Municipal budgetary institution of additional education

"Children's Art School No. 5 in Yoshkar-Ola"

METHODOLOGICAL WORK

teacher

MBUDO "Children's Art School No. 5 in Yoshkar-Ola"

Filimonova Nina Andreevna

"PLAN-SUMMARY

OPEN LESSON

FOR ACADEMIC VOCAL

AT THE CHILDREN'S SCHOOL OF ARTS»
1

Outline plan

specialty lesson

"Vocal performance" / academic vocals

with 2nd grade student Maria Pirogova

The date of the:
February 3, 2016
Lesson time:
9.00-9.40
Location:
Children's Art School No. 5, Yoshkar-Ola, Building No. I, room. No. 8.
Discipline:
"Speciality" / vocal performance /
Information about students:
Pirogova Maria class: second, training period - 7 years,
speciality:
vocal performance
educational program: general developmental

Lesson duration
(according to the curriculum) - 40 min.
Lesson format:
individual
Lesson type:
combined
Management methods:
visual (auditory and visual); verbal (figurative comparisons, verbal assessment of performance); · phonetic; vocal exercises; problematic - search; - explanatory - illustrative; - methods of display and imitation, mental singing, comparative analysis.
Equipment:
piano, sheet music of the songs "Lullaby" to the words and music of A.S. Naumova, "Eros, what are you delaying" lyrics. and music. G. Caccini.
Lesson topic
: "Formation of singing tone at the initial stage of training"
The purpose of the lesson
: mastering the basic techniques of sound production in the practical singing activity of the student.
Lesson objectives
Work on:  singing breathing and support of sound;  high vocal position;  accurate intonation;  evenness of sound throughout the entire range of the voice;  use of various types of sound science;
Lesson structure
1. The beginning of the lesson is an organizational moment. 2. The main part of the lesson: - "Lullaby" to the words and music of A.S. Naumova; - “Eros, what are you delaying” by G. Caccini; 3. The final part of the lesson: 2
- homework, conclusions.
During the classes.
Pirogova Maria, 8 years old, 2nd grade of 7 years of study.
Student characteristics:
Masha entered the school of arts with good musical data: her voice range is an octave, a good sense of rhythm. The timbre of the voice is not strong, but pleasant. In the process of learning - she is collected at the lessons, follows the instructions of the teacher, studies at home, comes to the lesson prepared. Parental control is exercised.
During the classes
: The scope of the lesson allows you to demonstrate all the material in a concise, generalized, but systematized way.
1. Organizational moment:
The teacher asks questions to the student - what is diction, articulation.
2
.
Exercises:
- Performing exercises of articulatory gymnastics according to V.V. Emelyanova, breathing exercises according to A. N. Strelnikova, breathing exercises, tongue twisters. - To prepare the vocal apparatus, we perform vocal exercises.
Explanation:
As vocal exercises, we use Russian folk songs - chants, which helps to arouse interest and instill love for national melos. In addition, they are usually concise in their musical thought, often with a stepwise structure that helps young children not to focus on the complexity of intonation.
3. Work on the repertoire:

"Lullaby"
to words and music by A.S. Naumova. The student performs the work. The teacher briefly reminded that the author of "Lullaby" - our contemporary, lives in the city of Gomel - Alla Semyonovna Naumova. Alla Semyonovna is a teacher by education: in the 70s of the XX century she graduated from the Gomel Musical College, in the 80s she directed the musical theater in the North in the city of Polyarny. Then she returned to her native city of Gomel. Works as a teacher at a music school. In 2007 - 2008 collections of musical fairy tales "A fairy tale in a fairy tale" and "New Year's musical fairy tales" were published. Then the teacher puts
tasks for the student
- sing, paying attention to the expressiveness of the performance - lead the phrase to the brightest sound.
Question for a student
- in what cases, to whom the lullaby is performed and how it should be sung (quickly-slowly, loudly-quietly, calmly-excitedly) - for this, prepare cards, the student will choose the ones she thinks are necessary. It is necessary to remember about clear articulation. 3
Pay attention to sound extraction techniques - alignment of vowels, their rounded sound, high vocal position, high dome (high sky), surround sound of a clear voice without unnecessary noise, wheezing, without forcing sound.
"Eros, why are you delaying?"
sl. and music. G. Caccini. Introduction to new work. First, the teacher performed the work, named the authors of the music and words, noticed that this work was written in the 17th century. Then she asked the student to pronounce the lyrics of the song. First, they spoke the text of the 1st verse in phrases, and then they listened to the melody and tried to sing it with words. While working on the vocal work "Eros, what are you delaying?" it is necessary to pay attention to the clear pronunciation of words, paying special attention to the articulatory apparatus of the soloist and his diction. Consonants are pronounced quickly, the tongue does not strain, but works smoothly together with the articulatory apparatus. When performing, it is necessary first of all to achieve musical expressiveness and beauty of the melodious sound. Sound "mi 2" Must be rounded, placed on a support. (fullness, economy of breathing).
Explanation

