According to the physiologist Sechenov, any human activity is the result of muscle movements. This statement also applies to vocal-technical skills, since vocal-technical skills are also motor skills. And motor skills are conditioned reflexes that need to be developed and consolidated.

The decisive role in the process of forming vocal and technical skills belongs to the teacher, who evaluates the student's actions with his own word, explains, corrects, and gives an example of the right sound. And as a result, the student develops and develops auditory and muscle sensations.

Any movements, including the movements of the vocal apparatus, are analyzed and synthesized by the cerebral cortex. The brain controls the vocal apparatus with the help of nerve impulses. nerve impulses correct the muscular movements of the vocal apparatus. That is, the formation of vocal and technical skills has a physiological basis and largely depends on the nervous system and its activity, on the development of relationships between the auditory and muscular sensations of the vocal apparatus.

Any type of activity is associated with the development of certain technical skills. Voice training, singing training is the development of vocal and technical skills. For the formation of these skills big influence the anatomy of the structure of the vocal apparatus and the student's attitude to learning - abilities, desire, interest, perseverance and performance.

When learning vocals, it is very important to be able to control and analyze your sensations while singing - muscular, auditory, vibrational. These are sensations on the hard palate, palatine curtain, larynx, trachea, chest and face, abdominal cavity.
The sensations of the singer are connected with observation, attention, memory, that is, the performer must always analyze the performance, be attentive.

As we know, children - novice performers - have developed involuntary attention They are often distracted and do what interests them. To develop voluntary attention is the task of the teacher. It is necessary to develop attention constantly, consistently accustom students to be attentive when performing a small and specific task. Attention is more active in the morning, after a night's sleep and rest. There is an expression " Best holiday- change of activity. This expression must be adopted and in the process of learning to apply various forms of work in order to switch attention.

When doing vocals, you have to remember a large number of texts. Memorization is based on repetition. But unconscious repetition must be avoided. When learning texts, logic and imagery should be connected. And then we will develop a good memory, namely, we will quickly memorize, save for a long time and accurately reproduce the learned material. In the process of studying music, in particular vocal, visual, auditory, logical, musical memory develops.

In the work of the vocalist great importance plays emotional condition. In a depressed state, there can be no quality work - both memory and thinking refuse to work in this state. Therefore, the atmosphere of goodwill and optimism should reign in the classroom.

But it happens that the student tries too hard to complete a technical task that is not yet within his power. And that creates anxiety and tension. It should be remembered that learning is a long process, and difficulties are overcome gradually.

There are cases of tension when the student is not confident in his abilities, he is shy, timid. This shortcoming is also eliminated gradually: confidence is developed as a result of concert performances and with the help of a teacher - his approval and support.

Developing and improving vocal and technical skills, the teacher needs to give students feasible tasks and determine the specific task that the student must complete. The work should be based on the positive experience of the student.

For the development of vocal and technical skills, it is important to understand the actions taken and a conscious attitude to the learning process. And for a positive result, the desire, will and desire to learn new things are important. And all this is labor, without which there can be no creativity. Vocal creativity, on the other hand, implies the need to master vocal and technical skills and apply them in practice.

But, even having mastered these skills, each performer will have his own result, because the natural data and features of the nervous system, which characterize such a concept as "talent" - that is, a complex developed abilities without which creativity is impossible.

Chapter 2. Development of vocal and choral skills in music lessons in primary school.

The initial stage of work in music lessons using vocal and choral skills.

In modern methodological literature, in any paragraph relating to choral singing, one can find next revolutions:

Educational work.

musical work,

vocal and choral work,

Vocal and choral activity.

With a single exception (L. Shkolyar), the concepts of “work” and “activity” are not divorced in the manual, but in fact there is a huge difference in them. Especially when we are talking about an art lesson, in which “there should be no rules and exercises abstracted from live music, requiring memorization and repeated repetitions” (D. Kabalevsky). In other words, "memorization" and "multiple repetitions", in other words, vocal and choral work, so separate schoolchildren from choral art and replace its comprehension with tedious and insensitive coaching, give rise to the formal. indifferent performance. which cannot be revived by any work on the creation of an artistic image.

It is possible to talk about full-fledged activity in an art lesson if “schoolchildren reproduce the very process of the birth of music, comprehend the artistic meaning of works as their own, and carry out a creative selection of means. which, in their opinion. Most fully and accurately reveal the artistic intent of the work. At the same time, children penetrate nature itself. musical creativity. Putting yourself in the place of a composer, performer, listener ”(L. Shkolyar). Of course, for a music teacher, it is not at all easy to help children reproduce the "process of the birth of music" and penetrate into the holy of holies - the origins of the art of singing.

Of course, first you need to try it yourself and only then give the students the opportunity to create, experience, comprehend, i.e. perform a piece of music. Always remembering that every child must “first hear the music in himself, ... and ... only when it is no longer possible to “sing” to himself, without breaking the melody, to sing for people without a false cry, without a hysterical strain, but in the way sounds a word torn out by life and voiced by the human heart” (V. Astafiev).

And there will be no need for endless repetitions and consolidation - the experience will leave a mark in the soul and awareness of the child, and, in memory, because “one can remember in music only what is understandable and emotionally felt” (D. Kabalevsky). And the student who feels, thinks, and hears understands what he wants to sing about, and perhaps his speech will not then be idle and empty. Perhaps both deeds and life itself will make sense. What is he...? Let each child search for himself.

