ABSTRACT
open choir lesson
"Formation of singing breath
at the initial stage of development of vocal and choral skills"
Choir teacher
MBU DO Lokotskaya DShI
Matyushkova V.V.
Modern children are not satisfied with the role of passive listeners in the lesson. They are waiting unusual shapes meeting new musical material in which their activity, the active nature of thinking, the craving for independence could be embodied. Therefore, there is a need to use non-standard forms of the lesson: a lesson is a discussion, a lesson is a competition, a lesson is a musical quiz, a lesson is a defense, as well as the introduction of various creative tasks aimed at developing creative thinking and creativity. The forms of classes in the junior choir closely overlap with each other: for example, along with a lesson - a discussion, such a form of a lesson as a competition or a lesson - the defense of acquired knowledge and skills can arise.
Starting position when carrying out this lesson are the author's methods of leading experts in the field of choral art and music pedagogy: posture and withdrawal exercises muscle tension offered by Viktor Popov; breathing exercises according to the system of A. N., Strelnikova; exercises to strengthen the respiratory muscles during exhalation according to the system of N. Knyazhinskaya (vocal teacher of the Gnessin Russian Academy of Music); choral solfeggio according to G. Struve's system.
It seems that by forming the singing breath of the children of the junior choir, their perception of musical works will become especially effective. This type classes can influence not only the learning process, the development of horizons and spirituality junior schoolchildren, but also act as a means of relieving the tightness of a young performer. The source of the clamp may be deep experiences hidden in the deep recesses of the child's soul. Extraneous thoughts do not just interfere with focusing on performed work, but they enslave the performer himself, as if tying him hand and foot. For novice performers, it is important to know that at least even the desire for inner peace plays important role in performance skills. And in this huge role playing breathing exercises.
The impact of music on a child occurs at three levels: vibrational, emotional and spiritual. In this regard, we are faced with the only and very important goal- development of vocal and choral skills.
Topic: "Formation of singing breath at the initial stage of development of vocal and choral skills"
Target: through the emotionally - conscious attitude of children to the vocal works that they perform, to form vocal and choral skills, namely singing breathing.
Tasks:
Strengthening the respiratory muscles during inhalation and exhalation with the use of breathing exercises according to the system of A. N. Strelnikova and N. Knyazhinskaya.
Development of voluntary breathing with the help of a dynamic ensemble: diminuendo and crescendo, as well as mastering the sound support and stretching it in time;
Development of vocal breathing skills in staccato, legato and non legato sound science and the ability to regulate chain breathing in a way that is convenient for singers.
Lesson plan.
Breathing exercises:
a) exercise No. 1 "Palms";
b) exercise No. 2 "Carriers";
c) exercise No. 3 "Hug your shoulders";
d) exercise No. 4 "Account";
2. Chanting.
a) exercise No. 1 for evenness of sound and chain breathing;
b) exercise No. 2 on the ease and flight of the voice;
c) exercise No. 3 for the liberation of the singing apparatus;
d) exercise No. 4 tongue twisters;
e) exercise No. 5 for the development of stokkato sound knowledge.
3. Choral solfeggio according to G. Struve's system.
4. Work with works.
a) Turkmen folk song"Butterfly";
b) “Take thick cherry juice” from the cycle “ Bad advice» Samarina.
Lesson progress:
Choirmaster: guys, today we have a very important lesson where we will need to show what you learned about singing breathing and how you learned to sing using this knowledge. But before we start breathing exercises let's remember what we know about breathing.
The survey is being conducted:
Our breath is made up of three important processes what ... (inhale, hold the breath and exhale);
What should be the breath? (quick but imperceptible, short but deep);
Singing inhalation and exhalation are separated ... (instant pause - support for sound);
What should be the breath? (slow, economical);
Where do we direct the air flow? (in the abdominal muscles);
What helps us to strengthen the abdominal muscles and learn how to breathe correctly? (breathing exercises).
Breathing exercises are performed.
According to the system of A. N. Strelnikova.
Tasks: to strengthen the respiratory muscles during inhalation, while making sure that the inhalation is imperceptible, but deep and the shoulders do not rise, short and fast with the help of the emotion of anxiety, which organizes it in the best and most natural way, monitor the simultaneous coincidence of inhalation and movements hands:
a) exercise number 1 "Palms": raise and stretch your arms in front of you, simultaneously with inhalation, bend your arms sharply at the elbows (grasping movements with your hands), perform at a moderate pace 8 times;
b) exercise No. 2 "Carriers": bend your arms at the elbows not at the level of the belt, sharply throw your arms down at the same time as you inhale, perform at a moderate pace 8 times;
c) exercise number 3 "Hug your shoulders": bend your arms at the elbows at chest level and fold them on top of each other, while inhaling, make sharp movements with your hands to your back, squeezing chest, perform at a moderate pace 8 times;
d) exercise No. 4 "Account": take a breath and, with active retention of the muscles on the support, count to 10, 15, 20 in the natural conversational register.