record

homemade

tasks
: "Eros, what are you delaying?" solfegge and sing the vocal line with the words. Learn words.
Summary of the lesson:
the teacher praises Maria for the well-formed performance skills, says that she successfully coped with the tasks assigned to her. Explains that it is necessary to continue working on evenness of sound, accurate intonation, work on singing breathing and sound support.
Conclusions:
the student works well on the evenness of the sound, accurately intones, knows how to use singing breathing and support. Successfully copes with the performance of "Lullaby" and "Eros, what are you delaying."
List of used literature:
1. Dmitriev, L. B. Fundamentals of vocal technique /L. B. Dmitriev. - M. : Music, 2007. 2. Emelyanov, V.V. Voice development. Coordination and training / V.V. 3. Emelyanov. - 3rd ed., Rev. - St. Petersburg: Doe. 4. Shchetinin, M.N. Respiratory gymnastics A.N. Strelnikova continues to work wonders / M. N. Shchetinin. - M. : ACC - Center: UNIVEST, 2009. 5. The development of a child's voice / edited by V. N. Shatskaya. - M .: Pedagogy, 1970. 4

This stage is divided into two parts: work on vocal exercises and work on musical works. This is due to the specifics of the subject being studied.

vocal exercises.

Target: Track the degree of formation of vocal skills in adolescent students.

Tasks: Mastering vocal skills on the example of constructive exercises.

One of the most important tasks of working on the exercises is not only the preparation of the vocal apparatus for work, but also the formation basic singing skills of students. Among them we can include:

singing installation

Singing breath and support of sound

High vocal position

Accurate intonation

Smoothness of sound throughout the entire vocal range

Using different types of sound science

To achieve a positive result in the work are used methods:

1. Developmental learning method. Developmental learning is understood as a new, active way of learning, replacing the explanatory and illustrative way.

Developing education takes into account and uses the laws of development, adapts to the level and characteristics of the individual.

Developmental learning takes place in the child's zone of proximal development. Developing education is the orientation of the educational process to the potential of a person and to their implementation.

2. The method of individual approach to each student.

We must never forget that people have very individual anatomical, physiological and psychological properties of the body, and hence the need for an individual approach to each person and the uniqueness of the sound of each voice, its timbre, strength, endurance and other qualities.

3. Active and Interactive Learning Method.

These techniques are based on a form of interaction between students and the teacher, as a result of which the students here do not passively follow the instructions of the teacher, but actively participate in the course of the lesson. Moreover, we encourage the interaction of students not only with the teacher, but also with each other, because the basis of the interactive teaching method is the principle dominance of students' activity in the learning process .

4. Story

5. Explanation

6. Show (demo)

7. Dialog

8. Discussion

The teacher in working with adolescent children actively uses rethinking method.

Vocal pedagogy uses many special terms: chest (head) resonators, long larynx, soft rounded palate, sound attack.

Adolescent children do not yet have associative thinking, their thinking is concrete. The task of the teacher is to find such terms so that they are understandable to children of this age category.

To do this, the teacher uses an empirical method (the method of practical, experimental search for words understandable to the child, definitions for describing vocal techniques). Based on the difference in the psyche of each child, these terms are selected individually.

1. Heuristic method

Adolescents aged 14-16 in the bulk have formed voices. In these voices, elements of a child's sound are mixed with an element of an adult (female) voice. The individual timbre is revealed. The range is expanding to 1.5 - 2 octaves. The sound is mixed. However, this is a period of mutation. Mutation is different for everyone. In girls, the period of mutation goes relatively smoothly, but all the same, at this age it is necessary to use the method of voice saving.

All vocal skills are closely related, so work on them is carried out in parallel. Naturally, each vocal exercise has the goal of developing some specific skills, but when performing it, it is impossible to ignore the rest. This is the main difficulty not only for a little singer, but also for a teenager - to learn that in order to achieve a sustainable result, it is necessary to use absolutely all the knowledge, skills and abilities gained in the classroom.

1) Preparation of the singing apparatus for the process of phonation.

Target: Prepare the singing apparatus for the phonation process.

Tasks:

Warm up the ligaments on a natural singing tone

Build intonation

Fix the position of "yawn" in sound production

Fix the singing breathing system

Connect the necessary resonators

Methods: Singing with a closed mouth, lips open, lower jaw heavy, we feel the roundness of the soft palate, we start singing in primary tones according to the individuality of each voice.

2) The development of singing breathing.

Target: Form the correct singing breathing.

Tasks:

Exercise develops singing breathing

Gives evenness of singing tone when changing vowel sounds

Forms the correct articulation of vowels

Methods: Singing exercises within "seconds" on different syllables. The last sound increases the duration of an even, calm release from the breath, depending on its volume.

3) An exercise in register alignment.

Target: Align registers.

