도서 소개

영유아기는 잠재되어 있는 음악적 감성과 재능이 본능적으로 개발되고 발달하는 중요한 시기이다. 영유아들의 충분한 음악적 잠재력을 끌어내기 위해서는 적절한 음악적 능력을 지닌 유아교사의 섬세한 교육이 필요하며, 특히 효율적인 현장교육을 수행하기 위해서는 피아노를 이용한 반주능력이 요구된다. 그러나 피아노를 익숙하게 다루는 일은 많은 시간과 노력이 필요하며 큰 부담으로 다가올 수 있다. 이 책은 이러한 교사들의 어려움을 덜어 주고자 짧은 시간 안에 효율적인 학습을 통하여 반주능력을 향상시키는 것을 목적으로 저술되었다.
음악을 이해하기 위해서는 현재 우리가 악보에 사용하는 다양한 기호를 이해할 필요가 있다. 본 책에서는 기본적인 동요 피아노 반주를 위한 악보의 이해를 위해 최소한의 이론을 소개하고 있다. 지나치게 과도한 음악 이론은 학생들에게 또 다른 숙제를 안겨줄 것이 분명하기에 악보를 이해할 수 있는 수준의 쉬운 이론 위주로 설명을 하였다. 그리고 동요 반주를 할 수 있는 악보와 실질적 방법을 소개하고자 한다. 오른손에 펼쳐지는 동요에 왼손이 어떻게 반주를 해야 하는지 면밀하게 소개할 것이다.
한마디에 한음을 가지고 반주를 할 수도 있으며 두음을 가지고 반주를 할 수도 있다.
동시에 여러 음을 삽입하여 반주를 할 수도 있다. 오른손에도 화음을 쌓고 중간 중간에 장식음을 넣는다면 동요가 아주 훌륭한 연주곡으로도 탄생하게 될 것이다. 이 순서를 따라가다 보면 어느새 다양한 반주법을 접하게 되는 기쁨을 맛보게 될 것이다.
반주법 수업을 하다 보면 음악을 무턱대고 어려워하고 동요 반주에 대해서 두려움을 가지고 있는 학생들부터 음악적 수준이 꽤 높은 학생들까지 다양한 학생들을 접하게 된다. “저는 피아노를 쳐 본 적이 없어요”, “저는 바이엘을 조금 쳐 봤어요”, “저는 체르니 30번까지 쳤어요” 등 다양한 수준의 학생들이 한 강의실 안에 공존한다. “저는 클래식은 잘 모르고 가요나 힙합, new age 음악이 좋아요”하는 학생에서부터 “저는 음대를 가려고 했었어요”하는 학생들까지 다채로운 음악적 취향을 지닌 학생들을 접한다.

서로 다른 음악적 경험과 취향을 가진 학생들을 그들의 수준에 맞게 섬세하게 가르친다는 것은 필자에게 늘 숙제로 다가온다. 아무리 쉬운 악보라도 유명한 피아니스트가 치는 것과 피아노를 처음 치는 사람의 소리는 다를 수밖에 없다. 무슨 악보를 연주하는 것이 중요하지는 않다. 한음을 어떻게 연주하는지에 대해서 학생들에게 설명할 때 학생들의 집중도가 높아지고 그때 학생들은 나의 강의에 흥미를 보이기 시작한다. 필자에게 베토벤 소나타 몇 번은 몇 악장으로 구성되어 있고 언제 작곡이 되었나요 등 인터넷상에 답이 나올만한 질문을 사람들이 종종 묻곤 한다. 이러한 질문은 매우 지루하고 흥미가 없는 것이다. 그러나 이 소나타의 2악장에서의 처음 시작의 페달이나 소리의 느낌에 대해서 질문을 한다면 필자는 밤을 새워서라도 음악 이야기를 하고픈 충동을 느낀다. 이 책은 피아니스트의 관점에서 학생들이 실질적으로 피아노 연주를 잘 하기 위해 필요한 감각적 요소들에 대한 이야기를 포함하고 있다. 예를 들어 손목의 모양, 손가락 번호, 앉는 자세, 다이나믹스, 페달링, 밸런스, 프레이징 등등이 그것이다. 이러한 내용을 바탕으로 마지막 장에서는 다양한 동요를 반주와 함께 소개하였다. 예비 유아교사, 현장의 유아교사들에게 많은 도움이 되기를 바라는 마음이 간절하다.

2020년 12월
저자

목차

⁍ 들어가는 말 / 2

CHAPTER 01 음악과 인간 ∙ 7
1. 악보의 유래 ······················································································9
2. 동요의 역사 ······················································································11

CHAPTER 02 반주를 위한 기초음악 이론 ∙ 15
1. 기보법과 기호 ··················································································17
  1) 보표의 종류 ·····················································································17
  2) 음자리표(clef) ··················································································19
  3) 음이름(pitch name) ·······································································21
  4) 변화표(accidentals) ········································································22
  5) 음표와 박자 ·····················································································23
2. 음악용어 및 연주 기법 ··································································28
  1) 반복기호 ···························································································28
  2) 빠르기말과 셈여림표 ······································································29
  3) 음정 ··································································································30
  4) 음계 ··································································································31
  5) 화성 ··································································································34
  6) 화음 이름 붙이기 ············································································35

CHAPTER 03 동요음악 반주를 위한 감각적 요소들 ∙ 39
1. 피아노 ·······························································································41
  1) 피아노의 종류 ·················································································41
  2) 피아노 페달(pedal) ·········································································41
  3) 손가락 번호(fingerings) ·································································42
2. 프레이징(phrasing) ···········································································43
  1) 크레센도(crescendo)와 디크레센도(decrescendo) ·····················44
  2) 아티큘레이션(articulation) ····························································44

3. 동요 반주 패턴 및 종류 ··································································47
  1) 알베르티 베이스(Alberti bass) ·····················································47
  2) 코드형(chord) 반주 ········································································52
  3) 부르돈 반주 ·····················································································57
  4) 왈츠형 반주 ·····················································································60
  5) 행진곡형 반주 ·················································································62
  6) 혼합형 반주 ·····················································································64
  7) 6/8박자 반주 ···················································································65
  8) 좀 더 화려하게 하는 반주법 ·························································68
  9) 반주화음 찾는 방법 ········································································79
10) 멜로디 없이 양손으로 반주하기 ·················································81
11) 전주 만들기 ···················································································82

CHAPTER 04 쉬어가는 페이지 [기본 이론 연습] ∙ 85

CHAPTER 05 동요 반주 실습편 ∙ 91
1. 4분음표 연습 ····················································································95
2. 8분음표 연습 ····················································································99
3. 부점 연습(점4분음표와 8분음표의 연습) ········································102
4. 반대부점 연습(8분음표와 점4분음표의 연습) ·································105
5. 당김음 연습 ······················································································110
6. 짧은 부점 연습(점8분음표와 16분음표의 연습) ·····························116
7. 셋잇단음표 연습 ···············································································118
8. 6/8박자 동요 연습 ··········································································119
9. 그 외 동요들 ····················································································121
  1) 다장조의 동요 ·················································································122
  2) 사장조의 동요 ·················································································149
  3) 바장조의 동요 ·················································································165
  4) 우리나라 전래동요 ··········································································198

⁍ 참고문헌 / 206

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