Tasks: strengthen the respiratory muscles during exhalation, while exhaling should be economical:
a) exercise number 4: "Inether". We all turn into “wind” and with our breath we blow on the fingertips and make sure that the exhalation is even, without jerks and long;
b) exercise number 5:“Flat wheel of the car” (exhalation on consonant sounds “C”). Also on a long exhalation, while we will not only feel the exhalation, but also hear it.
Tasks: to strengthen the respiratory muscles during exhalation, while exhalation should be economical, with full feeling respiratory support and its active retention:
a) using the palm of your hand, while blowing on the fingertips and making sure that the exhalation is even, without jerks and long;
b) using the consonant "C" also on a long exhalation, while we will not only feel the exhalation, but also hear it; add pushing "C" in small portions, passing it through the teeth, keeping the muscles active.
2. Chanting.
Singing is an important initial stage in the formation of singing vocal breathing. All vocal and choral skills are brought up, first of all, through the artistic repertoire. At each rehearsal, along with mastering a particular work, polishing its individual episodes, special vocal exercises are used. An important feature is the ability to control not only the coordination of hearing and voice, but also the ability to correctly use vocal breathing. Each exercise is performed with a certain emotional mood.
a) exercise number 1 singing on one sound, using the syllables "ma-me-mi-mo-mu": monitor the evenness of the sound and chain breathing; legato sound science, moderate tempo, medium tessitura, soft sound attack, mf dynamics; exercise contributes to the brightness of sensations in the head register; emotional mood: perform calmly, majestically,
b) exercise number 2 singing of three adjacent sounds, the syllables “le” and “li” are used, as well as the vibration of the lips: monitor the ease and flight of the voice, the uniform manner of performing vowels, expand the range of students to Ed-dur of the second octave; use the skill of staccato sound-guiding singing, actively giving breath;
c) exercise number 3 to liberate the singing apparatus, the syllable “yes” is used, the exercise contributes to the brightness of sensations in mixed registers, active breathing and economical exhalation;
d) exercise number 4 tongue twisters: “Dust flies across the field from the clatter of hooves”, “The crow crow has missed”, as well as alternating the syllables “ma-me-mi-mo, ba-be-bi-bo, yes-de-di-do-du”; emotional mood: playful, provocatively; mp dynamics, singing in one breath.
e) exercise No. 5 singing a tonic triad, using the syllables “li-le-la” and staccato sound leading; rounded sound and clear pronunciation of vowels and consonants, active shift breathing between phrases.
3. Choral solfeggio according to G. Struve's system.
Each work at the beginning of work on it should be sung according to choral scores, with conducting or using hand signs (singing by hand) according to G. Struve's system. Wherein Special attention it is necessary to pay attention to phrasing, arrangement of dynamic shades. It is useful to work out chain, active breathing and dynamics without singing without rhythmically changing the phrase as if it were sung with the text.
4. Work with works.
a) When working with works, the following pedagogical techniques:
game "Pass the phrase": the choir is divided into subgroups, each one in turn performs the subsequent phrase, as if picking up while observing pure intonation;
game "Music echo": the teacher sings - the choir repeats or one group sings and the other repeats.
Tasks for the performed repertoire:
work on chain breathing and breathing in phrases, economical exhalation and singing on a support, active inspiration at a given pace;
develop inner ear by singing phrases alternately: either aloud or to yourself, as well as singing according to the Emelyanov system using lip vibration;
observe dynamic contrast, musical expressiveness.
Repertoire:
a) "Moth" words by E. Osin, music by A. Zaretsky
b) “Take Thick Cherry Juice” from the cycle “Bad Advice” words by G. Oster, music by V. Samarin.
Conclusion.
Summarizing the lesson, we can say that with the help of techniques for the formation of singing breathing in children of the junior choir, their feelings of emotional responsiveness, imagination, fantasy develop in more help to understand the content deeper and more accurately educational process. Students become more relaxed, harmonious, and their answers become more competent, original, diverse, which enhances the impression of children.
Thus, awareness of the importance of using singing breathing in the development of vocal and choral skills and personal qualities junior schoolchildren, managing this type of activity in the direction necessary for the teacher makes it possible to increase the efficiency of the educational process, making it optimal.
Based on this, we can conclude that the formation of singing breathing at the initial stage of development of vocal and choral skills has led to:
To a significant revival and enthusiasm of schoolchildren, increasing their interest in music lessons;
The awakening of their inner activity, the appearance bright ideas and images;
The emergence of the ability to analyze the results of collectively performed work.
So, work on singing breathing has become an excellent means of teaching children to work together, contributing to their rapprochement with each other.
List of used literature.
V. Popov "School of choral singing".
V. Zhivov "Theory of choral performance".
L. Shamina "Work with an amateur choir."
A. N. Strelnikova "Exercises for the development of singing breathing."
G. Struve "Choral Solfeggio".
MBOU DOD "DSHI"
ZATO OZERNY OF THE TVER REGION
OPEN CHOIR LESSON WITH YOUNGER GROUP ON THE TOPIC:
teacher
Kovalenko Tamara Sergeevna
February 2015
Lesson topic:
Tasks:
Educational:
Continue to develop vocal and choral skills;
Achieve pure unison as the basis for development harmonic hearing; - develop the ability to clearly play your part while playing another;
Develop singing skills (a cappella);
Instill singing breathing skills, breathe correctly while singing.
