Keyboard rows. Main row of the keyboard. left hand right hand
Read also:
|
From the very beginning, you need to accustom yourself to sit without slouching, at some distance from the table. The height of the chair is such that the hands lying on the keyboard form an angle of about 90 degrees at the elbows. The original exercise should be well lit.
The alphabetic keyboard consists of three rows, the fourth contains numbers and signs, as well as the letter Yo.
The second row from the bottom of the alphabetic keyboard is called main Bumped keys A And ABOUT Designed for index fingers. This allows you to find them without looking. By placing your index fingers on them, it is easy to place the rest in their places. This is for the left hand - V, Y, F, for the right – L, D, J. The thumbs are placed above the bar in the bottom row, making spaces with it. This is the starting position.
The imprint of the letter is obtained as a result of contact, so the “strike” must be done lightly and abruptly, otherwise it will be repeated many times. The word “blow” comes from the vocabulary of those who worked on mechanical typewriters. It really took a hit for it to work. the whole system levers and the impression was made. Therefore, the speed capabilities of the computer are much higher because the fingers glide easily across the keyboard.
To “train” the finger to write the desired letter, first exercises are performed with repeated movements. To do this, the working finger makes a short, light pressure-contact, while the remaining fingers maintain their positions above “their” keys.
When practicing the skill of writing letters and words from the main position and later, practicing on phrases, you need to monitor the brevity and rhythm of the contact.
To avoid the temptation to peek at least occasionally, make a keyboard closed. You can simply attach a thick sheet of paper to the top surface of the table above the keyboard or cover it in another way. " Know» keyboard, it is your fingers, not your eyes, who need to learn the correct movements.
Role cheat sheets At first, you can perform a color table of the distribution of fingers on the keyboard, which will train your eyes to look at the original and not interfere with the writing process.
You should train regularly; long breaks lead to the loss of a fragile skill. But you shouldn’t overwork yourself, this will only lead to typos. It is useful to take breaks for general warm-up and rest of the eyes. All further exercises are performed only with the keyboard closed!.
Exercise 1. The keyboard is closed.
Place your fingers in starting position by the raised marks on the keys A and O.
Write several lines of each letter of the main row, returning your fingers to the starting position. Don't correct typos, but try not to repeat them. With every "blow" pronounce letter.
The space between words must be made with the thumb of the hand that did not write the last letter of the previous word.
For writing ETC And E the adjacent finger from the main position is transferred to the desired letter and a short press is made, the remaining fingers are in place,
Each word should also be written in several lines, but the last one should be without errors.
So, you bought your first computer, brought it home (we are considering the option that it already has an operating system installed Windows system), the specialists assembled it for you, showed you how to turn it on and off, and left. What now? To effectively interact with the computer and give commands to it, you have two devices - a mouse and a keyboard. And if with a mouse everything is more or less clear, since there are only two buttons and a wheel, then more than 100 keys on your keyboard can quite confuse you.
So, standard keyboards usually have 101 or 104 keys. “Why so much?” - you may ask. After all, everyone knows that the Russian language has only 33 letters and 10 basic numbers. Let's figure it out.
In this article we will look at the main part of a standard keyboard: 
The simplest and most understandable buttons on the keyboard are numbers (the top highlighted row) and letters (the three middle rows) - they are also called alphanumeric or symbol keys. Here are Russian letters (in red) and English letters (on the same buttons as the Russian ones, but a little higher and in black.
Pay attention to the tricky letter “е” - it is hidden at the top left of the highlighted area on the keyboard. The largest bottom key is the spacebar, with a corresponding function for setting spaces between words in the text.
Now let's look at the keys to the left and right of the alphanumeric ones: 
These are very important and useful keys with the following functions:
The Ctrl and Alt keys are two keys duplicated on the right and left (they are usually called that, depending on the side of the location: right Alt, left Ctrl), which by themselves cannot do anything (like the therapist in the famous joke, who is a doctor, which itself does not know anything, but knows for sure, who knows), but in combination with other keys very useful actions are produced. For example, the key combination “left Alt” + “Shift” (or, depending on Windows settings, “left Ctrl” + “Shift”) allows you to switch the keyboard from the Russian layout to the English one, and vice versa. You can also install special program, which will automatically change the keyboard layout to the language in which you type words, as if anticipating which language you want to use. You can read more about this program.