Tasks:

The development of the cantilena (smooth sound leading)

Distribution of breath per song phrase

Freedom and fullness of sound

Methods: The exercise is sung in "legato", starting from B - flat small octave in semitones up on the alternation of vowels and on the feeling of a "long bow"

4) Exercise for the uniformity of the sound of vowels

Target: achieve uniformity in the sound of vowels.

Tasks:

Avoid excessive articulation, strive for "clarity" and "flight" of sound

Methods: The exercise is sung on a combination of alternating syllables, where there is a vowel and a consonant sound.

Mastering the technique of vocal art requires many years of work, therefore, in this lesson, systematic work is carried out on the formation of vocal skills, which does not imply instant results.

Work on musical works

Target: mastering vocal skills on the example of highly artistic musical works.

Tasks:

Work on the formation of performing skills

· Work on the stage performance of the work

Pedagogical method of working on new material

1. Analysis of the verbal text and its content.

2. Competent reading of musical text.

3. Analysis of the tonal plan, modal structure, harmonic canvas of the work.

4. Division into motives, periods, sentences, phrases. Form definition (couplet, two-part, three-part, etc.).

5. Phrasing arising from musical and textual content.

6. Various types of dynamics.

7. Variety of agogic possibilities of performance of the work (comparison of two tempos of slow and fast; deceleration; acceleration); various types of fermat.

"Land where there are so many separations" Muses. V. Lebedev poems. Y. Ryashentseva

Work analysis plan

1. Song of the Soviet composer.

2. Lyrical, unhurried, drawn out.

3. Fret - minor.

4. The nature of the sound - light, warm, melodious.

5. Colorful arpeggiated accompaniment.

6. Form of construction - couplet.

7. Wonderful words of a famous Soviet poet.

Target: Formation and consolidation of vocal skills in the process of learning a piece of music.

A task: Achieve cantilena sound, correct phrasing, comprehension of the artistic image, alignment of registers.

Methods:

Work on a phrase in a poetic text.

· Extraction of phrases with large intervals from the musical text and singing them in a combination of consonants and vowels.

"Barcarolle" Muses. F. Schubert, sl. , translated by A. Pleshcheev

Work analysis plan

1. The Italian word "barka" means boat. Derived from it - barcarolle - the song of the boatman. Perhaps someone will be surprised: why is it necessary to give a special name to the songs that the boatmen sing! After all, they can sing the same thing as everyone else ... But no. These songs are unusual, as are the boatmen who perform them. Barcarola was born in the wonderful Italian city of Venice. The form of the work is couplet.

2. Busy pace.

3. The nature of the sound is light and melodious.

4. Wide range melody.

5. In the accompaniment, an independent part, carrying the pictorial beginning of the play of waves.

Purpose: Formation and consolidation of vocal skills in the process of learning a piece of music.

Tasks: To achieve cantilena in performance, correct phrasing, comprehension of the artistic image, mobility of voice sounding.

Methods:

· Singing musical material on vowels and combination of vowels.

· Work on a musical phrase.

· Work on the dynamics of the work (nuance).

The transition from diaphragmatic breathing to chest breathing, to achieve lightness, flight of sound.

Municipal State Institution of Additional Education Children's Music School No. 1 in Taishet.

teacher

Popkovich Oksana Olegovna

« PLAN OF AN OPEN LESSON ON ACADEMIC VOCAL IN THE CHILDREN'S MUSIC SCHOOL»

Outline plan
specialty lesson
"Vocal performance" / academic vocals
with 4th grade student Mark Byrdin

Lesson topic:"Cantilena - as the basis of singing on the breath"
The purpose of the lesson: Familiarize yourself with vocal and technical terms. Consolidation and development of the term "cantilena" in different genres of vocal music.
Lesson objectives:
1.Educational:
- to ensure the formation of the child's knowledge about the features of the work of the vocal apparatus;
- generalize and systematize previously acquired knowledge on the topic “Breathing is the basis of singing”;
- in-depth study of the concept of "cantilena" in vocal music.
2. Developing: create conditions for the development of the student
- singing skills in a variety of tempos and genres;
- activity of the articulatory apparatus with various nuances;
- emotionally - figurative sphere of psychological processes (imagination, thinking, memory) during singing exercises and in the process of working on vocal works;
- ability to use lower costal-diaphragmatic breathing.
3. Educational: create conditions for
- fostering a conscious approach to learning;
- increasing the level of self-esteem, striving for self-improvement and creative self-realization;
- stimulation of creative search in creation of interpretation of works.

The date of the: October 18, 2017
Lesson time: 14.45-15.30
Location: Children's Music School No. 1, Taishet, room. No. 33
Lesson duration(according to the curriculum) - 40 min.
Lesson format: individual
Lesson type: combined
Management methods:
- visual (auditory and visual);
- verbal (comments, explanations, figurative comparisons, verbal assessment of performance);
- phonetic; vocal exercises;
- problematic - search;
- explanatory - illustrative;
- methods of display and imitation, mental singing, comparative analysis.
Equipment: piano, laptop, video fragment, mirror, crossword for homework.
Musical literature used:
1.G. Zeidler "Vocalise No. 9" (D-es dur)
2. "Serenade of the Troubadour" lyrics by Y. Entin, music by G. Gladkov
3. "Thirty-three cows" from the movie "Mary Poppins, goodbye" lyrics by N. Olev, music by M. Dunayevsky

During the classes.

