The use of vocal and performing skills when learning works with younger students

This methodological work 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 the vocal teacher, choirmaster to teach children to sing, all without exception. And this can only be done by a specialist who knows the specifics of a child's voice, thoughtfully and competently monitors the work 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.

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 ideas about musical genres, development techniques, the relationship between music and words in vocal works, master some features of folklore and the musical language of works by professional composers.

Choral singing broadens the horizons of students, forms a positive attitude of children to the art of music, and 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 life phenomena, analytical skills, skills and abilities of collective activity and others

Fourthly, the content of the singing repertoire is aimed at developing a child's positive attitude towards the world around him through his comprehension of the emotional and moral meaning of each piece of music, through the formation of a personal assessment of the music performed.

During the training, students master vocal and choral skills, master the choral repertoire various styles and eras, learn to focus on the quality of singing sound, gain experience in choral singing, concert performances.

In the children's choir, combinations of individual and collective forms of work, the use of common chanting and individual preparation of young singers for rehearsals, the practice of working in small ensembles (choir group) are important. Therefore, although the main form in the choir is group, the possibility of introducing “solo singing” classes is of great importance, which makes it possible to follow the development of the voice of each singer in the choir, age-related changes, and quickly learn with the child what he could not cope with during group lessons.

The collective nature of choral music-making corrects the vocal technique of the singers and predetermines the use of specific methods of singing and educating the voice by the method of directed influence of choral sonority on individual vocal development, which lays the foundations for the following vocal-theoretical skills:

1. Correct singing attitude,

2. High singing position.

3. Singing breathing and sound support.

4. Types of sound attacks in singing.

5. Singing articulation and diction.

6. Methods of sound extraction (legato, staccato).

What will young musicians be like when they grow up? You can vouch for the main thing: they will become good people. That's what's expensive. About this and P.I. Tchaikovsky said, instructing his nephew: "Whatever you want to be, - first of all, become a good person." Music, with which it is related, from which the child's soul was brought up, will not allow to do bad, evil, unkind.

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, methodological 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.

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. The repertoire of the children's choir should strike a balance between the number of simple and complex works. When selecting the repertoire, the choirmaster must remember that classical works must be combined with songs by modern domestic composers, folk songs. Since the 90s of the 20th century, a new layer of choral music has entered our performance - Russian choral music of everyday life and church holidays of Christmas and Easter, now widely celebrated. Gradually, with the accumulation of experience in choral performance, mastery of vocal and choral skills, the repertoire becomes more complex. Students are introduced to polyphonic forms. Canons as a natural way to polyphony are recommended to be introduced from the 1st grade.

In the practice of school choral singing, one has to meet with a peculiar form of amusia: amusical children - “hooters”. Important reasons for poor “amusical singing” are, firstly, damage to the vocal apparatus, secondly, deficiencies in musical hearing, thirdly, the lack of the ability to perceive, differentiate and analyze the pitch, and, finally, fourthly, the inability to correctly intonate the first sound of the motive. One of the leading causes of this kind of amusia is the lack of coordination between the musical ear and the singing voice. Children who intonation acceptable but inaccurate can improve the quality of their singing in the process of learning. Over the course of a number of years, they develop their ear so much that they acquire the ability to sing, relying on the correct singing of other members of the class choir. However, they still intone inaccurately, their attempts to sing solo in the vast majority of cases are unsuccessful. Although in practice there were several examples when, thanks to a strong will and desire to sing, such students achieved quite satisfactory singing results. The main thing is that there are many children who, despite the lack of hearing and voice, show a great desire to sing in the school choir, and in this we, musician teachers, are called to help them.

Based on many years of experience 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.

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 in 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.

Do not inhale at the same time as a neighbor sitting next to you.

Do not take a breath at the junction of musical phrases, but, if possible, inside long notes.

Breath to take imperceptibly and quickly.

To merge into the general sound of the choir without a push, with a soft attack of sound, intonationally accurate, i.e. without “entrance”, and in accordance with the nuance of the given place in the score.

Listen carefully to the singing of your neighbors and the general sound of the choir.

Only if these rules are observed by each singer can the expected effect be achieved: the continuity and length of the overall sound of the choir.

To develop the skill of chain breathing, first of all, you need to learn how to quickly and imperceptibly change breathing within long notes. For this purpose, we can recommend singing an exercise built on a descending or ascending scale with long durations, without pauses and caesuras.

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 just 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 (iotized) 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 of 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 at a fast pace, one should pronounce the words easily, “close” and very actively, with minimal movements of the articulatory apparatus. For example. P.I. Tchaikovsky, words by G. Ivashchenko "Neapolitan Song". Application №2

Some rules of orthoepy

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 - turns out underlip so that the lower teeth are exposed. 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 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 performing this exercise is to pronounce the vowels U-O-A-E-S in one breath, without interrupting the chain of pronounced 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.

Way 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.

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. AT summary they look like this.

In the major mode, the first degree is intoned steadily. The second step in the ascending second movement should be intoned high. And in the descending - low. The third step is always intoned high, regardless of the interval that 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 1st 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 upward interval, one should strive to intotone its top with a tendency to increase, and when performing a large downward interval, 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 of the educational process and in the further work of developing harmonic hearing in children, harmonic chants can also be gradually introduced. For example: children first sing one sound for the vowel “y” and subsequently build intervals from this sound. Before that, the choir should be conditionally divided into two groups.

Of great importance for the development of harmonic hearing at the initial stage is the singing of the canons. The word “canon” is translated from Greek as “rule, order” and has many meanings. A musical canon is a song created and performed in a particular way. All participants in the canon sing the same melody with the same text, entering in turn, as if late, with a lag. The beauty and originality of the canon is also its ending, since each of the singers, having completed the melody, again returns to its beginning, which forms a vicious circle. The idea of ​​an endless, circular movement of everything in the world is characteristic of many ancient cultures. It is this idea, the idea of ​​an endless return to the beginning, that organizes the form of the canon. Man's idea of ​​the world, in which everything is subject to the laws of circulation, was reflected in beliefs, way of life, in dances and songs. For example. "Sing baby." In this canon, a small phrase is repeated four times in succession, at different heights. Therefore, it is not difficult to remember it and sing it at all. This canon can be sung many times, returning again to the beginning of the melody. It is possible to perform a canonical melody with accompaniment (homophonically). Application No. 7

The text of the canon “There lived a grandfather in the world” (a Moravian folk song) tells about a flute, but the intonations of a trumpet or a horn are more heard in the melody. It is not easy to sing such a canon. To begin with, you can build a canon between the singers and an instrument (for example, a piano), in which the melody will sound an octave higher or lower. Such performance will create new colors of contrapuntal music-making. The Russian translation of the lyrics is very funny. He puts forward additional tasks, namely: the clarity of diction and the activity of the language, which is characteristic of a tongue twister.

1. V.A. Mozart "Spring".

2. O. Fernhelst “Ave Maria”.

3. J. Haydn “We are friends with music”.

4. N. Rimsky-Korsakov “Seeing off winter”.

5. V. Kalinnikov “Crane”, “Bear”.

6. C. Cui “May Day”, Soap bubbles”.

7. A. Grechaninov “About the calf”.

8. A. Arensky “Tell me, moth”.

9. A. Lyadov “Bunny”, “Lullaby”, “Funny”.

10. A. Lyadov “Bunny”, “Lullaby”, “Funny”.

11. Russians folk songs: “Like ours at the gate”, 2 How did your girlfriends go”, “A path in the damp forest”, “A baby walked”, “We walked in a round dance”.

