This methodical work It is intended for beginning leaders of children's choirs, especially younger ones. The issues considered in this methodological work can be offered to music teachers, vocal teachers, singers for teaching themselves and children.
Problems of choral and vocal work in the children's choir are far from being studied and resolved. After all, one of the most difficult tasks facing the vocal teacher, choirmaster to teach children to sing, all without exception. And this can only be done by a specialist who knows the specifics of a child's voice, thoughtfully and competently monitors the work. voice apparatus without violating its natural essence. Not every child has excellent auditory data and a naturally beautiful voice. The leaders of children's choirs in schools, vocal and choral studios at the palaces of culture are faced with problems - how to recruit children to the choir, how to start working with them, what kind of repertoire to choose, how to build a choir lesson in order to maximize and effectively use the training time.
The question is: can all children be recruited into the choir? For this, there is a second stage in the work of the choirmaster - this is the development of the child's hearing and voice, using various methods: A.V. Sveshnikova, K.K. Pigrov, G.A. Dmitrevsky, phonopedic method of working with a child's voice V.V. Emelyanov. The inability to correctly apply certain methods in practice not only does not help, but also interferes, i.e., harms the work. Ultimately, it all depends on the teacher, his talent, education. The choirmaster must have sufficient command of the voice and artistic talent to reveal the content of the choral work in order to end result such creativity became the property of listeners.
The main tasks of choral singing in the system of musical education
Choral singing is one of the most active types of musical and practical activities of students, and in the aesthetic education of children it always has a positive beginning. This was noted by prominent figures of culture, philosophy of all times and countries.
In Russia, the idea of primacy, i.e. the fundamental role of choral singing lies in the original warehouse of Russian musical culture, predominantly vocal. Maintaining the best domestic traditions of vocal and choral performance is always due to school education.
In terms of musical education and upbringing, choral singing performs several functions:
Firstly, by learning and performing works of the choral repertoire, students get acquainted with diverse compositions, get an idea of musical genres, methods of development, the relationship between music and words in vocal works, master some features of folklore and the musical language of the works of professional composers.
Choral singing expands the horizons of students, forms positive attitude children to the art of music, stimulates the development of interest in music lessons.
Secondly, choral singing solves the problems of developing the hearing and voice of students, forms a certain volume singing skills, skills necessary for expressive, emotional and meaningful performance.
Thirdly, being one of the most accessible types of performing activities for children, choral singing develops general educational skills and abilities necessary for successful learning in general: memory, speech, hearing, emotional response to various phenomena life, analytical skills, skills of collective activity, etc.
Fourthly, the content of the singing repertoire is aimed at developing a child's positive attitude towards the world around him through his comprehension of the emotional and moral meaning of each piece of music, through the formation of a personal assessment of the music performed.
During the training, students master vocal and choral skills, master the choral repertoire various styles and eras, learn to focus on the quality of singing sound, gain experience in choral singing, concert performances.
In the children's choir, combinations of individual and collective forms of work, the use of common chanting and individual preparation of young singers for rehearsals, the practice of working in small ensembles (choir group) are important. Therefore, although the main form in the choir is group, the possibility of introducing “solo singing” classes is of great importance, which makes it possible to follow the development of the voice of each singer in the choir, age-related changes, and quickly learn with the child what he could not cope with during group lessons.
The collective nature of choral music-making corrects the vocal technique of the singers and predetermines the use of specific methods of singing and educating the voice by the method of directed influence of choral sonority on individual vocal development, which lays the foundations for the following vocal-theoretical skills:
1. Correct singing attitude,
2. High singing position.
3. Singing breathing and sound support.
4. Types of sound attacks in singing.
5. Singing articulation and diction.
6. Methods of sound extraction (legato, staccato).
What will young musicians be like when they grow up? You can vouch for the main thing: they will become good people. That's what's expensive. About this and P.I. Tchaikovsky said, instructing his nephew: "Whatever you want to be, - first of all, become a good person." Music, with which it is related, from which the child's soul was brought up, will not allow to do bad, evil, unkind.
The main tasks of teaching and educating vocal and choral skills. Junior choir
1. Mastering the skills of singing while sitting and standing.
2. Mastering the breath while singing.
3. Work on a natural, free sound without forcing.
5. Development of a cappella skills.
6. Preparation of the team for concert performances and professional shows (open lessons, methodical messages etc.)
vocal skills
1. Singing installation.
The correct position of the body, head, shoulders, arms and legs when singing while sitting and standing. Every singer has a permanent singing place.
2. Work on breathing. Proper breathing while singing.
Calm, noiseless inhalation, correct use of breath for a musical phrase (gradual exhalation), change of breath between phrases, holding the breath, steadied sound, simultaneous inhalation before singing, singing longer phrases without changing breath, quick change of breath between phrases at a moving pace.
The different nature of breathing before the start of singing, depending on the nature of the work being performed: slow, fast. Change of breathing during singing (short and active in fast pieces, more calm, but also active in slow ones).
Caesuras. Acquaintance with the skills of “chain breathing” (singing a sustained sound at the end of a piece. Performing long musical phrases).
3. Work on sound.
Moderately open growth, natural sound formation, singing without tension, correct formation and rounding of vowels. Solid attack. smooth sound guidance individual sounds, singing with a closed mouth, achieving pure, beautiful, expressive singing. Work on a natural, free sound without forcing. Mainly soft attack sound, rounding of vowels.
Singing with different strokes: legato, staccato, non legato. The study of various nuances, the gradual expansion of the general range within: up to the first octave - fa, salt of the second octave.
4. Work on diction.
The activity of the lips without tension of the facial muscles, elementary techniques of articulation. Clear pronunciation of consonants based on vowels, assignment of consonants to the next syllable, short pronunciation of consonants at the end of a word, separate pronunciation of identical vowels occurring at the end of one and at the beginning of another word. Perfect pronunciation of the text, highlighting the logical stress. Dictionary exercises.
5. Vocal exercises.
Singing simple vocal exercises that help strengthen children's voices, improve sound production, expand the range and at the same time, the best assimilation of the repertoire. For example:
Descending three-five-step constructions, starting from the middle of the register, the same in a downward movement, starting from the lower sounds of the register.
Change of vowels on a repeated sound;
Gamma in descending and ascending motion (after mastering its small segments);
Triad in a straight line and a broken line down and up;
Small melodic turns (excerpts of songs, subconscious assimilation of intonation of tone and semitone, transition of unstable sounds into stable tunes).
The listed exercises and others (at the discretion of the choirmaster) must be sung both within the limits of the key and changing the key, in chromatic order.
6. Exercises for the development of modal feeling.
Singing individual steps, intervals, triads, scales and scales.
Melodic and harmonic sequences from intervals.
Conscious assimilation of intonation of tone and semitone, the transition of unstable sounds into stable ones.
Great value for successful work with little choristers is the analysis of a piece of music. This is a general description of the content of the work. Parsing text and music in a form accessible to students: matching musical phrases in the direction of the melody and its structure. Analysis of expressive means: tempo, size, characteristic of rhythm, dynamic shades.
The initial period of the choir
During the selection of children for the choir, the leader needs to pay special attention to the physiological characteristics of the voices, fix register characteristics for himself, that is, the sound of voices in different ranges. At the first rehearsal, the choirmaster must resolve all organizational issues, introduce the children to the conditions of study, the rules of conduct at rehearsals, the chants and repertoire of the choir at this stage of work.