I. Greetings.

Presentation of the teacher: Popkovich Oksana Olegovna (teacher in the vocal class) Work experience - 3 years.

Performance by the accompanist: Mikushina Irina Vladimirovna

Getting to know the student.
Announcement of the topic, purpose and objectives of the lesson.

II. Main part. Knowledge update. Formation and consolidation of vocal skills.

1. Performing exercises to activate the speech apparatus. Often the vocalist has problems finding a place for singing and preparing the vocal apparatus, there is no instrument for singing. I offer exercises to help me and my students set up their instrument:

Activation of yawning, domes, artificially causing yawning. Repeat several times within a minute.

Breathing exercise "Dog". We work with breathing, pulling out the tongue a little and taking quick breaths down the diaphragm, while putting our hands down the ribs, we control the process. After the exercise, we suggest drinking clean water at room temperature, as you can experience an unpleasant sensation of dryness in your throat.

Tube exercise. We form the tongue with a tube, perform a back and forth movement

Biting the tongue from root to tip

Smile-tubule command alternation

Piglet. Pull the lips forward, then move them left and right, also perform circular movements.

Horse. Suck the tongue to the palate, click the tongue. Click slowly, with force "gluing" the tongue to the sky (make sure that the lips are in a wide smile, the chin remains calm, does not "jump")

Rotation of the tongue in a circular motion over the teeth in one direction and the other

2. Chanting. The student's story about what a "singing installation" is
The use of exercises: intonational-phonopedic, contributing to the development of sound power, expanding the range, exercises for the formation and consolidation of various vocal skills, including tongue twisters that activate the vocal apparatus and improve diction.
The method of "emotional training" for the development of the student's figurative thinking, singing a tongue twister in a primary tone convenient for a child with different emotional responses (joy, sadness, anger, indifference) Lead the student to a gradual understanding of his vocal actions and their independent use. He himself must find internal settings for the performance of a particular task, using visual, vibrational, tactile self-control.

3. Work on the performance of vocalization (G. Zeidler "Vocalise No. 9").

Invite the student after the first performance to choose a card with the most appropriate term for the technique of performing this work.

Continuation of work on tasks, namely: to achieve a good cantilena (working on the smoothness of voice leading, the calm taking of the “correct” breath), accuracy in rhythmic aspects, to recall that vocalization is distinguished by evenness and softness of sound throughout the entire range, free articulation, competent phrasing.

4. Work on the performance of G. Gladkov's "Serenade of the Troubadour".

To offer for viewing and listening a fragment from the cartoon "Following the Bremen Town Musicians" performed by the famous singer Muslim Magomayev. Let the student enjoy the high-quality vocal sound of the master's voice, relax and tune in to work. Pay attention to the image of this work.

The tasks of working on a serenade: while practicing various vocal skills, pay special attention to the cantilena, the fullness of the long breath in phrases, soft attack, lightness and ease of sound, based on the image and semantic load of the work.

Using figurative thinking, the student's imagination, it is necessary to create a situation that will lead the student to a bright expressive performance, competent construction of the dramaturgy of the work and at the same time will work to correct his vocal and technical shortcomings. As a result of the perception and analysis of music and text, it is necessary to give the student the opportunity to feel the artistic image, to experience it. Search situations and leading questions will help the singer find the appropriate methods of vocal performance, take the initiative in their search, which develops thinking, independence and creativity of the student singing.

5. Work on the performance of the work of M. Dunaevsky "33 cows"

This work is in the works relatively recently. The task of working on it is to analyze the musical and literary texts of the work, to bring the student to the realization, and then to the meaningful emotionally rich performance of each musical phrase, the good presentation of the artistic word, without losing the technically correct performance contained in the topic of the lesson. The pace of the work is quite fast, so work is needed to activate the articulatory apparatus.

Important! When performing a melody with a vocal text, a problem arises - cutting the vocal line with consonants. It is necessary to achieve such a pronunciation of consonants so that the break in the flow of vowels is minimal and the pronunciation of consonants is very clearly felt dictionally. Here it is necessary to remember that it is necessary to form not with the lips, but pronounce high, above the lips. This technique is used: all vowels in the text are opened, and all consonants, regardless of the syllable construction of the word, are transferred to the next word. Vowels last as long as possible, and consonants are pronounced at the very last moment (training is required). As a result, cantilena is produced, i.e. the transition from one sound to another is clean, instantaneous, without interrupting the sound or dragging it through intermediate sounds.