The emphasis on music lessons in the system of mass musical upbringing and education should, in my opinion, be placed not so much on the acquisition theoretical knowledge, how much on solving the child's intonation-figurative baggage, developing his national response to music, forming a sustainable interest in musical art as part of his life. The main thing is not so much knowledge of music as immersion of children in the music itself, knowledge of the music itself. This is facilitated primarily by the performing activities of schoolchildren, the development of collective music-making skills - singing, playing musical instruments, plastic intonation, simple improvisations, and others.

Possession of the methodology for organizing various types of musical activities of students in a music lesson.

Vocal and choral work:

a) Clarity of the presentation of the goals and objectives of the singing activity of students, taking into account their age features;

b) Appropriateness of selection musical material for singing and learning, its artistic value;

c) The quality of the vocal display of the song repertoire;

d) the clarity of setting educational tasks for students and the ability to achieve their implementation;

e) Possession of working methods at various stages of learning a song (introductory, basic, final) and their correspondence to each of them;

f) Fixing the attention of students on their own singing and involving students in its analysis;

g) Possession of methods of working on the elements of vocal and choral technique (breathing, sound formation, sound science, system, ensemble, diction), artistic and expressive performance;

h) The expediency of the comments and methods used to correct the shortcomings of the choral sound;

i) The ability to teach schoolchildren to sing according to the conductor’s hand, to anticipate possible inaccuracies and difficulties of performance with a gesture, to control the tempo, agogics, dynamics, phrasing, strokes, etc.;

j) The ability to diagnose the levels of musical and singing development of students, analyze and evaluate the effectiveness of the choirmaster's work.

Chapter 1. Theoretical foundations of the organization of the choir at music lessons in elementary school.

Vocal and choral education. The concept of vocal and choral skills.

The musical education of junior schoolchildren is aimed at developing in children a holistic view of the art of music, at giving them basic key knowledge, skills and abilities of musical activity in a system that provides junior schoolchildren in their totality with a basis for further development. independent communication with musical art, for self-education and self-education.

Academic subject"Music" in elementary school has the following tasks:

* captivate with music, develop interest and love for music, the ability to appreciate its beauty, evoke a musical and aesthetic response to works, a sense of empathy for musical images, i.e. develop the emotional sphere of students;

* develop musical-figurative thinking, understanding the laws of art, perception of music, the ability to think about it in connection with life and other arts;

* develop creative musical abilities, practical skills and skills in the process of performing, listening and composing music (improvisation), moving to music and its plastic intonation;

* develop musical and aesthetic taste and the need to communicate with musical masterpieces and musical self-education.

Methods and principles in working with a children's choir, as you know, have specifics. The main thing is that it is necessary to take into account the age of children, their interests. The responsiveness of a child's soul is so direct and unpredictable that going to a rehearsal with a children's choir, having some "ready-made recipes", is simply unthinkable, with an understanding of the psychological, physical features children, to be their teacher, educator and just a friend at the same time. It is extremely difficult for a conductor to find a form of communication with children in which vocal and choral tasks would be performed. Joy children's creativity unique and unrepeatable in nature. E.B. Abdulin identified three such stages in the study of a musical work:

1) acquaintance with a piece of music, its emotional and figurative perception; understanding from the point of view of the topic being studied;

2) a more detailed analysis, the formation of musical and auditory representations, performing skills;

3) holistic, more complete than the initial perception of the work.

The indicated stages are inherently close to the three main types of music lessons:

a) lesson of introduction to the topic (the presence in the content of the lesson of the initial generalized characteristics of the new key knowledge);

b) a lesson on deepening the topic (the presence in the lesson of a new characteristic of key knowledge);

c) a lesson on generalizing the topic (the presence in the lesson of a holistic, but already enriched, in comparison with the lesson of introducing the characteristics of key knowledge into the topic).

When listening, one should determine the quality of the voice (type, range), musical ear, sense of rhythm, musical memory, and also find out musical training: knowledge of musical notation, possession of any musical instrument, the experience of singing in the choir. There are various methods of listening to choir applicants. As a rule, the applicant is invited to perform some vocal work; song, romance, aria. After that, the range of the voice, the type of voice (tenor, baritone, bass, etc.) is determined. On simple exercises, the quality of musical ear is determined. For example, it is proposed to repeat sounds of various pitches after an instrument or voice within the middle segment of the incoming voice range, to repeat with a voice a simple construction of three to five sounds played on an instrument. If the applicant has a musical education or experience in singing in a choir, the exercises can be somewhat complicated. For example, an applicant is invited to determine by ear simple intervals in a melodic, and then in a harmonic form, to construct different intervals with a voice from a given sound. It is advisable to include chromatic constructions in listening.

Mastering the most diverse musical and singing knowledge, skills and abilities by each member of the choir contributes to the formation of choral culture, helps to master the singing voice, expressive artistic performance of songs and choral works. Individual singing development is the basis on which choral education is built, any children's or youth choir group is formed. This fundamentally distinguishes it from a professional adult choir.

The first condition for correct vocal and choral training is the emotional and aesthetic mood of the choir, i.e. the creation by the leader of a relaxed atmosphere that naturally combines hard work with exciting creativity, which activates the interest, curiosity of children, creates optimism and high efficiency. This attitude should be maintained throughout the lesson.