12.F. Grubber "Quiet Night".

13. Folk song “Mother of God”.

14. M. Malevich Songs from collections about Christmas and Easter.

15. V. Vitlin “Rain”.

16. S. Dubinina “Goat”, “Goby”.

17. Yu. Chichkov “Autumn”.

18. S. Fadeev “Robin-Bobin”.

19. S. Smirnov “Samovar”.

20. S. Gavrilov “Green shoes”.

21. E. Zaritskaya “Musician”.

22. N. Russu-Kozulina “Pie”, “Good Song”.

23. S. Banevich “Fly, my ship, fly”.

25. O. Khromushin “Masquerade”.

26. B. Snetkov “Champion”.

27. V. Basement. Riddle songs: “Owl”, “Squirrel”, “Woodpecker”, “Turtle”.

Based on the capabilities of young choristers, one should gradually try to introduce a simple two-voice (at the discretion of the choirmaster) - chants, canons, as well as simple works.

1. M. Glinka “You, nightingale, shut up.”

2. A. Grechaninov “Poppies, poppy seeds”

3. Yu. Litovko “Old Clock”.

4. M. Reuterstein “Mother Spring”. "Party".

5. M. Shyvereva “Green Summer”.

6. E. Rushansky “Wonderful dress”.

7. N. Karsh “A song in the crocodile language”, “Night story”, “Fish”.

1. M. Reutershtein “Choral fun”, “Oh, okay”, “Cockerel”.

2. Canons: “There was a birch in the field”, “A path in the damp forest”, “Brother Jacob”, English folk song “Come Follow”, German folk song “Commt und last”.

3. Czech folk song “White dove” (canon)

5. Yu. Litovko “The Nightingale” and other canons.

6. Russian folk song “I walk with weed” (arr. And Roganova).

Students in the choir class at the beginning of their studies and in subsequent years should be familiar with commonly 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.

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 strive for perfection of interpretation.

Used Books

1. Yu.B. Aliev. “Singing in music lessons. Lesson notes. Repertoire. Methodology”.

2. G.P. Stulova. “Theory and practice of working with a children's choir”.

3. N.B. Gontarenko. "Solo singing". Secrets of vocal mastery.

4. T.E. Vendrova, I.V. Pigarev. "Music education".

5. V.A. Samarin. "Choral Studies and Choral Arrangement".

6. V.V. Kryukov. "Music Pedagogy".

7. K.F. Nikolskaya-Beregovskaya. "Russian vocal-choir school from antiquity to the 21st century".

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

Introduction

2. Vocal and choral skills

2.1 Sound generation

2.2 Singing breath

2.3 Singing articulation

2.4 Diction in choral singing

3. Modern approaches to the formation of vocal and choral skills in a music lesson

3.1 Methodological techniques and education of vocal and choral skills.

This work is devoted to the study of the development of vocal and choral skills in students of a general education school in music lessons. One of important tasks which solves the music lesson in a comprehensive school - to teach children to sing. This problem has remained relevant for many years, attracting the attention of a large circle of musicians-teachers, scientists of various specialties, because the collective form of singing performance has great potential: the development of musical abilities, the formation of vocal and choral skills, the training of true connoisseurs of music and the education of the best human qualities. Choral singing has a beneficial effect on physical condition students. “Singing not only gives the singer pleasure, but also exercises and develops his hearing, respiratory system, and the latter is closely connected with the cardiovascular system, therefore, he involuntarily, doing breathing exercises improves your health."

The functions of choral singing are versatile, useful and attractive for every child. It is also important that choral singing, being the most accessible form of performance, actively involves children in the creative process. Therefore, in a general education school, it is considered as an effective means of educating the tastes of students, increasing their general musical culture, and penetrating the song into the life of a Russian family.

As D.B. Kabalevsky noted, “the gradual expansion and honing of the performing skills and the general musical culture of all schoolchildren makes it possible, even in conditions of mass musical education in the classroom, to strive to achieve the level of genuine art. Each class is a choir - this is the ideal towards which this aspiration should be directed.

Modern mass media: television, Internet, radio - through the song genre, they bring down on children mainly primitive, immoral and, at times, aggressive music. This leads to a decrease in the level of culture of children and the people as a whole. Under these conditions, the school, as a general educational institution, with the help of music lessons introduces children to authentic moral values domestic and world musical culture. Choral singing with its centuries-old traditions, deep spiritual content, huge emotional and moral impact on performers and listeners remains a proven means of musical education.

Object of study: students of a comprehensive school (grades 1-8).

Subject of study: the process of developing vocal and choral skills in music lessons in secondary schools.

The purpose of the study: to generalize ways to improve the process of developing vocal and choral skills in music lessons.

Tasks: 1. Studying the features of voice development, age and psychological features students.

2. Systematization of vocal and choral skills and practical techniques for their development.

3. Theoretical study of methodological developments in vocal and choral work with children (D.E. Ogorodnov, V.V. Emelyanov, G.P. Stulova, L.A. Vengrus).

Research methods: analysis, systematization and generalization of methodological approaches to the development of vocal and choral skills in secondary school students.

Learning to sing is not only the acquisition of certain skills. In the process of learning to sing, a child's voice develops, and educational tasks related to the formation of the child's personality are solved.

The music teacher is responsible for educating the sound, healthy voice of his children. Even the most ordinary voice can and should be developed.

The teacher is required to know the characteristics of the development of the voice of students, since the requirements that he makes for children must always correspond to their age capabilities. Also, the teacher himself needs to have a good musical ear, speak and sing correctly. The teacher must be able to use his voice, because the children in the learning process will certainly imitate him.

One of the main conditions for successful singing education is the development of students' auditory attention. The fulfillment of this condition makes it possible to systematically and consistently develop the musical and vocal ear of schoolchildren.

For the education of hearing, it is not at all indifferent to the environment in which classes are held. It is possible to teach children to listen and hear what the teacher says, what he sings and plays, only in silence. Silence in the classroom (working discipline) must be created from the very first lessons, and for this it is necessary to be able to interest children. It is interest in classes that causes students to respond to music. It creates an emotional mood, in which their auditory attention is sharpened, conscious creative “hearing” is brought up, that is, the ability to imagine and reproduce the correct sound.

The organ of hearing, vocal organs (larynx, pharynx, soft palate, oral and nasal cavities, where the sound is colored) and respiratory organs (lungs, diaphragm, intercostal muscles, muscles of the trachea and bronchi) - all this is one complex singing mechanism. There is a close relationship between the links of this mechanism, which must not be violated. Therefore, no matter what task the teacher sets for himself in this lesson (for example, to strengthen breathing, improve diction in the song being learned), the upbringing of "vocal speech" must invariably be carried out in a single complex. So, while working on diction, it is necessary at the same time to monitor the correctness of breathing and the quality of sound.

As the child grows, the mechanism of the vocal apparatus changes. A very important muscle develops in the larynx - the voice. Its structure gradually becomes more complex, and by the age of 12-13, it begins to control the entire work of the vocal cords, which acquire elasticity. The fluctuation of the ligaments ceases to be only marginal, it spreads to the vocal fold, and the voice becomes stronger and more compact (“collected”, “fuller”).

