Methodical development classes in the section "Voice setting"
"Organization of breathing in a singer"
Topic: "Attack of sound in young singers"
Duration - 45 minutes.
Age - 14 years old.
Year of study - 6.
class type - practical work, improvement and consolidation of knowledge, skills and abilities.
Purpose: obtaining and consolidating breathing and phonetic vocal skills.
Tasks:
Developing e - identification and development of individual natural data of the child;
Educational- education of performing skills:
Educational - formation of a culture of behavior.
Logistics. Registration.
Equipment (chair, table).
Technical means (computer, sound amplifying equipment).
Musical instrument (piano).
Visualization (notes of exercises, posters "Singing breathing. Types of breathing", "Zones of sensations of vibration in resonators during singing»).
Lesson plan.
Examination physical condition children.
Lesson topic.
2. Verification stage
Checking the mastery of the previous topic.
3. Preparatory stage
Story about visual images.
The idea of the need for proper breathing.
4. Main and control stage:
Combines 3 stages:
Breathing exercises
Chanting to turn on different types attacks
Singing repertory works, focusing on various types of attacks.
5. Final stage
Summing up the lesson
6 . Information stage
Homework
Lesson progress:
Organizational stage -
Teacher: Hello! How do you feel? Healthy?
Suggested answer: Yes!
In order for you to sing correctly, you need to keep your voice in a singing position, the feeling of support helps in this.
Verification stage -
Teacher: In the last lesson, we talked about what a support, a diaphragm, an attack of sound are.Support is a special sensation corresponding to a certain well-coordinated work respiratory and vocal muscles.Diaphragm - a thin muscular-tendon septum, curved in the form of a dome, turned by a convex surface into the chest cavity, which separates it from the abdominal cavity.
Preparatory stage-
Teacher: We have already said that the ribs form the chest, in which the heart and lungs are located. When the lungs are filled with air (when inhaling), they acquire a larger volume, push the ribs apart - this is costal, chest breathing. The well-known teacher I.P. Pryanichnikov advises "to learn to draw air into the lungs." Let's start learning this with simple breathing exercises which will develop and strengthen the respiratory apparatus.The singer sometimes does not have enough breath even for a short vocal phrase, since the air taken during inhalation is involuntarily consumed. Excessive, unproductive expenditure of air, as a rule, is a consequence of the sluggish work of the vocal folds and unorganized breathing. Only the gradual assimilation of the skills of correct sound formation leads to a significant improvement in breathing. This is largely facilitated by the proposed exercises for the coordination of exhalation with sound. They serve the purpose of mastering a long and smooth phonation exhalation.
Main and control stage-
The first exercise - put your hands on your ribs with your palms (on your sides, fingers to the center of your chest) and inhale deeply (to the navel). Don't lift your shoulders. Hands will feel how the ribs diverge under the pressure of air entering the chest (into the lungs). This means you've taken in a decent amount of air. Release your breath, exhale. Your hands should feel your ribs sag.
The second exercise is forced exhalation.
We stand straight, socks and heels together, hands are freely lowered down, the back is straight, we look straight ahead. Performing the exercise resembles the puffing of a steam locomotive. Take a few sharp breaths through your nose, slowly at first, then faster and faster. The shoulders and body must remain motionless. Perform sharp breaths and exhalations first 5 times and gradually bring up to 15 times. Then, throwing your head back to the limit and looking up, we repeat the exercise. We do the same exercise, looking at the floor at a distance of one and a half steps from the toes, and then lowering the chin to the chest and looking at the tips of the toes
Doing the exercises with the student .
Now we will do the following exercises with the inclusion of sound forms in breathing:
Exercise 1.
Stand up straight. Put your feet shoulder-width apart. Raise your clasped hands above your head. On the "half gap", inhale through your nose. Now, while exhaling, lingeringly, quietly, at a comfortable voice height, say the soundm . Keep it smooth. The feeling of lightness, freedom and "comfort" of the sound of the voice, as well as its sound in the chest, is one of the main indicators of a correctly performed exercise.
Exercise 2
Take a silent breath through your nose and hold your breath. Open your mouth wide, mentally think that you are pronouncing a vowela . Then, without closing your mouth, tighten your lips and make a sound easilym . The sound will be correct if the index fingers attached to the wings and back of the nose feel a slight vibration of the cartilage
and nasal bones. The same vibration should be felt by the lips, teeth and the area of the anterior hard palate.
Poster - "Vibration sensation zones in resonators during singing"
Teacher: We are talking about head resonators, that is, about the place where the flow of air, sound is sent. How is it sent?