Developing:
To consolidate the skill of solfegging in batches, which contributes to the conscious assimilation piece of music;
Continue to develop harmonic hearing;
Develop the ability to hear and listen (musical susceptibility)
Expand your musical horizons through your repertoire.
Educational:
To cultivate emotional responsiveness to music, the content of the text;
To cultivate a love for music, the need to communicate with art;
Cultivate the desire to sing a song in independent activity.
Equipment: piano, board with the written score of the song “Where have you been for so long?”, sheet music, scores for students with elements of two-voice, notes for exercises, chants. big text, bright colors the words are written out: score, articulation, major, minor, culmination, third interval, vocal miniature, dialogue. The image on the leaf of a cithara and the name "cithara". .
DURING THE CLASSES:
1. Organizational moment.
The ancient Greeks created the myth of the singer Orpheus. The song of Orpheus did wonders. When he played the cithara and sang to the melodic ringing of its strings, the wind stopped swaying the foliage, the distant rocks moved towards the song, the sea froze, wild animals got out of their lairs and humbly followed the amazing singer, fascinated by his music.
Today in the lesson we will continue to learn how to sing beautifully.
Draw the children's attention to the image of the Kifara instrument and the spelling of its name.
2.Updating basic knowledge:
a) Correct vocal-singing position of the body during singing (shoulders lowered, back straight, do not raise the chin). To find this sensation, you need to hold your elbows with your hands, raise your arms in a bent position and put them behind your head. Then sit up straight and put your hands on your knees.
3.Singing:
Warm up:
Purpose: to activate articulation apparatus, collect children's attention. Repeat the meaning of the word articulation and read the word on the board together.
Articulation gymnastics(according to V.V. Emelyanov).
a) Bite the tip of the tongue. (Repeat exercise 4-8 times)
b) "Chop" the tongue - that is, biting the tongue, gradually stick it out so as to get to the middle of the tongue. (4-8 times)
c) Chew the tongue alternately on one side of the mouth, on the other side of the mouth, on the molars, squeezing the tongue.
d) Click your tongue, changing the size of your mouth.
e) "Needle" - pierce the left and right cheeks, upper and lower lip. Repeat several times.
e) "Brush" - in a circular motion tongue to the left, then to the right, swipe between the gums and lips - as if we are cleaning the tongue.
g) We bite alternately, the upper and lower lip from left to right and from right to left.
A set of exercises for working on singing breathing.
Dictionary speech warm-up. Singing tongue twisters:
The ram-buyan climbed into the weeds;
Good on the track pies with potatoes;
There is a quitter at the gate -
mouth wide open,
and no one will understand
where is the gate, and where is the mouth.
Purpose: to activate the diaphragm
1. Raise your hands up, clench your fists, inhale through your mouth.
2. A slight forward tilt - within 15 seconds. take a breath (breathe the aroma beautiful flower), straighten up, delay. To the sound s- exhale gradually.
3.Chanting:
Singing "Hello guys!"
Objectives of chanting: to achieve clear pronunciation consonant "R", singing vowels.
The chants “Skok, skok”, “How the fox walked along the path”, “Funny vowels”.
Purpose: to activate the articulatory apparatus, to collect the attention of children.
Exercise "Seagull" (silent sound).
Purpose: to raise the palate, to form a “yawn” position, a high position.
The chant "Taxi" (staging the chant) Determine the image of each hero of the chant, perform the chant using acting skills. Execute in different paces with different emotional states.
Chant "In the field there was a birch tree" (a cappella)
The tasks of chanting: to sing not loudly, on good support, actively. At high sounds - stop, work out a round sound, active breathing, ending phrases, unison. Next, we perform the canon: sing slowly, according to the hand, building the intonation of the voices.
Work on songs
First stage work on the Latvian folk song "Where have you been for so long?" (with elements of two-voice);
1 .Showing the song "Where have you been for so long?" To the accompaniment, the teacher performs the whole song together with the student from the concert choir (second voice)
2.Song analysis:
Purpose: to cultivate emotional responsiveness to music.
What is the mood of the song? What is the nature of the music?
What is the song about? Can you say this song is a joke?
What do the words mean: mill, flour, horn, beard?
Where is the melody moving in the phrase: “Where have you been for so long, my gray goat?”
What register is the accompaniment in? Do you think he accurately repeats the melody or supports the singing?
Can we say that this is a game song, a dialogue song? What is a dialogue?
3. Students are divided into two groups (arbitrarily).
The score of the song "Where have you been so long?"
Replay of the first verse of the song. Children follow the score for the movement of the melody.
In previous lessons, we sang songs by ear, and today we will learn to sing from notes, the way you sing in solfeggio lessons, so we will solfegge. But not the whole song, but where the two-voice appears.
All together pronounce the words of the first verse, very clearly and distinctly.