Due to the growth of the vocal apparatus, children's vocal ranges cannot be defined as permanent. Even for the same age, they are different and depend on systematic exercises, mastering the voice registers, as well as on individual differences. By the age of 10-12, children's voices are divided into trebles and altos. Descant - high children's voice. Its range: "to" the first octave - "si" the second. This voice is mobile and flexible, able to expressively perform various melodious melodic patterns. Alto is a low children's voice. Its range: "salt" of a small octave - "fa" of the second octave. The viola is distinguished by a thick, strong sound, less mobile than that of the discount. It can sound bright and expressive.

In the pre-mutation period (11-12 years old), the physical growth of students and, in particular, the growth of their vocal apparatus ceases to be smooth. Development is uneven. Some schoolchildren outwardly become disproportionate, movements become angular, excessive nervousness appears. External disproportion also points to uneven internal development. The voice loses its brightness, as if fading, a little hoarse.

Changes in the voice appear in both boys and girls, but in boys the development is more intense and uneven. With a purely childish structure of the vocal apparatus, the vocal cords become reddened, swollen, mucus is formed, which causes the need to cough up and sometimes gives the voice a hoarse tone.

These signs of an upcoming mutation (change, change in the child's voice), associated with the growth and formation of not only the larynx, but the whole organism, appear at different times, individually, and therefore it is difficult to notice them. It is important to be aware of their existence and carefully monitor the development of a teenager so as not to miss these changes in the voice and build classes correctly.

In girls during the pre-mutation period, frequent dizziness, headaches, lethargy, and breathing can be difficult.

On the issue of the time of onset of voice mutation in boys (usually occurring with puberty), the data of special literature differ somewhat among different authors, which is apparently explained by the unequal time of onset of puberty in different climates: for example, in northern countries, mutation occurs relatively later, but it proceeds more abruptly, whereas in more southern countries, where puberty occurs early, the mutation appears much earlier and is much less pronounced.

In our (temperate) climate, a voice mutation in boys appears at the age of 12-13, most often at 14-15 years old, but it happens that it is late until 16-17 and even up to 19-20 years. The length of the vocal cords during this period increases by 6-8 mm and by the age of 15 reaches 24-25 mm. Voice mutation period, i.e. the complete transition of a boy's voice from a child's voice to a man's can last from several weeks (4-6), months (3-6) to 2-3, and sometimes up to 5 years. Most often - about a year. sharp form mutations can also occur in girls, but this is less common.

The pre-mutation, mutation and post-mutation periods require especially careful handling of the voice and, consequently, a particularly attentive attitude on the part of the school and family.

If during the mutation the boys themselves usually stop singing - they cannot or it is difficult for them to sing, then in the pre-mutation period, when the difficulty in singing is still weakly expressed, the boys often try to overcome the phenomena of the approaching mutation, bringing great harm to their fragile voice. In the post-mutation period (17-18 years), when the vocal apparatus has not yet returned to full normal, incorrect singing is especially dangerous, as it threatens to break the voice.

Thus, significant and rapid changes in the vocal apparatus of students require a music teacher to have a deep knowledge of physiology and an individual approach to each child in the lessons.

2. Vocal and choral skills

The preparation and performance of any vocal and choral work is a multi-stage process: the immediate first emotional impression, the analysis of the musical language in order to create a performance plan, work on learning and assimilation of the material, the accumulation of vocal and choral skills, repeated repetitions of the work leading to the improvement of performance. The final stage- conveying the musical and poetic image to the audience.

All this should be accompanied by students receiving a certain range of knowledge and familiarizing them with the singing culture. Indeed, “expressive artistic choral performance requires each student to master a complex set of vocal skills. They are the basis without which choral singing cannot have educational value. Simultaneously with individual singing development, the formation of choral skills takes place ... ".

Possession of vocal and choral technique enables young singers to better understand the artistic image and penetrate into the depths of music. Vocal-choral technique includes a set of scientifically based rules and techniques for performing actions that accompany the process of singing. The study and application of these rules forms skills, and repeated repetition allows you to master the skills of performing these actions. The formation of singing skills and abilities is one of the conditions for school musical education. Therefore, the formation of various singing skills is included in the content of training.

Skills are actions whose individual components have become automated as a result of repetition.

Key vocal skills include:

sound production;

singing breath;

Articulation;

hearing skills;

Emotional expressiveness of performance.

2.1 Sound generation

Sound formation is a holistic process, determined at any given moment by the way the respiratory and articulatory organs interact with the work of the larynx. Sound formation is not only an “attack” of sound, i.e., the moment of its occurrence, but also the sound that follows it.

The first requirement when educating students of singing sound formation is the education of a melodious, lingering sound of the voice.

Observations and analysis of studies testify to a special and very important property of voices - flight. It has been established that flightability is inherent not only in adult voices, but also in the voices of children. Many physical properties children's voices (strength, evenness of sound, spectral composition), including flight and sonority, depend on the emotional state of the child. It was also noted that when singing works, sonority and flight are more noticeable than when performing exercises. The most important vocal and pedagogical basis for the development of flight and sonority of voices is the education of free and unconstrained sound production and breathing, the exclusion of forced singing, tightness of the larynx and tension of the facial and respiratory muscles, the maximum use of resonator systems, constant attention to the emotional state of the singers.

From the first lessons, you should achieve a natural, relaxed, light and bright sound. It is recommended to start instilling these qualities from the middle part of the range - mi1 - si1 and gradually spread them to a wider range of sounds. At the same time, the strengthening and improvement of the middle range continues. From the second year of study, different coloring of the sound is already used, depending on the content and nature of the song. Gradually, the sound of the voice is leveled over the entire range (do1-re2, mi2).

The ability to correctly intotone according to the intra-auditory representation is an integral part of the skill of sound production and is closely related to the purposeful control of the register sound. The latter predetermines such a quality of vocal technique as the mobility of the voice.

Listening skills in singing include:

Auditory attention and self-control;

Differentiation of the qualitative aspects of singing sound, including emotional expressiveness;

Vocal-auditory ideas about singing sound and methods of its formation.

In order to properly and effectively develop vocal and choral skills, it is necessary to observe essential condition- singing installation, that is, the correct position of the body, head, the correct opening of the mouth while singing.

The main rule of the singing attitude: when singing, you can neither sit nor stand relaxed; it is necessary to maintain a feeling of constant internal and external smartness.

To preserve the necessary qualities of the singing sound and develop the external behavior of the singers, one should:

Keep your head straight, free, not lowering down and not throwing back;

Stand firmly on both legs, evenly distributing the weight of the body;

Sit on the edge of a chair, also leaning on your legs;

Keep the body straight, without tension;

Hands (if you do not need to hold notes) lie freely on your knees.

Sitting cross-legged is completely unacceptable, because such a position makes it difficult for the abdominal muscles to work while singing.

If the singer throws his head back or tilts it, the larynx immediately reacts to this, moving vertically up and down, which affects the sound quality of the voice. During rehearsal work, students often sit with their backs hunched over. With this position of the body, the diaphragm is compressed, which prevents its free movements when making fine adjustments of the subglottic pressure on various vowels. As a result, the activity of breathing disappears, the sound is removed from the support, the brightness of the timbre is lost, and the intonation becomes unstable.

2.2 Singing breath

In the sequence of introducing the components of singing training, a certain trend is visible: the formation of vocal and choral skills, as it were, in a spiral, that is, the simultaneous inclusion of almost all elements of vocal and choral technique at the first stage of training and deepening them in subsequent periods. The sequence and gradual formation of vocal and choral skills looks like this: vocal skills begin to form with a melodious sound based on the elementary mastery of singing breathing.