Also, the keyboard shortcut Ctrl + Alt + Delete allows you to open the manager Windows tasks, change the computer user, block it, turn it off, reboot, and so on.
The key between Alt and Ctrl with the Windows checkbox icon is similar to clicking the mouse on the Start menu. And the key to the left of the right Ctrl is similar to pressing right button mouse (calls up the context menu).
The Shift key is also duplicated on the right and left and is usually involved in switching the keyboard layout, but its main purpose is the ability to type capital letters (holding this key, click on any letter of the alphabetical part of the keyboard), as well as typing characters located on the numeric keypad above them meanings of numbers, like this:
! » № ; % : ? * () _ +
The Caps Lock key is the most common cause of incorrect case-sensitive passwords, or in other words in simple language- dialed in capital letters instead of lowercase. When pressed (accidentally or on purpose), it switches pressing all letters to capital mode (that is, all lowercase letters are printed in capitals), that is, it essentially imitates the Shift key being held down forever
A clue that you have the Caps Lock key activated will be that one of the three indicators on the top right of the keyboard is lit - namely the middle indicator.
Pressing the Caps Lock key again removes the caps mode.
The Tab key allows you to make a red line (indent) in a new paragraph. Also, if you hold down the Alt key and press the Tab key, you can switch between all the programs you have open.
One of the largest keys on the keyboard - Enter - serves to confirm your choice if you have any dialog menu in front of you, and also, if you are typing text, allows you to move to a new line and start the text on a new line.
If there is a key to confirm your action (Enter), then there should also be a key to cancel your action. This key - Esc - is the top-left key on the keyboard (I highlighted it in light blue in the figure below), it cancels the last command entered, closes the dialog box without making a choice.
The Backspace key is located above the Enter key, depicted as a left arrow, and with its help you can delete those characters that are located immediately before the cursor when editing text.
Now let's look at the top row of the keyboard:
The F1-F12 keys are called function keys. Let's look at them in order:
F1 - "help" key - calls up help in Windows and other applications
F2 - allows you to rename a file or folder
F3 - opens a search window for a file or folder in Windows Explorer
F4 - opens a drop-down list, for example, in the address bar of the browser (and also with this key there is a convenient combination Alt + F4, which allows you to close almost any windows and programs).
F5 - refreshes any active window (browser page, file folder, etc.)
F6 - allows you to navigate in the browser between the main page and address bar this page
F7 - in MS Word and MS Excel you can quickly check the spelling of text
F8 - F10 - used quite rarely, mainly in file managers
F11 is a very convenient key that allows you to go to full screen mode viewing the site's web page (you can click it right now, and then click it again to exit the full-screen view of that page)
F12 is also a fairly convenient key that allows you to immediately go to saving any file in the location you specify (specify the folder and file name).
The most used key combinations, or so-called “hot” keys Windows keys you can study in .
This concludes our acquaintance with the main part of the keyboard. I hope this article was useful to you!
Post navigationExercises to study the strike
rold vyf prolj avyf
Exercises for studying finger movements on the keys of the main row
dug a ditch ditches howled oxen glad shaft ode lad dar gave two ardor steam heat wad
birth oxen gadfly eagles valleys harps headlights glad tore horde water frets hole gifts lava harp floors time floors pairs peahen paws sting waited heat ski bed
gadflies widows conclusion dug reason bustards rush sobbing
tore the widow gave out firewood added coattails flora coattails right parade fell fell support waited squeezed thirst
conclusions arguments aurora porcelain sobbed gave dug gave rock truth sold basement filed failure hit to the right fell lost frame thirsted waited twice
pleased gave out tore out thirsted loss sale waited for waterfall fell out
pleased gave out pulled out sold disappeared justified waterfalls dropped out waited generated
sold disappeared continued waited
Control phrases for topic 1
dad sold the headlights
the widow brought water
water fell into the ditch
the wad hit the firewood
the heat caused fires
bustard fell into a waterfall
water was getting into the basement
widow sold porcelain
the ski fell into the ditch twice
the widow pulled out the sting of the gadfly
METHODOLOGY FOR STUDYING THE FIRST TOPIC
After an introductory conversation, the topic of which should be the basic principles of the theory and methodology of typing (the importance of the keyboard layout to facilitate the idea of moving fingers to the keys, the importance of correctly hitting the keys for future writing speed, the role of rhythm in typewriting, errorlessness as the basis of touch writing, the need at a slow pace in performing exercises until the movements of the fingers become mechanical, etc.), it is necessary, of course, first of all to show students how to correctly insert, align and remove paper, and explain to them those simple mechanisms of the machine, without the skillful use of which it is impossible to write exercises.