Not less than important issue in the work of the choirmaster is the selection of the repertoire. The main task for the leader is to teach children to sing, and for this he must find means that are feasible for implementation, useful for the development of voice and hearing, and also conducive to the upbringing and development of musical taste.
The correct selection of the repertoire is an important condition for the successful activity of the choir. The repertoire should be artistically valuable, varied and interesting, pedagogically useful, i.e., contributing to the artistic growth of the choir, developing and enriching the world of children's musical ideas. The repertoire of the children's choir should strike a balance between the number of simple and complex works. When selecting the repertoire, the choirmaster must remember that classical works must be combined with songs by modern domestic composers, folk songs. Since the 90s of the 20th century, a new layer of choral music has entered our performance - Russian choral music of everyday life and church holidays of Christmas and Easter, now widely celebrated. Gradually, with the accumulation of experience in choral performance, mastery of vocal and choral skills, the repertoire becomes more complex. Students are introduced to polyphonic forms. Canons as a natural way to polyphony are recommended to be introduced from the 1st grade.
In the practice of school choral singing, one has to meet with a peculiar form of amusia: amusical children - “hooters”. Important reasons for poor “amusical singing” are, firstly, damage to the vocal apparatus, secondly, deficiencies in musical hearing, thirdly, the lack of the ability to perceive, differentiate and analyze the pitch, and, finally, fourthly, the inability to correctly intonate the first sound of the motive. One of the leading causes of this kind of amusia is the lack of coordination between the musical ear and the singing voice. Children who intonation acceptable but inaccurate can improve the quality of their singing in the process of learning. Over the course of a number of years, they develop their ear so much that they acquire the ability to sing, relying on the correct singing of other members of the class choir. However, they still intone inaccurately, their attempts to sing solo in the vast majority of cases are unsuccessful. Although in practice there were several examples when, thanks to a strong will and desire to sing, such students achieved quite satisfactory singing results. The main thing is that there are many children who, despite the lack of hearing and voice, show a great desire to sing in the school choir, and in this we, musician teachers, are called to help them.
Based on many years of experience working with the junior choir, I can say with confidence that students of the junior choir must master three important vocal and choral skills: singing breathing, diction and intonation. This chain is the main link in the work with the choir at the initial stage. Now consider each substance of this chain.
singing breath
At the first stage of work with the choir are often performed breathing exercises outside of singing. There are different points of view on the advisability of using these exercises. Most educators still consider them necessary. For this purpose, various respiratory gymnastics complexes are used.
Exercise one.
A short breath through the nose along the conductor's hand and a long slow exhalation with a score. With each repetition of the exercise, the exhalation lengthens due to an increase in the number of numbers and a gradual slowdown in pace.
Exercise two.
A short breath through the nose while pushing the abdominal wall forward, activating the back muscles in the belt area and slightly expanding the lower ribs, fixing the attention of the choristers on this. Each student controls their movements by placing the palms of their hands on the oblique abdominal muscles. The exhalation is as long and even as possible with a count. When the exercise is repeated, the exhalation lengthens.
Exercise three.
A short inhalation through the nose, holding the breath and slowly exhaling with a count, but now for the first time, students are asked to maintain the position of inhalation throughout the entire exhalation. To do this, you need to learn how to rest the diaphragm from the inside against the walls of the body along its entire circumference, as if trying to become thicker in the area of \u200b\u200bthe belt.
Exercise four.
A short and deep breath through the nose while pushing the abdominal wall forward, holding the breath, along the conductor’s hand, gently reproduce the sound of a given pitch in the middle of the range with the closed mouth and pull it with an even and moderate voice. The playing time then gradually increases. At the same time, constant self-control of students is necessary to maintain the position of inspiration during singing.
Particular attention should be paid to the correct inhalation. During inhalation, you can not draw air into yourself on purpose. Begin with a full exhalation. Then, after a pause, you must wait for the moment when you want to inhale. Only in this case, the breath will be limited: deep enough and optimal in volume.
For the speedy formation of a strong skill of correct respiratory movements exercise should be done regularly. The correct skills of singing breathing are fixed in the process of singing itself and are checked by the nature of the sound. The type of breathing affects the quality of the sound, and the sound, in turn, affects the quality of singing breathing. This circuit operates on the principle feedback. And indeed, if a singer sings in a quiet or loud voice, calmly, softly or excitedly, firmly, pulls for a long time or sings abruptly, then the nature of inhalation and phonation exhalation will change accordingly. Performing an exercise. Built on a descending scale scale, with an even voice, it trains the smoothness and gradualness of exhalation, and this is an indispensable condition for the formation of a good singing breathing skill.
The condition for the development of correct respiratory movements should be considered the observance of the singing installation. At rehearsals, children often cannot maintain the necessary fit for a long time. In this case, it is advisable to take a deep breath, raising your hands up, then. After holding your breath for a few seconds, exhale slowly, lowering your arms. During classes with children, it is necessary to alternate singing while sitting and standing. A funny joke, praise also relieve fatigue, cheer up children, increase their efficiency.
Young choristers should be familiar with the rules of chain breathing, which makes it possible to perform musical phrases of any length and even entire works.
Basic rules of chain breathing
Do not inhale at the same time as a neighbor sitting next to you.
Do not take a breath at the junction of musical phrases, but, if possible, inside long notes.
Breath to take imperceptibly and quickly.
To merge into the general sound of the choir without a push, with a soft attack of sound, intonationally accurate, i.e. without “entrance”, and in accordance with the nuance of the given place in the score.
Listen carefully to the singing of your neighbors and the general sound of the choir.
Only if these rules are observed by each singer can the expected effect be achieved: the continuity and length of the overall sound of the choir.
To develop the skill of chain breathing, first of all, you need to learn how to quickly and imperceptibly change breathing within long notes. For this purpose, we can recommend singing an exercise built on a descending or ascending scale with long durations, without pauses and caesuras.
Dictionary-orthoepic ensemble
bAccording to the fair remark of A. M. Pazovsky, “good diction in singing, especially in choral singing, is not only a means of expressive disclosure of the thought contained in the word, but at the same time a cutter of musical rhythm.” In order to work on a diction ensemble, the choirmaster must know the rules of singing pronunciation well.
The synthesis of music and words is an undoubted merit of the choral genre. But the same synthesis also creates additional difficulties for choral performers, as it requires them to master two texts - musical and poetic. The text should be pronounced by the performers not only legibly, but meaningfully and logically correctly, because the components of both literary and vocal-choral speech are not only diction, but also orthoepy (correct pronunciation of the text).
Choral diction has its own specific features.
Firstly, it is singing, vocal, which distinguishes it from speech; Secondly, it is collective. It is necessary not only to teach them to clearly pronounce consonants, but also to correctly form and pronounce vowels (in particular, teach them how to reduce vowels). Reduction - weakening of the articulation of sound; reduced vowel - weakened, unclearly pronounced.
The specificity of the pronunciation of vowels in singing lies in their uniform rounded manner of formation. This is necessary to ensure the timbre evenness of the choir and to achieve a good unison.