Singing breathing differs in many ways from normal, physiological breathing. The exhalation is significantly lengthened, and the inhalation is shortened. The respiratory process from automatic, not regulated by consciousness, passes into an arbitrarily controlled, volitional one. The work of the respiratory muscles becomes more intense.

The main task of voluntary control of singing breathing is the formation of the skill of smooth and economical exhalation during singing.

In singing practice, there are four main types of breathing:

Clavicular or upper thoracic, in which the muscles of the shoulder girdle actively work, as a result of which the shoulders rise. Such breathing is unacceptable for singing;

Thoracic - external respiratory movements are reduced to active movements of the chest; the diaphragm rises when inhaling, and the stomach is retracted;

Abdominal or diaphragmatic - breathing is carried out due to active contractions of the diaphragm and abdominal muscles;

Mixed - chest breathing, carried out with the active work of the muscles of both the chest and abdominal cavity, as well as the lower back.

In vocal practice, the most appropriate is the mixed type of breathing, in which the diaphragm is actively involved in its regulation and provides its depth. When you inhale, it goes down and stretches in all directions along its circumference. As a result, the singer's torso seems to increase in volume in the belt area. In this case, the lower ribs of the chest are slightly apart, and its upper sections remain motionless. Inhalation before singing should be taken quite actively, but silently. Breathing in through the nose helps deepen the breath.

Breathing skill in singing also consists of a number of elements:

Singing installation, providing optimal conditions for the work of the respiratory organs;

Deep, but moderate in volume, inhale with the help of the muscles of the abdomen and back in the belt area;

The moment of holding the breath, during which the position of inspiration is fixed and the sound attack is prepared at a given height;

Gradual and economical exhalation;

The ability to distribute breathing throughout the entire musical phrase;

Regulation of the supply of breath in connection with the task of gradually increasing or decreasing the sound.

Proper singing breathing significantly affects the purity and beauty of the sound, the expressiveness of the performance. Studies have shown that the development of singing breathing depends on the repertoire, vocal exercises, organization and dosage of singing exercises.

In the first year of classes, musical material (short musical phrases, moderate tempos) does not interfere with the development of short and shallow breathing in young children. In the future, the duration of exhalation gradually increases, breathing becomes stronger. Then the task appears - the development of a quick, but calm breath in mobile songs and between phrases not separated by pauses. Further, children are required to be able to distribute their breath in songs of a melodious nature with various dynamic shades and with amplification and weakening of sonority. The skill of chain breathing is also developed. All these tasks related to singing breathing are distributed over the years of study from grades 1 to 8.

Chain breathing is a collective skill that is based on instilling a sense of ensemble in singers. Basic rules of chain breathing:

Do not take a breath 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;

Listen carefully to the singing of your neighbors and the general sound of the choir.

2.3 Singing articulation

Articulation - the work of the organs of speech: lips, tongue, soft palate, vocal cords.

Articulation is the most important part of all vocal and choral work. It is closely related to breathing, sound formation, intonation, etc. Only with good articulation during singing, the text reaches the listener. The articulatory apparatus in children, especially younger ones, needs to be developed. It is necessary to carry out special work to activate it. Everything is important here: the ability to open the mouth when singing, the correct position of the lips, release from tightness, from the tension of the lower jaw, the free position of the tongue in the mouth - all this affects the quality of performance.

Singing articulation is much more active than speech articulation. AT speech pronunciation the external organs of the articulatory apparatus (lips, lower jaw) work more energetically and faster, and in the singing apparatus, the internal organs (tongue, pharynx, soft palate).

Consonants in singing are formed in the same way as in speech, but are pronounced more actively and clearly; vowels are rounded.

Articulation skills include:

Clear, phonetically defined and competent pronunciation;

Moderate rounding of vowels due to singing on a hidden yawn;

Finding a high vocal position;

The ability to stretch vowels as much as possible and pronounce consonants very briefly in any rhythm and tempo.

Singing vowels with labial consonants "b", "p", "m" activates the work of the lips, helps to pronounce vowels more energetically ("bi", "ba", "bo", "boo"). Singing vowels with the consonant "v" is good for the lips and tongue ("Vova", "Vera"). It is very useful to sing tongue twisters (“Bull-blunt-mouthed”).

2.4 Diction in choral singing

Diction (Greek) - pronunciation. The main task of achieving good diction in the choir is the full assimilation of the content of the performed work by the audience. The melody in the song is inextricably linked with the text. Meanwhile, in a choral performance it is very often impossible to make out the words. Such singing cannot be considered artistic. Clear pronunciation of words is an indispensable condition for good choral singing.

The formation of good diction in the choir is based on the correct organized work over the pronunciation of vowels and consonants.

2.4.1 Rules for working on vowels

The main point in working on vowels is to reproduce them in their pure form, without distortion.

In speech, the not entirely accurate pronunciation of vowels has little effect on the understanding of words, since consonants play the main semantic role. In singing, when the duration of vowels increases several times, the slightest inaccuracy in pronunciation becomes noticeable and negatively affects the clarity of diction.

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 sound of the choir and to achieve good unison in the parts along with the clarity of choral diction. Rounding is achieved through covering the sound. Any vowel sound can be sung roundly or flatly with the same position of the lips. Consequently, the rounding and alignment of vowels during singing occurs not at the expense of the lips, but at the expense of the larynx, that is, not their front structure is unified, but the back one.

From the point of view of the work of the articulatory apparatus, the formation of a particular vowel sound is associated with the shape and volume oral cavity. The configuration of the vocal tract, which is different for each phoneme, also largely depends on their specific sound in terms of timbre. The sounds "y", "y" are formed and sound deeper and farther than other vowels. However, these phonemes have a stable pronunciation: in any words, in any position, they are not distorted, unlike other vowels. The sounds "u", "s" are more difficult to individualize pronunciation than "a", "e", "i", "o". They sound about the same to different people. This is where the specifically choral use of these sounds arises when correcting the open or “variegated” sound of the choir. Alignment of sound in timbre, as well as a good unison, is achieved more easily on these vowels. After singing the melody of a song, for example, to the syllables “lu”, “du” or “dy”, the subsequent performance with words acquires greater evenness, unity and roundness of sound, if the attention of the choristers, when singing with words, is directed to maintaining the same setting of the articulatory organs, similar to when singing the vowels "y" or "y". The preservation of the same arrangement of articulatory organs when singing with words refers to a greater extent to their back way on vowel sounds.

The pure vowel "o" has the same properties as "y", "s", although in lesser degree; a occupies an intermediate position between dark "u", "s", "o" and light "e", "i", which require special attention in relation to their rounding when singing.

The greatest "variegation" in singing is given by the vowel "a", since in the pronunciation of different people and in different words it has the largest number of options.

There are ten vowels in Russian, six of them are simple - “i”, “e”, “a”, “o”, “u”, “s”, four are complex - “i” (ya), “ё” (yo ), "yu" (yu), "e" (ye). When singing complex vowels, the first sound "y" is pronounced very shortly, the simple vowel that follows it lasts for a long time.

Given the different influence of vowels on the function of the vocal apparatus, it is possible to tune it in a certain way. For example, it is known that "i", "e" stimulate the larynx, causing a tighter and deeper closure of the vocal folds. Their formation is associated with a higher type of breathing and the position of the larynx, they brighten the sound and bring the vocal position closer.

The vowels "o", "y" weaken the work of the larynx, contributing to a more marginal closing of the vocal folds. They are formed with a clear decrease in the type of breathing, darken the sound, reduce the force. The "a" sound is in all respects neutral; "y" rounds the sound, stimulates the activity of the soft palate.

