In order for the development of a junior schoolchild in the choir to proceed correctly, it is necessary to form his basic vocal and choral skills. These include:
1. Singing installation. Students must learn about the singing installation, as the basis for the successful development of educational material.
2. Conductor's gesture. Students should be familiar with the types of conductor gestures:
Attention
Breath
Start singing
The end of the chant
Change the strength of sound, tempo, strokes according to the conductor's hand
3. Breathing and pauses. The teacher should teach children to master the technique of breathing - a silent short breath, the support of breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is brought up gradually, therefore, at the initial stage of training, songs with short phrases with the last long note or phrases separated by pauses should be included in the repertoire. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on the development of breathing.
4. Sound production. Formation of a soft sound attack. Hard is recommended to be used extremely rarely in works of a certain nature. Big role in the education of the correct formation of sound, exercises play. For example, singing in syllables. As a result of work on sound formation - the development of a single manner of singing in children.
5. Diction. Formation of the skill of clear and clear pronunciation consonants, the skill of active work of the articulatory apparatus.
6. Build, ensemble. Work on the purity and accuracy of intonation in singing is one of the conditions for maintaining the system. Purity of intonation is facilitated by a clear awareness of the feeling of “mode”. It is possible to educate modal perception through the development of the concepts of "major" and "minor", the inclusion of various scales, the main steps of the mode in the chants, the comparison of major and minor sequences, singing a cappella.
In choral singing, the concept of "ensemble" - unity, balance in the text, melody, rhythm, dynamics; therefore, choral performance requires uniformity and consistency in the nature of sound production, pronunciation, and breathing. It is necessary to teach the singers to listen to the voices that sound nearby.
Vocal education in the choir -- essential part all choral work with children. The main condition for the correct formulation of vocal education is the preparedness of the leader for singing lessons with younger students. The ideal option is the case when the choirmaster has beautiful voice. Then all the work is based on the shows held by the choirmaster himself. But other forms of work also make it possible to successfully solve the issues of vocal education. In such cases, the choirmaster often uses a show with the help of the guys. By comparison, the best samples are selected for display. In every choir there are children who by nature sing correctly, with a beautiful timbre and the right sound production. Systematically applying, along with collective vocal work, an individual approach to choristers, the teacher constantly monitors the vocal development of each of them. But even with the most correct formulation of vocal work, it brings different results for different choristers. We know that just as there are no two outwardly identical people, so there are no two identical vocal apparatuses.
Among the well-known methodological techniques for the development of hearing and voice, the following are most common:
1. Techniques for the development of hearing, aimed at the formation of auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher's display for the purpose of subsequent analysis of what was heard;
Comparison of different versions in order to choose the best one;
the introduction of theoretical concepts about the quality of singing sound and the elements of musical expressiveness only on the basis of personal experience students;
Singing "in a chain";
Modeling the pitch of the sound with hand movements;
reflection of the direction of movement of the melody with the help of drawings, diagrams, graphics, hand signs, musical notation;
tuning to the key before singing;
oral dictations;
highlighting particularly difficult intonation turns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, change the key in order to find the most convenient for children, where their voices sound best.
Vocalization of the singing material with a light staccato sound to the vowel “U” in order to clarify the intonation during the attack of the sound and during the transition from sound to sound, as well as to remove the forcing;
vocalization of songs on the syllable "lu" in order to equalize the timbre sound, achieve cantilena, perfect phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower, and when singing descending - on the contrary: you should try to perform the lower sound in the position of the upper;
Expansion of the nostrils at the entrance (or better - before inhalation) and keeping them in this position when singing, which ensures the full inclusion of the upper resonators, with this movement the soft palate is activated, and the elastic tissues are lined with elastic and more solid, which contributes to the reflection of the sound wave when singing and, consequently, sound cutting;
Purposeful control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of sound support on breathing;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
pronunciation of the words of songs in a singsong voice at the same height in slightly elevated voices in relation to the range of the speech voice; At the same time, the attention of the choristers should be directed to stabilizing the position of the larynx in order to establish a speech voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound science, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.
The singing attitude is directly related to the skill of singing breathing. The three components of breathing are: inhalation, momentary breath holding and exhalation. The most appropriate for singing is chest-abdominal breathing, which, when inhaled, expands the chest in its middle and lower parts with simultaneous expansion of the front wall of the abdomen. "Key" breathing, in which children raise their shoulders when inhaling, is unacceptable. The concept of singing support is connected with singing breathing. In singing she provides best qualities singing sound, and is also necessary condition purity of intonation. But we must not forget that the results can be reversed: children tense up, sniff, raise their shoulders. Breathing while singing can be taken by phrases if the phrases exceed physical capabilities singing voice, it is necessary to apply 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 only if possible inside long notes;
take breath imperceptibly and quickly;
merge into the general sound of the choir without an accent, with a soft attack, intonation accurately;
Listen carefully to the singing of your neighbors and the general sound of the choir.
The mechanism of breathing is worked out by a number of exercises. Equally important in choral singing is the skill of sound production.
Children imitate the speech and singing intonation of adults, try to reproduce the sounds of animals, birds, hearing improves if the training is delivered correctly.
Pronunciation in singing is based on the general rules of orthoepy.
Diction in singing is somewhat different from speech pronunciation. One of the specific features of singing diction is the "transfer" of the last consonant into syllables to the beginning of the next syllable, which ultimately contributes to the length of the vowel in the syllable. At the same time, the role of consonants should not be underestimated somewhat, so that the pronunciation does not complicate the perception of the listener. The skill of clear diction can use the work of the articulatory apparatus.
Techniques for the correct pronunciation of words:
Expressive reading of the text, songs by adults in the process of learning the song.
Often when singing, they pronounce the endings of words incorrectly. It is necessary to apply techniques for the correct pronunciation of words by syllables (with the whole class or one at a time).
Forming the skill of a high singing position, you need to learn:
Distinguish between high and low sounds, mentally imagine a melody and correctly produce a voice. Developing pitch hearing in children develops melodic, harmonic and rhythmic hearing.
· In the development of pitch representation in children, two main systems are used: absolute and relative. In both systems, it is necessary to widely use visualization in teaching.
At the heart of expressive singing, the formation of hearing and voice are vocal and choral skills. From the first lesson, it is necessary to introduce children to the conductor's gesture - auftact (attention). It is necessary to form a singing installation. A person sits well, which means he sings well.
A set of mandatory requirements: stand or sit taut, relaxed, turning your shoulders and keeping your head straight. These requirements contribute to the correct sound formation, the formation of a singing attitude - a very important and largely defining moment of choral performance.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so the not entirely accurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy 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 unison in the choral parts. The alignment of vowels is achieved by transferring the correct vocal position from one vowel to another with the condition of smooth restructuring of the articulation patterns of vowels.
From the point of view of the work of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. The formation of vowels in a high singing position in the choir presents a certain difficulty.
The sounds "U, Y" - are formed and sound deeper and farther. But the phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to individualized pronunciation than "A, E, I, O". To different people, they sound about the same.
From this follows the specific choral use of these sounds in correcting the “variegation” of the sound of the choir. And the unison is achieved more easily on these vowels, and the sound is well aligned timbre. When working with works, after singing a melody to the syllables "LU", "DU", "DY" - performance with words will acquire greater evenness of sound, but again, if the choir singers carefully monitor the preservation of the same setting of the articulatory organs, as when singing vowels "U" and Y".
The pure vowel sound "O" has the properties that "U, Y" but to a lesser extent.
The condition for clear diction in the choir is an impeccable rhythmic ensemble. The pronunciation of consonants requires increased pronunciation activity.
The formation of consonants, as opposed to vowels. due to the appearance of an obstacle in the path of air flow in the speech tact. Consonants are divided into voiced, sonorous and deaf, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus to the 2nd place after the vowels, we put sonorous sounds: “M, L, N, R”. They got this name because they can stretch, often stand on a par with vowels. These sounds achieve a high singing position, and a variety of timbre colors.
Further, the voiced consonants "B, G, C, F, Z, D" are formed with the participation of vocal folds and oral noises. With voiced consonants, as well as sonorants, they achieve a high singing position and a variety of timbre colors. The syllables "Zi" reach closeness, lightness, transparency of sound.
Deaf "P, K, F, S, T" are formed without the participation of the voice and consist of noise alone. These are not sounding sounds, but guides. An explosive character is characteristic, but the larynx does not function on deaf consonants, it is easy to avoid forced sounding when vocalizing vowels with preceding deaf consonants. At the initial stage, this serves to develop the clarity of the rhythmic pattern and creates conditions when the vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant "P" well rounds the vowel "A".
Hissing "X, C, H, W, W" - consist of some noise.
A voiceless "F" is good to use in breathing exercises without sound.