III. Final part
1. Consolidation of new material.
2. Formation of homework.
3. Recitation of a treatise on singing (XVI century, Archimandrite Matthew)

Class decoration

Musical instrument - piano.
Visual aids - cards for the formation of vowels, an album with photographs, certificates, diplomas, notes, articles about student performances, competition results.
Technical means - music center.
Lesson plan:
1. Introduction 2 min
2. Breathing exercises 9 min
3. Chanting 10 min
4. Cantilena singing 8 min
5. Work on diction 9 min
6. Performance 4 min
7. Lesson summary 1 min
8. Homework 2 min
Teacher: We invite you to visit the Star Country, plunge into the world of music, songs and sounds (the ensemble "Domisolka" performs the song "Star Country").
Teacher: How our stars are born will be shown to us in the process of work by students of the 4th grade in the specialty of vocals, and the accompanist will help in this.
Exercises are a prerequisite for the formation and improvement of vocal skills.
The main tasks of the exercises:
Mastering and training singing breathing, development of melodiousness, flexibility, voice mobility, development of accurate intonation, clear diction, fluency in forte and piano voice, sound thinning, staccato, voice timbre enrichment, etc.
Today we will take exercises for the development of breathing, the development of cantilena, clear diction.

2. Breathing exercises "The Art of Singing - The Art of Breathing"

Teacher: Singing breathing requires gradual development, systematic training.
Children . We turn our head to the right - to the left, up - down and at the same time with each turn - inhale through the nose. We think "It smells bitter." From: Left? On right? We sniff the air sharply, noisily, like a dog's footprint.
Using nasal breathing is useful for maintaining health and preventing voice disorders:
Teacher: What muscles did you feel?
Answer: Muscles of the diaphragm
Teacher: We need to train the muscles of the diaphragm for singing, as we use diaphragmatic breathing, in which the diaphragm and abdominal muscles are active.
(pupils do an exercise to strengthen the muscles of the diaphragm - inhale and exhale with an increasing and decreasing rhythm - inhale through the nose, and exhale through the mouth).
Teacher: What should be the breath in singing?
Answer: Silent, active, deep, with a feeling of "half-yawn".
Teacher: What happens at the moment of "yawn"?
Answer: The "soft palate" is rising.
Teacher: Let's feel how the "soft sky" rises in the exercise "Silent cry" AU! Mother! Focus your attention on the diaphragm, the stronger the imaginary cry, the more noticeable the heaviness on the diaphragm (children train the skill of inhalation).
Teacher: What should be the exhalation in singing?
Answer: Continuous, economical and smooth (no jerks).
Teacher: Let's feel a long exhalation in the exercise "Pnosying Mosquito". Inhale deeply, silently, while exhaling with a sound 3-3, slowly join hands to “kill a mosquito”, which annoyingly rings in front of you 3-3 (children train the exhalation skill).
Teacher: Between inhalation and exhalation, one more action is fixed. Which?
Answer: A second breath holding is the “support of the breath”.
Teacher: Imagine that everyone has a “rose” in their hands. Suddenly, before your eyes, the rose opens up, becomes lush and large. We are surprised (holding our breath in surprise) and quietly say “Ah!”. The face expresses joy, surprise, admiration (children train inhalation and exhalation skills).
Teacher: And now we are fixing the skills of diaphragmatic breathing in singing.
The vocal teacher A. Umberto Mazetti often told his students: “Rejoice in singing. The face should be happy while singing. Singing is joy. Watch the expression of the eyes - they express the inner state. Eyes should smile, blossom.
"Singing should not be a torment, but a joyful physical and creative process."

3. Chanting
Teacher: The execution of exercises should not be mechanical, formal, devoid of musical form. It is necessary to pay attention to the exact reproduction of the intonation and rhythmic pattern.
We sing with a mute sound (mooing) - we pull the sound, like “rubber”, we direct it not “into ourselves”, but to the front walls of the teeth. The lips are softly closed. This exercise helps to feel the “support of the breath” (pupils sing in 2 voices).
Teacher: We sing the vowels I, E, A, O, U - we follow the evenness of the sound (connect "pour" one vowel into another without pushing the sound), with clean intonation, correctly forming (rounding) vowels (students reinforce the skills of inhalation and exhalation, aligning vowels on the same note).
4. Cantilena singing

Teacher: Children, what is cantilena?
Student : Cantilena - a continuously flowing sound, when the next sound is a continuation of the previous one, as if "pouring out" of it.
Teacher: Right. In the exercise “My Sunny” - the first, high sound must be taken without an entrance, immediately “from above”, then, going down, do not lose the position of the first note, “stringing” one sound to another in a smooth movement (children sing legato exercise).
Teacher: In the Do-Do exercise, Zi-Zi sing the full scale of the major scale from top to bottom, relying on breathing, take the initial sound from above. Sing coherently (sing in 2 voices).
Teacher: What is the main task in the song "Sleep, my dear"?
Answer: Achieve cantilena singing (the student sings the song with smooth sound leading in legato).
5. Work on diction