For the activity of the vocal apparatus, it is important to observe the singing installation, regardless of whether the children sing, sitting or standing. The rules of the singing installation are known to the leaders, and schoolchildren must observe them in the process of singing. They need to be reminded of this on a regular basis.

1. based on the development of musical ear,

2. accumulation of musical and auditory representations.

All vocal and choral work with children is based on the comprehensive development of musical and vocal hearing: melodic, harmonic, polyphonic modal, dynamic, timbre.

The main method of sound production when working with children, adolescents and youth should be soft attack. Hard attack is unacceptable for young children. A solid attack is possible only sometimes, as a separate pictorial device. The use of a hard attack as a constant method of sound formation disrupts the uniform work of breathing, negatively affects the work of the vocal cords.

Particular attention should be paid to work on the sound quality of a child's voice - the development of the basic properties of a singing timbre: sonority, flight, vibrato, intelligibility, evenness. It is important to remember that forced singing brings great harm to the singing voice of children. It prevents the development of its main properties, causes various disorders and diseases of the vocal apparatus. Forced, loud singing goes against the requirements of artistic performance.

Preserving the individuality of the sound of a child's voice in the classroom in the choir is of particular importance. As you know, a professional choir is required to merge the sound in its color, and not only in strength, intonation, formation, etc. Since the voices of the choir members are in one stage or another of formation, it is necessary to create conditions that would contribute to its maximum flourishing, and not leveling.

Individuality in children's voices in most cases is not clearly expressed. And if their singing development proceeds normally, the children do not sing with a forced sound, there is no nasal or throat overtone in their voices, then the individuality of the sound not only does not violate the general choral sound, but also enriches it. Removing great attention preservation of individual timbre, one should demand from the participants of the choir to merge not by timbre, but only by pitch intonation. The preservation of the individuality of the sound does not interfere with the development in the voice of properties that are objectively characteristic of singing voice. Preserving the individuality of the sound of a healthy voice is one of the prerequisites for its proper formation.

The essence of the work on the sound quality of the student's voice in the process of working with the choir, in addition to the above, can be supplemented with the following: 1, a constant demonstration of the sound, in which the main singing properties would be present (a teacher's demonstration or a student's example);

It should be remembered that vocal skills are formed gradually and this is reflected in the quality of the voice timbre: sonority, flight, vibrato are objective indicators of the development of a singing voice, but also objective guidelines - signals that insist on the activity of the vocal apparatus.

All work should be built taking into account the age capabilities and individual characteristics of children. It must be emphasized that not only boys, but also girls need a special singing mutational regimen.

Big role in teaching good singing, singing is played without the accompaniment of an instrument (a cappella) and without the support of the teacher's voice. This form is specific to fore singing. Nominal singing without accompaniment, like no other kind music lessons, contributes to the development of musical ear, its different sides. The need to constantly control one's own singing and the singing of one's comrades sharpens auditory attention and develops auditory self-control. It provides a cleaner and "sharper" intonation, contributes to the development of unity in the performance of rhythm, the pronunciation of a literary text, teaches children to understand the special beauty of the pure, perfect sound of human voices that make up the choir. Even though the singing a cappella- it's not only highest form choral art, but also its most organic, pure, natural manifestation, at the same time it is the most hard kind choral performance.

Vocal and choral education occurs mainly in the work on musical works. With their perception and reproduction in the process of learning, the foundation of the singing culture of the choir members is laid. Under the influence of the work itself, the nature of work on it, depending on the personality of the teacher and his skill and other factors, special abilities are formed, attention, memory and other qualities of students are improved.

Important role in the vocal and choral work, educational and training material and exercises are played. They can be aimed at developing and consolidating any skills and abilities, any qualities. At the same time, it is important that they contain an "aesthetic grain", that they would not be "mechanistic". It is also advisable, in order to save time, to select and form educational and training material in such a way as to solve not only one educational task, although the emphasis should be on the main thing. The exercises also include chanting. Their purpose: firstly, "warming up" the vocal apparatus at the beginning of the lesson, and secondly, solving the problems of vocal development of children "in its purest form" and concentrating their attention only on these tasks.

Along with the fact that learning pieces is to some extent possible by ear (this develops memory well and the ability to quickly navigate a piece), more and more importance is attached to teaching children to read music. Very favorable for this younger age. Therefore, the formulation of this matter in the junior choir should be addressed Special attention. The leader of the choir should thoroughly familiarize himself with the solfeggio program and rely on this course in his work.

All classes, especially at the first stage, should be subordinated to the main goal: to captivate children with choral singing, collective creativity, the music itself. To achieve this goal, the creative atmosphere in the team is especially important. It is necessary to arouse interest in the song being learned, in its creators. It is very important to instill in children a love for the very process of singing together. Therefore, each rehearsal should be, first of all, an activity in which the leader tries in every possible way to create a team of like-minded people (music empathizers).

Work with the junior choir should be diversified in every possible way. For example, in addition to performing ordinary songs, kids can also perform a whole suite on one theme, or several songs related to literary text. You can also make a thematic musical and literary composition.