The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels: the active work of the muscles of the articulatory apparatus, the cheek and labial muscles, and the tip of the tongue. To achieve clarity of diction Special attention we turn to work on the development of the tip of the tongue, after which the tongue becomes completely flexible, we work on the elasticity and mobility of the lower jaw, and with it the hyoid bone of the larynx. To train the lips and the tip of the tongue, we use different tongue twisters. For example: “Dust flies across the field from the clatter of hooves,” etc. Everything is pronounced with hard lips, with the active work of the tongue.
Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling "S, Sh" because they are well caught by the ear, they must be shortened, otherwise, when singing, it will create the impression of noise, whistle. There is a rule for connecting and disconnecting consonants: if one word ends and another begins with the same, or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized separated, and at a fast pace when such sounds fall on small durations, they need to be emphatically connected. The development of rhythmic flair begins from the very first moment of the work of the choir. Durations are actively counted using the following counting methods: aloud in chorus rhythmic pattern; tap (clap) the rhythm and at the same time read the rhythm of the song. After this tuning, solfegge, and only then sing with words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, necessarily in the right pace. When changing rates or during pauses, do not allow lengthening or shortening of the duration. An extraordinary role is played by the simultaneous entry of those who sing, taking breath, attacking and removing the sound.
In order to achieve expressiveness and accuracy of the rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation, and gives timbre saturation.
The final stages of the formation of choral skills are the development of singing breathing and the actual learning of songs. According to many choral figures, children should use chest-abdominal breathing (formation as in adults). The most common deficiencies in singing in children are the inability to form sound, squeezed lower jaw(nasal sound, flat vowels) poor diction, short and noisy breathing. The development of vocal and choral skills of choral singing is more effective when musical training is carried out systematically, in close connection teacher and students, against the background of the formation of a common musical culture child at primary school age and, finally, taking into account the age and personal qualities of the child.
This methodical work It is intended for beginning leaders of children's choirs, especially younger ones. The issues under consideration in this methodological work can be offered to music teachers, vocal teachers, singers for teaching themselves and children.
The problems of choral and vocal work in the children's choir have not yet been studied and resolved. After all, one of the most difficult tasks facing a vocal teacher, choirmaster is to teach children to sing, all without exception. And this can only be done by a specialist who knows the specifics of a child's voice, thoughtfully and competently monitors the work of the vocal apparatus, without violating its natural essence. Not every child has excellent auditory data and a naturally beautiful voice. The leaders of children's choirs in schools, vocal and choral studios at the palaces of culture are faced with problems - how to recruit children to the choir, how to start working with them, what kind of repertoire to choose, how to build a choir lesson in order to maximize and effectively use the training time.
The question is: can all children be recruited into the choir? For this, there is a second stage in the work of the choirmaster - this is the development of the child's hearing and voice, using various methods: A.V. Sveshnikova, K.K. Pigrov, G.A. Dmitrevsky, phonopedic method of working with a child's voice V.V. Emelyanov. The inability to correctly apply certain methods in practice not only does not help, but also interferes, i.e., harms the work. Ultimately, it all depends on the teacher, his talent, education. The choirmaster must have sufficient command of the voice and artistic talent to reveal the content of the choral work, so that in the end such creativity becomes the property of the listeners.
The main tasks of choral singing in the system of musical education
Choral singing is one of the most active types of musical and practical activities of students, and in the aesthetic education of children it always has a positive beginning. This was noted by prominent figures of culture, philosophy of all times and countries.
In Russia, the idea of primacy, i.e. the fundamental role of choral singing lies in the original warehouse of Russian musical culture, predominantly vocal. Maintaining the best domestic traditions of vocal and choral performance is always due to school education.
In terms of musical education and upbringing, choral singing performs several functions:
Firstly, by learning and performing works of the choral repertoire, students get acquainted with diverse compositions, get 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 of various styles and eras, learn to focus on the quality of singing sound, gain experience in choral singing, concert performances.
In the children's choir, combinations of individual and collective forms of work, the use of common chanting and individual preparation of young singers for rehearsals, the practice of working in small ensembles (choir group) are important. Therefore, although the main form in the choir is group, the possibility of introducing “solo singing” classes is of great importance, which makes it possible to follow the development of the voice of each singer in the choir, age-related changes, and quickly learn with the child what he could not cope with during group lessons.
The collective nature of choral music-making corrects the vocal technique of the singers and predetermines the use of specific methods of singing and educating the voice by the method of directed influence of choral sonority on individual vocal development, which lays the foundations for the following vocal-theoretical skills:
1. Correct singing attitude,
2. High singing position.
3. Singing breathing and sound support.
4. Types of sound attacks in singing.
5. Singing articulation and diction.
6. Methods of sound extraction (legato, staccato).
What will young musicians be like when they grow up? You can vouch for the main thing: they will become good people. That's what's expensive. About this and P.I. Tchaikovsky said, instructing his nephew: "Whatever you want to be, - first of all, become a good person." Music, with which it is related, from which the child's soul was brought up, will not allow to do bad, evil, unkind.
The main tasks of teaching and educating vocal and choral skills. Junior choir
1. Mastering the skills of singing while sitting and standing.
2. Mastering the breath while singing.
3. Work on a natural, free sound without forcing.
5. Development of a cappella skills.
6. Preparation of the team for concert performances and professional shows (open lessons, 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 production, singing without tension, correct formation and rounding of vowels. Solid attack. even sound leading The length of individual sounds, singing with a closed mouth, achieving pure, beautiful, expressive singing. Work on a natural, free sound without forcing. Predominantly soft sound attack, rounding of vowels.
Singing with different strokes: legato, staccato, non legato. The study of various nuances, the gradual expansion of the general range within: up to the first octave - fa, salt of the second octave.
4. Work on diction.
The activity of the lips without tension of the facial muscles, elementary techniques of articulation. Clear pronunciation of consonants based on vowels, assignment of consonants to the next syllable, short pronunciation of consonants at the end of a word, separate pronunciation of identical vowels occurring at the end of one and at the beginning of another word. Perfect pronunciation of the text, highlighting the logical stress. Dictionary exercises.
5. Vocal exercises.
Singing simple vocal exercises that help strengthen children's voices, improve sound production, expand the range and at the same time, the best assimilation of the repertoire. For example:
Descending three-five-step constructions, starting from the middle of the register, the same in a downward movement, starting from the lower sounds of the register.
Change of vowels on a repeated sound;
Gamma in descending and ascending motion (after mastering its small segments);
Triad in a straight line and a broken line down and up;
Small melodic turns (excerpts of songs, subconscious assimilation of intonation of tone and semitone, transition of unstable sounds into stable tunes).
The listed exercises and others (at the discretion of the choirmaster) must be sung both within the limits of the key and changing the key, in chromatic order.
6. Exercises for the development of modal feeling.
Singing individual steps, intervals, triads, scales and scales.
Melodic and harmonic sequences from intervals.
Conscious assimilation of intonation of tone and semitone, the transition of unstable sounds into stable ones.
Of great importance for successful work with young choristers is the analysis of a piece of music. This is a general description of the content of the work. Parsing text and music in a form accessible to students: matching musical phrases in the direction of the melody and its structure. Analysis of expressive means: tempo, size, characteristic of rhythm, dynamic shades.
The initial period of the choir
During the selection of children for the choir, the leader needs to pay special attention to the physiological characteristics of the voices, fix register characteristics for himself, that is, the sound of voices in different ranges. At the first rehearsal, the choirmaster must resolve all organizational issues, introduce the children to the conditions of study, the rules of conduct at rehearsals, the chants and repertoire of the choir at this stage of work.
Not less than important issue in the work of the choirmaster is the selection of the repertoire. The main task for the leader is to teach children to sing, and for this he must find means that are feasible for implementation, useful for the development of voice and hearing, and also conducive to education and development. musical taste.
The correct selection of the repertoire is an important condition for the successful activity of the choir. The repertoire should be artistically valuable, varied and interesting, pedagogically useful, i.e., contributing to the artistic growth of the choir, developing and enriching the world of children's musical ideas. In the repertoire of the children's choir, a balance must be maintained between the number of simple and complex pieces. When selecting the repertoire, the choirmaster must remember that classical works must be combined with songs by modern domestic composers, folk songs. Since the 90s of the 20th century, a new layer of choral music has entered our performance - Russian choral music of everyday life and church holidays of Christmas and Easter, now widely celebrated. Gradually, with the accumulation of experience in choral performance, mastery of vocal and choral skills, the repertoire becomes more complex. Students are introduced to polyphonic forms. Canons as a natural way to polyphony are recommended to be introduced from the 1st grade.