“The attack” of a sound is the sending of the breath at the moment the sound begins. Physiologists say that the attack of sound is the way and speed in which the respiratory gap passes from the respiratory position to the vocal position; the moment and degree of closure of the vocal cords. attack renders big influence to the voice at the time of its inception. There are three types of attacks. Which?
Answer: soft, hard, breathable.
To master the right attack, we will now do exercises on staccato.
Let's do a staccato exercisepiano ), and then immediately repeat it without interrupting the air flow (onforte ), pushed off by the attack of the sound. The sound seems to bounce off the floor like a ball:
about – about – about → about – about – about →
staccato ( p ) repulsion ( f )
The exercise goes on continuous breathing, so the breath should be made as deep as possible.
The sound in this exercise should be on a soft attack - light, transparent.
teacher : next exercise"Hammering a Nail"
If we imagine that there is a nail with a large hat in the center of breathing and sound, and when tilted in the previous exercise, hit the nail with the hands, as if hammering it into the “bottom of the well”, then we get a very hard (hard) attack onforte with a rich, intense sound.
This exercise is useful for training the muscles of the “lower diaphragm” and for dramatizing the sound.
The pupil repeats the exercises together with the teacher.
Teacher: Now we will move on to the instrument and we will sing exercises for various types of attacks.
Exercises:
Attack of the bottom note of the triadabout » method of «pricking»;
Attack of the top note (fifth) of the triad "at "("pricking");
The exercise is performed at a slow pace.
Teacher: The following exercises are sung with consonants.
1. This exercise requires a soft delivery of an ioted vowel.
2. Each upper tone requires a particularly precise sound delivery, for which it should be accentuated. To develop the clarity of each sound in fast pace, it is useful to sing it slowly at first - solfegging.
3. Exercise for the development of staccato technique. Sing clearly, on soft and attack, accentuating the indicated notes.
teacher : It's time to do repertoire. We repeat the song. Tell me - where, based on the text, you can distinguish different types of attack?
Student response.
Singing works.
Final stage
So, the best is a soft, but accurate attack, in which the sound is born without pushing and breathing, without a hard blow to the vocal cords. This ensures smooth voice leading, most beautiful timbre voices, protects the ligaments from overwork. But, in some cases, with a lethargic voice or as a means of expression, it is necessary to use a firm attack.All this we have just looked at and tried to do in your repertoire.
Information stage
teacher : and now we say goodbye, until the next lesson.
Goodbye!
Occupation - conversation,practical work, improvement and consolidation of knowledge, skills;
teaching method - partially - search, reproductive.
The system of tasks was developed taking into account the characteristics of the age and consists mainly of tasks that allow you to control your singing installation yourself. This allowsimplement creative potential child, contributes to the development of a complex of skills, improvement of singing skills, helps to realize the need for communication.
During listening, the level of development is determined critical components musicality: pitch hearing, sense of rhythm, musical memory, musical thinking, emotional and creative potential, the state of the vocal apparatus, the range of the voice.
Criteria for evaluating student work:
The pupil is musically responsive to the perception of music.
Quickly evaluates his skills and knows how to correct shortcomings.
Feels the joy of the process of learning.
Able to put forward new unexpected ideas that differ from the known ones.
Freely performs exercises of various types (breathing, phonetic, vocal).
Able to emotionally experience the image created in singing.
The main conclusion of the lesson Sound Attack Year 6 is
active accumulation of diverse artistic experience by children,
ability to use tools artistic expressiveness through the use of different sound attack,
formation right attitude to the health of the vocal apparatus.
Literature:
Vetlugina N.A. Musical development child. - M., 1968
Stulova G.P. The development of a child's voice in the process of learning to sing. - M.: Prometheus, 1992
Teach children to sing: Songs and exercises for voice development / Comp. Orlova T.M., Bekina S.I. - M.: Enlightenment, 1988
Vetlugina N. Musical primer. - M.: Publishing house "Music", 1987
Proper singing sound formation and sound extraction is necessary for the development of a child's vocal skills, and for achieving high level performing skills.
The initial moment of the work of the vocal folds and breathing, the way of taking the sound is called the attack of the sound. "The attack of the sound is determined various options interaction of vocal folds and respiration in time, as well as the degree of tension and convergence of the vocal folds. Distinguish the following types attacks:
"soft attack" in which the process of closing the vocal folds occurs simultaneously with the onset of exhalation. "A soft attack consists in drawing together, but loosely closing, the vocal folds, and not before the beginning of the sound, but at the very moment of the sound." F.F. Zasedatelev I.I. agrees with this statement. Levidov, and A. Musehold G.P. Stulova writes: “It is undoubted that with a soft attack, of course, there is a separation of folds that are not previously closed (as with a hard attack), but only close together, and therefore this method of sound attack is called soft” Z.I. Anikeeva and F.M. Anikeev in the book “How to develop singing voice” state: “A soft attack is characterized by the best timbre, intonational accuracy, calm breathing and the simultaneous inclusion of vocal folds and breathing in work.”