Thus, work in the choir on vowels is combined with work on sound quality and consists in achieving their pure pronunciation in combination with a full-fledged singing sound. However, in singing, vowels are not always pronounced clearly and clearly. The degree of brightness of the vowel sound depends on the construction of the musical phrase. Under stress in words or at the moment of the culmination of musical phrases, the corresponding vowels sound most clearly and definitely, in other cases - shaded, reduced.

Vowels sung into several sounds should always sound phonetically clear and pure, and when moving from sound to sound, they seem to be repeated.

The combination of two vowels requires special phonetic clarity. Two vowels inside a word, as well as at the junction of a preposition or a particle with a word, are pronounced together. Two vowels at the junction of different words are separated by a caesura. AT similar cases the second word should be performed with new attack, so as not to distort the meaning of the phrase.

2.4.2 Rules for working on consonants

The formation of consonants, unlike vowels, is associated with the appearance of some kind of barrier to the movement of air in the vocal tract. Consonants are divided into voiceless and voiced, depending on the degree of voice participation in their formation.

In relation to the function of the vocal apparatus, the second place after the vowels should be given to semivowels, or sonorous sounds: “m”, “l”, “n”, “r”. They are so called because they can also stretch and are often used as vowels.

Next come the voiced consonants "b", "g", "c", "g", "z", "d", which are formed with the participation of vocal folds and oral noises; deaf "p", "k", "f", "s", "t" are formed without the participation of the voice and consist of noise alone; hissing "x", "ts", "h", "sh", "u" also consist of noise alone.

The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels. This is ensured, first of all, 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 any muscle, they need to be trained in the process of special exercises.

The shortening of the pronunciation of consonants and the rapid change of their vowels require an instant restructuring of the articulatory organs. Therefore, it is especially important full freedom in the movements of the tongue, lips, lower jaw and soft palate.

To achieve clarity of diction, special attention should be paid to working on the development of the mobility of the tip of the tongue, after which the entire tongue becomes more flexible. It is also necessary to work on the elasticity and mobility of the lower jaw, and with it the hyoid bone and the larynx suspended from it. The labial consonants "b - p", "v - f" require the activity of the labial muscles, therefore they can be used to train them, provided clear pronunciation consonant data.

As an exercise in the pronunciation of deaf consonants, combining the movements of the lips and the tip of the tongue, you can use various tongue twisters. For example: "Dust flies across the field from the clatter of hooves."

The words of all exercises are pronounced with hard lips with the active work of the tip of the tongue. Tongue twisters should start at slow pace with somewhat exaggerated articulation of all sounds, with medium dynamics and medium tessitura. Then the conditions of pronunciation in terms of tempo, dynamics and tessitura gradually become more complicated.

Deaf consonants at the end of words often fall out completely when singing, therefore they require special attention from both the conductor and the singers, emphasized and solid pronunciation. If the voiceless consonants at the end of a word are preceded by a long lingering sound, then the problem arises of pronouncing the last consonant by all the singers of the choir at the same time. This can be provided by mentally repeating the preceding drawn vowel before dropping the sound.

Training in singing diction is usually carried out on syllables that combine various combinations of vowels with consonants. Their mutual influence during pronunciation in a word, and even more so in speech stream, brings a certain meaning to the work on solving specific vocal problems.

This or that combination of vowels with consonants in words or syllables is of great importance for vocal pedagogy. Vowels in combination with sonorous sounds are more easily rounded, soften the work of the larynx, positionally bring the sound closer. The function of the larynx is actually turned off on voiceless consonants. At the same time, it turns out to be very weakened on subsequent vowels. Therefore, in the presence of tightness of the muscles of the larynx in singing, it is advisable to use combinations of the syllables “po”, “ku”, “ta”, etc.

It has already been noted that consonants in singing are pronounced short compared to vowels. This is especially true for the hissing and whistling consonants "s", "sh", which have a sharp timbre and are well caught by the ear. They must be softened and shortened as much as possible, otherwise, when singing, they will create the impression of whistling and noise.

In addition, in order to ensure the continuity of the sound of the melody, cantilena, so that the consonants do not close the sound, it is necessary to observe one more very important rule: consonants at the end of a word or syllable are joined in singing to the next syllable, thereby creating conditions for maximum singing of vowels.

There is a rule for connecting and disconnecting consonants: if one word ends and another begins with the same or approximately the same sound of consonants (“d - t”, “b - p”, “c - f”, etc.), then at a slow pace they need to be clearly separated. At a fast tempo, when such sounds fall on small rhythmic beats, they need to be emphasized to connect.

In speech and singing, consonants have less power and duration than vowels, so they require more careful work on the clarity and correctness of their pronunciation. The clarity and intelligibility of consonants, as well as vowels, should be based on their literary correct pronunciation, while observing all the laws of orthoepy.

Some features of the pronunciation of consonants in connection with the most common errors:

1) Voiced consonants (single and double) at the end of a word are pronounced as the corresponding deaf ones. Voiced consonants are also deafened before voiceless consonants. For example: "Our steam (s) (f) re (t) fly ...".

2) The dental consonants “d”, “z”, “s”, “t” are softened before soft consonants: d (b) twelve, kaz (b) n, song (b) nya, etc.

3) The sound “n” before soft consonants is pronounced softly: country (b) nickname.

4) The sounds "zh", "sh" before soft consonants are pronounced firmly: the former, spring.

5) The return particles “sya” and “s” at the end of words are pronounced firmly, like “sa” and “s”.

6) In a number of words, the combinations “ch”, “th” are pronounced like “sh”, “pcs”: (sh) then, horse (sh) but, sku (sh) but.

7) In the combinations “stn”, “zdn”, the consonants “t”, “d” are not pronounced: gr (sn) o, po (zn) o.

8) The combinations “ssh” and “zsh” in the middle of a word and at the junction of a word with a preposition are pronounced like a solid long “sh”: be (shsh) smartly, and at the junction of two words - as it is written: he said in a whisper.

9) The combinations "mid" and "sch" are likened to a long "u": (shch) astier, out (shch) ik.

10) The sonorous sound "p" in most cases is pronounced exaggeratedly.

Thus, the main vocal and choral skills are: sound production, singing breathing, articulation, diction, emotional expressiveness of performance. Each skill is based on a set of singing actions that must be performed accurately by all students.

3. Modern approaches to the formation of vocal and choral skills in music lessons

3.1 Methodological methods of educating vocal and choral skills

It is the duty of every music teacher to introduce every schoolchild to music, to develop his musical perception, to cultivate artistic taste. The teacher does not have the right to suspend students with weak musical data from classes.

Learning to sing in the choir begins with the understanding by the students themselves of the simplest conductor's gestures, showing the introduction and removal of the sound. From the first lessons simple exercises and songs, rhythmic, dynamic and tempo types of the ensemble are brought up. The requirement of correct diction provides for a general uniform sound of the entire choir. Further work on the ensemble continues on more complex musical material of one-, two- and three-voice songs, which must be sung together, listening to the sound of the entire collective.

Working on intonation big role plays a conscious attitude to the studied and listened to works, the general musical development. An analysis of the practice of teachers shows that by developing the musicality of students, it is possible to achieve positive results from children who sing incorrectly, the so-called "hooters". This problem is acute for mass musical education and is especially noticeable in general education schools.