These mechanisms must be explained according to the principle: explain only what students will immediately use. Therefore, it is necessary to show the shaft, shaft handles, the shield on which the paper is placed when it is inserted into the machine, the paper releaser, paper holders, field adjusters, the carriage as a moving part of the machine, as opposed to the body as a stationary part of the machine, the free movement of the carriage, the lever for line feeds , a spacing regulator, a keyboard as a set of letter keys, and an intermediate (pass) key, the purpose of which is to create spaces (spaces) between words.
When explaining the actions of the paper releaser, it is imperative to draw students’ attention to the fact that this mechanism, both during operation and after operation, must be returned to its original position. Moving the carriage when writing or by hand with the paper releaser open on many machine systems very easily leads to breakage of the tape guide (or at least to its damage), and leaving the paper releaser open after work leads to uneven stretching of the springs, which then results in bevelling of the paper during operation.
Therefore, when explaining how paper is removed from the machine, it is better to initially recommend that students do this by rotating the shaft handle. The method of removing paper by opening the paper releaser is much more rational, but at the same time, students, whose attention is absorbed in other tasks, systematically forget to bring the paper releaser to its original position.
The actions of the carriage reverse key and field releasers not only should not be explained here, but the use of these mechanisms should be categorically prohibited if students themselves find them on the machine, while students are writing exercises from individual words. To perform such exercises, the reverse key is completely unnecessary, since interruptions in performing exercises are unacceptable, and the use of both this key and field releasers rips students’ hands from their starting positions and, therefore, harms the learning process.
At first, it is better to refrain from explaining the action and mechanism for changing the movement of the belt. Despite the simplicity of this mechanism, students, whose consciousness is filled with a variety of new things, initially poorly master this mechanism and only spoil the tapes by rewinding them from reel to reel; it is better to explain this mechanism to them a little later, when they have already become accustomed to the initial exercises. Before that, you should invite them to contact the teacher every time the tape stops.
The actions of all other mechanisms and parts that students should be able to use, for example, the line setter and the free shaft mechanism (turning off the shaft teeth, etc.), should be explained only after the entire group has moved on to the section of drawing up machine papers, where these mechanisms alone can be used them in practice.
Having explained the actions of the necessary mechanisms and checked all students' basic ability to use them, you can move on to the essence of the first topic - hitting the keys and studying the movements of the fingers on the keys of the main (second from bottom) row of the keyboard. Here it is necessary, first of all, of course, to give the fingering (distribution) of the fingers on the keys of the main row. And only the main one, since the fingering of the fingers on the keys of other rows is still not retained in the students’ memory, since they do not have to immediately learn it practically. Next, it is necessary to clearly demonstrate the correct landing and position of the hands on the keyboard, while sharply emphasizing the importance of the initial positions of the hands, to the keys of which the students’ fingers should return after each stroke.
We do not dwell in detail on the correct seating or the position of the hands on the keyboard, since these issues have been repeatedly stated in the available typewritten literature and, of course, are generally known.
Only after such explanations and demonstrations can we proceed to the presentation of correct writing techniques. These techniques pose three tasks for students: a jerky stroke on the keys, error-free writing and a uniform rhythm in striking the keys. Each of these tasks requires a lot of attention from beginners. And attention, as we know, is scattered if it is not focused on any one object. Therefore, it is impossible, of course, to immediately set all three tasks for students.