There are ten vowels in Russian, six of them are simple - and. e. a, o, y, s, four complex ones - i, e, u, e (iotated) When singing complex vowels, the first sound - y is pronounced very shortly, the simple vowel following it lasts for a long time.
Sound pronunciation:
Yo - rounded, with the addition of O.
A - rounded, with the addition of O.
And - like the French U.
E - like E, collected.
O - not narrow, rounded, wide, U - flying.
We sing A - we think about O, and vice versa.
We sing I - we think about Yu, U, and vice versa.
We sing E - we think about E, and vice versa.
We sing Yo - we think about Oh, and vice versa
“I lie in the sun and look at the sun.” The vowel “I”, turning into “e”, justifies itself with a short pronunciation in fast singing. Vowels are pronounced purely, mainly in stressed position and on long sounds. Vowels are those sounds on which the singing possibilities of the voice are revealed.
If in a word or at the junction of words two vowels stand side by side, then they cannot be merged in singing - the second vowel must be sung on new attack, how to pronounce again, for example: but remained; no fire; come across alone.
"Y" - refers to consonants and combines with them. For example: “Yes-le-ki-ymo-idru-gtvo-yra-to-stny-ylight”.
Unlike vowels, which are sung as long as possible, consonants must be pronounced at the very last moment. The consonant that ends the syllable is attached to the next syllable, and the one that ends the word at a close junction of words - to next word. This rule applies primarily to works performed legato; staccato does not carry consonants.
Consonants in singing are pronounced at the height of the vowels to which they adjoin. Failure to comply with this rule leads in choral practice to the so-called “entrances”, and sometimes to impure intonation. In order to better convey the poetic text to the listeners and achieve greater artistic expressiveness singing, it is sometimes useful to use a slightly emphasized articulation of consonants. However, this technique is appropriate only in special cases (dramatic works, solemn hymns). When performing choral pieces in fast pace words should be pronounced easily, “close” and very actively, with minimal movements articulation apparatus. For example. P.I. Tchaikovsky, words by G. Ivashchenko "Neapolitan Song". Application №2
Some rules of orthoepy
| Is written | Pronounced |
| b, d, c, e, g, h at the end of the word | p, k, f, t, w, s. |
| o unstressed | a |
| e, h, s, t before soft consonants | d, s, s, t. |
| i am unstressed | yae |
| n, nn before soft consonants | soft |
| w and w before soft consonants | firmly |
| w doubled (lzh) | softly |
| sya and s - return particles | sa and s |
| h. thu | shn, pcs |
| h and n separated by vowels | h and n |
| stn, zdn | sn, zn; t id fall out |
| ssh and zsh | sh firm and long |
| mid and mids | u long |
| kk, tt (double consonants) | k, t (the second consonant is dropped). |
Consonants are divided into voiceless and voiced, depending on the degree of voice participation in their formation.
They are so called because they can also stretch and are often used as vowels.
The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels. This is provided primarily active work muscles of the articulatory apparatus, mainly the buccal and labial muscles, as well as the tip of the tongue. Like all muscles, they need to be trained.
For the development of the articulatory apparatus, I propose to use the first and second cycles of the phonopedic method according to the system of V.V. Emelyanov. Only six cycles.
I cycle - warm-up, facial massage, preparation of the singing apparatus for work in the choir.
a) - sitting, the children should depict the “flight of a bird”, i.e., the stomach is tucked up, the chest is forward, this position resembles a bird in flight. Behind this position, the choirmaster needs to constantly remind the children.
b) - we massage the face by tapping the fingers on the face, starting from the roots of the hair, the forehead, cheeks, chin so that the face “lights up”.
c) - biting the tip of the tongue to the state of salivation, after which we “shred” the tongue, pulling it forward, biting to the root part and also back. Be sure to ensure that the tongue moves smoothly to a relaxed state.
d) - the “needle” exercise, making a sharp tongue and, like a needle, pierce the upper lip, then the lower and cheeks. All of this is being done actively.
e) - exercise “brush”, we pass the tongue between the lips and teeth, as if brushing our teeth.
f) - exercise “cross and zero”, stretching the lips forward with a tube, first draw a zero with our lips (four times in one direction and the other), then draw a cross, raising the lips up, down and to the sides. When performing, it is necessary to ensure that the children do not move their heads, only the lips should work.
g) - an offended and cheerful grimace is made. Offended - the lower lip is turned out so that the lower teeth are open. Cheerful - rises upper lip to expose the upper teeth. Then we perform both positions in turn.
h) – exercise “angry cat pose”. The main sensations of the muscular state of the face - teeth are open, the nose is raised, helping to open the upper teeth, round big eyes and the mouth is open so that three fingers are placed vertically between the teeth. It is desirable to work in front of a mirror.
i) - we pronounce the text “I have a small mouth”, while the lips are tightly closed and stretched forward. On the syllables “I have a mouth”, the lips should not move, only the tongue works. At the word “small”, the mouth abruptly opens into the “angry cat pose” and the word is actively pronounced so that the jaws activate their work as much as possible. Stretch the syllable “A” with a loud resonance and briefly say the syllables “-lazy”. All consonants are pronounced hard and active.
The main task of the first cycle is to warm up the muscles of the face for work and learn how to open the mouth.
II cycle includes intonation-phonetic exercises.
A) - the pronunciation of deaf consonants - Sh-S-F-K-T-P. They are pronounced this way. To do this, remember the position open mouth. This is the main starting position, pronouncing the consonant “sh”, we close the jaws and immediately sharply return to the starting position of the open mouth. It turns out a very short "sh". We also pronounce the consonant “s”, while the language is involved. When pronouncing the vowel “f”, the lips close. The pronunciation of the consonant "k" is important. The mouth in the pose of an angry cat, without closing and without changing position, is pronounced with the root of the tongue, the jaws should not move - this is the main condition. It turns out, as it were, a “shot”. The consonant “p” is pronounced actively with the lips, and “t” by biting the tip of the tongue. The main requirement for pronouncing deaf consonants is “deaf must be deaf”, i.e., no vowel should sound after the consonant, and when the mouth returns to its original position after the deaf consonant, there should be a feeling of inhalation.
B) - pronunciation of voiced consonants - W-W-W-D-D-B. In the same form of the position of the mouth, as in the pronunciation of deaf consonants. The involvement of the muscles of the tongue and lips corresponds "zh-sh". “s-s”, “v-f”, “g-k”, “d-t”, “b-p”. When pronouncing these consonants, the feeling should be - as if starting from the consonants, pronouncing them four times each. Be sure after each consonant there should be a feeling of an active breath. The options for performing these two exercises are different.
B) - exercise " scary tale". In this exercise for the pronunciation of vowels "U-O-A-E-S". Mouth position - “angry cat pose” i.e. the mouth is well open, all vowels are formed only with the lips, so that the sound is deep and voluminous. First we pronounce the vowel “u”, then add “o” to it, this way we get a drawl "u-oh" and so each time repeating from the beginning, we add subsequent vowels. Compulsory
The condition for this exercise is to speak vowels U-O-A-E-S in one breath, without interrupting the chain of spoken sounds. The exercise should resemble an intimidating, scary picture. Vowels can also be pronounced in reverse order. Must follow
behind the position of the mouth. The jaws should not change position and only the lips should be active in formation.