In the practice of school choral singing, one has to meet with a peculiar form of amusia: amusical children - “hooters”. Important reasons for poor “amusical singing” are, firstly, damage to the vocal apparatus, secondly, deficiencies in musical hearing, thirdly, the lack of the ability to perceive, differentiate and analyze the pitch, and, finally, fourthly, the inability to correctly intonate the first sound of the motive. One of the leading causes of this kind of amusia is the lack of coordination between 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.
singing breath
At the first stage of work with the choir, breathing exercises are often performed outside of singing. There are different points of view on the advisability of using these exercises. Most educators still consider them necessary. For this purpose, various respiratory gymnastics complexes are used.
Exercise one.
A short breath through the nose along the conductor's hand and a long slow exhalation with a score. With each repetition of the exercise, the exhalation lengthens due to an increase in the number of numbers and a gradual slowdown in pace.
Exercise two.
A short breath through the nose while pushing the abdominal wall forward, activating the back muscles in the belt area and slightly expanding the lower ribs, fixing the attention of the choristers on this. Each student controls their movements by placing the palms of their hands on the oblique abdominal muscles. The exhalation is as long and even as possible with a count. When the exercise is repeated, the exhalation lengthens.
Exercise three.
A short inhalation through the nose, holding the breath and slowly exhaling with a count, but now for the first time, students are asked to maintain the position of inhalation throughout the entire exhalation. To do this, you need to learn to rest with the diaphragm from the inside against the walls of the body along its entire circumference, as if trying to become thicker in the area of \u200b\u200bthe belt.
Exercise four.
A short and deep breath through the nose while pushing the abdominal wall forward, holding the breath, softly reproduce along the conductor’s hand closed mouth a sound of a given pitch in the middle of the range and pull it with a voice that is even and moderate in strength. The playing time then gradually increases. At the same time, constant self-control of students is necessary to maintain the position of inspiration during singing.
Particular attention should be paid to the correct inhalation. During inhalation, you can not draw air into yourself on purpose. Begin with a full exhalation. Then, after a pause, you must wait for the moment when you want to inhale. Only in this case, the breath will be limited: deep enough and optimal in volume.
For the speedy formation of a strong skill of correct respiratory movements exercise should be done regularly. The correct skills of singing breathing are fixed in the process of singing itself and are checked by the nature of the sound. The type of breathing affects the quality of the sound, and the sound, in turn, affects the quality of singing breathing. This circuit operates on the principle of feedback. And indeed, if a singer sings in a quiet or loud voice, calmly, softly or excitedly, firmly, pulls for a long time or sings abruptly, then the nature of inhalation and phonation exhalation will change accordingly. Performing an exercise. Built on a descending scale scale, with an even voice, it trains the smoothness and gradualness of exhalation, and this is an indispensable condition for the formation of a good singing breathing skill.
The condition for the development of correct respiratory movements should be considered the observance of the singing installation. At rehearsals, children often cannot maintain the necessary fit for a long time. In this case, it is advisable to take a deep breath, raising your hands up, then. After holding your breath for a few seconds, exhale slowly, lowering your arms. During classes with children, it is necessary to alternate singing while sitting and standing. A funny joke, praise also relieve fatigue, cheer up children, increase their efficiency.
Young choristers should be familiar with the rules of chain breathing, which makes it possible to perform musical phrases of any length and even entire works.
Basic rules of chain breathing
Do not inhale at the same time as a neighbor sitting next to you.
Do not take a breath at the junction of musical phrases, but, if possible, inside long notes.
Breath to take imperceptibly and quickly.
To merge into the general sound of the choir without a push, with a soft attack of sound, intonationally accurate, i.e. without “entrance”, and in accordance with the nuance of the given place in the score.
Listen carefully to the singing of your neighbors and the general sound of the choir.
Only if these rules are observed by each singer can the expected effect be achieved: the continuity and length of the overall sound of the choir.
To develop the skill of chain breathing, first of all, you need to learn how to quickly and imperceptibly change breathing within long notes. For this purpose, we can recommend singing an exercise built on a descending or ascending scale with long durations, without pauses and caesuras.
Dictionary-orthoepic ensemble
bAccording to the fair remark of A. M. Pazovsky, “good diction in singing, especially in choral singing, is not only a means of expressive disclosure of the thought contained in the word, but at the same time a cutter of musical rhythm.” In order to work on a diction ensemble, the choirmaster must know the rules of singing pronunciation well.
The synthesis of music and words is an undoubted merit of the choral genre. But the same synthesis also creates additional difficulties for choral performers, as it requires them to master two texts - musical and poetic. The text should be pronounced by the performers not only legibly, but meaningfully and logically correctly, because the components of both literary and vocal-choral speech are not only diction, but also orthoepy (correct pronunciation of the text).
Choral diction has its own specific features.
Firstly, it is singing, vocal, which distinguishes it from speech; Secondly, it is collective. It is necessary not only to teach them to clearly pronounce consonants, but also to correctly form and pronounce vowels (in particular, teach them how to reduce vowels). Reduction - weakening of the articulation of sound; reduced vowel - weakened, unclearly pronounced.
The specificity of the pronunciation of vowels in singing lies in their uniform rounded manner of formation. This is necessary to ensure the timbre evenness of the choir and to achieve a good unison.
There are ten vowels in Russian, six of them are simple - and. e. a, o, y, s, four complex ones - i, e, u, e (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 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
| Is written | Pronounced |
| b, d, c, e, g, h at the end of the word | p, k, f, t, w, s. |
| o unstressed | a |
| e, h, s, t before soft consonants | d, s, s, t. |
| i am unstressed | yae |
| n, nn before soft consonants | soft |
| w and w before soft consonants | firmly |
| w doubled (lzh) | softly |
| sya and s - return particles | sa and s |
| h. thu | shn, pcs |
| h and n separated by vowels | h and n |
| stn, zdn | sn, zn; t id fall out |
| ssh and zsh | sh firm and long |
| mid and mids | u long |
| kk, tt (double consonants) | k, t (the second consonant is dropped). |
Consonants are divided into voiceless and voiced, depending on the degree of voice participation in their formation.
They are so called because they can also stretch and are often used as vowels.
The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels. This is ensured primarily by the active work of the muscles of the articulatory apparatus, mainly the buccal and labial muscles, as well as the tip of the tongue. Like all muscles, they need to be trained.
For the development of the articulatory apparatus, I propose to use the first and second cycles of the phonopedic method according to the system of V.V. Emelyanov. Only six cycles.
I cycle - warm-up, facial massage, preparation of the singing apparatus for work in the choir.
a) - sitting, the children should depict the “flight of a bird”, i.e., the stomach is tucked up, the chest is forward, this position resembles a bird in flight. Behind this position, the choirmaster needs to constantly remind the children.
b) - we massage the face by tapping the fingers on the face, starting from the roots of the hair, the forehead, cheeks, chin so that the face “lights up”.
c) - biting the tip of the tongue to the state of salivation, after which we “shred” the tongue, pulling it forward, biting to the root part and also back. Be sure to ensure that the tongue moves smoothly to a relaxed state.
d) - the “needle” exercise, making a sharp tongue and, like a needle, pierce the upper lip, then the lower and cheeks. All of this is being done actively.
e) - exercise “brush”, we pass the tongue between the lips and teeth, as if brushing our teeth.
f) - exercise “cross and zero”, stretching the lips forward with a tube, first draw a zero with our lips (four times in one direction and the other), then draw a cross, raising the lips up, down and to the sides. When performing, it is necessary to ensure that the children do not move their heads, only the lips should work.
g) - an offended and cheerful grimace is made. Offended - the lower lip is turned out so that the lower teeth are open. Cheerful - rises upper lip to expose the upper teeth. Then we perform both positions in turn.
h) – exercise “angry cat pose”. The main sensations of the muscular state of the face - teeth are open, the nose is raised, helping to open the upper teeth, round big eyes and the mouth is open so that three fingers are placed vertically between the teeth. It is desirable to work in front of a mirror.
i) - we pronounce the text “I have a small mouth”, while the lips are tightly closed and stretched forward. On the syllables “I have a mouth”, the lips should not move, only the tongue works. At the word “small”, the mouth abruptly opens into the “angry cat pose” and the word is actively pronounced so that the jaws activate their work as much as possible. Stretch the syllable “A” with a loud resonance and briefly say the syllables “-lazy”. All consonants are pronounced hard and active.
The main task of the first cycle is to warm up the muscles of the face for work and learn how to open the mouth.
II cycle includes intonation-phonetic exercises.