Since, according to the technical properties of typewriters, the basis of writing is a jerky strike on the keys, without which rapid writing is subsequently unattainable, then one must, of course, start with a strike. An ingrained incorrect stroke is very difficult to correct later, and this very correction then distracts the students’ attention from subsequent tasks and greatly interferes with the normal development of the educational process.
Therefore, the correct blow must be understood and basically mastered by students before they are faced with the full task of performing the exercises without errors. Such a division of tasks is all the more necessary because, as is known, most students not only do not get a jerky blow right away, but the very concept of “jerky” is poorly perceived by their consciousness. The font of a typewriter, completely different from handwritten and very reminiscent of typographical printing, creates in beginners the idea of not writing, but printing, and printing, in turn, is identified by them with embossing. From beginners you never hear: “write”, “rewrite”, but always “print”, “retype”. In the same time good letter in the minds of beginners, it is identified with a clear, thick imprint of a letter on paper. Hence, beginners have a preconceived desire to press the letter onto the paper as tightly as possible, like a seal that is placed on documents, i.e. the tendency to do exactly the opposite of what is needed for a staccato strike.
Typically, in typing manuals it is recommended in this case to give students a comparison with hot, red-hot objects: the keys are, as it were, hot, you can only touch them, but you cannot hold your fingers on them. But in reality, the keys are not hot at all, their temperature does nothing to remind students that they should not hold their fingers on them, and students immediately forget about this unrealistic comparison.
According to our observations, much better results are given by the following instruction: “When you hit a key, you should not feel that it is not going any further, you should take your finger off it before the key reaches the stop.” Combined with this instruction, the requirement to certainly throw the hand upward a little after each blow quite quickly leads students to correct understanding abrupt blow, and the feeling that the key has rested and will not go any further constantly reminds them of this instruction.
From the theory of writing outlined above, we saw that for a sufficient and, most importantly, uniform impact force, it must involve not only the muscles of the fingers, which vary greatly in strength between individual fingers, but the muscles of the hands. Therefore, the strike on the key should not only be jerky, but also a strike of the hand, and not just a finger, or, as they say, the strike should be throwing, and not crawling.
These necessary properties of hitting the keys create rather complex combinations of finger and hand movements, which are quite difficult for beginners to understand and master if they are not initially divided into several separate sequential movements. After all, it is clear that when striking with a hand, a beginner will strike with all four fingers of the hand at once, the letter levers of the corresponding keys will interlock and no effect will be obtained. Further, after the blow, the beginner will instinctively throw up the striking finger, as if it is temporarily unnecessary and only interferes with the blow of the next finger. This is exactly what happens to a beginner if he is left to combine the movements necessary for a correct strike.
Meanwhile, in order for a blow to be made with only one finger, and not with all four, it is, of course, necessary that this finger first take an extended position among the other fingers of the same hand, and in order for the fingers after blows not to lose their orientation on the original positions, it is also necessary that the spent fingers do not go up, but immediately return with all the other fingers to their original positions.
Therefore, when starting to study the correct strike, we consider it necessary, firstly, to begin it by striking only the keys of the initial positions and, secondly, to give students the following scheme of sequential movements of the fingers and hands.
1. Having placed all your fingers on the keys of the original positions (these keys are underlined on the attached keyboard diagram), first slightly (about one centimeter) lift all the fingers except the striking one. 2. In this position of the fingers (i.e., with the finger extended downwards for the striking finger), swing the entire hand upward by about 2-3 cm. 3. Now strike the desired key from this height, lifting the finger from it before the key has reached all the way, and immediately throw the entire hand back upward by the same 2-3 cm. 4. Immediately after this, place all four fingers on the keys of the original positions.
When this pattern of movements of the fingers and hands to obtain the correct strike is understood and basically mastered by all students, we must proceed to the study of striking the keys of the main row outside the starting positions. Here you need to add one more initial term to the outlined movement pattern, and it will become like this:
1. Having placed all fingers on the keys of the initial positions, first move the striking finger to the desired key (for example, the index finger of the right hand to the “p” key), being sure to leave the remaining fingers of the same hand on the keys of the initial positions.