When teaching choral singing, it is also taken into account that the vocal apparatus and characteristics of the voice of a younger student also have their own characteristics, which the teacher must take into account in his work. Children's voices correspond approximately to the voices of the female choir. The difference lies in the width of the range (it is somewhat smaller), and also different in the nature of the sound. Children's voices are more "light", "silver" than women's. Soprano of the children's choir from "to" I octave - to "sol" II octave. Alto children's choir from "la" small to "re" II octave.

Children have a specific vocal apparatus (short and thin vocal cords, small lungs). High head sound, characteristic lightness, “silvery” timbre (especially for boys), but no timbre saturation are typical. Conventionally, children's voices in the choir can be divided into 3 groups, depending on age: the younger group, middle school students and the senior link. The younger children's group - from the youngest age to 10-11 years. False sound production. A rather small range, if at the maximum: up to the I octave - up to the II octave, or re I - re II octave. These are the children of the younger school age(grades 1-4). Small volume of sound. And moreover, there is no significant development between boys and girls. In the repertoire of such choirs, there are essentially 1-2 works. On this initial stage choral education professional singing skills are laid: intonation, vocal technique, ensemble.

Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. It has been proved by many years of practice that singing in childhood not only not harmful, but also beneficial. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing contributes to the development of the vocal cords, respiratory and articulatory apparatus; Properly conducted singing strengthens the health of children.

Special place among the choirs is the boys' choir. Unfortunately, this traditional form of choral education is not in demand in the practice of mass musical education. AT general education schools there are practically no boys' choirs today.

This is largely due to the fact that music teachers at school do not have enough psychological and pedagogical knowledge of the history and theory of vocal and choral performance, the methodology for organizing vocal and choral work with the voices of boys, and singing is far from the most common occupation among them. Boys are often excluded from music. For many of them, nothing is more important than football, the computer or the street. In addition, boys often have an increased motor activity, "excessive" mobility, nervous excitability, defects in the development of speech. Boys take longer than girls to develop all mental functions, the mechanisms of speech, speech thinking, memory, social emotions, control arbitrary movements. Boys are characterized by a strongly pronounced search and research activity, they are less disciplined, their interest in something quickly fades, especially if something does not work out. In boys, there is more often discoordination of hearing and voice, among them there are more "hooters" with a good ear for music.

According to psychologists, boys already in the preschool period suffer more from social instability, they clearly lack positive emotions neither at home nor kindergarten. If such a child is not taught sympathy, empathy, assistance, then he can grow up narcissistic, callous, limited. Classes in the boys' choir, due to the teacher's taking into account the characteristics of the development of boys, can largely contribute to improving the situation on these problems. That is why this form of work is preferable in the practice of school music education.

Starting vocal and choral work with boys, the teacher must know the characteristics of the children's voice well and master the methodology for its development. He must be familiar with the basics of vocal work, the experience of the masters of vocal and choral art, special literature, compare various points vision, accumulate your own practical experience(as a choir singer, conductor, teacher) and on this basis manage the choir, love children, understand their problems and treat them with respect.

When selecting the most effective techniques vocal work with children should be based on the experience of progressive methodologists of the past and present. The most common and preferred in the practice of vocal and choral classes is the concentric method developed by M.I. Glinka. It allows you to strengthen the middle, middle sounds of the range, and then the upper and lower ones. Useful tips are also Complete school singing "A.V. Varlamov, allowing to bring up sonorous, silvery, gentle children's voices, to form a free, natural voice formation with an average sound strength, even from the first to the last note. An interesting technique I.P. Ponomarkov, built on taking into account the timbre characteristics of a child's voice, singing exercises from top to bottom, evoking a natural, sonorous childish sound of voice, an individual approach to each singing in the choir.

At the initial stage of work, the formation of vocal and choral skills of younger students should be given special attention, since these skills are the basis for further musical development choir members. When organizing this work, it is important to use such methods of vocal education that will provide positive influence for personal and psychological development each participant and the establishment of organic relationships in the team.

At the initial stage of work, an important task of the teacher is to bring the choir to a common tone, i.e. unison production. At the beginning, the teacher's work in this direction should be focused on mastering the students' natural voice registers, starting with the register mode to which the child's natural inclinations are manifested. In the future, it is necessary to form the skill of conscious use by students of registers in the range corresponding to them. At the third stage, along with arbitrary switching, jumping from one register to another, it is necessary to form the ability to gradually and smoothly move from the falsetto register to the chest through the mixed one.

At the next stage, one should consolidate and improve the student's ability to arbitrarily use voice registers when singing. The development of the singing voice of children can be effective on the basis of correct singing, during which the correct singing skills should also be formed. The duration of each stage is determined differently, depending on how often the classes will be held, on the pedagogical impact, the student's susceptibility, his musical abilities. To solve all the problems described, it is not enough to use only a collective form of learning, it must be combined with individual form work with children. In the collective teaching of singing, it would be more expedient to use all types of register sound in work. In addition to vocal skills, it is necessary to develop choral skills, which are formed in parallel with singing and influence each other.

Work on the formation of vocal and choral skills solves a number of educational opportunities. In the process of studying in the choir, students develop endurance, the ability to hear each other, a positive reaction to performance shortcomings, the removal of aggression, self-esteem, self-respect, and patience.