A) - the pronunciation of deaf consonants - Sh-S-F-K-T-P. They are pronounced this way. To do this, remember the position of the open mouth. This is the main starting position, pronouncing the consonant “sh”, we close the jaws and immediately sharply return to the starting position of the open mouth. It turns out a very short "sh". We also pronounce the consonant “s”, while the language is involved. When pronouncing the vowel “f”, the lips close. The pronunciation of the consonant "k" is important. The mouth in the pose of an angry cat, without closing and without changing position, is pronounced with the root of the tongue, the jaws should not move - this is the main condition. It turns out, as it were, a “shot”. The consonant “p” is pronounced actively with the lips, and “t” by biting the tip of the tongue. The main requirement for pronouncing deaf consonants is “deaf must be deaf”, i.e., no vowel should sound after the consonant, and when the mouth returns to its original position after the deaf consonant, there should be a feeling of inhalation.
B) - pronunciation of voiced consonants - W-W-W-D-D-B. In the same form of the position of the mouth, as in the pronunciation of deaf consonants. The involvement of the muscles of the tongue and lips corresponds "zh-sh". “s-s”, “v-f”, “g-k”, “d-t”, “b-p”. When pronouncing these consonants, the feeling should be - as if starting from the consonants, pronouncing them four times each. Be sure after each consonant there should be a feeling of an active breath. The options for performing these two exercises are different.
C) - exercise "terrible tale". In this exercise for the pronunciation of vowels "U-O-A-E-S". Mouth position - “angry cat pose” i.e. the mouth is well open, all vowels are formed only with the lips, so that the sound is deep and voluminous. First we pronounce the vowel “u”, then add “o” to it, this way we get a drawl "u-oh" and so each time repeating from the beginning, we add subsequent vowels. Compulsory
The condition for this exercise is to speak vowels U-O-A-E-S in one breath, without interrupting the chain of spoken sounds. The exercise should resemble an intimidating, scary picture. Vowels can also be pronounced in reverse order. Must follow
behind the position of the mouth. The jaws should not change position and only the lips should be active in formation.
D) - the exercise is called “question and answer”. This exercise uses the same vowels as in the previous exercise. For example: the vowel “y” is taken as low as possible in the voice range, i.e., in a rough, low voice and glissando is made up to the highest, extreme sound of the range, as if sliding up the entire voice range and also quickly sliding back down from above . This exercise resembles up - a question, down - an answer. The structure of the use of vowels is as follows:
Up. U-U, U-O, O-A, A-E, E-S.
Down. U-U. U-O, O-A, A-E. E-S.
That is, up U-U and down U-U; up U-O and down U-O. The mouth is opened as much as possible during the exercise, in order to avoid a breakdown in the voice.
D) - the conditions for performing this exercise are the same as in the previous one. The voiceless and voiced consonants that were used in paragraphs A and B are added to the class ones. The structure is as follows:
Double combinations - woo, woo. woo, woo, woo.
Woo, woo, woo, woo, woo.
Woo, woo, woo, woo. wow.
In the second warehouse we go up, and down we go down on the first vowel and pronounce the second syllable below.
Trifold combinations - u-shu-zhu, u-sho-zho, u-sha-zha, ushe-zhe, u-shy-zhy.
U-su-zu, u-so-zo, u-sa-za, u-se-ze, u-sy-zy.
Woo-woo, woo-woo. U-fa-va, u-fe-ve. wow.
Combinations can be used in different ways.
The expressive presentation of the text depends not only on the clear pronunciation of words. Reading the text and music of any piece of music, you should always answer the question: how to perform a phrase or word - affectionately, joyfully, calmly, thoughtfully. Anxious, sad, evil, sad, solemn, mocking, sad, frightened, etc.
So, when solving the problems of good diction in the choir, it is necessary to work on intelligibility pronunciation subject to the rules of orthoepy; meaningfulness based on the selection of logical nodes in phrases; expressive pronunciation of words on the basis of the unity of music and the content of the performed composition of its emotional content.
Pitch intonation
The problem of intonation in the choir, which is an instrument with non-fixed pitch, has always been one of the most acute and painful. Choral structure is impossible without pure unison, which arises due to conscious intonation. musical sounds 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 it forms with the previous sound, since it is the third of the tonic triad. Stage IV when moving up requires some increase, and when moving down - a decrease. The fifth step is intoned steadily, with a certain tendency to increase, as it is a fifth of the mode and tonic triad. The VI step in the ascending second movement (i.e., from the fifth step) must be intoned high. and in the descending - (from the seventh step) - low. The 7th step, as an introductory tone, is intoned very high. The VI degree of the harmonic major, being lowered in relation to the same degree of the natural major, should be intoned with a tendency to decrease
In the minor mode, the first degree, although it is the main sound of the tonic, should be intoned high. Stage III - low. The fourth step, when moving to it from the bottom (from the third step), is intoned high, and when moving from above (from the fifth step), it is low. The V step, which is the third step of the parallel major, needs to be intoned high. VI step melodic - high. The seventh step of the natural minor should be intoned low, and the same step of the melodic and harmonic minor should be high.
Any alteration that changes the pitch of one or another step of the natural mode (major or minor) brings to life the corresponding intonation method: an alteration that raises the sound requires an aggravation of the intonation, and an alteration that lowers the sound requires some decrease in it.
The harmonious singing of the choir part is based on the correct execution of intervals. It is known that the interval is the distance (gap) between two sounds in height. Successively taken sounds form a melodic interval; taken simultaneously is the harmonic interval. The lower sound of an interval is usually called its base, and the upper one is called the top.
In a tempered scale, all intervals of the same name are equal to each other. Another thing is singing and playing instruments without a fixed pitch. Here the value of the interval usually varies within zones depending on the modal value of the sounds included in the interval. Related to this are some features of the intonation of various intervals that the choirmaster should be aware of.
Pure intervals are executed steadily. This applies to prime, fourth, fifth and octave. Large and enlarged intervals should be intoned with a tendency to unilateral or bilateral expansion, and small and reduced intervals - with a tendency to unilateral or bilateral narrowing. When performing a large 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. For the basis musical material the simplest scale-like chants of the ascending and descending movement of the three-step and five-step moves are taken. We present the following exercises: using “vibration of the lips” and the vowel Y, as well as “stro-bass” and the vowels A, E.Y, O.U.
"Stro-bass" in German means - straw - rustling bass. When this element is performed, the creak of the door is figuratively represented. On the squeak, the vocal cords do not come into play immediately, but gradually. This exercise is performed in this way: the mouth is opened in the “evil cat” position, the tongue is stuck out so that it lies relaxed on the lower lip, and the larynx should make a sound resembling a creak. Most of the cases in children during the squeak, “e” is heard. It is necessary to pay attention to this and remind each time that the script must be performed with the desire to pronounce the vowel “a”. There is no intonation during the squeaking and without a pause it is necessary to translate it into the vowel “A”. The tongue should be in its original immovable and relaxed position. When performing the exercise, it will be noticeable how the neutral vowel “A” is formed. it is necessary to listen to how vowels sound without a language and how the threshold is formed during the transition from “stro-bass” to a vowel (a, o, u, e, s).
Exercises using “vibration of the lips” and the vowel Ы in the falsetto register, starting from the first octave in A FLAT and above without any special restrictions, are performed in the same way as in the non-falsetto register. When moving from the vibration of the lips to the vowel Y, the mouth should open very quickly into the pose of an angry cat. Transition without any stop or pause. This is very important in order to avoid stress on the child's vocal cords. Everything is in the main resonator.
When singing the choir, the choirmaster uses numerous chants of a melodic warehouse with the use of vowel syllables, phrases, excerpts from song lyrics. Chants are performed on various musical touches: legato, staccato, non legato (non-legato - not related). The main type of sound science at the initial stage is cantilena, that is, a smooth, coherent, continuous, freely flowing sound. Even when choosing a repertoire for a junior choir, one should pay more attention to cantilena works in order to eliminate the speech manner of sound when children sing. Here are some examples of melodic chants.
In the second half educational process and in the further work of developing harmonic hearing in children, harmonic chants can also be gradually introduced. For example: children first sing one sound for the vowel “y” and subsequently build intervals from this sound. Before that, the choir should be conditionally divided into two groups.
Of great importance for the development of harmonic hearing at the initial stage is the singing of the canons. The word “canon” is translated from Greek as “rule, order” and has many meanings. A musical canon is a song created and performed in a particular way. All participants in the canon sing the same melody with the same text, entering in turn, as if late, with a lag. The beauty and originality of the canon is also its ending, since each of the singers, having completed the melody, again returns to its beginning, which forms a vicious circle. The idea of an endless, circular movement of everything in the world is characteristic of many ancient cultures. It is this idea, the idea of an endless return to the beginning, that organizes the form of the canon. Man's idea of the world, in which everything is subject to the laws of circulation, was reflected in beliefs, way of life, in dances and songs. For example. "Sing baby." In this canon, a small phrase is repeated four times in succession, at different heights. Therefore, it is not difficult to remember it and sing it at all. This canon can be sung many times, returning again to the beginning of the melody. It is possible to perform a canonical melody with accompaniment (homophonically). Application No. 7
The text of the canon “There lived a grandfather in the world” (a Moravian folk song) tells about a flute, but the intonations of a trumpet or a horn are more heard in the melody. It is not easy to sing such a canon. To begin with, you can build a canon between the singers and an instrument (for example, a piano), in which the melody will sound an octave higher or lower. Such performance will create new colors of contrapuntal music-making. The Russian translation of the lyrics is very funny. He puts forward additional tasks, namely: the clarity of diction and the activity of the language, which is characteristic of a tongue twister.