Special studies and checks have revealed a number of reasons that affect the poor singing of such children: poorly developed ear for music; impaired coordination between voice and hearing; deviations from the norm in the vocal apparatus or organs of hearing; lack of singing experience in the team; harmful habits when singing - loudness, imitation of the singing of adults; shyness and the associated uncertainty in singing, lethargy and, conversely, excessive excitability of character, excessive activity; lack of interest in singing. In addition, during adolescence, incorrect intonation may appear due to the onset of the mutational period.

Most children who sing out of tune gradually level out on their own in singing. However, every teacher wants to teach the whole class to sing cleanly as soon as possible. The exclusion of incorrectly intoned children from singing work has long been recognized as a vicious practice.

The teacher needs to know his students well, the features of the musical development of each. While working on a song or exercise, it is recommended to walk along the rows, carefully listening to the students' singing, to identify those who sing incorrectly, as well as children with accurate, stable intonation.

It is necessary to think about how to seat students in the classroom. Inaccurate intonation students are best placed in the front rows, closer to the teacher or next to well intonation children.

Care must be taken to ensure that students with an insufficiently developed ear for music understand that they will gradually learn to sing correctly. The development of their hearing should be stimulated, every success should be encouraged.

An interesting experience of working with students in music lessons was carried out in schools in the city of Kyiv. This method is called the method of differentiated learning. The author of this training system is S. Brandel. The essence of the method lies in the fact that the class is divided into intonation groups according to the level of development of the musical ear of students.

In group 1, students were determined who were able to perform the entire song without the support of a musical instrument.

Group 2 included children who sang correctly, but with the help of a musical instrument or the teacher's voice.

Group 3 was made up of those who could only sing certain phrases in the song.

In the 4th group, children were determined who correctly intoned individual sounds.

Finally, in group 5 there were students who could not be adjusted in the course of class work.

Learning a certain song in the lesson, the teacher offered tasks:

Groups 1 and 2 sing the whole song, groups 3 and 4, respectively, are included in singing on certain musical phrases or sounds. Group 5 follows the process of work, noting the rhythmic pattern of the song.

In accordance with the results of the work at the end of each quarter, students were transferred from one group to another (from 5 to 4, from 3 to 2). The transition to another group was an encouragement, an incentive in the classroom.

The method of differentiated learning activates the process of musical education, helps to interest the children, to revive the process of learning a song. “The success of differentiated learning,” writes Brandel, “to a large extent depends on how active listening to music is organized in the lesson by children who are not currently participating in singing.”

There are other interesting tricks and methods of working with "hooters". The article by O. Apraksina and N. Orlova "Identification of incorrectly singing children and methods of working with them" tells about the experience of some teachers. A.G. Ravvinov considered it expedient to use the technique of “attacking” the upper register of a child’s voice, that is, immediately starting with singing high sounds. He noted that many children have a low conversational voice and transfer the character of the sound of speech into their singing.

Linking both these processes together, A. G. Rabbinov suggested that children speak and read in high sounds, and in singing classes, sing in a “high sound”, which is clearly different from the pitch that these students usually used.

Approximately the same path was followed in her experience by the teacher V. Beloborodova, using games with the use of onomatopoeia in high tones. V.K. Beloborodova suggested that children, for example, remember how a cuckoo cuckoos and sing the syllables “cuckoo” on sounds do2-la1 or portray a shot - “bang-bang” (also on sounds do2-la1). She taught them joke songs, fairy tale songs, which carried a game moment in themselves, interested children, and collected their attention. Following, for example, the content of the song "Cat's House", the children, together with the little mouse, began to "ring the bell", that is, to sing in a high tone.

Teacher G. Nazaryan used the method (not only with false intonation), which provides for the following order of exercises: singing according to the idea, that is, singing individual sounds to oneself on the syllables “la” and “go” (at this time, small movements occur in the vocal apparatus, what is preparation for singing aloud); then the same sounds were sung with a closed mouth, quietly and abruptly, and after that already in syllables. In the same way, the phrases from the song (which were sung at the end with words) were then sung.

All of these methods were aimed mainly at the development of students' hearing. There is another method - correcting intonation through special attention to vocal work, proposed by N. Kulikova.

N. Kulikova divides her work with the “hooters” of the 1st grade into three stages:

The first stage - four or five lessons (excluding individual listening). The main task of the stage is to direct the attention of students to the quality of the sound of the voice, to mastering elementary singing skills.

The second stage is five to ten (sometimes up to fifteen lessons) differentiated training in groups. The methods of vocal work remain the same at this stage, but the class works in a differentiated way, in groups. The order of learning the song is as follows:

1) Show the song by the teacher and read the text.

2) Singing by the teacher of the 1st verse (or part of it) - the whole class sings to themselves with active articulation, expressively.

3) Singing the 1st verse by the third row (without the “hooters” sitting among them), the rest sing to themselves.

4) The text of the 2nd verse is read, the third row sings aloud, or the third and second, the first - sings to himself.

5) The whole class sings with words, then to the syllable "lu", etc.

In addition to the methods indicated above, individual lessons are recommended for students who develop poorly in the classroom. They are built as follows: the primary sound in the voice of the schoolboy is determined, and various chants are sung on this sound. In singing on one sound, elementary vocal and choral skills are brought up and strengthened. Then the teacher tries either to transpose the chant up, or offers a new one, already on two sounds. Gradually selected chants on 3-4 sounds.

The development of intonation skills is extremely fruitfully influenced by versatile musical work with schoolchildren: musical literacy, listening to music, talking about music, etc.

Thus, accurate intonation in children's choral singing and the correction of out of tune singing is the result of a number of components in the teacher's activity: the teacher's knowledge of the capabilities of each child, the environment of inaccurate intonation children by the best students, students' understanding of the basics of musical literacy, activation of auditory attention, correctly set vocal and choral work, the application of singing without the accompaniment of an instrument.

Singing asarre l l a is very difficult. The development of the skill of singing without the accompaniment of an instrument begins with the performance by the whole class or the choir of excerpts of songs and exercises without the support of the instrument or the voice of the teacher. Further, this skill is improved by singing without the accompaniment of simple songs: small groups, individual students sing, then you can move on to singing more complex material, in particular, two-voice works.

From the first steps of training, it is necessary to pay children's attention to the quality of sound, to teach them to distinguish beautiful singing, appreciate it, consciously strive for the correct performance, analyze and evaluate the singing advantages and disadvantages of oneself and others. This ability is associated with the development of vocal hearing. He becomes the controller of the correct singing performance in all its manifestations.

An important problem is the expressiveness of performance. Since expressive singing is primarily associated with the word, attention to it plays an important role in learning, especially since a correctly sung word has a positive effect on sound formation.

It has been established that the development of emotionality and the formation of vocal and choral skills are closely interrelated: emotionally colored singing contributes to the activation of a number of vocal-forming processes, affects singing intonation. An emotional attitude should be manifested in all phases of learning a piece. As the observations of N. Orlova showed, emotional mood and correct readiness for singing are important patterns that characterize the normal sound of a child's singing voice. An analysis of the observations made showed that the most rational and healthy singing in collective education is the one in which the entire complex neuro-motor voice-forming apparatus functions. Under such conditions, it is possible to gradually and systematically improve the emotional performance of schoolchildren.

In the field of choral skills, painstaking work is being done on unison at first in the middle part of the range, then the same task is solved on a larger volume of sounds. By the third year of study, the transition to two-voice singing begins with the simultaneous improvement of the unison. Canons appear in the repertoire, songs with elements of two-voice, songs of a two-voice warehouse with independent and terts voice leading, chromatic and two-, three-voice exercises.