The process of formation of vocal and choral skills in boys in the choir classes is based on a combination of general didactic and special methods. Among general didactic methods, preference is given to explanatory-illustrative and search methods. The special ones include: concentric, phonetic, the method of mental singing, comparative analysis. Each method represents a system of techniques united by common tasks and approaches to their solution. The use of a set of these methods and techniques should be focused on the development of the basic qualities of the singing voice of boys by stimulating, first of all, their auditory attention and activity, consciousness and independence. A special role in working with boys is played by the use of search situations and leading questions. They help the boys to find the appropriate performing techniques, take the initiative, which helps to develop thinking, show independence and be creative in the performance of works.

Thus, vocal and choral work in the process of extracurricular choral activities with boys should be based on the main provisions general methodology work with the choir. Its significance is determined by the need to educate all members of the choir with the correct and uniform skills of singing breathing, sound production, and the culture of singing sound. All elements of choral sonority and the level of artistic performance of choral works depend on the quality of vocal work.

The main task of the choirmaster-teacher in the classroom in the choir is to enrich the spiritual world of the boy who came to the choir. The teacher helps him to believe in his abilities not only as a singer, but also as an organizer and assistant. In addition to the choir, students also attend solo singing classes. They perform an auxiliary function to the choir class, since the sound quality of the choir depends on the individual sound of each chorister. The experience of many choirmasters working with boys shows that at a younger age they concentrate their attention to a greater extent not on auditory, but on visual impressions, and therefore they do not intotone well. The discovery by a child of his ability to correctly perform a melody along with other children changes the attitude of schoolchildren to singing for the better.

Classes with boys began with simple exercises, always in a playful way; the repertoire corresponded to their age and psychological characteristics, took into account their interest, and had an educational orientation. To identify positive dynamics in the formation of vocal and choral skills in work with first-graders in the choir classes, specially selected vocal and choral skills were used throughout the year. The following methods were chosen as the main methods that allow building the course of the choir lesson in accordance with the characteristics of the development of boys: game, competition, improvisation, comparison and evaluation, a combination of rehearsal work with concert practice, methods and techniques.

Under the methods of musical education (from the Greek means "methodos" as "the path to something") are understood certain actions of the teacher and students aimed at achieving the goal of musical education of younger students.

Of the general pedagogical methods, a group of methods is used:

a) according to the source of knowledge (practical, visual, verbal, work with a book, video method),

b) by purpose (acquisition of knowledge, formation of skills, application of knowledge, creative activity, consolidation, testing of knowledge, skills),

c) by nature cognitive activity(explanatory-illustrated, reproductive, heuristic, research, game),

d) for didactic purposes (methods that contribute to primary assimilation material, consolidation and improvement of acquired knowledge).

Combining boys into a separate choir team allows for extracurricular choral work with maximum consideration of all the features of their development. It is very important that a boys' choir be organized in every school today, as choral singing has a number of obvious advantages from all activities. The song principle underlies the original warehouse of Russian national culture, and in our time it is really worth reviving the tradition of the existence of a boys' choir at school and not only.

Basic singing skills

SINGING INSTALLATION

An important point for proper breathing, especially at the beginning of training, is the singing attitude, i.e. correct position of the head and body. When singing while standing, you need to keep your head straight, not throwing it back and not lowering it down, also keep your body straight, without tension, stand firmly on both legs, distributing the weight of the body evenly, lower your arms freely. When singing while sitting (during choir classes), you need to sit straight, without bending your back, keeping your hands on your knees, placing your legs together, bending them at a right angle.

Everything that has been said above applies to the work on the breath of those who sing both solo and in a choir. The work on breathing in the choir is also accompanied by a conductor's gesture, which contains not only an emotional beginning, but also a demonstration of technique, the nature of breathing, and sound.

The composition includes:

Oral and nasal cavities with accessory cavities

Pharynx

Trachea

Bronchi

Lungs

Thorax with respiratory muscles and diaphragm

Abdominal muscles

Nervous system: the corresponding nerve centers of the brain with motor and sensory nerves connecting these centers with all these organs (The work of the organs of voice formation cannot be considered apart from the central nervous system which organizes their functions into a single, integral singing process, which is the most complex psychophysical act)

DICTION

DICTION - pronunciation, the degree of distinctness of speaking. A clear pronunciation of individual sentences, sound combinations as a whole is an indicator of the culture of speech. Disadvantages of diction: burr, nasality, monotony, haste, swallowing the endings of words, indistinctness. Improving diction is of great importance, for example, for teachers, students, etc. The basis of diction is the distinct pronunciation of each individual sound and sound combinations. Before a speech can be understood, it must be heard, perceived by ear. The clearer the words are pronounced, the easier it is to understand them. The key to good diction is the correct articulation of sounds. The basis of articulation is a set of pronunciation movements speech organs, which include the tongue, lips and soft palate with a tongue (active organs), as well as teeth and hard palate (passive organs). Often the shortcomings of diction are explained by lethargy, passivity of articulation. Sluggish, and therefore fuzzy diction is the result of incorrect speech education

ARTICULATION

Articulation - coordination of the action of the speech organs when pronouncing the sounds of speech, which is carried out speech zones cortex and subcortical formations of the brain. When pronouncing a certain sound, auditory and kinesthetic, or speech-motor, control is realized. Underdevelopment phonemic hearing(for example, in the hearing impaired) makes it difficult to master the correct articulation.