Be that as it may, with a soft attack, the exhalation is slightly ahead of the loose closure. glottis, there is no too tight closure and tension of the vocal folds. Closing of the glottis coincides with the moment of the beginning of sounding, there are no overtones. Soft attack may be different depending on the degree of closure (rapprochement) of the vocal folds. In some cases, with a tighter closure of the vocal muscles, it can approach a hard attack.
"Inspiratory attack". The onset of expiration precedes the closing of the vocal folds, therefore, before the onset of sound production, the vocal folds are still passive and relaxed. During an aspiratory attack, the vocal cords do not close completely and only after passing through a small “portion” of the sound body, Later they ( vocal cords) work as in a soft attack. The sound produced and extracted is preceded by the noise of exhaled air (breathing). Sound extraction during such an attack is often accompanied by a hoarse overtone, since the closing of the vocal folds in this case has least degree and air leaks. A breath attack can be seen as independent view attacks both independently and as an extreme kind of soft attack.
"Strong attack". With a hard attack, the closure of the vocal folds occurs before inhalation begins. A hard attack can be exaggerated, hard, and the extracted sound resembles a "croak". This comes from the closing of the vocal folds and the convulsive, sharp "slamming" of the glottis. Untrained people often try to sing with this type of singing sound production, and this is extremely harmful for singing voice formation.
A professionally speaking singer can arbitrarily change the way sound is delivered, which means that various types attacks can be taught. The way sound is delivered, attack, is associated with sound production and sound extraction in a certain register, for example, in the chest register, a deeper closing of the vocal folds occurs when singing on the “forte” and less deep when singing on the “piano”. For the formation of the head and mixed registers, a soft attack is used, in which there is no tight closure of the glottis, Attack, being the most important means conscious impact on the work of the vocal folds, organizes their work in initial moment voice formation, and determines all subsequent sounding.
AT initial period the formation and improvement of singing sound extraction skills, both soft and hard attacks are used, based on individual characteristics students. So, if a student has a sluggish closing of the vocal folds, a sluggish sound delivery, then it is possible to use a hard attack to activate them. If the student sings “on the throat”, uses a hard sound attack, then it is useful to start with a soft attack that borders on aspirated.
But while using different kind attacks should be expedient and careful. From use various types Sound attacks also depend on the strength of the sound - when performing dramatic works expressing strong emotional mood works and requiring more intense sound production, a firmer sound attack is applied. On execution lyrical works- softer attack. Thus, it can be concluded that the variety of sound attacks is means of expression in singing sound formation and sound production.
But not only the correct sound formation, sound extraction and singing breathing ensure successful performance. piece of music. The task of clear and clear pronunciation text, as well as emotionally expressive reporting it to the viewer.
Our ear is able to distinguish the features of the sound at the first moment of sound reproduction.
This initial moment of the work of the vocal folds and breathing is commonly called an attack, or a way of taking a sound.
Sound attack is determined by various interactions of the vocal folds and breathing in time, as well as the degree of tension and convergence of the vocal folds. There are the following types of attacks:
Solid attack. The vocal folds close tightly before exhalation begins. There is an extremely exaggerated hard attack, the so-called "croaking", with a strong hard overtone arising from convulsive re-snapping, a sharp slamming of the glottis.
This attack occurs in untrained singers, is harmful to the vocal muscles and is therefore completely unsuitable for voice formation.
Soft attack. The moment of closing of the vocal folds almost coincides with the beginning of exhalation. Expiration is slightly ahead of the loose closure of the glottis. There is no such tight closing and tension of the vocal folds, which is observed during a hard attack. Closing of the glottis coincides with the moment of the beginning of sounding, there are no overtones. The soft attack may be different depending on the degree of closure (convergence) of the vocal folds. In some cases, with a tighter closure of the vocal muscles, it can approach a hard attack.
Breath attack. Closing of the vocal folds lags significantly behind the onset of exhalation. Therefore, the sound is preceded by the noise of exhaled air (breathing). Singing during such an attack is often accompanied by a hoarse overtone, since the closing of the vocal folds in this case has the smallest degree and air leaks. Aspiratory attack is considered independently and as an extreme kind of soft attack.
It is impossible to accurately distinguish between all the above types of sound attacks, since they differ only by ear, they are auditory sensations.