Approximate repertoire plan
1. V.A. Mozart "Spring".
2. O. Fernhelst “Ave Maria”.
3. J. Haydn “We are friends with music”.
4. N. Rimsky-Korsakov “Seeing off winter”.
5. V. Kalinnikov “Crane”, “Bear”.
6. C. Cui “May Day”, Soap bubbles”.
7. A. Grechaninov “About the calf”.
8. A. Arensky “Tell me, moth”.
9. A. Lyadov “Bunny”, “Lullaby”, “Funny”.
10. A. Lyadov “Bunny”, “Lullaby”, “Funny”.
11. Russian folk songs: “Like ours at the gate”, 2 How your girlfriends went”, “A path in the damp forest”, “A baby walked”, “We walked in a round dance”.
12.F. Grubber "Quiet Night".
13. Folk song “Mother of God”.
14. M. Malevich Songs from collections about Christmas and Easter.
15. V. Vitlin “Rain”.
16. S. Dubinina “Goat”, “Goby”.
17. Yu. Chichkov “Autumn”.
18. S. Fadeev “Robin-Bobin”.
19. S. Smirnov “Samovar”.
20. S. Gavrilov “Green shoes”.
21. E. Zaritskaya “Musician”.
22. N. Russu-Kozulina “Pie”, “Good Song”.
23. S. Banevich “Fly, my ship, fly”.
25. O. Khromushin “Masquerade”.
26. B. Snetkov “Champion”.
27. V. Basement. Riddle songs: “Owl”, “Squirrel”, “Woodpecker”, “Turtle”.
Based on the capabilities of young choristers, one should gradually try to introduce a simple two-voice (at the discretion of the choirmaster) - chants, canons, as well as simple works.
1. M. Glinka “You, nightingale, shut up.”
2. A. Grechaninov “Poppies, poppy seeds”
3. Yu. Litovko “Old Clock”.
4. M. Reuterstein “Mother Spring”. "Party".
5. M. Shyvereva “Green Summer”.
6. E. Rushansky “Wonderful dress”.
7. N. Karsh “A song in the crocodile language”, “Night story”, “Fish”.
1. M. Reutershtein “Choral fun”, “Oh, okay”, “Cockerel”.
2. Canons: “There was a birch in the field”, “A path in the damp forest”, “Brother Jacob”, English folk song“Come Follow”, German folk song “Commt und last”.
3. Czech folk song “White dove” (canon)
5. Yu. Litovko “The Nightingale” and other canons.
6. Russian folk song “I walk with weed” (arr. And Roganova).
Students in the choir class at the beginning of their studies and in subsequent years should 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.
Conclusion
The purpose of choir classes is to instill in children a love for music, choral singing, and to form the skills of collective music-making. It is necessary to teach children how to sing correctly and introduce them to the wonderful world of vocal and choral classics, folk music, and modern composer creativity.
Creating an atmosphere of creativity, mutual assistance, responsibility of each for the results of a common cause in the choir team contributes to the formation of the child's personality, helps him to believe in himself and contributes to the disclosure of creative potential.
With regard to information on the physiology of the respiratory, vocal and auditory devices:
1) focus attention and will on mastering the breath, the need to use the moments of rest and movement;
3) develop a singing technique before mutation, take into account the signs of mutation and observe the hygiene of a child's voice.
From a pedagogical and psychological point of view, it is necessary:
1) explore the way and range of perception of musical tones, signs of musical ear, giftedness and musicality;
2) methodically develop singing abilities and choral singing skills, taking into account the peculiarities of children's perception, developing the knowledge, feelings and will of children, as well as their mental properties.
3) analyze the signs of amusia, eliminate shortcomings in singing during training, apply the basics of didactics and pedagogy and technical means.
With regard to the skills of choral singing, it is necessary:
1) develop rhythm and intonation from early school age;
2) take into account the signs of musical talent and musicality, taking into account general giftedness;
3) systematically develop the technique of singing and musical imagination.
In general, adhere to the requirements of general didactics and the specific didactic system, take into account the peculiarities of children's choral singing, and 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".
Formation of vocal-choral and performing skills in the youth chapel of AltSU. Before proceeding to the performance of works, each singer needs to sing. Singing exercises accomplish two things: bringing the voice into the best working condition and instilling good performance skills in the singer. Warming up the vocal apparatus precedes vocal and technical training.
Methodically, this concept should not be confused, although in practice both tasks can be performed simultaneously. For a beginner singer who does not yet know enough the right sound, any chanting is a technical part of the classes. It is valuable to consciously combine vocal exercises with the aim of teaching musical notation. Musical scores help to achieve this, making it possible to connect their auditory representations with visual ones. Amateur performer sings certain sequence sounds and sees this sequence on the staff.
With intonation defects, the leader points to the corresponding sound or melodic interval. So musically untrained singers imperceptibly join the musical literacy. The need for chanting before a lesson or performance is dictated by the law of gradually bringing the organs of voice formation into an active working state. Chanting is a link between rest and singing activity, a bridge from one physiological state to another.
The entire singing process in an amateur choir must be adjusted by the physiological capabilities and characteristics of the psyche. Consider some of the typical shortcomings of the guys who came to the chapel. 1. Vocal unprepared guys breathe unevenly while singing, they seem to choke on their breath, while raising their shoulders. Such superficial, clavicular breathing adversely affects both the sound and the body. To eliminate this shortcoming, we sang exercises, evenly distributing the breath on the closed mouth and doing the position of a half-yawn. 2. Forced, tense sound.
It is distinguished by excessively increased dynamics, sharpness, rudeness of performance. Sound strength in this case is a false criterion artistic appreciation singing, and loudness is achieved not by the use of resonators, by intense pushing out of the sound. As a result, there is pressure on the ligaments. First of all, it is necessary to psychologically rebuild the choir singers, to explain to them that the beauty of the voice and full-fledged sound is achieved not by the physical tension of the respiratory organs and the work of the larynx, but by the ability to use resonators in which the voice acquires the necessary strength and timbre.
This will help with singing exercises with a closed mouth in a high position, singing with chain breathing in the piano, mezzo-piano speakers, cantilena exercise, evenness of sound, calm breath retention. 3. Flat, shallow white sound. Very often, such sounding in amateur choirs is identified with the folk style of performance.
Amateur choral groups that sing with such a sound, as a rule, have no idea of either folk or academic manners of singing, their vocal and choral technique is helpless. First of all, it is necessary to remove the singing at the throat, transfer it to the diaphragm and be sure to develop the skill of yawning, sending a rounded sound to the point of the head resonator 32, p.56. All this should be done in a single manner of sound formation, while exercises on covered vowels e, u, y are useful, as well as singing a sustained sound on syllables mi, me, ma, with rounding of all vowels. 4. Variegated sound.
It is characterized by the absence of a single manner of vowel formation, that is, open vowels sound light, open, and covered ones sound more collected, darkened. This happens because the singers do not know how to maintain a fixed position of the yawn in the back of the oral canal while singing. To eliminate this, singers need to learn to sing in a single manner, that is, to form all vowels in a rounding way. 5. Deep, crushed sound.
May occur due to excessive sound overlap, when a yawn is made very deep, close to the larynx. Such singing always remains somewhat muffled, distant, often with a guttural overtone. First of all, it is necessary to ease the yawn, bring the sound closer, practicing singing syllables with close vowels zi, mi, ni, bi, di, li, la, le, etc. The inclusion of works of light, transparent sound in the repertoire, with using a light stoccato.
Singing exercises are primarily aimed at the vocal perception of the choir, the correct formation of sound, its timbre coloring, and purity of tone. The main concern is unison. A well-built unison provides ensemble harmony and clarity of sound. But exercises of this kind can give even more. They will serve as a good help in developing musical acuity and prepare singers to overcome the intonational difficulties that they will encounter when working on some compositions.
The basis of chanting exercises are combinations in which, one way or another, there are semitones or whole tones. To teach how to correctly perform a tone or semitone means to guarantee the purity of singing. A choir that does not know how to sing is that choir that is not taught. For many reasons, it is easy to detect approximate intonation in most singers. Unfortunately, this applies not only to amateur singers, but also to many professional singers.