Music sheets are distributed, where the last three measures of the song are written out. Pay attention: where the stems of the notes are written upwards, this is the part of the upper voice, the first group. Let's call it the "group of goats". And where the notes are written with the stems down, this is the party lower voice. Let's call it the "dear friend" group.
Sing a tonic triad with manual signs from the fifth step.
Purpose: tuning harmonic hearing.
Determine: Major or Minor? (fixing the concept)
Sing a minor triad so that the children feel the contrast.
Working on the first sentence.
Set a task for students with the goal of learning correctly and correctly.
a) sing “to yourself” with the teacher;
b) sing the first phrase again, showing the movement of the melody with your hand.
c) Sing the first phrase again and show the movement of the melody along the score on the board.
d) continue to work on phrases. Achieve logical development musical phrase, extend vowel sounds, sing syllables. Lengthening the sound of vowels, we listen to how the voice flows, we learn to sing.
(down the steps. These are notes-re, do, si).
Compare: How is singing in words: oh, oh, oh, different from singing in words: my friend.
(the melody does not change, but the words are different)
We sing a triad: the teacher note-salt, “a group of goats” -si, “a group of dear friend” -re. Hand shows the introduction to each group.
We sing in turn, laying sounds one on top of the other, and each listen to ourselves and the other. In order to hear themselves better, students are invited to cover one ear with their palm. We sang the tonic triad. But if I don’t sing the note G now, then the first syllable of your two-part singing will turn out. Both groups line up in turn the first interval of m3, naming notes, very slowly singing the entire measure, showing with hand signs of modal solmization.
Pay attention to the spelling of the words on the board: third interval.
Having achieved the sound with the name of the notes, once again show in two voices how it sounds with the words. Try to sing with the text. And then - the whole verse.
In the next lessons we will continue to learn this song. You will be given one more task for this song.
1. Compliance with the air regime (ventilate the classroom).
2. Physical Minute. I propose to go to the middle of the hall and stand in a circle. Repeat after me the movements and sing. Let's sing the boogie-woogie song.
3. Fatigue Relief: Vocal Yawn (Used as children get tired)
Org. moment for further work:
Everyone sat down in their seats. We took a breath, held our breath and exhaled very slowly to the sound “C” in a count of up to 10.
Continuation of work on the song "Tell me, moth" music. A. Arensky
1. Checking homework (optionally 2 students. Singing 1 verse of the song “Tell me, moth”)
2. Conversation about the song:
(children talk about what this song is about, about its mood and character)
The song about the moth is written with love, tenderness. She is kind, friendly. Listen to the music and the lyrics of the song. In its first part, the music is calm, gentle: the moth is affectionately asked about how he lives. (The teacher sings the beginning of the song.)
In the second part of the song, the moth talks about itself. The music at first sounds calm and melodious: “I live among the meadows” (performs a fragment). But then, when the moth says that his life is very short, that he lives only one day, the music becomes sad, sad, plaintive (Performs a fragment).
At the end of the song, the moth asks not to offend him, not to touch him. Music, as in the beginning of the song, becomes affectionate, kind, gentle. (In subsequent lessons, children can sing this song: the beginning is all together, and the answer of the moth is one child soloist)
Whose composer is this? And who wrote the poetry?
What is the nature of this song? What mood?
Song about a butterfly. This means that the character is light, airy, the breath should also be light. The sound should be short and round.
3. We perform a song with text and accompaniment.
a) we work out intonation at the races, and also pay attention to the execution of phrases in one breath. We perform the ending on a long note high, pointing upwards and with a “round” sound.
b) 3 and 5 figures we perform solfeggio. Work on long breathing, on intonation in semitones and jumps.
d) continue working on the image. This is a vocal miniature. She is contrasting in nature. This is a dialogue between a human and a moth. A sharp change in dynamics and an even brighter tempo make it possible to convey the lightness of a moth.
e) as a result, sing the whole song with accompaniment, expressively, with dynamic nuances, so that the children have a holistic image.
a) brightly, juicy lead your own melody, which is not supported by accompaniment;
b) determine the climax of the song.
Summarizing.
Homework: think about how you can diversify the performance of the song “Where have you been for so long?” and draw drawings, illustrations for it in order to make it more figurative.
Public lesson by discipline choral singing on the zonal methodical association
Teacher : Melnikova Elena Viktorovna
Concertmaster : Stasko Marianna Romanovna
Year of study : 1-2
Lesson topic : The initial stage of work on vocal and choral skills in the younger children's choir.
Conduct form: collective.
Lesson type: lesson - repetition, consolidation of skills and abilities.
The purpose of the lesson : the formation of students' basic singing skills.
Tasks:
Educational: the formation of students' basic singing skills. Among them we can include:
singing installation;
singing breath and support of sound;
high vocal position;
accurate intonation;
evenness of sound throughout the entire range of the voice;
usage various kinds sound science;
diction: articulatory and orthoepic skills.
