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. 『유아교사를 위한 동요반주법』은 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. 『유아교사를 위한 동요반주법』에서는 기본적인 동요 피아노 반주를 위한 악보의 이해를 위해 최소한의 이론을 소개하고 있다. 그리고 동요 반주를 할 수 있는 악보와 실질적 방법을 소개하고자 한다.

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