Sloppy intonation is a consequence of insufficient ear culture. A culture of hearing is brought up and developed in the learning process. Apparently, there are some flaws in this process. Sound and purity of intonation are inextricably linked and interdependent vocally, the correct formed tone always sounds clear, and vice versa, there is never a clear tone if the sound is formed incorrectly. From here follows the struggle for the correct singing sound. It is best to eliminate shortcomings and instill the correct singing skills through special exercises.
We use such exercises to develop performing skills in singers 1. Development of singing breathing and sound attack. The initial skill is the ability to take the right breath. Inhalation is taken through the nose, silently. In the first gymnastic exercises, the breath is full, in the subsequent ones performed on the sound, it is taken sparingly and of different fullness, depending on the duration of the musical phrase and its dynamics. In the first exercises, the exhalation is done through tightly clenched teeth with a sound from s s. In this case, the chest is held in the inhalation position, the memory of inhalation, and the diaphragm, due to the gradual relaxation of the abdominal muscles, smoothly moves back to the main position.
The active state and tension of the respiratory muscles should not be reflexively transmitted to the muscles of the larynx, neck and face. In silent exercises, the first feeling of breath support is laid. 2. Exercises on one sound. In subsequent exercises, when breathing is combined with sound, these sensations need to be developed and strengthened.
To begin with, a single sustained sound is taken on the primary, i.e. the most comfortable, tone, in the nuance of mf, with a closed mouth. Following the muscle sensations familiar from the previous exercises, the choir members listen to their sound, achieving purity, evenness, and stability. The evenness of the breath combined with the evenness of the sound provide it and are checked by it. In this exercise, the attack of the sound is developed. As the chorus masters the breath, more and more stringent requirements are imposed on the quality of all types of attack, and above all softness. 3. Gamma exercises.
The next cycle of exercises for the development of breathing and the attack of a sound is based on scale-like sequences, starting gradually from two sounds and ending with a scale within an octave of a decimal. The breathing technique and the feeling of support in these exercises become more difficult. There is an adaptation to the change of sounds, connected smoothly, on elastic breathing. The difference in the sensation of breathing when singing a sustained sound and a scale-like sequence is similar to the difference in the sensations of muscular elasticity of the legs when standing still and when walking.
In the second case, the support moves from one leg to another, and the body moves smoothly, without feeling any shocks. 4. Exercises in non Legato. It is advisable to start the skills of the correct combination of sounds with non Legato, as the lightest stroke. The imperceptible caesura between the sounds in the non Legato stroke is quite enough for the larynx and ligaments to have time to rebuild to a different pitch. When connecting sounds in non Legato, it is necessary to ensure that each subsequent sound arises without shocks. 5. Exercises in Legato.
The Legato stroke is the most commonly used in singing, and special attention should be paid to its possession. All three types of Legato are worked out in the exercises - dry, simple and legattissimo. You need to start with a dry Legato, which is characterized by a smooth connection of sounds end-to-end, without the slightest break caesura, but also without gliding. In Legato exercises, only soft or mixed sound attacks are used.
A firm attack divides the sound even in the absence of a caesura 10,c 64 . In a simple Legato, the transition from sound to sound is made by imperceptible sliding. For the best performance of this technique, it is necessary, using the skill of dry Legato, to make sure that the sliding transition is completed briefly, immediately before the next sound appears, with an imperceptible extension of the sound of the previous one according to the given tempo-rhythm. As for the legattissimo, in singing it is only the most perfect execution of a simple legato.
When performing the Legato stroke, two breathing techniques can be used in accordance with the artistic task. The first - on a continuous and even exhalation, similar to the performance of Legato with one bow at string instruments. The second decrease, slowing down the exhalation before moving on to the next sound, is similar to changing the bow of the strings when they perform the Legato stroke. 6. Exercise in Stacatto. Very useful for developing breathing and a solid attack is singing with a Staccato stroke.
You need to start with the repetition of one sound, and then gradually move on to scales, arpeggios, jumps, etc. Applying all types of Staccato soft, hard, staccatticimo. When singing Staccato, in a caesura, a pause between sounds, the muscles do not relax, but are strictly fixed in the inhalation position. The alternation of the moment of exhalation of the sound and holding the breath on the pause of the caesura should be very rhythmic and not be accompanied by crescendo and diminuendo on each sound. This technique is similar to playing Staccato on the violin without removing the bow from the string 10,c. 67 . Inexperienced singers when performing Staccato experience an attempt to inhale in the pauses before each sound, which makes the Staccato inaccurate, and the performance of this exercise is useless. Preparatory gymnastic exercise for singing Staccato breathing is gained gradually in microdoses after each microinhalation, the breath is held fixed, the alternation of breaths and caesuras must be strictly rhythmic exhalation is also performed in microdoses, alternating with stops-caesuras. 7. Arpeggiated exercises and jumps.
Singing arpeggiated exercises places new demands on the breath. The wider the intervals between sounds, the more difficult they are to connect when singing with a Legato stroke.
Strokes at wide intervals sharply change the register conditions of sound from sound to sound and increase the flow of breathing. Before going up for a long interval, the muscles of the respirators are activated, an imitation of inhalation is applied - a false breath is applied by soft, free and instant pushing the diaphragm down externally, this is expressed in a soft jerky movement of the abdominal muscles forward, with complete immobility and free stability of the upper and middle parts of the chest.
The difficulty of this technique is that it is performed not on inhalation, but on exhalation. 8. Reception dropping breath. Sometimes there is a blurring of the endings of phrases when changing breathing, especially at fast tempos with a crushed rhythm and the absence of pauses at the junctions of constructions. In these cases, it is useful, having switched attention to the end of phrases, to suggest the technique of an instantaneous change of breath by dropping it at the end of the last sound of the phrase, i.e. think not about taking the next sound, but about removing the previous one.
In this case, the diaphragm is instantly pressed down, fixing in the inhalation position, and in this way the removal of the last, sometimes very short sound of the phrase, is reflexively combined with an instantaneous breath taking. When performing this exercise, the leader makes sure that the caesura is instantaneous, and the sound preceding it is extremely finished.
The breath changes with every beat. It is not allowed to accentuate the end of the sound when dropping the breath 10c.65. Skills in the use of resonators and articulatory apparatus. These skills are brought up in combination, since the resonators and articulatory organs are functionally connected. In their natural form, resonators usually function in isolation, each in its own section of the range. The training begins with the primary tones of the range, naturally including the chest resonator.
Proper voice tuning involves singing with a close sound in a high position throughout the entire range. Taking into account these circumstances, the first exercises are given - singing single sustained primary sounds on the syllables si and mi, which help to turn on the head resonator in close and high sound, as well as the performance of descending and ascending progressive sequences of several sounds on combinations of the syllables si-ya and mi-ya. In a male choir, the feeling of a high position can be achieved by performing descending sequences in pure falsetto, starting from the first octave D with the transfer of falsetto sound to the lower sounds of the vocal range.
The combination of certain vowels and consonants contributes to the achievement of a close and high sound. The combination of b, d, s, l, m, p, s, t, c bring the sound n, p, g, k closer - they remove it. Vowels and, e, y contribute to high sound. It is convenient to connect the head and chest, achieving mixed sound formation on the syllables lu, li, du, di, mu, mi, zu, zi. It must be said that most of the chanting exercises are performed by us in a neutral register zone, which is lonely and convenient for all singers.
They are performed in quiet nuances, but with great overall activity. And only 1-2 final exercises cover the full range of all voices and are sung in a full free tone. We begin each rehearsal with vocal exercises, preparing the vocal apparatus there for work on the repertoire. The repertoire as a set of works performed by one or another choir group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in direct connection with various forms and stages of the choir's work, whether it is a rehearsal or a creative concert, the beginning or peak of the collective's creative path.
The repertoire influences the entire educational process, musical and theoretical knowledge is accumulated on its basis, vocal and choral skills are developed, and the artistic and performing direction of the choir is formed. The growth of the collective's skill, the prospects for its development, everything related to performing tasks, that is, how to sing, depends on a skillfully selected repertoire. The formation of the performers' worldview, the expansion of their life experience occurs through the comprehension of the repertoire, therefore, the high ideological content of a work intended for choral performance is the first and fundamental principle in choosing a repertoire. The repertoire of amateur groups is as diverse in terms of the sources of its formation, genres, style, themes, and artistic, as the very concept of amateur art is multifaceted and heterogeneous. Both adult and children's academic choirs, even with competent and conscientious performance of the concert program, do not always rise to the feeling of that special state of mind, which should be the main goal of both performers and listeners.
This state can be defined as the life of the spirit. When this state takes possession of an artist, writer, painter, musician, then a miracle happens! In this state, a person comprehends the soul of another person, lives someone else's life in the most real feelings, mysteriously penetrates from the past and sees the future, animates the inanimate.