Developing:
continuation of the formation of vocal and choral skills and abilities;
continued development of harmonic hearing;
development of musical susceptibility, that is, the ability to hear and listen, the ability to analyze, compare;
Educational :
Education of vocal ear important factor singing in a single singing manner;
Education of organization;
Attention, naturalness at the moment of collective music-making.
Teaching methods:
visual (auditory and visual);
verbal ( figurative comparisons, verbal assessment of performance);
· inductive;
· deductive;
problematic - search;
Explanatory - illustrative in combination with reproductive (vocal illustrations in the voice of the teacher and reproduction of what the children heard).
creative tasks and questions that stimulate mental activity and creating search situations;
application individual approach, monitoring the development of students, group individual survey;
encouraging children to self-control and self-esteem in the process of singing;
variability of tasks when repeating exercises;
Representation "in the mind" of the first sound already on the breath;
Humor, approval, encouragement of student success in order to stimulate their interest in classes, as a way to cause positive emotions that improve children's performance.
Psychological conditions on the lesson:
psychologically comfortable atmosphere. emotional satisfaction;
personal-oriented communication, taking into account the level of musical development;
accounting individual characteristics;
a differentiated approach.
Equipment : piano, chairs, notes of exercises and chants, choral parts.
Lesson plan
I. Organizational stage.
a) greetings mental attitude students;
b) the message of the topic of the lesson and its tasks;
c) introductory part.
II. Main part.
1. Breathing warm-up
2. Vocal exercises
3. Work on vocalization.
III. Final part
DURING THE CLASSES
All vocal skills are closely related, so work on them is carried out in parallel. Naturally, each vocal exercise has the goal of developing some specific skills, but when performing it, it is impossible to ignore the rest. This is the main difficulty for a little singer - to learn that in order to achieve a sustainable result, it is necessary to use absolutely all the knowledge, skills and abilities acquired in the classroom.
At the initial stage, it is necessary to cultivate these skills in their elementary form, without seeking the subtleties of this or that technique. In the future, there is a constant consolidation, development and improvement of singing skills, in-depth work on the culture and correctness of sound, the beauty of timbre, subtle and varied nuances on more complex musical material.
You need to work gradually, without haste.
Under no circumstances should forced sounding be allowed.
You should sing in a moderate tone (not loud and not quiet).
The greatest attention should be paid to the quality of sound and freedom when singing.
Of great importance is the work on the evenness of the sound power (on one, on different sounds, on the whole phrase). It is advisable to carry out this work in an even more limited range.
It is necessary to equalize all sounds in terms of sound quality.
The systematic development of vocal and technical techniques in special exercises leads to a valuable skill - the "automatism" of their application. This principle consists in the repeated performance of the simplest operations, during which the voice apparatus, as self-regulating system automatically finds the optimum while simultaneously training the corresponding muscular systems. Skillful use of a differentiated age range, selection of repertoire in a convenient tessitura, exclusion of forced sound provide natural sound, harmonious development voice-forming organs, identifying the individual timbre of students.
Let's move on to vocal exercises that I use in every lesson to prepare voice apparatus to work and the formation of basic singing skills. One of key features is the formation of the skill of "automaticity" in the performance of exercises, therefore all of them are always sung in certain sequence, in certain range based on the primary zone of the child. After some time, even singing a cappella, the children themselves begin to sing from the usual notes, which, of course, indicates the formation of their auditory sensations.
II. Main part
1. Inhale through the nose, exhale through the mouth. The shoulders should not rise, and the stomach should inflate as balloon, and on the exhale stick to the back.
2. 1 inhale through the nose, 2 exhale through the mouth. The shoulders should not rise, and the stomach should inflate like a balloon when inhaling, and stick to the back when exhaling.
3. Hold the hand in front of the lips with the palm up parallel to the floor, fingers forward. Blow on the palm of your hand, exhale to the sound “s”, as if dosing a candle, exhaling.
4. The task is also only for the sound "z". Monitor the evenness of the sound so that there are no shocks and dips.
5. "Hedgehog". Diaphragm exercise. Children repeatedly pronounce the sound "f", pushing each pronunciation with the stomach.
6. Exercise closed mouth stepwise movement. Watch for the formation of a yawn, the feeling of a dome.
7. Formation of a high position of sound, roundness of the vowel, sharp intonation of the third tone, support breathing. Naturally, at the initial stage of training, we focus on any a certain moment, but then gradually add other tasks.
8. The next exercise on the alignment of vowels and a single manner of their performance. Keep track of the roundness of the sound.
9. In this exercise, you need to alternate staccato in the first measure and legato in the second measure. Staccato stroke, high sound position, accurate intonation, vowel formation, range extension.
10. The following exercise helps to develop the ease and fluency of the voice.
Work on the vocals
III. Final part
Summing up (assessing the effectiveness of the lesson). Homework.
Development of an open lesson on the subject of the choir with students in grades 1-7 (groups 1-2)
Topic: "Work on singing breath in the choir."
Lecturer: Utegenov Marat Sergeevich
Concertmaster: Andreeva S.N.
year 2013
Development of an open lesson on the subject of the choir
with students in grades 1-7 (groups 1-2)
Teacher- Utegenov M.S.