D) - the exercise is called “question and answer”. This exercise uses the same vowels as in the previous exercise. For example: the vowel “y” is taken as low as possible in the voice range, i.e. rough, low voice and glissando is made up to the highest, extreme sound of the range, as if sliding up the entire range of the voice and also quickly sliding back down from above. This exercise resembles up - a question, down - an answer. The structure of the use of vowels is as follows:
Up. U-U, U-O, O-A, A-E, E-S.
Down. U-U. U-O, O-A, A-E. E-S.
That is, up U-U and down U-U; up U-O and down U-O. The mouth is opened as much as possible during the exercise, in order to avoid a breakdown in the voice.
D) - the conditions for performing this exercise are the same as in the previous one. The voiceless and voiced consonants that were used in paragraphs A and B are added to the class ones. The structure is as follows:
Double combinations - woo, woo. woo, woo, woo.
Woo, woo, woo, woo, woo.
Woo, woo, woo, woo. wow.
In the second warehouse we go up, and down we go down on the first vowel and pronounce the second syllable below.
Trifold combinations - u-shu-zhu, u-sho-zho, u-sha-zha, ushe-zhe, u-shy-zhy.
U-su-zu, u-so-zo, u-sa-za, u-se-ze, u-sy-zy.
Woo-woo, woo-woo. U-fa-va, u-fe-ve. wow.
Combinations can be used in different ways.
The expressive presentation of the text depends not only on the clear pronunciation of words. Reading the text and music of any piece of music, you should always answer the question: how to perform a phrase or word - affectionately, joyfully, calmly, thoughtfully. Anxious, sad, evil, sad, solemn, mocking, sad, frightened, etc.
So, when solving the problems of good diction in the choir, it is necessary to work on intelligibility pronunciation subject to the rules of orthoepy; meaningfulness based on the selection of logical nodes in phrases; expressive pronunciation of words based on the unity of music and the content of the performed composition of its emotional content.
Pitch intonation
The problem of intonation in the choir, which is an instrument with non-fixed pitch, has always been one of the most acute and painful. The choral system is impossible without pure unison, which arises due to the conscious intonation of musical sounds with the voice. The voice box and the ear are two inseparable parts unified system sound transmission. Hearing is a sense organ that brings to the brain the sound phenomena occurring in surrounding the body environment. The vocal apparatus can only express what has entered the brain through hearing or what has arisen in the brain on the basis of these auditory impressions. plays an important role in intonation. Attention child. With attention, any work argues: the movements are accurate, accurate, there is nothing superfluous in them, thoughts are clear, the brain analyzes well, everything is well remembered. “It is better to sing for twenty minutes attentively than two hours inattentively,” said the famous singer and teacher Pauline Viardot. Another wonderful Russian teacher Ushinsky said that pedagogy is the science of interest. Having made the lesson interesting, we thereby attract the attention of the student to it, and everything that we treat with attention is well absorbed.
In the literature on choral studies, the choral system is usually divided into two types: melodic and harmonic. On the initial stage teaching children to sing, the choirmaster is working on the melodic system, which is a set of intonation steps of the mode and melodic intervals. AT summary they look like this.
In the major mode, the first degree is intoned steadily. The second step in the ascending second movement should be intoned high. And in the descending - low. The third step is always intoned high, regardless of the interval it forms with the previous sound, since it is the third of the tonic triad. Stage IV when moving up requires some increase, and when moving down - a decrease. The fifth step is intoned steadily, with a certain tendency to increase, as it is a fifth of the mode and tonic triad. The VI step in the ascending second movement (i.e., from the fifth step) must be intoned high. and in the descending - (from the seventh step) - low. The 7th step, as an introductory tone, is intoned very high. The VI degree of the harmonic major, being lowered in relation to the same degree of the natural major, should be intoned with a tendency to decrease
In the minor mode, the first degree, although it is the main sound of the tonic, should be intoned high. Stage III - low. The fourth step, when moving to it from the bottom (from the third step), is intoned high, and when moving from above (from the fifth step), it is low. The V step, which is the third step of the parallel major, needs to be intoned high. VI step melodic - high. The seventh step of the natural minor should be intoned low, and the same step of the melodic and harmonic minor should be high.
Any alteration that changes the pitch of one or another step of the natural mode (major or minor) brings to life the corresponding intonation method: an alteration that raises the sound requires an aggravation of the intonation, and an alteration that lowers the sound requires some decrease in it.
The harmonious singing of the choir part is based on the correct execution of intervals. It is known that the interval is the distance (gap) between two sounds in height. Successively taken sounds form a melodic interval; taken simultaneously is the harmonic interval. The lower sound of an interval is usually called its base, and the upper one is called the top.
In a tempered scale, all intervals of the same name are equal to each other. Another thing is singing and playing instruments without a fixed pitch. Here the value of the interval usually varies within zones depending on the modal value of the sounds included in the interval. Related to this are some features of the intonation of various intervals that the choirmaster should be aware of.
Pure intervals are executed steadily. This applies to prime, fourth, fifth and octave. Large and enlarged intervals should be intoned with a tendency to unilateral or bilateral expansion, and small and reduced intervals - with a tendency to unilateral or bilateral narrowing. When performing a large interval upwards, one should strive to intotone its top with a tendency to increase, and when performing large interval down - with a downward trend. When performing a small upward interval, on the contrary, the top should be intoned as low as possible, and when performing the same downward interval, it should be higher. Increased intervals are intoned very widely: the lower sound is played low, and the upper sound is high. Reduced - closely: the lower sound is sung high, and the upper sound is low. A separate area in the intonation of intervals is the pure singing of large seconds up and small seconds down. W.O. Avranek said: "Teach the choir to sing a pure small second down and a big one up, and the choir will sing harmoniously." In the work of V. Gavrilin “Winter” from the vocal cycle “The Seasons”, the melody mainly consists of large and small seconds. Application №3
Working on a song is not a boring cramming and not a mechanical imitation of a teacher, it is an exciting process, reminiscent of a persistent and gradual ascent to a height. The teacher brings to the consciousness of the children that each, even the simplest song, needs a lot of work. In choir classes, it is necessary to introduce a rule: when the teacher demonstrates a performance pattern with his voice, the students should watch, listen and mentally sing along with him. mental singing teaches inner concentration, develops creative imagination, which is necessary for greater expressiveness. Thus, auditory attention becomes directed and then the intonation becomes more accurate. Work on tuning in the choir usually begins already at the first stage of singing (learning) the work. At this time, errors in intonation should not be missed, because unnoticed errors “sing” when repeated and subsequently difficult to correct.
Choir lessons usually begin with chanting, which has a dual function: 1) warming up and tuning the vocal apparatus of the singers in order to prepare them for work. 2) development of vocal and choral skills in order to achieve the beauty and expressiveness of the sound of singing voices in the process of performing choral works.
For the operation of the vocal apparatus in the non-falsetto register of the voice range, i.e., the chest, I use chants from the fourth and sixth cycles of the phonopedic method according to the system of V.V. Emelyanov. The range of chants has its own prohibitions: do not rise above the MI FLAT of the first octave and the lowest sound must be LA FLAT of the small octave. For the basis musical material the simplest scale-like chants of the ascending and descending movement of the three-step and five-step moves are taken. We present the following exercises: using “vibration of the lips” and the vowel Y, as well as “stro-bass” and the vowels A, E.Y, O.U.