SINGING RESONATORS

The resonator is primarily a sound amplifier. It is commonly said that the singer's resonators serve to form vowels. This is an important, but far from their only role. The singer's vocal tract resonators not only transform the spectrum of the vocal source (folds), but can significantly amplify the sound as a whole.

A simple experiment makes it possible to make sure that the weak sound of a tuning fork is amplified many times over if a resonator is attached to it, for example, resting a foot on the soundboard of a piano. By special selection of a resonator for a given tuning fork, it is possible to achieve a very large sound amplification. In this case, no violation of the law of conservation of energy occurs. It is known that any oscillating body does not completely convert its vibrational energy into sound: part of it is inevitably spent on overcoming friction, goes into heat, etc. The participation of the resonator is manifested in the fact that most of it vibrational energy vibrator goes into sound. Thus, the resonator increases the efficiency of the sound source, that is, its useful sound output. This means that the resonator amplifies the sound without requiring any additional energy from the sound source.

This is the most important theoretical position is of great importance for the practice of singing, since the singer's vocal apparatus, as an acoustic device, obeys all the laws of acoustics (of course, as well as the laws of psychophysiology).

The activity of resonators is manifested not only in amplifying the sound, but also in strengthening the vibration (trembling) of their walls under the influence of resonance. We perceive this vibration in the form of characteristic sensations of the chest or head resonance of sound when singing. We studied the activity of singing resonators with the help of special vibration sensors, which make it possible to measure the intensity of their vibration. Studies have shown that the vibration of the resonators of good singers is more pronounced than that of bad or non-vocalists, even at the same volume of sound.

BREATH

Breathing is one of the main factors of voice formation. In our ordinary life we don't think about how we breathe. The body carries out this process automatically and in colloquial speech: when inhaling, the volume chest increases, and the lungs fill with air, exhalation also occurs automatically when the body needs to get rid of carbon dioxide.

During singing, the breathing process is organized differently. The singer faces the tasks of prolonged phonation, usually much louder than in speech. Accordingly, incomparably large loads fall on the muscles of the respiratory apparatus. Breathing is the driving force that activates the vocal apparatus. All types of singing technique directly depend on the possession of breath.

TYPES OF BREATH

Breathing is the driving force that activates the vocal apparatus. Usually people use mixed breathing, which involves the chest and diaphragm. In singing, the performer faces special tasks of voice formation, vocalists adjust their breathing for the best respiratory support. Men, in most cases, use deeper low breathing with the participation of the diaphragm and abdominals. Women often have shallow breathing, using the large muscles of the upper chest. Despite the single structure of the respiratory apparatus, it is customary to distinguish between several types of breathing:

chest breathing

(clavicular, clavicular)

Breathing is done by expanding the upper part of the chest, the diaphragm is turned off from the active respiratory function and passively follows her movements. With this type of breathing, the collarbones and shoulders (upper chest) rise noticeably, and the abdomen is pulled in.

abdominal breathing

(diaphragmatic, abdominal)

When inhaling, the chest remains motionless, and the stomach moves forward somewhat. There is a struggle between the diaphragm (inhale) and the abdominal muscles (exhale). Distinguish between upper and lower abdominal breathing. In both cases, inhalation is produced by contraction of the diaphragm and a change in tension in that part of the abdominal press, which works more actively during exhalation. With upper abdominal breathing, this is the epigastric region, with lower abdominal breathing, the lower abdomen.

Thoracic diaphragmatic breathing

(mixed, costoabdominal)

In the respiratory process, the chest and diaphragm are involved in equally. With this type of breathing, the lungs and lower ribs expand to the sides, the diaphragm, contracting, lowers without tension, and the abdominal walls move forward somewhat; the abdominal muscles are activated, which help to take a deeper breath in order to stock up on enough air. The shoulders and upper chest remain motionless.

This type of breathing is the most common, since with it the volume of air taken in increases due to the simultaneous active work of the chest and diaphragm; abdominal muscles support breathing, give it elasticity and strength; it becomes possible to naturally coordinate the air supply with other parts of the vocal apparatus.

While singing, the exhalation is always longer than the inhalation, since the musical phrase requires a certain time to be performed, and the inhalation, as a rule, is made instantly. At the same time, the diaphragm remains active in order to slow down the exhalation, that is, to lengthen it. This helps the anterior wall of the abdomen, which is drawn in during exhalation.

ORGANIZATION OF SINGING INHALATION AND EXHAUST

As mentioned above, breathing consists of two phases, different in their functions, but equally important in their meaning.

Inhalation (the first phase) performs two functions: filling the lungs with air and bringing the vocal apparatus into a state of readiness before a sound attack. Inhalation should be mixed (through the nose and mouth), vigorous, fast enough, deep, full and silent. The ribs should quickly move apart, the diaphragm should drop (shrink), slightly pushing forward the front wall of the abdomen. Inhalation opens the larynx for the passage of inhaled air.

The singing breath is taken with a feeling of a half-yawn, which has a great influence on the singing phonation. With the help of a half-yawn, the pharyngeal cavity expands and its resonator capacity increases, the soft palate rises, which creates the condition for the correct formation of the voice - its rounding and high position. You should not think that when singing you need to dial as much as possible more air. Inhalation should be moderate and relaxed. You can imagine at the same time that you inhale the wonderful smell of flowers before you start singing.