And if such a life of the spirit appears on the stage, then the divine spark carries what is called education through art. For this upbringing is an appeal to the soul of a person in order for it to open up and feel kinship with those like itself 34, p.147. But how can the choristers on stage evoke this true life of the spirit? After all, what is required of them is what is called reincarnation, a transition to a different psychological state, enhanced to the point of hallucinations! work of imagination and fantasy! However, not everyone's psyche is so malleable, and figurative thinking is so bright. There are many other obstacles to real stage creativity in choral amateur performances: physical fatigue after work or study, nervous overload, diet and rest unrelated to concerts, insufficiently learned works, etc. In order to gain the life of the spirit on stage, a person must imagine and feel something that he has not yet encountered at all in his own life.
And far from always he is able to correctly evaluate the result of his work.
Only the conductor is his judge and teacher, leading him to the goal, cultivating artistic taste, intellect, moral attitude to art and life with his assessment.
The conductor, the artist, the teacher, has no right to be satisfied with a fake! And let all choristers have different intellect, temperament, life experience, mood, state, etc., even if it is very difficult to teach them to live on stage, however, there is an explanation for lack of spirituality in art, but there can be no justification.
At least two conclusions should be drawn from what has been said. First, a conductor-choirmaster, in order to be also a conductor-artist, must have a special potential for education, erudition, artistic taste, pedagogical excellence and creative temperament.
Such a leader can set up many different people for common empathy, for creative upsurges of the spirit, enrich the imagination and fantasy of adults or children with new thoughts and feelings for them. The second spirituality of choral singing is often hampered by ignorance or ignorance of the general principles of performance of vocal and choral music, the observance of which serves as a technical support for artistry, and contributes to the emergence of inspiration.
Most frequent problems 1. The relationship of musical metrics and textual logic 2. The use of dynamic contrasts 3. Tempo as the soul of a work 4. The influence of the psycho-emotional state on the quality of intonation 5. Timbre arrangement 6. Sound science as an indicator of figurative thinking 7. Choral ensemble 8. Form formation 9. The most important task in performance . The variety of tasks of choral performance is not exhausted by the above. Musical metrics and text logic.
A big obstacle to the expressiveness of singing is the discrepancy between the logical stresses of words and metrical accents in music. Particularly, such a discrepancy is observed in couplet form. The result is a strange feeling of the native language, and the meaning is perceived with difficulty. In the Russian folk song And I am in the meadow, some lines of the text during performance are noticeably distinguished by a discrepancy between logical and metric stresses, sometimes excessively violating the aesthetics of modern correct pronunciation - I danced with a mosquito - I crushed the joints - I shouted to my mother, etc. This is often when performing folk songs.
The reason for this phenomenon in Russian and not only folk songs is clear 1. These songs were not intended for the stage. 2. The circle of their creators and performers was initially limited to the boundaries of the village, village, region, and therefore the words of the songs were familiar from childhood. Many songs were performed in motion, in work, in dance, which predetermined the supremacy of the musical meter.
Together, these and other conditions led to a certain style of performance, which, in principle, of course, should be preserved. However, the coincidence of stresses in words and music, as a rule, enhances the expressiveness of the word and image, while the mismatch weakens and erases the impression. Therefore, whenever possible, it is necessary to overcome the metrical discrepancy between words and music by performing means, more or less emphatically shifting the emphasis to the stress in the word. Another problem is related to extra stresses. The rules are as follows 1. There should not be more than one stress in a word. 2. In simple sentence there shouldn't be more than one stress word. 3. In interrogative sentences, the main stress falls on the interrogative word.
The next problem is the displacement of stresses on sustained sound. With an insensitive attitude to the word and the image that this word expresses, such a displacement happens quite often. It turns out in one word two stresses. This cannot be allowed.
dynamic contrasts. According to Stulova G.P., a feature of hearing that is important for understanding performance tasks is the relatively rapid depletion of the nervous energy of the auditory organ when receiving sound sensations that are uniform in strength and height. According to this aesthetic criteria for assessing the artistry of a performance, instrumental or vocal, is the variety and subtlety of nuance, the principle of dynamic contrast. The most vivid auditory impression is left by a performance rich in dynamic comparisons. The poverty of dynamics in vocal and choral performance is often associated with imperfect voice leading.
Everyone knows that it is more difficult to sing well quietly than to sing loudly, and thinning the sound of vocal crescendo and, especially, diminuendo- is a difficult task even for professionals. This is one of the main reasons for the performance of the whole work, and sometimes the entire program, in approximately one, the most convenient for most choristers, sonority. Different and deeper! the reason lies in the inexpressive figurative interpretation of the work, in the poverty of the creative imagination of the performers, and first of all, the conductor.
Dynamics is light and shadows in music. Miscellaneous images require different lighting. Even with imperfect voice formation, the dynamic palette will be impressive if the performers enter into the image of each word and the entire work and strive to express it in singing. Therefore, the main task of the conductor is to evoke in the choristers that feeling that requires the nuance p or pp, mf or ff! At the same time, the conductor must use the intensity of his gaze and gesture to demand from the choir the necessary sonority in order to help the singers through dynamic sensations enter the desired psychological state. If there is an understanding of the goal to make a dynamic picture of the performance live, the result will definitely affect the singing.
Here is one example of nuances coming from the images of the text D. Bortnyansky, op. M. Kheraskova Kohl is glorious. On this work, the skills of owning dynamics are perfectly practiced mp If our Lord is glorious in Zion with love - He cannot explain the language He is great in heaven on the throne solemnly - p In blades of grass on earth there is great contrast great in small mf - Everywhere, Lord, everywhere you are glorious glorification - In the days of sp - In the night - the contrast of day and night - The radiance is equal to mf You illuminate the mortals with the sun lightly and freely - p - You love, God, us, like children with quiet love- mf - You fill us with a meal freely Crescendo And build us a city in Zion. thanksgiving - sp - You visit sinners, O God, in peace - And you feed with your flesh pp - You visit sinners, God, prayerfully - And you feed with your flesh.
Developing a dynamic palette is especially challenging in verse form due to the repetition of the music.
We need a creative approach to the text. The pace of the soul of the work. The correct pace is the result of an accurate hit in psychological entity artistic image. Even a slight deviation from the only correct tempo changes the character of the music. The wrong tempo can lead to a musical caricature.
The reasons for the incorrect sense of tempo are the stage embodiment and poor self-control, an unfelt or misunderstood artistic image, poor physical well-being on the stage of the conductor or choristers, etc. . It is difficult, but with perfect evenness of movement, an amazing feeling of harmony and beauty arises.
If, for example, during the performance of M. Glinka's Passing Song or F. Schubert's Miller, the tempo is ragged, then the main thing in the musical artistic image will be the continuity of movement! Accuracy and evenness are two sides of the problem of movement in music. The third side is the volatility of pace. Music is not a metronome, very often the tempo breathes. In concert practice, there are often more or less noticeable discrepancies in tempo between the choir and the accompanist. This happens when the conductor seeks to emphasize the nature of the images by means of slight changes in tempo, but the accompanist did not notice or feel this.
The pace of the soul of the work. In accordance with this definition of L. Beethoven, to feel the tempo means to understand the soul of the musical image! The main thing that the conductor should concentrate on at the beginning of the performance is a sense of tempo. Influence of the psycho-emotional state on the quality of intonation. Pure intonation with the choir is one of the main problems for the choirmaster. But the majority is concerned only with the intonation of the pitch, while there is another, artistically no less significant and difficult problem, the intonation of a feeling, an artistic image! The intonation of feeling is connected with the timbre, with the dynamics and directly affects the pitch. The intonation of a capella works often encounters such a problem - the choirmaster does not have an instrument on which he could show the sound needed for a given chord in one port or another.
The tempered scale of the piano, even with the ideal tuning of the instrument, sometimes does not correspond artistic tasks psychologically subtle intonation.
The voice is a living instrument without temperament. Vocal intonation is regulated not only by hearing, but also by feeling, which can greatly sharpen auditory representations. It is no coincidence that a real artistic experience in singing and playing on untempered instruments violin, cello leads to more or less noticeable deviations from the main pitch, both towards a decrease in the interval, and towards its increase. With this approach, building intonation for any tempered instrument does not give a highly artistic result, as it prevents the free movement of feelings during intonation.
The simplest experience of free artistic intonation of a free system, associated with the psychological state, is the singing of major and minor triads with different emotional tones. With a sensitive performance of a funeral minor, with light sadness, decisive, etc., along with the timbre, the height of the 1st and 5th steps will more or less change.
In a major triad, the pitch of the 3rd degree varies. It's good when the choir intones freely, not being afraid of divergence from the piano, but, on the contrary, consciously moving into the field of sound psychology. This is quite accessible to both professionals and amateur singers as a result of an appropriate performance approach and training, since in musical practice we do not encounter an absolute point - the height of musical sounds, but with a sound zone - a band of sounds close to each other that have a known width, and the intervals differ many intonation shades, options. 17.p.54. An interesting illustration of what has been said is the opera by G. Enescu Oedipus Rex, where the composer indicated the requirement to intotone a quarter tone above or below the indicated sound with special signs above the notes.