A full-fledged musical education requires a polyphonic repertoire. The performance of songs in two or three voices is possible with the development of harmonic hearing - a special quality of musical ear, which consists in the ability to distribute attention to the simultaneous sounding of several voices.

Valuable is the conclusion of Y. Aliyev, who believes that psychological preparation should precede two-voice singing: “... from the very beginning, from the simplest examples and exercises, it is necessary that children hear the beauty of the sound of two voices, their greater expressiveness, a new quality compared with monophonic singing. Therefore, it is important that at the initial stage of training, even the simplest and most understandable things be interesting to children, so that the first two-part songs and exercises immediately “reach” the ear and the heart of the student.

For a successful transition to two-voice singing, the following conditions are important: the achievement of a good unison and a methodically correctly organized preparatory period. In addition, teachers often have a question about the nature of two-voice, with which work should begin.

Regarding the first condition - the presence of a good unison - the majority of musical teachers agree. So, in " methodological recommendations to music lessons in a secondary school” it is noted that the foundation on which polyphonic choral singing is built is unison. The teacher, first of all, must achieve a coherent, unified sound of the choir in monophonic singing.

V. Popov defines the concept of unison in this way: “Before moving on to two-voice singing, we achieve a clean, active unison in one-voice songs. By active unison we mean, first of all, not only correct execution the height of each note in the song, but also the desire for the correct vocal design of each sound and a good sense of comrades' elbow, affecting in an attempt to hear how the other sings.

At the same time, practice shows that often in secondary schools by the time of the transition to two-voice has not yet been achieved right quality unison. Nevertheless, in these cases, the inclusion of two-voice songs in the work is necessary for a number of reasons. Polyphonic (including two-voiced) singing contributes to the active development of harmonic hearing, modal feeling, precise intonation, and artistic taste. It would be wrong to deprive students of the opportunity to awaken such components of their musical abilities. On the other hand, learning more difficult and qualitatively new music can give impetus auditory development students and make positive changes in unison singing. In such cases, work on improving the unison and performing songs in two voices should take place in parallel.

The second condition for a successful transition to polyphonic singing is the preparatory period. Let's imagine it in the following form: initially there is an auditory preparation aimed at distinguishing between two musical plans. Schoolchildren first learn to distinguish between the actual melody and accompaniment in the songs they are learning, and then find the theme and harmony in the accompaniment. Further, the melody and accompaniment are analyzed in an accessible form in instrumental and orchestral works. It is necessary to gradually introduce students to listening to polyphonic compositions.

In parallel, special exercises are given: definition and execution in the intervals of the upper and lower sounds; singing of a scale, in which part of the steps is performed to oneself; performance of simple melodies without accompaniment; singing canons in two voices.

The singing of canons can be successfully preceded by work on rhythmic canons. This is especially exciting if the class has a set of simple children's percussion instruments.

Canons, according to many experienced musicians, are an effective bridge between monophonic and polyphonic singing. The canonical two-voice (sometimes even three-voice) is the most accessible, interesting and gives fairly quick and tangible results in mastering the skill of distributing attention.

Controversial before today the problem is what kind of two-voice work should be started with. Some educators consider it appropriate to start with a parallel movement of voices. An interesting experience is demonstrated by N. Kulikova. Her 1st grade students sing simple songs and chants in terts with sufficient accuracy and confidence. Supporters of this point of view explain their position by the fact that parallelism makes it easier for children to learn and perform parts. Indeed, with such a movement of voices, the pattern of the melody, the rhythmic basis, and the register are the same. But, at the same time, with a tertian presentation, a difficulty arises - the alternation of large and small harmonic thirds. This often leads to a loss of orientation in one part or another and a transition to a more confident-sounding one.

Another point of view is to start the two-voice with an independent movement of voices, where the melodic and rhythmic lines of the upper and lower parts differ significantly from one another. Learning will require more time and effort, but with a solid learning of each part, children sing confidently and consciously.

Studies, as well as the practice of many teachers, indicate the expediency of including at the beginning of work on two-voice works that have different types of voice combinations.

V. Popov, for example, suggests simultaneously learning several different two-voice songs: “Fly to us, quiet evening"- from the second to the third; "On a fishing trip" by A. Zhilinsky - with the introduction of the second voice in the chorus; the folk song “I walk with a loach” - with a second voice, set out in the form of an undertone, and “Spring Song” by J. S. Bach - with an independent movement.

Here is how, for example, the song “Fly to Us, Quiet Evening” was learned in the younger group of the choir of the Institute of Artistic Education. “We learn only the second voice in chorus, singing it into various syllables and with words, achieving the best possible unison. We sing a song without accompaniment. Now we ask you to perform this melody only for the first voices, moreover, from the sound la, that is, from the sound with which their party begins. In order for the guys to sing the melody we need, we play harmonic accompaniment, otherwise they can sing the melody of the second voice again, only in the key of F major. If the melody is performed correctly, we suggest that both voices sing together, while giving some advantages to the second. For example, they sing with words, and the first voices on any syllable or with their mouths closed.

The child's psyche is rightly compared with a clean slate board: what is written on this board for the first time is poorly erased, or even impossible to erase at all. This most important feature of the child's brain was repeatedly emphasized by the outstanding Czech teacher, the founder of didactics, Jan Amos Comenius.

The earlier a person masters any skill, the stronger it is and the more difficult it is to remake it over the years. Vocal teachers are well aware that it is much more difficult to retrain a singer who has a bad manner of singing than to teach a person who does not have any skills to sing correctly.

Methods for developing singing skills with children preschool age similar to the methodology used in vocal pedagogy in adult education. The essential difference lies in the methods and techniques.

vocal skills is the interaction of sound production, breathing and diction.

It is necessary to clearly distinguish between singing skills and the properties of a singing voice. The former act as a cause, the latter as a consequence.

1) sound range; 1) sound production;

2) dynamic range; 2) singing breathing;

3) timbre; 3) articulation;

4) quality of diction; 4) auditory skills;

5) expressiveness of performance. 5) emotional skills

expressiveness.

sound production- this is not only the attack of sound, that is, the moment of its occurrence, but also the sound that follows it, the pitch modulations of voices. The ability to correctly intotone according to the intra-auditory representation is an integral part of the skill of sound production and is also closely related to the possession of registers. The mobility of the voice is associated with the skill of conscious control of the register sound.

Understanding sound formation as a holistic process does not exclude the identification of articulation and singing breathing skills that are directly involved in sound formation and provide diction qualities, sound leading methods, timbre evenness, dynamics, duration of phonation exhalation, etc.

Articulation skill includes:

Distinct, phonetically defined pronunciation of words;

Moderate rounding of phonemes due to their back way;

The ability to find a close or high vocal position due to the special organization of the anterior structure of the articulatory organs;

The ability to observe a single manner of articulation for all vowels;

The ability to maintain a stable level of the larynx in the process of singing various vowels;

The ability to stretch vowels as much as possible and pronounce consonants briefly within the limits of the rhythm of the melody being performed.

Breath skill in singing it also breaks up into separate elements, the main of which are:

- a singing installation that provides optimal conditions for the functioning of the respiratory organs;

- a deep breath, but moderate in volume with the help of the lower ribs, and in the nature of the song;

- the moment of holding the breath, during which the representation of the first sound and the subsequent sound is prepared “in the mind”, is fixed by the position of the breath, the corresponding subglottic pressure accumulates;

- phonation exhalation is gradual, economical in an effort to maintain the inhalation setting;

- the ability to regulate the supply of breath in connection with the task of gradually increasing or decreasing the sound.