TOPIC: "Work on singing breath in the choir."
Target: To instill the skills of children's choir students, to breathe correctly while singing.
Tasks:
Educational. To acquaint students with the process of singing breathing in the lesson. To give an idea of the correct singing on the breath. Teach basic work techniques vocal cords while inhaling and exhaling.
Developing. Enrichment and assimilation of rhythmic-melodic tongue twisters, saturated with the most difficult consonants to pronounce. Development of skills to analyze, compare correct execution in the choir.
Educational. Raising a sense of patriotism and love for their homeland. Upbringing moral qualities students and the formation of a comprehensively developed personality.
Forms of organization of the lesson: Group, couples.
Didactic support for the lesson: TSO.
Plan:
Sun. word
Chants, exercises
Work on the repertoire of choral parts
Lesson summary
Introspection of the open lesson
Course progress.
1. Organizational moment.
Chanting: great place in the system of choral work with children, vocal and choral exercises are occupied.
The task of the preliminary exercises is to prepare the vocal apparatus, i.e. warming up the child's vocal cords for learning and performing choral works. In the process of singing, there is a corresponding emotional adjustment of the singers, their gradual inclusion in choral work. The systematic and purposeful use of exercises contributes very well to strengthening and developing the voice, improving its flexibility and endurance. Singing is allotted (10 - 15 minutes).
An exercise:
Breathing is the soft attack of sound. First, inhale then, hold the breath and inhale should be active, but calm (for example: as if smelling flowers). Exhalation - should be smooth, long;
Diction, articulation correct formation vowels. Consonants when singing should be pronounced as briefly as possible. Vowels should sound full, wide (for example: vowels are a river, and consonants are banks). active work all organs in the oral cavity. The tongue should move freely when singing.;
An exercise to expand the range (using mainly the primary sound zone from “re” of the 1st octave to “re” of the 2nd octave).
2. The mechanism of singing breathing.
In the human body, the processes necessary for its vital activity are continuously going on. The work performed by human organs - the heart, nervous system, muscles, requires nutrition. The product of such nutrition is primarily oxygen, which a person receives from the air surrounding him.
The process of taking in oxygen and giving out carbon dioxide is a continuous process. "Man begins life with the first breath and ends it with the last breath."
Chants:“Savka and Grishka made a pipe!”, “You are a cuckoo, where have you been ...”, “Chick-chirp ...”, “Kobelek”.
Breathing process during singing. The air taken during inhalation thickens under closed ligaments. Air pressure separates the bundles, some of the air escapes, and they close again. Closing of the ligaments again causes an increase in pressure in the trachea and bronchi, occurs new attack air opening the ligament.
Exercises: On the consonants "C, Ch, K, G, F, X"; and on alternating syllables “ma-me-mi-mo-mu” Inhalation is made more calmly and fully. When expending breath, it is necessary to ensure that the expenditure of air is uniform and on all syllables. The articulation of syllables should be light and active. (5 minutes)
3. Work on the song " Kazakhstan-kyran dalam»
First, the children are invited to listen to the song performed by the teacher. To help children learn the melody, it should be performed in slow motion, without accompaniment, then they should be asked to sing on the syllable "la - la", "ku - ku", achieving a light, bright sound in performance.
To teach children to sing, conveying the cheerful, joyful nature of the song. Pay attention to the vowel "u" in the word "kuanam", and the consonant "r" "tandarymen". Vowels "ұ" "munaysan" 2nd low "d2 flat", “Munayam”, which needs to be pronounced longer. Timely enter after the musical introduction. Pure intonation of the abrupt movement of the melody - an octave up (do1 - do2) and a pure fourth down-up (si-fa-si), etc.
(10-15 minutes)
4. Repeat and reinforce the song "I'm learning English"
Work on the character of the work. Meaningfully and expressively pronounce the lyrics:
Attention
Breath
Beginning and end of singing.
Know how to merge pure unison, listen to yourself while singing, as well as the whole choir, merging in the overall sound with the instrument and not standing out. (10 minutes)
The result of the lesson: Learned to breathe correctly, pronounce words clearly. Due to tongue twisters and chants. Thank you all for your attention!
Introspection of the open lesson
Open lesson on the topic "Work on singing breath in the choir"
I consider the choice of this topic relevant. so that students understand the process of singing breathing.
According to the stated topic, the goal was set: "To instill the skills of children's choir students, to breathe correctly while singing." decided this problem through the following tasks:
Educational:
To acquaint students with the process of singing breathing in the lesson.
To give an idea of the correct singing on the breath. To teach the basic techniques of the vocal cords during inhalation and exhalation.
Developing:
Enrichment and assimilation of rhythmic-melodic tongue twisters, saturated with the most difficult consonants to pronounce. Development of skills to analyze, compare the correct performance in the choir.
Educational:
Raising a sense of patriotism and love for their homeland. Education of moral qualities of students and the formation of a comprehensively developed personality.
The following teaching methods were used:
The method of updating the previous knowledge (to make the previous knowledge relevant at the moment).