Teacher: Children, what should be the diction in singing? Answer: legible, understandable. Teacher: How should you pronounce the words in singing? Answer: Clearly, clearly.
Teacher: What determines a clear, clear pronunciation? Answer: From the active work of the articulatory organs (lips, tongue, soft palate, lower jaw, pharynx),
Teacher: That's why we need to train the articulatory apparatus in the exercises: "Pendulum", "Kisses", "Teaser", "Pouted - smiled", as well as the muscles of the lips on the consonants P - B, the muscles of the tongue T ■ - D, the muscles of the pharynx K -G, lower jaw on the syllables Do, Yes. Doo and the like.
Today we will take the exercise "Birdyard", which trains the "support of breathing", lips, tongue, sound direction. Without stopping, we call on all the animals: Ut-ut-ut, Chick-chick-chick, Gul-gul-gul, #is-kis-kis and the like (the students sing the exercise in two voices)
Teacher: Children, what is the main goal in working on diction?
Answer: Sing meaningfully and artistically, expressively.
Teacher: The development of extremely expressive diction - leads the singer to the origins of art (the student performs the Russian folk song “I will go, will I go out”).
6. Execution

Teacher: The performance of the work dictates the following tasks:
1. correct transmission of the artistic image;
2. phrasing and nuances in accordance with the plan;
3. logical stresses;
4. climax.
The students sing the song "The Dwarf loved rock and roll", and together with the ensemble "Domisolka" - "Splinters of hope and goodness", "Peace be with you, people!"
7. Lesson summary

Teacher: vocal teacher A. Umberto Mazetti said "Singing should not be a torment, but a joyful physical and creative process."
That's why we do these exercises.
Children. Today you worked at the lesson actively, with interest. Competently answered questions and sang. They showed their knowledge and skills as "excellent".
8. Homework
Exercises to strengthen the muscles of the diaphragm:
o inhale and exhale with an increasing and decreasing rhythm (inhale through the nose, exhale through the mouth);
o upon reaching a breath hold, alternately squeeze and unclench the abdominal muscles in a changing rhythm, training the diaphragm;
o lying on your back, put a sufficient number of books on your stomach, so that breathing remains as flexible and relaxed as possible.

Order for the vocalist!
To sing beautifully and for a long time,
Make a dome from the sky
Become hollow like a pipe
And start singing from the forehead.

Feel two points:
In the abdomen and head;
Lean on your stomach
And send the sound forward.

To sing and not choke
Don't forget to be surprised:
The breath is short, like a fright,
And press the sound with a string.

If you go up
Need to lean deeper
Then "re-yell" everyone
Though there is nothing to "yell".

If you go down
Don't lose your head;
Don't growl like a beast
"Open the door softly."

What is the sound "cover up"?
It's very difficult to explain.
To find cover
You need to add "I" to "E",

"A" where "O", and "O" where "I",
But not in the throat, but in the forehead,
And from forehead to belly
Only failure and emptiness.

Sing softly, don't scream
Silently learn the parties;
And don't listen to anyone
Except God alone!

Nicola Porpora - composer, representative of the Neapolitan opera school, one of the most famous teachers of the 18th century.

Modern children are distinguished by the lethargy of the articulatory apparatus, the development of which is a necessary condition for successful vocal work. This topic is the subject of this lesson. At different stages of the lesson, to activate the vocal apparatus and improve diction, tongue twisters, articulatory gymnastics, the method of melody recitation, and mental singing with silent articulation were used. The use of various technologies in the lesson (personal-oriented, developmental learning, interdisciplinary connections, health protection), or their elements (problem-based learning, simulation-game modeling of professional activity, ICT, art technologies) made it interesting and rich.

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Ministry of Education of the Moscow Region

GOU SPO "Moscow Regional Music and Pedagogical College"

PCC vocal and choral conducting

Public lesson

in the discipline "Vocal class"

Topic:

Teacher:

Ponomarenko N.I.

Student 21 gr.:

Wakun Yu.

08.02.2011

Egorievsk

The plan is a summary of the lesson.

Topic lesson: Articulation as the most important condition for working on a vocal work

The purpose of the lesson: Improving diction and sound quality by working on the activity of the articulatory apparatus.

Lesson objectives:

Educational

To ensure the formation of the student's knowledge about the features of the work of the articulatory apparatus;

Summarize and systematize previously acquired knowledge on the topic"Articulation".

2. Developing - create conditions for student development

Dictionary skills at varied tempos;

Activity of the articulatory apparatus with various nuances;

Emotionally - figurative sphere of psychological processes (imagination, thinking, memory) during singing exercises and in the process of working on vocal works;

Ability to use lower costal diaphragmatic breathing.

3. Educational - create conditions for

Nurturing a conscious approach to learning;

Increasing the level of self-esteem, the desire for self-improvement and creative self-realization;

Stimulation of the student's creative search in creating the interpretation of works.

Lesson type : combined.