The definition of their boundaries depends on the subtlety and training of our hearing.
Various types of attacks can be taught. A trained singer consciously changes the way the sound is presented. This is very important, because the way sound is produced is associated with the reproduction of a certain register.
So, a hard attack, in which the vocal folds are tightly closed, causes the formation of a thoracic register. And a soft attack, in which there is no tight closure of the glottis, creates conditions for the formation of the head and mixed registers.
By arbitrarily changing the way sound is taken, we can thereby influence the nature of the work of the vocal folds. Therefore, the attack is the most important means of consciously influencing the work of the vocal folds, which are not directly subordinate to our will.
In vocal and pedagogical practice, soft and hard attacks are used, aspirated attack is used in exceptional cases.
The use of one or another type of attack is determined by the individual characteristics of the student. If he has a sluggish sound delivery (sluggish closing of the folds) and even an aspirated attack, then it is advisable to use a harder attack for some time to activate the vocal folds.
And vice versa, if there is a hard sound delivery (overlapping of the vocal folds) and “throat” (throat overtones of the sound), then it is useful to first apply the softest attack, bordering on aspirate. But the use of such an attack must be careful not to cause "entrances" to the sounds.
Attack is an expressive means in singing.
Variation of types of attacks allows you to convey different moods. Lyrical moods usually associated with the use of a softer attack, and dramatic emotions are expressed with a harder sound attack.
Dramatically rich works or fragments of them require a firm attack. As a rule, execution is associated with a solid attack. marching songs.
At the same time, it is necessary to ensure that this method of sound delivery does not burden the sound of children's voices.
A set of exercises number 6
1. Open your mouth, hold it in this state, listen to the feeling of naturalness, freedom of the mouth, tongue, throat. Look through the “inner eye” of all organs. Close your lips, but not tightly, and, leaving your throat as free, mumble in a comfortable tone, feeling a tickle on your upper lip, teeth and bridge of your nose. If there is no sensation of tickling, vibration, then your throat is tightened, release it. Direct your moo towards your teeth. Be sure to take a good breath. The area where tickling is felt is the “mask”, the position. Push the sound forward through this area. Remember the whistle of a steamship, a factory, what freedom there is, length and at the same time strength and fullness.
2. You “see” a fragrant flower (for example, a rose) in front of you and smell it. Imagination helps to feel the "aroma" of the flower.
That place (on the palate, behind the eyes, in the head, in the skull - call it what you want) where the aroma penetrates, the place that it “fills”, and the area that it “pulls apart” must be felt and remembered! Remember "the emergence of a new internal volume." By repeating such an “etude” many times, you will understand and remember this feeling, this state that gives an idea of the correct “vocal yawn”, “high singing dome”, high singing position. A similar state should occur simultaneously with breathing before the moment of the beginning of the sound. Breath is the lower support, this dome is the upper support, there you must direct your sound, your breath.
3. In front of you is a large, juicy, beautiful apple, which you should now bite off. It is necessary to imagine, to feel how the upper jaw and the palate “spread and rise” with this “desire to bite more tasty apple”. (Never bite fruit lower jaw!). Look for these sensations, find naturalness, freedom. The sky raised high is a singing dome.
4. In the mouth - a hot potato that burns the sky, and you do not spit out, you want to cool it. You pick up the cool air, it cools the sky, burned by potatoes. Turn on your imagination, look for sensations, sensations of the coolness of the high sky, remember them!
5. Imagine a dog in hot weather. She is running, she is hot, her tongue is stuck out for thermoregulation. She breathes quickly, quickly, thus cooling her mouth and the whole body. Of course, you don't have to stick out your tongue, but imagine this dog and try to breathe often, often, to cool the palate. You will immediately feel how high your palate is, what a wonderful vocal dome, vault you have (at the same time, the larynx is low, free, wide).
6. Finely, finely, fractionally, as if in a chill, knock with your teeth. Attention should be directed to the front teeth, to the freedom of the jaws, in fact, with the jaws clamped, you will not be able to knock your teeth fractionally. We have met this exercise before, when it was about the freedom of the jaws. And now try to feel the front upper teeth, their roots, that is, the place where the hard palate or “dome” begins. “Look how active, tall he is! In order to “see” and feel it well, tap your front teeth again and again “listen” to your sensations.
7. Lips are not tightly closed. The mouth is calm. Inner vision look around sky high, calm, lying tongue, its tip rests on the roots of the lower teeth, the root of the tongue is calm. The larynx is free, lowered, wide, like the throat of a large jug. Bring your attention to the roots of your upper teeth and, leaving everything in a calm state, silently say "Y" to the hard palate. At the same time, the larynx should remain absolutely calm, wide, low. You should catch the feeling of expanding cavities, volumes, a "rising" hard palate and a wide throat descending.