2. In this position of the fingers, raise all fingers upward by about 1 cm, except for the striking one.
3. In this position, swing your entire hand upward by about 2-3 cm.
4. Strike the desired key from this height, lifting your finger from it before the key reaches the stop, and immediately throw the entire hand back upward by the same 2-3 cm.
5. Immediately place all four fingers on the keys of the starting positions.
Both of these schemes must, of course, first be clearly demonstrated, first in a group manner, and then individually to each student for whom these schemes of necessary movements are not clear enough.
As exercises for studying the stroke, it is better to take combinations of letters in a row on the keys, first of the initial positions, and then of the entire main row (as we give below), than from words that could be composed for this from the same letters.
Since the goal of these exercises is not yet error-free writing, but only the correct stroke of the keys, the meaning of what is obtained on paper still cannot serve as an indicator of the correctness or incorrectness of the movements made by the student. When replacing such combinations of letters with words, the students’ attention would inevitably be distracted by the meaning of what was written and the need not to simply finger the keys in a row, but also to the sequence in the strokes of various fingers that each comprehension of the word requires.
Equally, contrary to the laws of alternation of hands discovered by Lyai, it is better to study the blow alternately with one right hand, then with one left hand, and the free hand must, of course, maintain its correct position in the original positions of the opposite half of the keyboard, and its thumb must make timely intervals after each exercise. Distributing such exercises on both hands at once, although it would lead to alternating hands, would complicate the process of studying the blow by diverting the students’ attention to maintaining this alternation.
Each of the exercises given below for studying the blow must, of course, be repeated many times until the blow of all students begins to approach the correct one. If the students’ fingers begin to get tired before this moment, then they need to move on to the exercise for the other hand, then returning again to the first exercise until the blow becomes satisfactory.
With this order of studying the strike according to the indicated patterns of movements and on exercises with keys taken in a row, it is possible to achieve a satisfactory strike in a fairly short time for the entire group of students. Possible individual failures are always only a consequence of haste and an impatient desire to achieve results as quickly as possible. Therefore, moderating the pace of these exercises always gives excellent results.
Having achieved a satisfactory hit on exercises of key combinations taken in a row, you can move on to exercises from words and set the students a second task - to achieve error-free execution of each exercise. However, even when this task is posed, the task of hitting correctly cannot yet be considered completed. The need to monitor the correct sequence of letters in the exercise word being performed very easily leads students in this period to failure to comply with the pattern of sequential movements of the fingers and hands when striking, and the quality of the latter begins to deteriorate. In such cases, if students are unable to achieve error-free execution of exercises and at the same time observe the movements necessary for a correct strike, then it is better to temporarily abandon the requirement of error-free practice, but be sure to ensure strict adherence to the correct strike.
Usually, by the middle of the exercises of the first topic, all students have already managed to combine the requirements of the correct gift with the requirements of error-free writing, and then the requirement for error-free execution of each exercise in the last two lines can be set in its entirety.
When the requirement for error-free execution of each exercise has been mastered by students, which usually occurs in the exercises of the second half of the first topic, then they can begin the third task - mastering a uniform rhythm of writing.
Rhythmic exercises are, as you know, exercises performed simultaneously by the whole group, counting the beat given by the teacher. When selecting exercises to perform them to the beat, the following requirements should be observed:
1) give only those word exercises that have already been accurately completed by the weakest of the group;
2) give words only from an odd number of letters, so that together with the strike on the intermediate key, the total number of strikes in the exercise is even; this ensures that the count “one” always coincides with the first letter of each exercise word, which in turn makes it easier for students who have fallen out of step to get back into it;
3) select the composition of the letters in the word so that the students’ hands initially alternate after each blow, and in the future such alternation would be as frequent as possible. This facilitates the students’ first steps in mastering a uniform rhythm, since alternating hands is in itself more rhythmic than alternating fingers of the same hand;
4) start the first rhythmic exercises with short words of 3 letters.