Working methods:

on source of knowledge:

Visual - visual - illustrative, slide show, display, TCO;

Verbal - comments, explanations (explanations of practical action) , conversation ;

Practical - exercises, practical tasks;

by the nature of cognitive activity: explanatory and illustrative, reproductive, partially exploratory, elements of the research method.

Methods of vocal pedagogy: concentric, phonetic, vocal exercises, methods of display and imitation, mental singing, comparative analysis.

Technology:

personality-oriented, developmental learning, interdisciplinary communications; elements of problem-based learning, simulation-game modeling of professional activities, information, art technology;

performing technologies: the formation of singing culture, the formation of associative-figurative thinking.

Interdisciplinary connections:solfeggio, music theory, analysis of musical works, accompaniment, literature, methods of musical education, practice, informatics

Equipment: piano, laptop, presentation on the topic of the lesson, mirror

Musical literature used:

1. F. Abt. Singing school. - M., 1985. .

2. Reader of vocal and pedagogical repertoire: for mezzo-soprano. School of Music I-II courses. / Comp. P. Pontryagin. - M.: Music, 1970.

3. D.Kabalevsky. Romance Benvolio from the music for the play "Romeo and Juliet"./ Sheet music from the site -www.notarhiv.ru

4. Teach Children to Sing: Songs and Exercises for Children's Voice Development (3-5 years old). Music guide. leaders of children garden. /Comp. T. Orlova, S. Bekina. – M.: Enlightenment, 1986.

During the classes.

I. Announcement of the topic, purpose and objectives of the lesson.

II. Knowledge update. Formation and consolidation of vocal skills.

1. Elements of the respiratory gymnastics A.N. Strelnikova (Appendix No. 1).

2. Chanting . The first vocal skill is “singing attitude” (detailed answer of the student).

The use of exercises: intonational-phonopedic, contributing to the development of sound power, expanding the range, setting the basic vocal skills (the author of the phonopedic method of developing the vocal apparatus V.V. Emelyanov);

exercises for the formation and consolidation of various vocal skills, including tongue twisters that activate the vocal apparatus and improve diction.

The method of "emotional training" for the development of imaginative thinking of a student, using the tongue twister "Lambs are cool… » with different emotionalsubtext: sadness, joy, anger, admiration, etc.

Lead the student togradual understanding of their vocal actions and their independent use. He himself must find internal settings for the performance of a particular task, using visual, vibrational, tactile self-control.

3. Work on the performance of vocalization (F.Abt. Vocalise #10).

The task of the work is to achieve a good cantilena (working on the smoothness of voice leading, calm taking of the “correct” breath), evenness and softness of sound throughout the entire range, free articulation, and competent phrasing.

4. Work on the performance of the workD.Kabalevsky Romance Benvoliofrom the music for the play Romeo and Juliet. The task of working on this work is, while practicing various vocal skills, to pay special attention to the cantilena, to the activity of the entire articulatory apparatus of the student. For this, it is usedarticulation gymnastics by V. V. Emelyanov (Appendix No. 2). Good articulation will bring the sound closer, make it brighter, more beautiful, high-positioned, and improve diction.

In the process of work, the student recalls the theoretical foundations of vocals (from the section "Structure of the vocal apparatus" - "Articulatory apparatus" slides No. 12 - 15). In a conversation with a teacher, the vocal skills "diction", "articulation" are analyzed.

Using figurative thinking, the student's imagination, it is necessary to create a situation that will lead the student to a bright expressive performance, competent construction of the dramaturgy of the work and at the same time will work to correct his vocal and technical shortcomings. As a result of the perception and analysis of music and text, it is necessary to give the student the opportunity to feel the artistic image, to experience it. Search situations and leading questions will help the singer find the appropriate methods of vocal performance, take the initiative in their search, which develops thinking, independence and creativity of the student singing.

5. Work on the performance of the workM.I. Glinka Song of Ilyinichna“The wind is blowing at the gates” from music to the tragedy by A. Kukolnik. This work is in the works relatively recently. The task of working on it is, by analyzing the musical and literary texts of the work, to bring the student to the realization, and then to the meaningful emotionally rich performance of each musical phrase, the good presentation of the artistic word, without losing the technically correct performance, maintaining the diction activity of the voice with different nuances.

The pace of the work is quite fast, so work is needed to activate the student's articulatory apparatus. For this, it is usedthe method of melody recitation in an exaggerated manner, as well as the methodical technique of mental singing, when the accompanist performs the piano accompaniment of a vocal work, and the singer must carefully listen to the accompaniment and mentally sing the melody with an active, albeit soundless, articulation. This activates the muscular apparatus of the entire voice-forming complex, including the respiratory muscles.

6. Work on the performance of a children's song to your own accompaniment (M. Jordanian "Blue Sledge"). The task of the work is to develop the skills of smooth voice leading, active presentation of the word, expressive performance. Particular attention should be paid to the ensemble between singing and accompaniment, taking into account the advantages of the voice (simulation modeling technology - imitation of a production task that the student will face in his future professional activity). Work on a song can take place in one of two options: 1 - with imaginary children, 2 - the teacher acts as a child (at the student's choice).