8. Mouth, larynx in a calm state. You "want" to yawn, but the way they yawn in polite society, so that no one notices, yawn with closed mouth.
Your imagination should help to feel this "desire" of a yawn. Your attention should be directed to the hard palate, the upper arch, and the wide, loose, downturned throat. A yawn should occur in this way: the upper jaw and palate "rise", and the pharynx is released and lowered. This separation and release “to tears” (as it happens in life when we yawn “to tears”!). Listen to how active the soft palate is in a yawn.
Some of these exercises - one, two - will definitely help you find the vocal sensations of a yawn, a dome, their instantaneous device, simultaneous with taking a breath, and the next moment - a “breath attack” in a high position and the appearance of a beautiful sound (the rebirth of an air wave to sound).
Our bodies, organs do not immediately perceive this complex coordination of small muscle movements, efforts, so we need help: attention, patience, imagination and simple exercises.
Sing in a mask
This expression implies singing with full use of the upper resonators (headpieces), singing in a high sound position, which is the upper support of the sound, while breathing is the lower support of the sound.
Our simple exercises will help you to feel where these cavities are located, how to get to them.
The statements of the teacher Witt on this subject are interesting: “The whole essence of voice production lies in the ability to direct the sound“ into the mask ”and keep it there, resting it at the root of the upper incisors ... The sound“ in the mask ”should be so clearly expressed so that it can be what is called "seeing" how it hits the roots of the upper incisors. The farther the point of emphasis is moved into the hard palate, the less brilliant the nature of the sound will be in itself - the more muffled the voice will be, the great opportunity"Put the sound on the throat."
The question arises: how to move this point of attack to the roots of the upper incisors? A simple exercise will help you deal with it.
Open your mouth and insert your index finger into it, quite deeply. The hand is palm down. Press your finger (nail up) to the sky. Take a breath and begin a directed exhalation, slow, "collected into a bundle", like a flashlight beam.
Forefinger, pressed against the sky, like the scale of the device, will feel the heat of the jet of exhaled air. The warmest place on the finger is the “attack point” of the exhalation, and the jet “hits” the same place sound wave while singing.
Gradually, by fixing attention, it is possible to ensure that this point moves as much as possible to the roots of the upper teeth. After that, these sensations should be checked with sound. Listen carefully to your voice, look for purity, brightness in it, while listening to your feelings, remember them.
The French scientist R. Husson established, while working on this problem, that there is a reflex connection between the trigeminal facial nerve (the region of the nasal cavity and paranasal sinuses) and the vocal muscles. This correct voice message ( air jet) irritates the end of the facial nerve, branching on the palatine vault, which increases the tone of the vocal muscles and enhances the brightness, sonority, flight and timbre beauty of the sound.
Old Italian teachers for the feeling of "mask" recommended the following exercises:
hum the sounds “m”, “n”, “v” in a comfortable tone, feeling vibrations in the bridge of the nose, on the lips, on upper teeth and complete freedom wide throat. If the root of the tongue is tense, raised, then these sensations do not arise.
The first time this exercise is done with open mouth- “groaning”, and then with a closed one - “mooing”.
These exercises help to get rid of the throat sound, they have become a practice called "groaning" and "mooing".
Exercises on the principle of lowing help to advance the sound: pronounce the syllable ma, mi, mo, mu, concentrating the sound “m” in the mask (tickling upper lip, zones of the roots of the upper teeth) and the subsequent vowel sound without changing the sensations and direction of the sound flow and its energy. There should be no tension in the throat. The work begins with the most convenient vowel sound, of course, everything is very individual.
In Italy, in that warm sunny climate the effectiveness of these exercises is clearly increasing, since the climate, the sun, the sea, by themselves, remove the constriction in a person, make him natural, free. In our cold, damp, unstable climate, all human sensations are different, as there is constant stiffness, enslavement.
Our beginner singers often have tight throats, raised shoulders, and we must be very careful so that the exercises of “mooing” and “groaning” do not strengthen these shortcomings.