Below is a set of words for rhythmic exercises, selected in order of gradual difficulty and in an amount sufficient for the first topic. However, with such a selection of exercises to facilitate the development of a uniform rhythm, it initially turns out to be very difficult for students, most of whom usually have not encountered rhythm at all. Therefore, in rhythmic exercises, initially it is necessary to completely exclude the requirements of both error-freeness and correct striking. Let there be mistakes in the letters, let the fingers sometimes linger on the keys, the main thing is not to get out of step. When the whole group catches the general rhythm of writing and enters into it, both the accuracy of writing and the correct stroke will return to the students. But for this, it is important not to start rhythmic exercises until all students have fully mastered both the abrupt stroke and the error-free writing. On the contrary, it is completely indifferent which exercise of the first topic each student is working on individually at this time; it doesn’t matter even if some students have already managed to move on to the next topics by this time, since execution in tact can still only be given to those exercises that have already been worked through by the weakest of the group.
The very organization of rhythmic exercises is carried out like this. The length of the line for these exercises is taken to be the entire width of the paper with a deviation from its left edge of only 2-3 strokes. Before each exercise begins, all students move their carriages to the beginning of the line. The teacher occupies a place in the group from which he can clearly see the end of the line on the machine that has the most spaced font; when a line runs out on such a machine, he gives the group a general order to "advance the carriages for next line", which should be carried out immediately by the whole group, regardless of the fact that on machines with a compressed font the lines remain unfinished. The count of the measure should be in 2, not 4 divisions: “one - two”, “one - two”, and not “one - two - three - four”, since the long word “four” gives a less distinct beat, and division by 3 is much less clear to students who are not familiar with the rhythm.
Having announced to the students the word that will be the subject of rhythmic exercises, the teacher first gives a count of several measures during which the students are not yet writing (the so-called empty measures or pauses) in order to give them the opportunity to listen to the general tempo of the letter in which they will have to write, and and then, on the count of “one,” with a wave of his hand, he includes the entire group of students in rhythm with the letter.
After the entire group of carriages has translated for the next line, at least one empty beat must again be calculated, otherwise individual students immediately begin writing at different tempos and, of course, get out of step.
When the students are so established in the beat that most of them no longer have any mistakes in the letters of the word, the teacher, having warned the group about this, gives the count of the beat only at the beginning of the line, stops counting the beat and allows the students to write in the general beat themselves, focusing on the letters hitting each other on the machine shaft. Usually, in this case, students finish the line well with strict adherence to the general tact. However, it often happens that in such cases students, left to their own devices, begin to speed up the pace of writing, as a result of which the weakest ones get out of step. In the latter case, the teacher immediately starts counting the beat out loud again and thereby restrains those who are trying to speed up the overall pace of writing.
You usually have to devote about half an hour to the first rhythmic lesson, and even in such a time it is often not possible to achieve everything described above. In this case, the rest should be postponed to the next rhythmic lesson, because with a longer lesson, the students’ attention gradually becomes dull and good results still cannot be obtained.
In the future, each rhythmic lesson should be devoted to 15-20 minutes, devoting this time to each current lesson throughout the study of the first three topics by the weakest students, which in total will require about 225-275 minutes, or 5-6 academic hours.
The number of exercise words to be used for each rhythmic lesson depends on the tempo of writing, which should be very slow at first and which should then be accelerated very gradually. Usually for the first lessons you have to use 2 exercise words, then 2-3: and at the end 3-4, and sometimes 5 words. In any case, you should not use the same word for more than 12-15 lines, since with excessively long repetition of the same movements, students’ fingers begin to get tangled and the results of the exercises deteriorate.
With such a volume of rhythmic exercises and when using exercises in selected groups of the same number of letters to study writing techniques, all students by the end of the course have such a uniform rhythm of writing that cases of clutching levers, even in conditions of haste, occur only as a rare exception, and this is The ultimate goal is to master the correct rhythm.
With this division and sequential implementation of the tasks of mastering the beat, accuracy and rhythm, the exercises of the first topic are easily mastered by all students without exception.