III. Summing up, conclusions. Reflection (Discussion of what worked and what didn’t, what were the mistakes, how they can be corrected).

I.Y. Homework.On the Internet, find recordings of the best vocalists performing Benvolio's romance from the music for the play "Romeo and Juliet" by D. Kabalevsky, and make a comparative analysis of interpretations. Learn the words Song of Ilyinichna from the music for the tragedy by A. Kukolnik “The Wind is at the Gates” by M.I. Glinka, expressively reciting in a singing position (“Artist on stage”). Think of several executive plans for this work.

Application No. 1.

Elements of breathing exercises A.N. Strelnikova.

The proposed methodology was developed by vocalist Alexandra Nikolaevna Strelnikova

The exercises of this therapeutic breathing exercises not only restore breathing and voice, but in general have an extremely beneficial effect on the body as a whole:

restore disturbed nasal breathing,

improve the drainage function of the bronchi,

have a positive effect on metabolic processes that play an important role in blood supply, including lung tissue,

increase the overall resistance of the body, its tone,

improve the neuropsychic state of the body.

Exercises are performed a number of times, a multiple of 8, best of all, “Strelnikov’s hundred” - 96 times, but since this gymnastics is one of the types of work in the lesson, the number of movements is regulated by the time allotted for this type of activity. We do 32 movements of the breathing exercises from the “Voice Setting” section, preparing the vocal apparatus for further work. These are the exercises:

Exercise "Hug your shoulders" (Inhale on chest compression).

Starting position: stand up straight. The arms are bent at the elbows and raised to shoulder level with the hands facing each other. At the moment of a short noisy breath through the nose, we throw our hands towards each other, as if hugging ourselves by the shoulders. It is important that the arms move parallel to each other, and not crosswise. Hands should move in parallel, their position cannot be changed during the entire exercise.

Exercise "Pump" ". Starting position: stand up straight, hands down.

Slightly lean down to the floor: the back is round (not straight), the head is lowered (looks down at the floor, do not pull or strain your neck, arms are lowered down). Take a short, noisy breath at the end point of the bow (“smell the floor”). Raise slightly, but do not straighten completely - at this point it is absolutely passively exiting through the nose or mouth.

Bend over again and at the same time take a short noisy breath. Then, while exhaling, straighten slightly, releasing the air through your mouth or nose. “Inflate the tire” easily and simply in the rhythm of a drill step.

Exercise "Big Pendulum" ” (“Pump” + “Hug your shoulders”). Starting position: stand up straight. Bend slightly to the floor (hands reach for the knees, but do not fall below them) - inhale. And immediately, without stopping, lean back slightly (having slightly bent at the waist), hugging yourself by the shoulders - also a breath. Exhalation passively leaves between breaths - movements. So: a bow to the floor, hands to the knees - a breath, then a slight deflection in the lower back - the oncoming movement of the hands with a slightly tilted head (also a breath).

Tick-tock, inhale from the floor - inhale from the ceiling. Strongly in the lower back do not bend and do not strain: everything is done easily and simply, without any extra effort.

Application number 2.

Articulation gymnastics VV Emelyanov.

Bite the tip of your tongue, repeat this operation 4-8 times until you feel that the work of the salivary glands has become more active.

"Chop" the language, i.e. biting the tongue, gradually stick it out so that you begin to bite the middle of the tongue. Repeat 4-8 times.

Click your tongue to change the size and shape of your mouth. "Poke" the upper lip, lower lip, cheeks with the tongue. The exercise is called "pinching". Repeat several times.

Run your tongue between your gums and lips. The exercise is called a "brush", as if brushing your teeth with your tongue.

We twist the lower lip, giving the face an offended expression, raise the upper lip, baring the upper teeth. We alternate these provisions: an offended face - a delighted face.

After that, place your fingers on the mandibular joints or maxillotemporal joints, massage also vigorously to feel the bones under your fingers, and then proceed to the forward-down jaw movement, i.e. Roundabout Circulation. First, to the horizontal plane - forward, then - vertical - down.

Finally, open your mouth at the same time in a forward-down circular motion of the jaw with the opening of the upper teeth, i.e. with an active upper lip, and with a protrusion of the lower lip so that 4 upper and 4 lower teeth are exposed. Repeat several times. The mouth must be fully open, i.e. the jaw is retracted "forward-down" to the maximum and at the same time the corners of the mouth, the so-called labial commissure, should be relaxed. The mouth should look like a rectangle placed on the shorter side. Rectangle, not oval or circle. We will conditionally call this articulatory position "Evil cat" ("ZK").

LITERATURE

Shchetinin. M.N. Breathing gymnastics A.N. Strelnikova./ M.N. Shchetinin. - 3rd ed. - M., 2008:http://strelnikova.ru