"Stro-bass" in German means - straw - rustling bass. When this element is performed, the creak of the door is figuratively represented. On the squeak, the vocal cords do not come into play immediately, but gradually. This exercise is performed in this way: the mouth is opened in the “evil cat” position, the tongue is stuck out so that it lies relaxed on the lower lip, and the larynx should make a sound resembling a creak. Most of the cases in children during the squeak, “e” is heard. It is necessary to pay attention to this and remind each time that the script must be performed with the desire to pronounce the vowel “a”. There is no intonation during the squeaking and without a pause it is necessary to translate it into the vowel “A”. The tongue should be in its original immovable and relaxed position. When performing the exercise, it will be noticeable how the neutral vowel “A” is formed. it is necessary to listen to how vowels sound without a language and how the threshold is formed during the transition from “stro-bass” to a vowel (a, o, u, e, s).
Exercises using “vibration of the lips” and the vowel Y in the falsetto register, starting from the first octave in A FLAT and above without any special restrictions, are performed in the same way as in the non-falsetto register. When moving from the vibration of the lips to the vowel Y, the mouth should open very quickly into the pose of an angry cat. Transition without any stop or pause. This is very important in order to avoid stress on the child's vocal cords. Everything is in the main resonator.
When singing the choir, the choirmaster uses numerous chants of a melodic warehouse with the use of vowel syllables, phrases, excerpts from song lyrics. Chants are performed on various musical touches: legato, staccato, non legato (non-legato - not related). The main type of sound science at the initial stage is cantilena, that is, a smooth, coherent, continuous, freely flowing sound. Even when choosing a repertoire for a junior choir, you need to more pay attention to works of cantilena nature to eliminate the speech manner of sound when children sing. Here are some examples of melodic chants.
In the second half of the educational process and in the further work of developing harmonic hearing in children, harmonic chants can also be gradually introduced. For example: children first sing one sound for the vowel “y” and subsequently build intervals from this sound. Before that, the choir should be conditionally divided into two groups.
Of great importance for the development of harmonic hearing at the initial stage is the singing of the canons. The word “canon” is translated from Greek as “rule, order” and has many meanings. A musical canon is a song created and performed in a particular way. All participants in the canon sing the same melody with the same text, entering in turn, as if late, with a lag. The beauty and originality of the canon is also its ending, since each of the singers, having completed the melody, again returns to its beginning, which forms a vicious circle. The idea of an endless, circular movement of everything in the world is characteristic of many ancient cultures. It is this idea, the idea of an endless return to the beginning, that organizes the form of the canon. Man's idea of the world, in which everything is subject to the laws of circulation, was reflected in beliefs, way of life, in dances and songs. For example. "Sing baby." In this canon, a small phrase is repeated four times in succession, at different heights. Therefore, it is not difficult to remember it and sing it at all. This canon can be sung many times, returning again to the beginning of the melody. It is possible to perform a canonical melody with accompaniment (homophonically). Application No. 7
The text of the canon “There lived a grandfather in the world” (a Moravian folk song) tells about a flute, but the intonations of a trumpet or a horn are more heard in the melody. It is not easy to sing such a canon. To begin with, you can build a canon between the singers and an instrument (for example, a piano), in which the melody will sound an octave higher or lower. Such performance will create new colors of contrapuntal music-making. The Russian translation of the lyrics is very funny. He puts forward additional tasks, namely: the clarity of diction and the activity of the language, which is characteristic of a tongue twister.
Approximate repertoire plan
1. V.A. Mozart "Spring".
2. O. Fernhelst “Ave Maria”.
3. J. Haydn “We are friends with music”.
4. N. Rimsky-Korsakov “Seeing off winter”.
5. V. Kalinnikov “Crane”, “Bear”.
6. C. Cui “May Day”, Soap bubbles”.
7. A. Grechaninov “About the calf”.
8. A. Arensky “Tell me, moth”.
9. A. Lyadov “Bunny”, “Lullaby”, “Funny”.
10. A. Lyadov “Bunny”, “Lullaby”, “Funny”.
11. Russians folk songs: “Like ours at the gate”, 2 How did your girlfriends go”, “A path in the damp forest”, “A baby walked”, “We walked in a round dance”.
12.F. Grubber "Quiet Night".
13. Folk song “Mother of God”.
14. M. Malevich Songs from collections about Christmas and Easter.
15. V. Vitlin “Rain”.
16. S. Dubinina “Goat”, “Goby”.
17. Yu. Chichkov “Autumn”.
18. S. Fadeev “Robin-Bobin”.
19. S. Smirnov “Samovar”.
20. S. Gavrilov “Green shoes”.
21. E. Zaritskaya “Musician”.
22. N. Russu-Kozulina “Pie”, “Good Song”.
23. S. Banevich “Fly, my ship, fly”.
25. O. Khromushin “Masquerade”.
26. B. Snetkov “Champion”.
27. V. Basement. Riddle songs: “Owl”, “Squirrel”, “Woodpecker”, “Turtle”.
Based on the capabilities of young choristers, one should gradually try to introduce a simple two-voice (at the discretion of the choirmaster) - chants, canons, as well as simple works.
1. M. Glinka “You, nightingale, shut up.”
2. A. Grechaninov “Poppies, poppy seeds”
3. Yu. Litovko “Old Clock”.
4. M. Reuterstein “Mother Spring”. "Party".
5. M. Shyvereva “Green Summer”.
6. E. Rushansky “Wonderful dress”.
7. N. Karsh “A song in the crocodile language”, “Night story”, “Fish”.
1. M. Reutershtein “Choral fun”, “Oh, okay”, “Cockerel”.
2. Canons: “There was a birch in the field”, “A path in the damp forest”, “Brother Jacob”, English folk song “Come Follow”, German folk song “Commt und last”.
3. Czech folk song “White dove” (canon)
5. Yu. Litovko “The Nightingale” and other canons.
6. Russian folk song “I walk with weed” (arr. And Roganova).
Students in the choir class at the beginning of their studies and in subsequent years should know frequently used terms and concepts, such as: a cappella, S (soprano), A (alto), T (tenor). B (bass). Solo, agogy, accompaniment, ensemble, abstract, articulation, vibrato, diction, range, dynamics, conductor, conducting, dissonance, breathing, genre, interval, tuning fork, canon, cantilena, key, consonance, climax, tonality, mode, meter, rhythm, melody (voice, voice leading), facial expressions, polyphony, mutation, nuance, polyphony, choir singing, register, resonators, repertoire, rehearsal, sequence, syncopation, solfegging, tuning, timbre, tessitura, tutti, unison, musical form, forcing sound, phrasing, choral parts and choral score (decoding and explanation), caesura, chain breathing, stroke.
Conclusion
The purpose of choir classes is to instill in children a love of music, choral singing, to form the skills of collective music-making. It is necessary to teach children how to sing correctly and introduce them to the wonderful world of vocal and choral classics, folk music, and modern composer creativity.
Creating an atmosphere of creativity, mutual assistance, responsibility of each for the results of a common cause in the choir team contributes to the formation of the child's personality, helps him to believe in himself and contributes to the disclosure of creative potential.