To basic listening skills in the singing process should include:

Auditory attention and self-control;

Auditory differentiation of the qualitative aspects of singing sound, including emotional expression;

Vocal-auditory representations of singing sound and methods of its formation.

expressive skill in singing it acts as a performing skill that reflects the musical and aesthetic content and educational meaning of singing activity.

Expressiveness of performance acts as a condition for the aesthetic education of children by means of vocal art and is achieved through:

Facial expressions, eye expressions, gestures and movements;

Dynamic shades, sharpness of phrasing;

Purity of intonation;

Legibility and meaningfulness of diction;

Tempo, pauses and caesuras that have syntactic meaning.

The expressiveness of the performance is formed on the basis of the meaningfulness of the content and its emotional experience children.

According to various psychologists, already preschool children, on the instructions of the educator, can express joy, surprise, displeasure, tenderness, anxiety, sadness, and pride.

All singing skills are closely related. Work on them should be carried out simultaneously, and skills should be developed gradually. This requires elementary consistency and systematic from simple to complex.

There are a number of general and specific principles of teaching singing that will contribute to the formation of singing skills in children of older preschool age.

1. Teaching children to sing should be aimed not only at developing the singing voice of children, but also at solving the problems of their general development.

2. Perspective in learning is manifested in reliance on the “zone of proximal development” (L.S. Vygotsky). This applies to both general and specific vocal development.

3. Systematicity in the development of the singing voice is manifested in the gradual complication of the singing repertoire and vocal exercises included in chanting and aimed at the systematic and consistent development of the basic qualities of the singing voice and vocal skills.

4. The collective nature of learning and taking into account the individual characteristics of students.

5. A positive learning background, while respecting the feasible difficulty of the limits of each child's capabilities.

The formation of singing skills is a single pedagogical process. Singing skills are formed relatively simultaneously, causing each other. Essential signs of their formation are qualitative changes in the basic properties of the child's singing voice.

The leading moment in the formation of singing skills is the internal musical and vocal image. At the first stages of its formation, it is mainly determined by the story and demonstration of the teacher. Three stages can be distinguished in the formation of singing skills: the stage of finding the correct operation of the vocal apparatus, the stage of strengthening and refining this work, and the stage of automation and polishing. Each of the stages has its own characteristic features and requires the teacher to take them into account. The variety of developed singing skills, great vocal motor experience allows you to express yourself freely creativity to execution.

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Features of the formation of initial singing skills in children of senior preschool age

The child's psyche is rightly compared to a clean slate board: what is written on this board for the first time is poorly erased, or even impossible to erase at all. This most important feature of the child's brain was repeatedly emphasized by the outstanding Czech teacher, the founder of didactics, Jan Amos Comenius.

The earlier a person masters any skill, the stronger it is and the more difficult it is to remake it over the years. Vocal teachers are well aware that it is much more difficult to retrain a singer who has a bad manner of singing than to teach a person who does not have any skills to sing correctly.

The methodology for developing singing skills with preschool children is similar to the methodology used in vocal pedagogy when teaching adults. The essential difference lies in the methods and techniques.

vocal skills- this is the interaction of sound production, breathing and diction.

It is necessary to clearly distinguish between singing skills and the properties of a singing voice. The former act as a cause, the latter as a consequence.

1) sound range; 1) sound production;

2) dynamic range; 2) singing breathing;

3) timbre; 3) articulation;

4) quality of diction; 4) auditory skills;

5) expressiveness of performance. 5) emotional skills

expressiveness.

sound production- this is not only the attack of the sound, that is, the moment of its occurrence, but also the sound that follows it, the pitch modulations of the voices. The ability to correctly intotone according to the intra-auditory representation is an integral part of the skill of sound production and is also closely related to the possession of registers. The mobility of the voice is associated with the skill of conscious control of the register sound.

Understanding sound formation as a holistic process does not exclude the identification of articulation and singing breathing skills that are directly involved in sound formation and provide diction qualities, sound leading methods, timbre evenness, dynamics, duration of phonation exhalation, etc.

Articulation skillincludes:

Distinct, phonetically defined pronunciation of words;

Moderate rounding of phonemes due to their back way;

The ability to find a close or high vocal position due to the special organization of the anterior structure of the articulatory organs;

The ability to observe a single manner of articulation for all vowels;

The ability to maintain a stable level of the larynx in the process of singing various vowels;

The ability to stretch vowels as much as possible and pronounce consonants briefly within the limits of the rhythm of the melody being performed.

Breath skill in singing it also breaks up into separate elements, the main of which are:

- a singing installation that provides optimal conditions for the functioning of the respiratory organs;

- a deep breath, but moderate in volume with the help of the lower ribs, and in the nature of the song;

- the moment of holding the breath, during which the representation of the first sound and the subsequent sound is prepared “in the mind”, is fixed by the position of the breath, the corresponding subglottic pressure accumulates;

- phonation exhalation is gradual, economical in an effort to maintain the inhalation setting;

- the ability to regulate the supply of breath in connection with the task of gradually increasing or decreasing the sound.

To basic listening skillsin the singing process should include:

Auditory attention and self-control;

Auditory differentiation of the qualitative aspects of singing sound, including emotional expression;

Vocal and auditory representations of singing sound and methods of its formation.

expressive skillin singing it acts as a performing skill that reflects the musical and aesthetic content and educational meaning of singing activity.

The expressiveness of the performance acts as a condition for the aesthetic education of children by means of vocal art and is achieved through:

Facial expressions, eye expressions, gestures and movements;

Dynamic shades, sharpness of phrasing;

Purity of intonation;

Legibility and meaningfulness of diction;

Tempo, pauses and caesuras that have syntactic meaning.

The expressiveness of the performance is formed on the basis of the meaningfulness of the content and its emotional experience by children.

According to various psychologists, already preschool children, on the instructions of the educator, can express joy, surprise, displeasure, tenderness, anxiety, sadness, and pride.

All singing skills are closely related. Work on them should be carried out simultaneously, and skills should be developed gradually. This requires elementary consistency and systematic from simple to complex.

There are a number of general and specific principles of teaching singing that will contribute to the formation of singing skills in children of older preschool age.

1. Teaching children to sing should be aimed not only at developing the singing voice of children, but also at solving the problems of their general development.

2. Perspective in learning is manifested in reliance on the “zone of proximal development” (L.S. Vygotsky). This applies to both general and specific vocal development.

3. Systematicity in the development of the singing voice is manifested in the gradual complication of the singing repertoire and vocal exercises included in chanting and aimed at the systematic and consistent development of the basic qualities of the singing voice and vocal skills.

4. The collective nature of learning and taking into account the individual characteristics of students.

5. A positive learning background, while respecting the feasible difficulty of the limits of each child's capabilities.

The formation of singing skills is a single pedagogical process. Singing skills are formed relatively simultaneously, causing each other. Essential signs of their formation are qualitative changes in the basic properties of the child's singing voice.

The leading moment in the formation of singing skills is the internal musical and vocal image. At the first stages of its formation, it is mainly determined by the story and demonstration of the teacher. Three stages can be distinguished in the formation of singing skills: the stage of finding the correct operation of the vocal apparatus, the stage of strengthening and refining this work, and the stage of automation and polishing. Each of the stages has its own characteristic features and requires the teacher to take them into account. The variety of developed singing skills, great vocal motor experience allows free expression of a creative approach to performance.