There was a constant change in activities, which made it possible to make the lesson more voluminous, productive and constantly keep the attention of students.
The aims and objectives of the lesson have been achieved.
The plan is a summary of an open lesson in the choir.
Teacher : Pozdeeva Maria Olegovna
Concertmaster Bychkova Oksana Vladimirovna
the date of the : March 1, 2017
Class : 1p.class MBU DO "Primorskaya DShI"
Thing : choral class.
Lesson topic: "Game forms of work in the junior choir"
Conduct form : collective.
Lesson type : lesson - repetition, consolidation of skills and abilities.
The purpose of the lesson : the formation of students' basic singing skills through game forms work.
Tasks:
Educational: the formation of students' basic singing skills. Among them we can include:
singing installation;
Singing breath and support of sound;
High vocal position;
Accurate intonation;
Evenness of sound throughout the entire range of the voice;
The use of various types of sound science;
Dictionary: articulatory and orthoepic skills.
Developing:
Continuation of the formation of vocal and choral skills and abilities;
Continued development of harmonic hearing;
Development of musical susceptibility, that is, the ability to hear and listen, the ability to analyze, compare;
Educational :
Education of vocal ear as an important factor in singing in a single singing manner;
Education of organization;
Attention, naturalness at the moment of collective music-making.
Teaching methods:
Visual (auditory and visual);
Verbal (figurative comparisons, verbal assessment of performance);
Explanatory - illustrative in combination with reproductive (vocal illustrations in the voice of the teacher and reproduction of what the children heard).
Methodical methods:
Creative tasks and questions that stimulate mental activity and create search situations;
Encouraging children to self-control and self-esteem in the process of singing;
Variability of tasks when repeating exercises;
Humor, approval, encouraging the success of students in order to stimulate their interest in classes, as a way to evoke positive emotions that increase the performance of children.
Psychological conditions in the lesson:
Psychologically comfortable atmosphere. emotional satisfaction;
Person-oriented communication, taking into account the level of musical development;
Accounting for individual characteristics;
Differentiated approach.
Equipment :
Piano, chairs, repertoire collection of songs, methodological guide "Game as a method of developing vocal and choral skills in 1st grade choir lessons", " Toolkit for the choir. Chants."
Lesson plan.
organizational stage.
a) greeting, psychological mood of students;
b) the message of the topic of the lesson and its tasks;
II. Main part.
1.Games.
2. Vocal exercises
3. Work on the repertoire:
"My puppy" music. Yu. Chichkova, sl. P. Sinyavsky;
"Morning" music. S. Smirnova, sl. G. Ladonshchikova;
"Dear Mama" Music. and sl. S. Smirnova;
"My Russia" music. G. Struve, lyrics. N. Solovieva
III. Final part: Summing up the lesson.
DURING THE CLASSES.
1. We start the lesson with the "Emotionally-shaped game" for breathing .
"Cake with candles" - the exercise is aimed at developing a short breath through the nose, holding the breath and a long exhalation through the lips folded in a tube, as if we are blowing out the candles on the cake. The main condition is not to change your breath and “blow out” as many “candles” as possible.
"Hedgehog out of breath" - a long breath, holding the breath and a quick active exhalation on “fff...”
"The balloon burst"!
Stand up straight, in your hands (between your palms) hold an imaginary ball. Then a small hole is formed in the ball. At the sound "s-s-s-s" the balloon slowly deflates. The task of the pupils is to save exhalation as much as possible, gradually bringing their palms closer to each other (the ball decreases).
"Scuba divers!"
Imagine yourself in a pool. “We dived under the water” (inhale through the nose, and immediately pinch it with your fingers, squat down), and slowly exhale, whose breath is over - “pops up” (gets to its feet)
2. We continue the lesson: Chants:
On one sound we hold the letter "U"
"Blizzard" uuu loud and quiet
Names (sing the names of each child) (by semitones)
“Hill” (prr) with lips ... with hands we show what a high hill ...
"Growling" in the aisles of the fifth (r-r-r)) do-sol-do)
"Ha-ha" "Ho-ho" "Pro-pro" "Pri-pri" from top to bottom
yes-and-yes and-yes, zo-and-zo-and-zo, li-do-li-do ..
Dariki-dariki mosquitoes flew, sat on their heads and flew again
On two cheeks, forehead, nose, …….
3. For the development of diction and articulation
tongue twisters help us a lot. But saying them is just so boring and uninteresting. Therefore, we suggest using the following playing tricks:
We speak tongue twisters with the voice of the heroes of fairy tales (Pinocchio, Karabas, Malvina, Pierrot, Artemon. Carlson and others).
We speak tongue twisters with different pitches : sometimes “sitting on the moon” - high, then “being underground” - low, then gradually “rising or descending in the elevator” - we raise the pitch.
We speak tongue twisters soft or loud by turning the volume up or down. At the same time, you can also form the skill of working on the conductor’s hand: the children react to your gestures and complete the task.
4. Dialog games
The game "Vanya-Vanya
"(we speak with different pitches)
- Vanya, Vanya?
-What, Dad?
- Have you eaten sugar?
