALES CONTENIDOS DEL PROGRAMA a) 4 estudios. (Ver anexo IV) b) 2 Sinfonías a tres voces o 1 parte suelta de 1 suite Francesa en el 1º trimestre y otra parte suelta en el 2º trimestre. c) 1 Sonata. (Ver anexo IV) d) 1 obra Romántica. e) 1 obra española. f) 1 obra moderna SECUENCIACIÓN TRIMESTRAL
TEMPORALIZACIÓN PRIMER TRIMESTRE
EVALUACIÓN
- 3 Estudios - 1 Estudio por sorteo - Sinfonía o Suite francesa - La obra barroca - 1º Tiempo Sonata - El 1º Tiempo Sonata - Ejercicios 1 al 4 del Hanon - 2 escalas (tonalidad mayor más dos 2 relativos, el menor armónico y el
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Las escalas que traerán los alumnos corresponderán a las tonalidades de las obras que estén interpretando en ese momento. Las obras a escoger entre las de los anexos podrán ser sustituidas por otras que no figuren en ellos, siempre que sean equivalentes en dificultad y estilo, y cuenten con la aprobación del Departamento.
LOS ALUMNOS QUE NO SUPEREN SATISFACTORIAMENTE LOS 2 PRIMEROS TRIMESTRE TRABAJARÁN EL PROGRAMA COMPLETO DURANTE EL CURSO, NO ELIMINANDO OBRAS EN EL ÚLTIMO TRIMESTRE. ES CONDICIÓN INDISPENSABLE PARA PODER APROBAR, ES DECIR, SUPERAR LOS OBJETIVOS Y CONTENIDOS DE ESTA PROGRAMACIÓN, PRESENTARSE A LAS AUDICIONES TRIMESTRALES QUE REALIZA ESTE DEPARTAMENTO.
ANEXO IV ESTUDIOS: - BURGMÜLLER: Op. 105 Nº 2 al 10. - CZERNY: Op. 740 nº 1, 7, 8, 10, 11, 17, 18, 37, 41. - CZERNY: Op. 299 nº 8, 9, 19, 34, 39. CLEMENTI: (Gradus ad Parnassum) nº 8, 9 y 13.
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- LISZT: Consolaciones nº 2 y 5. - MENDELSSOHN: Romanzas sin palabras nº 1, 20, 45 y 46. - CHOPIN: Nocturnos nº 2 y 6. OBRAS ESPAÑOLAS: - MOMPOU: Canción y Danza nº 1 y 2. - I. ALBÉNIZ: Granada (Suite española), tango. - MATEO ALBÉNIZ: Sonata en Re. OBRAS MODERNAS: - DEBUSSY: Reverie. Preludio nº 8 (Vol. I). - BARTÓK: Sonatina.
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SEGUNDO TRIMESTRE
TERCER TRIMESTRE
- 2º y 3º tiempo Sonata - 1 Preludio y fuga, o suite francesa - 1 Estudio - Ejercicios 15 al 17 del Hanon - 2 escalas (tonalidad mayor más los 2 relativos menores, el armónico y el melódico) - 1 Obra romántica - 1 Obra española - 1 Obra moderna - Ejercicios 18 al 20 del Hanon - 2 escalas (tonalidad mayor más los 2 relativos menores, el armónico y el
- 1 Estudio por sorteo (4) - 1 barroca por sorteo (2) - 1 tiempo de la sonata por sorteo
- 1 Estudio elegido - 1 tiempo de sonata elegido - 1 obra sorteo (Romántica, moderna o española)
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- CHOPIN: Estudios op. 10 nº 9, op. 25 nº 2, Póstumo nº 3. SONATAS - HAYDN: Hob. XVI. 5, 6, 23, 27, 33, 35, 40, 41, 42, 43. - MOZART: Sonata Kv. Variaciones Kv 25 Vol. I. - BEETHOVEN: Variaciones Wo 63 (Vol. I). OBRAS BARROCAS: - SUITES FRANCESAS (2 partes suelta). - PRELUDIOS Y FUGAS.
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4 Estudios (Anexo VI) 2 obras barrocas (Suites Francesas o Preludios y Fugas. Siempre dependiendo de la capacidad del alumno) (Anexo VI) 1 Sonata Clásica (Haydn, Mozart o Beethoven) (Anexo VI) 1 Obra Romántica (Anexo VI) 1 Obra Española (Anexo VI) 1 Obra Moderna (Anexo VI)
SECUENCIACIÓN TRIMESTRAL
PRIMER TRIMESTRE
TEMPORALIZACIÓN - 3 Estudios - 1 Obra Barroca - 1º tiempo Sonata
EVALUACIÓN - 1 Estudio por sorteo - La obra barroca
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DECIR, SUPERAR LOS OBJETIVOS Y CONTENIDOS DE ESTA PROGRAMACIÓN, PRESENTARSE A LAS AUDICIONES TRIMESTRALES QUE REALIZA ESTE DEPARTAMENTO.
ANEXO VI ESTUDIOS: - CZERNY OP. 740 nº 4, 14, 16, 24. - CLEMENTI: Gradus ad Parnassum nº 28. - MOSZKOWSKY Op. 72: nº 5, 9, 11, 12, 1, 2. - CHOPIN Op. 10 nº 1 y 12; Op. 25 nº 1. BARROCAS: - J. S. BACH: Tocata nº 2 BWV 914; Suites francesas nº 5 y 6.
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La plus que lente; Arabesca nº 2. - FAURÉ: Barcarola Op. 26 nº 1. - GINASTERA: Danza de la moza donosa. OBRAS ESPAÑOLAS: - ALBÉNIZ: Conchita, Mallorca, Córdoba. - MOMPOU: Canción y Danza nº 4.
Angustias,
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Cádiz,
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TERCER TRIMESTRE
- 1 Estudio
- 1 tiempo de l sonata por sorteo
- 1 Obra Romántica - 1 Obra Española - 1 Obra Moderna
- 1 Estudio elegido - 1 tiempo de sonata elegido - 1 obra sorteo (Romántica, moderna o española)
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SONATAS: HAYDN Hob. XVI; 19, 21, 25, 26, 38, 39, 44, 45 W. A. MOZART Sonata Kv 279, 284, 330 y 570, 309, 332 L. V. BEETHOVEN Sonata Op. 10 nº 1; Op. 14 nº 2; Op. 27 nº 2 •
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OBRAS MODERNAS: S. RACHMANINOFF Preludios Op. 23 nº 3 y 6 •
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- Ejercicios 45 al 47 del Hanon - 1 Obra Romántica (Anexo VIII) - 1 Obra Española (*) (Anexo VIII) TERCER TRIMESTRE
- 1 Obra Moderna o impresionista (Anexo VIII)
- 1 Estudio elegido - 1 tiempo de sonata elegido - 1 obra sorteo (Romántica, moderna o española)
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•
Hob. XVI; 20, 31, 51. W. A. MOZART KV 331, 310, 333, 457, 570, 576.
L. V. BEETHOVEN Todas menos Op. 10 nº 1; Op. 49 nº 1 y 2; Op. 14 y Op. 79. •
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DEBUSSY
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o moderna)
- 1 obra elegida