Beginning vocalists, first of all, need to eliminate harmful movements that can interfere with the successful development of singing breathing (the habit of hunching or raising shoulders when inhaling). It is necessary to unlearn impetuous, convulsive breaths and noisy breathing. Noise during inhalation appears from poor expansion of the trachea and bronchi, as well as from the friction of passing air against insufficiently opened vocal cords. Noisy breathing is ugly and harmful to the ligaments. To eliminate this shortcoming, it is necessary to work on deep, calm breathing and the feeling of a "half-yawn", while fixing the attention of the singer on the noise that accompanies the breath. Sometimes, already at the beginning of singing a musical phrase, there is a rapid “falling” of the chest walls. This indicates that the singer does not maintain an inhaling position while singing, and therefore there is no support.

Inhalation must be consciously controlled.

The body must take the correct support.

Inhalation should be active, with a feeling of a half-yawn.

There should not be a feeling of discomfort from an excess of air in the lungs.

Inhalation should be imperceptible to the eyes and hearing of the listeners.

Inhalation is performed not at the last moment before phonation, but a little earlier.

Exhalation (second phase) is of great importance for the formation of high-quality phonation. The evenness of sound transmission and the density of the sound attack depend on the nature of the exhalation. The singing sound appears at the moment of exhalation, and further singing comes with the help of exhalation. When exhaling, the air should exit the lungs smoothly, without jerks. At this time, the diaphragm rises, and the anterior wall of the abdomen retracts.

At the moment preceding the beginning of the sound, the upper part of the vocal apparatus - the pharynx and oral cavity (extension tube) - must take the form of future phonation. The lower jaw is easily lowered, the pharynx (pharynx) opens by reflex (arbitrary) lifting upward of the palatine curtain with a small tongue. The well-prepared open form of the extension tube receives the air leaving the lungs. Thus, conditions are created for the formation of the correct covered sound with the feeling of the vowel "O".

The process of exhalation is carried out by the intercostal respiratory muscles, as well as the muscles of the diaphragm and abdomen (abdominal pressure). The abdominal muscles and the diaphragm regulate the singing exhalation, and the chest makes it voluminous and powerful. In vocal and pedagogical practice, this is called the support of sound on the diaphragm and the use of a chest resonator.

The most important task singing breathing - the maximum conversion of air into sound waves. This ensures a controlled and regulated exhalation. Breath must be expended so that it all turns into sound. It is necessary to give breath smoothly, without weakening it and without pushing, so as not to destroy the found coordination. In a phrase, it is important to distribute the breath so that the sound is well supported by it all the time, and so that by the end of the phrase there will be enough breathing. The paradox of singing breathing lies in the fact that the volume of the chest does not fall while breathing is spent.

You can not sort out the breath, as this does not make it possible to organize a correct sound attack and smooth voice leading.

Phonation should not be initiated without sufficient respiratory support. To avoid this, after a moderate breath, you need to make an instant "breath-hold".

You need to exhale smoothly, with a collected jet, with good pressure.

The singing volume of the chest should not fall when exhaling.

It is useful to exhale excess breath at the end of a musical phrase before starting a new breath.

BREATH HOLDING

The most significant is the moment of holding the breath. Normal breathing is performed as follows: inhale - exhale - pause. During singing breathing, this process changes: inhalation - delay - exhalation - breath release. That is, it is just before exhalation (attack of sound) that a pause follows, during which the body must be as active as possible, otherwise the sound will be sluggish.

Holding your breath is an active pause. It is produced as follows: a quick breath is taken, after which the air is not released immediately, but is retained in the lungs for a moment. The lower ribs are parted, the diaphragm is lowered, the anterior wall of the abdomen is prepared for contraction. There is, as it were, a complete cessation of the breathing process before the onset of exhalation - the moment of sound attack. At this time, there is a struggle between the will and the desire of the body to get rid of the recycled air. At the same time, breathing is in the "inhalation unit", the larynx, and the organs of the extension tube are free, not tense. At this delay, you should attack the sound, applying the attack that is most appropriate in this case and corresponds to the desired sound. The state (coordination) that occurs during an attack must be maintained throughout the subsequent sound. To do this, do not weaken the breath, do not push, but maintain the exhalation smoothly.

Holding the breath activates the entire respiratory apparatus before the moment of sound attack and creates the sensation of a “breath support” in the singer. The pause between inhalation and exhalation (sound attack) should be instantaneous, but it is important to remember that this momentary "holding" of the breath is very important:

Holding the breath activates exhalation.

Eliminates loss of breath at the beginning of a phrase.

It is the moment of readiness, coordination of all organs involved in sound production.

It is the moment of fixation of the inhalation unit.

Singing breathing is associated with one of the oldest, most widespread and at the same time one of the least deciphered terms - the so-called singing support. The term comes from the Italian for "keep up the voice". It is the singing support that gives the voice its inherent great strength, flight, singing timbre, and most importantly - indefatigability, that is, the most important professional quality. When singing “without support”, the chest walls quickly subside, that is, the exhalation is unrestrained, forced, the sound is lifeless, dull, often without vibrato. When singing “on a support”, a high singing formant is well expressed, the voice is bright, sonorous, flying, saturated with overtones.