M. E. Donets-Tesseyr speaks about this danger, she believes that one should be careful with the “mooing” technique, not getting carried away with it, since it accustoms to insufficiently raising the soft palate, which leads to nasality. She calls the feeling of the head resonator "the feeling of the bridge of the nose", she believes that this "provides the collectedness of the sound, its high position."
sound attack
We talked about the "mask", about the head resonators, that is, about the place where the flow of air, sound is sent. How is it sent? The "attack" of a sound is the breath sending at the moment the sound begins. The breath is sent in a narrow jet, like a “prick”, to a high position (to the roots of the upper teeth). Physiologists say that the attack of sound is the way and speed in which the respiratory gap passes from the respiratory position to the vocal position; the moment and degree of closure of the vocal cords. The attack has a great influence on the voice at the moment of its inception. To master the right attack, the teacher M. L. Petrenko recommends using staccato exercises (Italian staccato - abruptly).
Without developing a muscular feeling of the soft beginning of the sound, one cannot go further in working on the voice. “This is the first and indispensable stage. Indeed, everything that follows depends on this stage. A sound that is wrongly attacked is very difficult to correct later. How it is born in the attack - this will be the whole sound of the voice.
So let's remember:
God forbid to speak "hard"
You can't work when you're stressed.
You, the speaker, will be rewarded:
Everything that fills the soul of the creator.
“When pronouncing vowels, achieve not only a soft attack, but also uniform quality sound. It is necessary to remove the variegation of the sound, when the sound [A] flies out of the stomach, the sound [E] - from the glottis, [I] - squeezes out of the constricted throat, the sound [O] buzzes, as if in a barrel, and [U], [S] , [Yu] gets into places where you can’t get them out.” We must learn to "collect" the sound closer to the lips when pronouncing any of the vowels.
| Exercise number 47. | |
| Imagine that you have a slight sore throat or head, or just feel tired. There was a need to “groan”, and you quietly moan at the sound [M]. Don't groan! When groaning, the sound is deaf, short, the vocal cords are tense. Groan - free, stretching, monotonous. The lips are slightly closed, the muscles of the neck, shoulders, face, arms are free. Check the freedom of the neck muscles by slightly rolling your head: down, right, back, left, down ... Remember this muscular feeling of freedom (I want to sleep). Only breath does not slumber. It works - it groans. Do not overestimate or underestimate the sound! Find your middle, the center of the voice (the tone at which the voice sounds especially even and free). Connect the vowels [A], [O], [U], [E], [I], [S] to the consonant [M]: mmmA-mmmO-mmmU-mmmE-mmmI-mmmmm. Pronounce the vowels softly, without jerks, slightly opening your mouth and immediately closing it to continue the moan on [M]. | |
| Exercise number 48. | |
| And now pronounce during the “groan” syllables with consonants [B] and / or [D]: bammm-bommm-boommm-bemmm-bimmm-bymmm; dunn-donnn-dunn-dannn-dinnn-dynn. It resembles the ringing of bells: blow - don! And the echo - mmm ... Blow - don! And resonance - nnn. So ring the bells: bummm-bommm bummm-bommm bummm-bommm... ding-dong ding-dong ding-don... |
Learning to speak in a soft attack means finding the soulfulness that draws the listener to you.
During the following exercises, it is necessary to control the correct position of the tongue - to monitor its "discipline".
| Exercise number 49. | |
| We speak softly, as if apologizing for any misconduct or reassuring a kitten, puppy (mentally stroking it): Aba, ava, aha, hell, azha, aza, ama, ana, ara, ala ... - and so on until the end of the alphabet. | |
| Exercise number 50. | |
| You are a radio operator. Establish radio contact. Why silence? What happened? I am a stork! I am a stork! I am a stork! How is it heard? Welcome! You can replace words, but the word must begin with percussive sound[BUT]. I am an iceberg! I am an aster! I am Anna! I am Allah! I am a harp! Iotated sound [I] - we form on the lowered larynx, the tongue lies in a groove. After “I”, a word begins with [A] - the larynx opens even more. Make sure that the sound "does not fall" into the depths of the larynx. It is necessary to direct the sound "into the mask" with the "open" larynx, at the same time there should be a reflection of the sound in the chest register. |
Lullabies “bring up” a soft attack; they also help to fix the correct position of the tongue.
Imagine that you have a child in your arms or in a stroller. Make sure that there is complete muscle freedom in the larynx (soft attack). Rock him, singing a familiar melody first with your mouth closed:
| O | O | O | O | |||||||||
| O | O | O |
Between the lines of a lullaby, you need to “sing” vowels, the sound [A] is especially useful. It is recommended to repeat two or three sounds in one combination, freely open your mouth one and a half, two fingers down, laying your tongue in a dimple.
If the lips are flaccid, then the sound [A] should be replaced by the sounds [O], [U], [E].