When each student has completed all the exercises in the first topic properly, he should be given the control phrases given below (at the end of the first topic) to complete. Of the many techniques for performing these best results, according to our observations, gives the requirement to write each phrase as many times as necessary so that the last 3 times the phrase is written completely without errors. At the same time, it is technically better to repeat this phrase not in the same line, but one below the other, i.e. Always start a phrase on a new line. With this method, it is much easier for students to immediately notice their mistakes, since the same letters of the words of the phrase in this case end up under each other.
However, the performance of these phrases should not be taken as the entire measure of individual student performance. It often happens that relatively weak students, concentrating all their attention on the short period of time required to complete these phrases, submit good works, while current works, due to the inability to maintain focused attention for a long time, are full of errors and most of the words in their current exercises It can be performed correctly in the last two lines only as a result of writing a word over 6-8 lines. On the contrary, good students often perform these phrases worse than their own. ongoing work only because these phrases are control phrases. (After all, good students are always more worried about tests than bad ones.)
Therefore, the main basis for assessing progress, our observations, should be the current implementation of individual word exercises for each topic. Students who so consciously and carefully perform each word exercise that they achieve its error-free execution in the last two lines on average for only 2-3 lines, subsequently write completely without errors by the end of the course; those who, to obtain the same result, write each word on average 6-8 lines, and by the end of the course retain in their writing a number of errors close to the maximum permissible norm.
If the performance of current exercises is equal, it is advisable to also take into account the pace of exercise performance by individual students in assessing progress.
Exercises for rhythmic lessons for topic 1
dug glad lad gave ardor steam heat wad
sobbed parade fell gadflies thirst fell out squeezed
widow
Please note to students that all computers, regardless of operating system or brand, have a standard keyboard with alphabet letters, numbers, and symbols. The keyboard consists of four rows: the top row contains numbers and special characters, the rest contain letters and punctuation marks. In the center of the keyboard there are keys with letters that are most often repeated in texts; they are served by more developed and mobile fingers: index and middle.
The keyboard rows are arranged from bottom to top: the 1st row is called the bottom row, the 2nd row is the main row, the 3rd row is the top row, and the 4th row is called the numeric row. Learning the keyboard start from the second row. This row is called the main row because it contains the letters of the alphabet that are most often repeated in texts. From this row, located in the center of the keyboard, it is convenient to make movements with your fingers when striking while writing within the designated area.
The figure shows a diagram of a Russian keyboard. The diagram gives an idea of the zones of movement of the corresponding fingers to the desired keys, accustoms to ten-finger blind writing method.
Special attention Students should pay attention to the placement of their fingers on the keys of the main row (see figure):
These keys are called "home position".
Letters not included in this list are located on the so-called additional keys second, main row of the keyboard.
The letter keys are distributed as follows:
· left hand: little finger - f, ring finger - s, middle finger - v, index finger - a;
· right hand: index - o, middle - l, ring - d, little finger - g.
· to the left index finger - a, p, k, e, m, i;
· to the right index finger - o, p, n, g, t, b;
· to the left middle - y, v, s;
· to the right middle - w, l, b;
· to the left nameless - ts, s, h;
· to the right nameless - sch, d, yu;
· to the left little finger - th, f, i;
· to the right little finger - z, g, e, x, b.
· Press the spacebar with the thumbs of both hands.
On initial stage education blind ten-finger typing method carried out without regard to register. Registers, punctuation marks, numbers, auxiliary symbols - this is the next stage to which you can move on after mastering the skill ten finger touch typing in lowercase (lowercase letters). Practice shows that studying them takes no more than 5-10% of the time spent on learning the lower case of the keyboard. And their location is on different keyboards, in different operating systems various.
Before you begin to master typing texts in Russian, draw students’ attention to the following keys: Backspace, Delete, Enter, Space.
· Key Backspace press with the little finger of the right hand. This key is used to delete the character to the left of the cursor. It is designed to correct errors that occur when typing texts.
Key action Delete resembles the action of the Backspace key. It is also pressed with the little finger of the right hand. Used to delete the character to the right of the cursor.
· Key Enter press with the little finger of the right hand. Used to translate strings.
· Key Space press with your left or right thumb (free in this moment) hands. It is designed to put spaces between words in a sentence.