With regard to information on the physiology of the respiratory, vocal and auditory devices:
1) focus attention and will on mastering the breath, the need to use the moments of rest and movement;
3) develop a singing technique before mutation, take into account the signs of mutation and observe the hygiene of a child's voice.
From a pedagogical and psychological point of view, it is necessary:
1) explore the way and range of perception of musical tones, signs musical ear, giftedness and musicality;
2) methodically develop singing abilities and choral singing skills, taking into account the peculiarities of children's perception, developing the knowledge, feelings and will of children, as well as their mental properties.
3) analyze the signs of amusia, eliminate shortcomings in singing during training, apply the basics of didactics and pedagogy and technical means.
With regard to the skills of choral singing, it is necessary:
1) develop rhythm and intonation from early school age;
2) take into account the signs of musical talent and musicality, taking into account general giftedness;
3) systematically develop the technique of singing and musical imagination.
In general, adhere to the requirements of general didactics and the specific didactic system, take into account the peculiarities of children's choral singing, and strive for perfection of interpretation.
Used Books
1. Yu.B. Aliev. “Singing in music lessons. Lesson notes. Repertoire. Methodology”.
2. G.P. Stulova. “Theory and practice of working with a children's choir”.
3. N.B. Gontarenko. “ Solo singing". Secrets of vocal mastery.
4. T.E. Vendrova, I.V. Pigarev. "Music education".
5. V.A. Samarin. "Choral Studies and Choral Arrangement".
6. V.V. Kryukov. "Music Pedagogy".
7. K.F. Nikolskaya-Beregovskaya. "Russian vocal-choir school from antiquity to the 21st century".
8. K. Pluzhnikov. "The Mechanics of Singing".
Vocal exercises as a way of developing singing skills in young and middle-aged students
Kozlova Maria Borisovna, additional education teacher
Article categorized under: music teaching
An outstanding figure in the field of vocal pedagogy, Doctor of Arts Professor V. A. Bagadurov wrote: “The history of children's vocal pedagogy over the course of a number of centuries shows with perfect clarity that special theories of staging a child's voice have never existed. Some features of working with children's voices, due to age and the child's psyche, the specifics of children's perception, of course, should be taken into account, but this does not apply to the principles of voice education, but to pedagogical teaching methods.
The basic principles of vocal education are the same as in vocational training singing, and in the system of musical education at school; both for adult singers and for children. There is a difference only in the specifics of the upbringing of a child's voice, due to psychological characteristics and physiological capabilities at a particular age. When working with children, especially during the mutational period, it is imperative to use voice-saving technologies. In addition, the vocal education of children is carried out on a slightly different musical material.
One of critical tasks singing is not only preparing the vocal apparatus for work, but also the formation of basic singing skills in students. 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.
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.
An example of the universality of techniques is the "concentric" method of M. I. Glinka. Being the foundation of the Russian vocal school, it can also be the basis of the singing education of children. The requirements formulated by M. I. Glinka are effective in working with children and adults, with poorly trained singers and with professional singers. The data of modern research confirm the correctness of all the main provisions of Glinka. Of course, they are gradually supplemented on the basis of the identified patterns of voice development.
The "concentric" method includes stable exercises, which were developed by M. I. Glinka for systematic use from year to year. They present elements found in vocal and choral works in various versions. The essence of the method is as follows:
Volume, the range of the voice, within which you can basically work, for the weak, little singing developed voices(as well as sick ones) - just a few tones, for healthy singers - an octave. In both cases, there should be no tension.
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 strength of the sound (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.
I would like to note that absolutely all the recommendations of M.I. Glinkas meet modern requirements for health protection. After all, it seems to me that the main task of a vocal teacher is to teach how to use the voice in all its variety of nuances, to reveal the beauty of the timbre, to develop the endurance of the vocal cords. Our students do not always become professional performers, but the skill of using the vocal apparatus correctly will help them not only in professional activities associated with a large voice load, but also in communicating with people, will help to make speech intonation diverse and competent.
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 vocal apparatus, as a self-regulating system, automatically finds the optimum, while simultaneously training the corresponding muscle systems. The skillful use of a differentiated age range, the selection of a repertoire in a convenient tessitura, the exclusion of forced sound provide natural sound, the harmonious development of voice-forming organs, and the identification of the individual timbre of students.
Influence of singing load on children's health.
It is extremely important to know the impact of the singing load on the health of students. The teacher's knowledge of the age characteristics of the development of a child's voice (especially during the mutational period) contributes to the correct formation of vocal skills, while non-compliance with them leads to disruption and even diseases of the vocal apparatus. Singing is a complex psychophysical process in which all vital systems of the body are involved. In addition to the singing organs, the cardiovascular and neuroendocrine systems also react to the singing load, responding to singing by changing the pulse, blood pressure, and body temperature. With the right singing load, these changes are minor and not dangerous to the body. Moreover, systematic singing lessons with the constant supervision of a teacher can play a healing role, in particular, breathing and blood circulation improve, intracranial pressure decreases, the consequences of logoneurosis are mitigated, etc. Also, studies by otolaryngologists show that the treatment of tonsillitis, exacerbations of catarrhs of the nasopharynx and upper respiratory tract is facilitated in children who sing in a European academic mixed-covered manner. It is also impossible to exclude the importance of mastering the skill of singing breathing on a support to relieve bronchospasm, which is important for the treatment of children suffering from bronchial asthma.
Thus, we can conclude that absolutely everyone needs a certain level of vocal skills formation - both those who have bright vocal abilities, and those who can correctly intonate within the fifth, those who dream of the opera stage, and those who dream of becoming an engineer. Proper singing development contributes not only to the formation of personal qualities, but also to a more harmonious physical development of the child. Based on all that has been said, we come to the conclusion that the main form of voice protection is proper singing education.
Let's move on to vocal exercises that I use in every lesson to prepare the vocal apparatus for work and form basic singing skills. One of the most important features is the formation of the skill of "automaticity" in the performance of exercises, so all of them are always sung in a certain sequence, in a certain range, based on the primary zone of the child. After a while, even singing a capella, the children themselves begin to sing from the usual notes, which, of course, indicates the formation of their auditory sensations.
In my work with children of 7-9 years old, I widely use Russian folk songs, chants, which helps to arouse interest in children and instill a love for national melos. In addition, they are usually laconic in their musical thought, often with a stepwise structure that helps young children not to focus on the complexity of intonation.
1. Our very first chant is a teaser song. Active articulation and supporting breathing are formed, which does not allow the intonation to slip from a given note.
2. An exercise that helps to master the wide intonation of the major second and the firm, confident singing of the tonic. You can draw a parallel in the sound of large, medium bells and very small bells. When moving to the second octave, the children show with their hands a movement that imitates the shaking of a small bell. Such a light muscular movement is transmitted to the chords, and the sound of voices becomes lighter and more intonation accurate.
3. One of my children's favorite exercises. Before performing it, I ask them to imagine that a small bunny is sitting on their palm (it is interesting to ask what kind of bunny everyone has - here they are gray with green eyes, and red with blue ones!). During the execution of a quarter to the syllable “by”, we show how we stroke it, and on the next eighths we make light movements with our hands, depicting how the bunny runs away. So easy, in the game children get acquainted with the strokes of legato and staccato.