Tales from the word “bait”, that is, to swing, sway, are an indispensable material for educating melodiousness. Most often in bikes there is an image of a cat. He is the real owner lullabies, they hear a soft meow, purr:
During the exercises based on tales and lullabies, it is necessary to send the sound “into the mask”, while simultaneously working as a chest resonator. Achieve a chest sound that is beautiful in timbre and very soft.
Resonators
Think about the similarities between voice and violin. The sound quality of this musical instrument depends on correct use bow, the quality of the strings, their tension and the features of the body. As for the voice, the extraction, pronunciation of sound, first of all, depends on breathing.
Great importance in the correct voice formation and voice leading they have resonators. resonator call this acoustic system, which begins to fluctuate under the influence of the sound source. Resonators are cavities that can form a resonance phenomenon, that is, a response sound to a particular sound and its height. Resonators are sound amplifiers.
The main resonators (vibrators) will be considered the following: head (mouth, nasopharynx, accessory cavities of the nose), chest (thorax, trachea, bronchi, laryngeal cavity) and abdominal resonators. Small cavities resonate for high sounds, large cavities for low sounds.
The timbre of the voice is determined primarily by the structure of the larynx. The original voice timbre can change in the resonator cavities. Bad job any part voice apparatus detected by resonator sensations.
Jerzy Grotowski, while researching the problems of the stage voice, discovered 24 resonators in the actor's body. His research showed that when each vibrator (occipital, abdominal, midvertebral, etc.) is turned on, the whole body vibrates simultaneously, but its center coincides with the location of a certain vibrator - the one where the tremor is strongest. According to E. Grotovsky, "an actor who is fully and holistically involved in the action becomes, without thinking about it, one huge vibrator."
When starting classes, the teacher must be sure that students, if not yet mastered, then at least strive to do the correct mixed-diaphragmatic inhalation and exhalation.
"If you breathe bottom chest where the stomach and diaphragm are located, then your whole body becomes part of the sound. If you breathe top, - the voice will be a "reflection" of only part of the body. So it's all about the use of vibrators and how they can be combined. For example, if you turn on the head vibrator, then the skull and chest vibrators will work simultaneously. If the voice is high and the chest vibrator is involved, two resonators will act similarly: chest and cranial. Thus, physical aspect sound affects its emotional effect.
Resonant sensations signal the correct voice formation. Central nervous system responds to resonant vibration. Vibrations are annoying nerve endings and raise the tone nerve centers which reflexively makes the voice louder and stronger. Studying the importance of vibrational sensitivity for voice formation, V.P. Morozov points out that "under the influence of the vibrational connection, the voice reaction is refined."
While opening and amplifying the sound as much as possible, you need to ensure that it does not cease to be your own.
Sound output
Workshops in voicing should be aimed at identifying and consolidating the individual sound of each individual student. The first step in such work should be the diagnosis of voices. The teacher identifies the problems of each individual voice, he must hear and understand who has a high voice, who has jaw muscles clamped, whose voice is not put into a “mask”, etc. This is necessary in order to properly distribute the load on various groups muscles of each student.
The proposed training uses Chinese, Hindu and Japanese exercises, as well as exercises from the practices of various breathing and voice schools. Before starting the training, the teacher needs to be sure that the students are well informed about what they will be doing and what the purpose of the classes is.
It is important to remember that many of the proposed exercises are based on the principle of meditation. Here it is necessary to exercise increased vigilance and “make sure that the exercises do not grow from technical to philosophical. This can be controlled with accurate calculation time spent on each exercise of this kind.