Thus, the singing support is a special organization of the exhalation process during phonation, that is, its active inhibition, which is expressed in an arbitrary obstruction of the chest wall from falling down. At the same time, it feels like a breath during a phonation exhalation (inhalation setting), but the breath is not locked, but restrained. The muscles of the respiratory apparatus should not be constrained, breathing should not be enslaved. When creating a feeling of breath support in the singer after inhalation and holding the breath, the exhalation is carried out smoothly, the lower ribs should fall off gradually, and not immediately, the feeling of inhibition persists until the end of the exhalation, as a result, breathing is saved. The air is not released immediately, but gradually and during phonation turns into sound. The use of the “hold” technique creates a feeling of “breath support”, which, if it is maintained in the subsequent singing process, in turn creates conditions for the development of a “sound support”.

Breathing is one of the main moments in singing, therefore there can be no “sound support” without “breath support”. But the sound itself does not yet determine the feeling of the “support of sound”, since the sound on the support can have a different character: be open, have an attack, articulation, etc. To create a sound support, it is necessary, after holding the breath, to lower the lower jaw and, as it were, raise the palatine curtain, which will give correct form extension tube. The sound will become more covered and elastic, and the attack will be active, without entrances. "Sound support" is achieved by the interaction of all parts of the vocal apparatus, i.e. breath, attack, articulation. Under the feeling of support of the voice, one must understand a peculiar sensation that accompanies the correct “supported” singing voice formation, the correct coordination in the work of the vocal apparatus, giving rise to a supported sound. The feeling of support in different singers is expressed in different ways. Some believe that this is a kind of sensation of a column of air supported from below by the abdominal muscles and resting against the palatine vault. Others understand the feeling of support as a certain degree of tension in the expiratory muscles that supply the necessary air pressure to the vocal cords. Still others - the emphasis of sound in the front teeth or the palatine vault.

The concept of sound support includes sensations of increased subglottic pressure, tension of the respiratory and laryngeal muscles, resonator sensations. The feeling of support is essential to singing, as it creates a sense of confidence and comfort in sound production. Fixing by the vocalist the features of the work of the respiratory apparatus in singing, the ability to analyze their respiratory sensations and control sound formation using them is one of the ways to master the singing sound.

Singing breathing develops slowly, along with the organization of parts of the singing apparatus. Calm, moderate in quantity, deep inhalation, a slight "hold" of breath before a sound attack, smooth delivery of breath and the ability to correctly distribute it - these are the basic principles of breathing that students should use. To develop such breathing, sound (singing) exercises are necessary. Training should be daily until you fully master the technique. Silent breathing exercises are a good adjuvant for strengthening the respiratory muscles. Only strict discipline and organization of breathing will result in the desired freedom and ease in controlling it while singing. Performing works, vocalists should look for those techniques, breath colors that correspond to this work.

ARTICULATION DEVICE

The articulatory apparatus is an anatomical and physiological system of organs, including the larynx, vocal folds, tongue, soft and hard palate (oropharynx), teeth of the upper and mandible(see bite), lips, nasopharynx (the upper part of the pharynx, located behind the nasal cavity, communicating with it through the choanae and conditionally limited from the oral part of the pharynx by a plane in which the hard palate lies) and resonator cavities involved in the generation of sounds of speech and voice .

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.

The problems of choral and vocal work in the children's choir have not yet been studied and resolved. After all, one of the most difficult tasks facing a vocal teacher, choirmaster is 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 of the vocal 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, so that in the end such creativity becomes the property of the 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 amount of 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 of 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. even sound leading The length of individual sounds, singing with a closed mouth, achieving pure, beautiful, expressive singing. Work on a natural, free sound without forcing. Predominantly soft sound attack, 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.

Of great importance for successful work with young 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.

An equally important issue in the work of the choirmaster is the selection of 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. In the repertoire of the children's choir, a balance must be maintained between the number of simple and complex pieces. 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 ear for music and 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 hearing and voice deficiencies, show 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 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, breathing exercises are often performed 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 to rest with 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 breathing movements, exercises should be performed 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 of 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 followed 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. To this end, we can recommend singing an exercise built on a descending or ascending scale with long durations, without pauses and caesuras.

Dictionary-orthoepic ensemble

b

According 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 a new attack, as if 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 joins the next syllable, and the one that ends the word at a close junction of words joins the 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 ensured primarily by the active work of the 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 - the upper lip rises to open 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 of the 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.

C) - exercise "terrible 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., in a rough, low voice and glissando is made up to the highest, extreme sound of the range, as if sliding up the entire voice range 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 apparatus and the ear are two inseparable parts of a single sound transmission system. Hearing is a sense organ that brings to the brain the sound phenomena occurring in the environment surrounding the body. 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. At the initial stage of teaching children to sing, the choirmaster works on the melodic system, which is a combination of intonation of the scale steps and melodic intervals. Briefly, 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 piece. 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. The musical material is based on the simplest scale-like chants of the ascending and descending movement of the three-step and five-step moves. 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, one should pay more attention to cantilena works in order to eliminate the speech manner of sound when children sing. Here are some examples of melodic chants.

In the second half 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, what 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. Russian folk songs: “Like ours at the gate”, 2 How your girlfriends went”, “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 for music, choral singing, and 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 of 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 achieve 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 and choral school from antiquity to the 21st century”.

8. K. Pluzhnikov. "The Mechanics of Singing".