4. The following exercise is extremely useful for the formation of articulation skills and the skill of singing the major tetrachord. If there is lethargy in the performance of the top sound, I ask the children to imitate with their hands the movement up and down the ladder, but I ask them to step on the top step from above, and not “crawl” onto it. Usually such a proposal causes smiles and laughter, and, subsequently, the correct execution of the task.
5. The next exercise consists of 5 sounds. Thus, in each exercise we add one sound. When you first bring this to the attention of children, they usually accept this pattern with delight. And, subsequently, they like to suggest how many sounds are in this or that exercise.
6. We complete the standard chanting with an exercise that combines the need for correct intonation and the clarity of execution of strokes.
This set of chants is a must for every lesson. I repeat that the exercises always follow this order and begin in the given keys. But for the formation of other skills, or in order to diversify the process of chanting, the following exercises can be used after it.
10. I want to draw your attention to the fact that, despite the obvious benefits of this exercise, its melodiousness and the love of children, in recent years I have been able to use it less and less in group work. Unfortunately, more and more children are brought up without mothers, so before you start learning it, you need to find out if everything is safe in the families of students. Usually this exercise is performed with a chant in the last two measures of the word "mother". But in my practice I don't use it, because, as a rule, stepwise downward movement with a chant at a younger age leads to detonation.
At the age of 10, children move on to other exercises. You can trace the continuity in the melodic turns, but they are sung mainly in classical syllables for vocal performance, which increases the importance and significance in the eyes of the child. this stage lesson, helps him to feel his "adulthood".
1. In the upward movement we sing actively accentuating each note, and in the downward movement using a legato stroke.
2. The formation of a high position of sound, roundness of the vowel, sharp intonation of the third tone, support breathing - only three notes, but how rich can the singing of this exercise be if you pay attention to all the details! Naturally, at the initial stage of training, we focus on any a certain moment, but then gradually add other tasks.
3. Variant of the previous exercise.
4. Separate exact sounding of each note and vowel, when moving to the upper case, it is advisable to sing this exercise on the words “forest in spring”. And you can offer (not often, as an exception, to overcome the routine of the chanting process) to sing the word "vacuum cleaner" - and it is useful for the formation of the vowel "s", and makes children smile and joy, but is it not for this, by and large, we teach them to sing!
5. Conscious phrasing, possession of supporting breathing.
6. In this exercise, you need to alternate between staccato in the first measure and legato in the second measure.
7. A complicated version of the previous exercise.
8. Staccato stroke, high sound position, accurate intonation, vowel formation, range extension.
9. A more complicated version of the previous exercise, requiring wider breathing and evenness of sound throughout the entire range.
10. Overcoming tightness of the larynx, evenness of sound over the entire range, smoothing registers, the use of resonators.
This chant ends the set of mandatory exercises. The following exercises are used for children with higher learning abilities.
11. In chants in 5 and 6 measures, you need to focus on the performance of the second sound. I usually ask them to slow down a little and feel how wide and free, without "filling up" the seconds sound.
12. An exercise that helps develop the ease and mobility of the voice.
13. Emphasis on the top note and staccato.
14. High position of sound, activity of articulation.
14. To master a dictionally complex exercise, performed at a fast pace, I use the visual arrangement of syllables in space, marked by hand with a gradual increase in tempo. In graphical notation, it looks like this:
LA-li → LE-li ← LE-whether.
In conclusion, it should be noted that only those exercises will be useful to children, the expediency of which is clear to the teacher. There are many vocal exercises, but for work we must select only those that, in our opinion, best meet the needs of our students. If the teacher himself does not succeed in the exercise he likes, or if he does not understand what skills it forms, it is better to abandon it altogether, no matter how much you like it. Let me give you an example from personal practice. Many of my colleagues use the following vocal exercise:
But when I performed it, especially at a fast pace, I felt that the top note was flat, with a "blockage" on the larynx. But, as soon as I sang it on two adjacent notes, it turned into a wonderful exercise, not only developing diction skills, but also allowing me to effortlessly lift the palate and put the top note in a high position.
Vocal skills are a partially automated way of performing an action that is a component of the singing act.
They are based on the creation and strengthening of conditioned reflex connections, the formation of systems of these connections - dynamic stereotypes with well-trodden transitions from one system to another.
Partial automation of vocal skills arises as a decrease in the control of consciousness over the process of performing various singing actions. But the results of these actions are constantly reflected in the mind. The automatism of skills makes it possible, when singing, to solve more important tasks - performing, artistic tasks.
Without possessing vocal skills, the singer cannot achieve vocal mastery.
So the primary goal of vocal learning is the formation of the correct methods of singing activity, bringing them to automatism.
Vocal skills are considered to be motor skills. But this is not entirely true. Indeed, in singing there is always muscular movement, without nero it is impossible to reproduce the sound. But the dominant in the formation of singing skills in its importance is hearing.
When playing sound, one cannot separately consider the work of hearing as auditory skills, and muscle actions as motor vocal skills. Hearing vocal motor skills, although they are anatomically different systems, while singing are physiologically inseparable, because they cannot function separately.
Sound reproduction is carried out through vocal motility. Voice and motor skills induce action and regulate its work by hearing - main regulator motor system that plays the sound.
Such a combination of the work of hearing and voice motor skills, in which motor acts are performed under the control of hearing, is classified in psychology as sensorimotor skill. Clarification of the type of vocal navka makes it possible to better understand its essence and more correctly determine the methodology for its formation.
AT psychological mechanism skill distinguish two main parts: indicative and performing.
The first defines how to perform an action, and the second implements them. The success of the action depends on the indicative part, the so-called regulating image.
Therefore, ero formation is of paramount importance when teaching a skill.
In singing, the regulating image is the sound image. To sing something, you need to clearly imagine the sound that will be played.
Hence, the very first stage in the formation of a vocal skill as a sensorimotor one is the creation of a leading sensory - auditory - link, i.e., a vocal-musical image. It will perform orienting and programming functions in relation to voice motor skills.
Consequently, the main task of the initial stage of the formation of vocal skills is the use of such a technique that would allow the student to create an adjusting vocal-musical image as soon as possible.
by the most in a simple way here is a demonstration of the sound by the teacher himself or with the help of tape recording. This method is very effective.
At the beginning of training, a demonstration of the movements necessary for correct voice formation is also used:
movement of the respiratory muscles, lower jaw, lips, the shape of the opening of the mouth, yawning.
All this must be combined with an explanation.
At the same time, the display, which is a means of sensory cognition (the first signaling system), is combined with the word (the second signal system), due to which the perception of sound and the representations formed on this basis become more conscious, stable and better remembered.
The explanation should clearly describe the main qualities of a professional sound (roundness, sonority, high positioning, optimal proximity and strength, correct resonance), individual characteristics timbre coloring, as well as methods for achieving the correct sound.
Thus, the student, in unity with sensory cognition of voice formation, develops knowledge about the basic patterns of vocal sounding and its reproduction.
The student becomes familiar with professional terminology, which can then be used without showing.
In the process of developing and using vocal skills, all the sensations that a singer has while singing are important.
This is, first of all, auditory sensations from the sound he sang. The student compares them with auditory sensations, on the basis of which he reproduced the sound.