| Exercise number 51. | |
| Starting position - stand straight, feet shoulder-width apart, feet parallel. We relax the body, i.e. all muscles except the muscles of the legs. Let's move the body forward. The legs are straight and moderately tense. We imagine that we are in a bath with a very pleasant light steam. We check whether our arms and neck muscles are relaxed enough. Then we imagine that our hands have turned into brooms, and we begin to pat ourselves with completely relaxed hands, first on the legs, then on the stomach, sides, neck, shoulders, arms, then on the back, bypassing the kidneys. We “steam” carefully, without missing a centimeter of our body. During the exercise, we lazily, with pleasure, moan at the sound [M]. We control and check the relaxation of the neck muscles. The most common mistakes when performing this exercise are a clamped jaw and a squeezed larynx. Make sure that the lips are closed and the teeth are open (approximately 1 cm). You can also offer to make a half-yawn, as in the exercise "Potato". | |
| Exercise number 52. | |
| In the same way as in the previous exercise, relax the body by lowering it down. Legs are straight and elastic. It is speculative to trace your entire spine, to imagine that each vertebra is one link of a young and strong bamboo. Then, raising vertebra by vertebra, starting from the coccyx, imagine how our bamboo straightens, how it grows and goes into the sky like a straight arrow. As you straighten, you need to send a light moan [M] to each vertebra. Don't forget the potato in your mouth. The exercise is performed correctly if the sound from the deaf “uterine” gradually, as it passes up the spine, becomes clear and sounds the final point exactly in the head resonator. | |
| Exercise number 53. | |
| Starting position - stand straight, feet shoulder-width apart, feet parallel. We imagine that our legs turn into beautiful young strong roots of a very strong and beautiful tree. With a yawn, we let the most quiet and low sound [A] into these roots. We watch how our roots begin to sink down, how they pass through the floor, through all the floors of the building in which we practice, how they grow deeper and deeper into the beautiful, soft earth, which resembles a soft, pliable plasticine. When performing this exercise, we extract a sound that resembles a very quiet purr of a lion cub. If it is difficult for a student to produce such a sound, let him first do the exercise silently, exhale hot air into the “roots”. Students should be encouraged to stretch their imagination, to see these roots. Only in this case they will be able to obtain the desired sound quality. It is very important that the teacher hears each student, makes sure that he extracts a “non-connective” sound. If the exercise is performed correctly, already in the second or third lesson, students will begin to feel light vibrations at the level of the feet. This means that we have achieved the desired result. | |
| Exercise number 54. | |
| Imagine that there is a swimming rubber balloon at the level of the hip joint. It is very beautiful, bright and elastic. The task, pushing him away with your hands and stomach, is to send the sound [O] into him. You need to push him away different sides from the body. It should not be forgotten that the sound should be quiet and associatively located at the level of the abdomen. The hands should be active, not sluggish. If the exercise is performed correctly, then vibration is felt in the lower abdomen and coccyx. | |
| Exercise number 55. | |
| The starting position is the same as in the previous exercises. We spread our elbows to the sides and raise them to shoulder level. We fold the brushes with our palms towards ourselves, one on top of the other and press them to the chest. We imagine that the sun lives in our chest. We quietly open the door (open our palms) and release the sun from the house with the sound [I]. It is important to know that our sun, leaving its shelter, does not move up or down, but evenly fills all the space around us, including behind us. As the exercise progresses, the arms open and spread apart, the sound, without rising, increases. Vibrations should be felt in the area of the shoulder blades. Then we also launch the sun back into the chest. Accordingly, the sound goes from strong to weak, intimate. | |
| Exercise number 56. | |
| From the same position we close, hugging our shoulders. We strive to “hit the sound” into the shoulder blades, i.e. feel the vibrations at the level of the forearms. Sound [Y]. | |
| Exercise number 57. | |
| We imagine that a small antenna extends from our crown. We begin to “talk with aliens” through it. Sound [MI - MI - MI]. To simplify the exercise, you can take hold of the hair in this place and gently pull it. It is important to do this exercise in the lowest possible voice with a “potato” in your mouth. In no case should you throw your head back, on the contrary, you need to make a slight tilt of your head forward, and raise your eyes up. Make sure that students do not stretch their mouths into a smile. The mouth should work vertically. AT this case the head resonator sounds, and the maximum vibrations are felt, of course, in the region of the crown. | |
| Exercise number 58. | |
| Stand straight, feet shoulder-width apart, feet parallel. Place your palms together at chest level. Slowly and forcefully begin to lift right hand up and at the same time lower the left down. Pronounce long sound[And], making sure that it comes out exactly from the crown of the head with a directed beam and rises evenly. Take your right leg back, shifting the center of gravity to it, lower your head a little, wrap your arms around your shoulders and make a long sound [E]. Vibrations in forearms and shoulders. Move the right leg forward, transfer the center of gravity to it. Open and spread your arms to the sides with a wide gesture. Sound [A]. The mouth is open "by four fingers." Vibrations in the chest. Return leg to starting position. Close your hands in front of you so that they, together with your chest, organize an oval right in front of you. Pronounce a long sound [O], focusing on the palms. If the exercise is performed correctly, light vibrations should occur in the palms. Imagine that they brought a long, light, hollow tube to their lips and, moving it away from the face as much as possible, direct it forward directional sound[U], creating a narrow corridor with sound, extending far ahead. We put our hands in the castle. We bring them to the chest and imitate a movement similar to that with which the trainer opens the mouth of a lion. Sound [Y]. When performing this block of exercises, we make sure that the mouth works exclusively vertically, and that no facial expressions appear on the face. Pronouncing the sounds [I] and [S], we make a half-yawn. We repeat the whole exercise from the beginning, pronouncing sounds in speech order, i.e. without extending them over time. |
3.6. Use of sonorant consonants [M], [N], [L], [P]