- No, dad!
- Are you lying?
- No, Dad!
- Show your mouth!
"I'm driving a tank"
I'm riding a tank
In a hat with earflaps
I see a cow
hello cow
How are you doing?
Do you speak English
What are you calling.
“Tsygali-bugali” (different pitch, plus rhythm)
Gypsy - Gypsy
Tsa-tsa
boogali boogali
Tsa-tsa
Gypsy
Boogali-tsa
Tsygali-bugali-tsa
5. The second part of the lesson (work with song material)
Consolidation of the concepts of setting the body while singing
If you want to sing standing up -
Doesn't turn his head
Get up nice, pull yourself up
And calmly smile
If you want to sit and sing
Don't sit like a bear
Straighten your back quickly
Put your feet on the floor bolder.
Repertoire:
1. "Echo" of muses and others. O.Yurgenstein
Practicing intonation
2. "Sweet mother" Muz. and sl. S. Smirnova;
rhythmic difficulties.
6. Do not forget also about the skill of tearing off the mouth:
"The car drives into the garage"
- The mouth - the "garage" should open so that a car "drives" from the fingers into it, while not scratching the body against the walls of the garage.
- The mouth opens so that "a two-chamber refrigerator or a giraffe" can enter it.
"Walk" (author - O. Yu. Kheruvimova).
The teacher tells the story, the children perform the necessary actions.
This game encourages speech apparatus develops diction and breathing.
Once upon a time there was a little horse. She loved to run. Like this.(Children quickly “click” their tongues in a half smile (high).
The horse lived with her mother - a kind and beautiful Horse. She walked like this.
(Children slowly “click” their tongue, stretching their lips (low).
And very often the Horse loved to run with her mother in a race.(Alternately high - low, fast - slowly "click" the tongue).
But one day a strong wind blew.(Active long exhalation through the mouth 4 times). The horse approached her mother and asked: “Can I take a walk?”("Click" high from the lower sound "y" to the upper "o" - "u - o"?).
“Yes, where are you going? - Mom answered, - there is a strong wind outside.(From the top "o" to the bottom "y" "o - y".)
But the horse did not obey and ran("Click" high).
Suddenly she saw in the clearing beautiful flower. “Oh, what a charm,” thought the Horse, ran up to the flower and began to smell it. (Inhale through the nose - light, silent, exhale - through the mouth with the sound "a", slowly 4 times). Only it was not a flower, but a beautiful butterfly. She fluttered and flew away. And the horse galloped on.("Click" high).
Suddenly the Horse heard a strange sound.(Long sound "shhhh").
“I’ll come closer, ”the Horse decided(“Click” high).
It was a big snake that crawled up a tree, it scared the Horse very much.(The sound "sh" is short 4 times).
During the walk, the Horse heard many unusual sounds. Here ran a hedgehog (sound "f" 4 times), the grasshopper chirped(sound "c" 4 times), flying beetle(the sound "zh" is long), behind him is a mosquito(the sound "z" is long). And the wind blew stronger and strongerprolonged exhalation ).
The horse is frozen(sound "brr" 4 times) and ran home("click" high). Her kind mother came out to meet the Horse("Click" low slowly), she began to warm the Horse(silent exhalation on the palms through the open mouth 4 times).
The task for the children: listen carefully to the introduction, tune in to an expressive performance, try to correctly intonate the melody, take a breath only after the end of the phrase.
3. "Morning" music. S. Smirnova, sl. G. Ladonshchikova;
1. work on smooth sounding, chain breathing, intonation.
4 "My puppy" music. Yu. Chichkova, sl. P. Sinyavsky;
1. Work on intonation, good articulation
2. The main task is to perform, without delaying the pace, to sing every word clearly.
Perform both works artistically, in character.
Game "Rhythm Word-Vegetables"
Ba-nan - yab-lo-ko
A-na-us - ki-wee
We pronounce a chain of two or three fruits in a clear rhythm
Tutti-frutti (spoons)
Ti-ti-taaa-ti-ti (noise makers)
Children come up with rhythmic patterns and hand movements themselves.
The monkeys woke up in the morning, stretched, smiled, yawned, made faces in the mirror, waved to each other. We decided to brush our teeth. They plucked a banana, chewed it, and suddenly the Chi-Chi monkey took the banana from the Chu-Chu monkey. Chi-chi became fun(happy lips)
and Chu-chu became sad(sad lips).
Then the monkeys began to click nuts, hid them behind one cheek, then behind the other. Then they saw a hedgehog and began to breathe like him. The hedgehog gave them a flower, and they wanted to smell it. Then a mole drove up in a car and offered them a ride. With joy, the monkeys began to kiss their nose, cheeks, chin, forehead and everything around. Monkeys began to let bubble. Then the monkeys began to swing on a swing (in a glissando voice) and shook the old baobab tree (groan in a voice).
10. The final part of the lesson. I thank the children for their work in the lesson. I invite the children to vote with emoticons, evaluate the lesson. After voting and summing up the results, we thank each other for the work with applause in a certain rhythmic pattern.