If there is a difference between these sensations (mistake) is made new attempt(trial) to sing correctly desired sound with the adjustment of the methods of operation of the voice apparatus. Samples end when the sung sound corresponds to the presented sound standard. So will be found the right way voice formation.
Resonator and muscle sensations, as well as auditory, during singing act as feedback, with the help of which the process of voice formation is controlled and corrected, vocal skills are formed.
Therefore, in the learning process, one should specifically fix the student's attention on these sensations, and when the correct sound is achieved, help him to understand and remember them well.
Acquisition of a vocal skill occurs in several stages. At the initial stage a regulating vocal-musical image is created, an understanding of the ways of performing vocal actions is formed and attempts are made to implement them.
But for a novice singer, these attempts are still unstable and inaccurate, there are many mistakes and unnecessary movements. He has to carefully monitor all the components of sound reproduction, his attention is very intense.
At the next stage education is going on conditioned reflex connections in accordance with a given acoustic norm. As training progresses, these connections are strengthened, unnecessary movements and mistakes are eliminated, the performance of individual actions becomes clear, and their quality improves. They are automated and merge into a single singing act.
This is how systems of conditioned reflex connections are formed - dynamic stereotypes. The attention of the singer is largely transferred to the end result - improved sound quality. At this stage in the process of voice formation, along with hearing, vibratory and muscular sensations begin to occupy an ever greater place.
Next comes the plastic adaptability of the process of voice formation (the prevailing dynamic stereotypes) to a change in the situation of sound reproduction (for example, mastering the sound and the method of voice formation in the upper or lower part of the range, changing the sound depending on the emotional and semantic content performed work and etc.).
On the last step vocal skills acquire flexibility, there is a process of their improvement.
Elena Fomenko
Vocal (singing) skills
vocal setups. When teaching preschoolers to sing, you need to watch how they sit, stand, hold the body, head, how they open their mouths. While singing, children 5-6 years old should sit straight, not leaning against the backs of chairs (in this position, the main respiratory muscle, the diaphragm, works better for them). When listening to music, they can lean against the backs of chairs. Children 3-4 years old can sit, leaning on the backs of chairs, put their feet on the floor, put their hands on their hips, closer to the body. The head is held straight, without tension, without stretching the neck. The mouth must be opened vertically, and not wide, in order to avoid noisy, "white" sound. The lower jaw moves freely down, the lips are mobile, elastic, (not sluggish).Children are learning the song while sitting. It is better to sing the songs you have learned while standing, because in this case the respiratory muscles, even in three-year-old children, work better and the sonority of singing improves noticeably.
When singing, children stand with their heads straight and their arms at their sides. It is not recommended for a child to have an artificial posture - to keep your hands behind your back.
Sound production. Children should sing in a natural, high, light tone. without shouting and tension. For correct sound production great importance has a clear work of the voice apparatus (mandible, lips, soft palate with soft tongue). While singing, opening your mouth, you need to lower lower jaw. The soft palate with a small tongue, which is very mobile and can rise, helps to correctly extract the sound, which is facilitated by the pronunciation of the vowels y, o, consonants k, g, x. Thanks to them, the sound is freely directed from the larynx to the opening of the mouth.
The combination of vowels o, a with consonants b, p, c, f or front-lingual d, t, l, z brings the sound closer to the teeth. The voice range of children is unstable. Often children with a normal range, with a naturally high pitch, suddenly begin to sing on low notes, without singing the high ones that they used to be able to. Such cases are most often observed in children who long time did not attend due to illness Kindergarten. After one, two lessons (individual and subgroups, voice range and singing skills they are recovering.
It is desirable that adults sing at a high pitch, as when listening to their performance, children begin to imitate and sing in a higher voice. Closely related to sound formation is such a quality of sound as melodiousness. To teach children to sing drawling, it is necessary, starting from the first, the youngest group, to teach them to draw out individual sounds, the ends of musical phrases. For example, in a Russian folk song "Cockerel" gotta sing along last syllable in the word "cockerel". The length in singing depends on the correct breath taken and on the predominance of vowels, which is typical for folk songs(For example "There was a birch in the field").
Singing songs written at a moderate or slow pace, as well as learning songs at first in slow motion, helps develop the length.
Diction. When singing, children very often replace unstressed vowels. e, i vowel and, it is better to pronounce them somewhat vaguely, something in between i, e. and. Consonants are pronounced as quickly and clearly as possible in order to interfere with the sound of the voice in vowels as little as possible. Consonants at the end of a syllable are pronounced at the beginning of the next. For example, "lights sparkle" performed: "Oh-go-ny sve-rka-yut".
Exist different tricks children's education correct pronunciation in singing:
1. - Expressive reading of the text of the song by adults in the process of learning the song. This technique applies to all groups.
2. -When learning a song, starting with junior groups, you can use the technique of pronouncing the text collectively, in a singsong voice, quietly, at a high sound, at a moderate pace, so that all words sound clear, expressive.
3. - In all groups, the reception is applied expressive reading text by separate children, one verse at a high sound. This technique is used both in the process of learning and when repeating learned songs.
The expressive pronunciation of the lyrics contributes to the expressiveness of singing.
Breath. Breathing is strengthened in the process of singing. The music director makes sure that the children take a breath before singing and between musical phrases, and not in the middle of a word. Some children breathe irregularly, not because they have short breaths, but because they do not know how to control them. To help children learn how to breathe properly while singing, it is necessary to choose songs with short musical phrases at first. In older groups, one of the techniques may be singing a song in phrases (chain).
intonation frequency. Often children do not know how to correctly reproduce the audible sound, give the appropriate position vocal cords, mouth muscles, respiratory muscles. The purity of intonation depends on the degree of development of musical ear, which also affects the state of the vocal apparatus. The purity of intonation is also affected by such qualities as shyness or lack of sustained attention. Some children are disturbed poor articulation, the consequence of which is the incorrect pronunciation of individual sounds, syllables, words, and ultimately false singing occurs. If the conditions are not favorable for the musical development of the child, his musical vocal data are delayed in development and can only manifest themselves as a result of systematic musical and pedagogical work. To develop the purity of intonation, it is necessary to choose songs that are comfortable in tessitura and breathing, corresponding to the voice range of children in this group. Purity of intonation is achieved various methods. It is useful for a child to listen to songs in good performance adults and purely singing children, as well as in their expressive performance on musical instrument without singing. It is necessary to systematically repeat the learned songs with the children and at the same time sing them unaccompanied (a cappella)
Children who sing uncleanly should be given special attention. Such children should sit closer to the children who sing well and to the instrument. In each group there are children who hear the melody well and distinguish the pitch of sounds, but cannot reproduce them with their voice. They sing a melody a fourth or fifth lower. than the rest. since they have a small volume of voice and they also lack coordination in the work of the auditory and vocal apparatus. If such a sound is persistently held by children, then additional individual sessions. The most important thing is to teach these children to listen to themselves and realize if they are singing the melody correctly. To expand the range, songs are gradually transposed into higher keys.
Conducting private lessons music director should take into account the characteristics of each child. He shows one how to stretch the sound "thinner", "higher"; another - what position to give the mouth. lips the third one is offered to sing louder, bolder, or, conversely, softer, quieter, etc. etc.