Intonation of works with accompaniment. In this case, the same artistic-psychological approach to intonation is not only possible, but also necessary.
The possibility of such intonation is allowed by the sound zone of intonation, as well as by the peculiarity of singing vibrato, which sometimes has significant deviations from the main pitch. Apparently this is another reason why singing with vibrato is more expressive than without vibrato. In non-vibrate singing, the possibility of sensually figurative intonation is narrowed, since against the background of instrumental accompaniment, a sharpened intonation in the voice will sound false.
The modal sensation can acquire the colors of major major or minor minor. Surprisingly sensitive intonation follows the functional coloring of the chord. The same sound, even sustained, with a functional and modal change of harmony in the accompaniment, subtly reacts with changes in timbre and pitch. This is psychological intonation, since modal and harmonic changes in music are connected with feeling, with the psychology of the artistic image.
It leaves its mark on both melodic and harmonic modes of intonation. Timbre arrangement. The timbre of the voice, together with the height, dynamics and power of sound, is the main carrier of sensory content. The desire for timbre brilliance in singing is one of the main ways to expressiveness. The quality of the timbre determines the vibrato. The voice with vibrato is sensually meaningful. The appearance of vibrato is facilitated by musically expressive performance, the achievement of spiritual awe, vibrations of the strings of the soul. In academic choral and solo singing, there is a strong tendency to sing for the sake of the sound, not the image, to give voice, if only it sounds! This tendency makes the performance monotonous in terms of timbre.
Meanwhile, the production of the voice is not an end in itself. Vocal art allows any sound whispering, screaming, hard and aspirated attack, vibrationless singing, flat sound, etc. if it is required to create an artistic image! With all the severity of the criteria for academic vocal sounding, it is the word that dictates the timbre colors.
Unfortunately amateur choirs, often suffer from the monotony of timbre sound. The reasons are as follows: 1. Shortcomings in artistic work 2. Performance of a repertoire that does not correspond to the intellectual and artistic development of the choristers 3. Insufficient processing of voices 4. Vibrate singing 5. Dependence on age Solving these problems in an amateur choir opens up endless possibilities. Sound science is an indicator of figurative thinking.
Another reserve of expressiveness in singing is the use of various types of sound science. It will not be difficult for a conductor who thinks in artistic images to diversify and spiritualize the performance in this area as well. The more integral the work in terms of the nature of sound science, the more refreshing and decorating element will be the appearance of a different touch. The interpretation of images and the use of appropriate methods of sound science is a matter of taste and imagination of each artist's conductor. The problem is to tune in to the poetic, artistically figurative perception and expression of the word.
It's not quite simple task, because if dramatic actors working with the word are taught to sing competently, then choirmasters, who also work with the word, are not taught artistic singing. And the conductor must not only be able to read poetry expressively, but also teach amateur singers this, for singing is the same artistic reading, only even more expressive thanks to music! In the field of sound science, the choirmaster's arsenal is very rich.
Different types of accents dynamic, rhythmic, timbre different types of sound attack soft, hard, aspirated Legato and non Legato Staccato, Marcato all these touches in different combinations, made with different shades of softness and hardness, volume and speed, etc. - enliven, paint execution. They can be used in many couplet-form songs, not to mention romances and choral miniatures, where the connection between word and music is artistically deeper and more vivid.
The examples are countless. In a Russian folk song in a field, a birch stood after three verses with Legato sound leading, in the 4th verse in words and the fourth balalaika it is very natural to switch to singing non Legato, as if imitating the percussive nature of playing this instrument. In the song by B. Dvarionas to the verses of Salome Neris Sister blue Viliya, the thoughtful epic nature of the first two verses is replaced in the 3rd verse by the picture of the battle. Even without notes, it is clear that the nature of sound science must change here Legato p Flow, Vilnyale, to Viliya, Run with her to the Neman, Say we love the Motherland She is dearer to life Legato mp - We will return with victory herbs, mp - Wash clean with dew.
Staccato - Legato f - Let the roadside stones - Tell the Earth about us Marcato - How we cut down enemies How we drove them, pursuing Diminuendo - Legato mp - Hurry, sister Vilia On the azure path to the Neman, p - Say, freedom to people We are dearer to life than all of it Diminuendo - pp. The composer sometimes indicates in the choral score the main character of sound science or its fundamental change.
But basically, the figurative interpretation of sound delivery is the result of the conductor's creativity. Choir Ensemble. The types of choral ensemble are diverse: metro-rhythmic, intonation, harmonic, timbre, dynamic, agogic, diction, orthoepic. The most destructive effect on the artistic performance of any choir is the inconsistency in tempo-rhythm, primarily the non-simultaneity of introductions and withdrawals.
This kind of ensemble should be one of the first places in the rehearsal work. It is known that the choir, which is distinguished by tempo-rhythmic coherence, the absolute simultaneity of introductions and withdrawals, the flexibility of agogics, a single sense of tempo and also the experience of rhythm, produces favorable impression even with many shortcomings. Obviously, the reason is that the musical feeling is primarily a rhythmic feeling of the subway. Its accuracy gives a sense of harmony, dissonance is disharmonic, unpleasant.
The artistic interpretation of rhythm requires choristers to have a particularly subtle sense of the rhythmic ensemble. The performance of polyphony in a cappella often suffers from an imbalance in the sound of individual parts in relation to the whole. Reasons 1. Unequal staffing of choral parties in terms of the number and quality of voices. 2. Uncertain performance of the harmonic voice. Starting from the moment when the choir first sang in 2 voices, and then in 3-4 voices, the problem of the full embodiment of harmonic colors in the choral sound arises.
Harmony is an integral part of the psychology of a musical image. The flow and change of harmonic colors should be associated in the minds of the performers with the word, with the feeling. Most often, sopranos with the main melody dominate everything, because choristers are not accustomed to singing to dynamic ensemble sounds, i.e. don't listen to the whole choir! With unequal equipment of choral parts, the role of the conductor's management of the harmonic ensemble especially increases.
In the course of the performance, the conductor must hear the gaps in the chords and, with a look or gesture, help to equalize them, highlight the more important voice, strengthen the weaker one, create an artificial ensemble. For all the technical problems, the harmonic ensemble is much better where the performers feel the life of the harmony, and not just sing the chords. Formation. The choir sings a familiar and strange feeling well, you can admire the timbres, dynamics, and individual expressive moments of performance, but on the whole it is monotonous, boring. One of the main principles of shaping is maintaining interest in sound throughout the performance of the work.
The task of the performers is to combine the climax of the text and music. This goal will add up all the means of musical expressiveness of tempo, agogics, dynamic rises and falls, sound science, timbre colors, etc. In couplet form, as a rule, each couplet has its own climax. The task of the conductor is to find the most important one and highlight it by musical means. Techniques are varied fermata at the top of growing sonority, dynamic accents sf and sp, slowing down or turning off choral parts, tutti after solo, general pause, etc. The main thing is to have a sense of form, understand the task and strive for its implementation.
A classic example of the alignment of architectonics in couplet form is the performance of the song by M. Blanter The sun has disappeared behind the mountain. The main character of the image is created by the tempo, the main means of shaping the dynamics. The performance begins with a drum roll in the orchestra in the nuance of ppp. The chorus in the first verse begins pp. In the second verse, the choir has an increase in sonority from p to mf. The third verse from mf to f. Fourth - ff. When the last two lines of this verse are repeated, the sonority begins to decline, the echo and density of the orchestra's sound are removed.
The length of the song is not enough for a gradual fading, but the fifth verse is found to be the text of the second. Nuance in reverse order from mf to p. The sixth verse is a repetition of the first, fading from pp to ppp. creative solution the performance form creates an almost visible picture of a formation of soldiers with a song appearing from afar, approaching, as if passing by, and then again leaving into the distance.
Super task. In order to express the content of a work, one must first understand its main thoughts and be imbued with the feelings that brought this work to life. This is the main task of the work! Its expression is the super-task of execution.
In simple works, the main emotional content is often expressed unambiguously with love, sadly, tenderly. But even in these cases, the definition of the most important task is sometimes necessary. AT complex works the most important task has to be expressed in more detail, sometimes in the philosophical concepts of good and evil, life and death, etc. In such works, the question of the main mood of the music is not always unambiguous, since it often consists of contrasting images, creating, for example, light sadness with a tragic tinge , as in the choir of M. Partskhaladze Candles are crying, or tenderness, love and a premonition of eternal separation V. Gavrilin, Mom, or a prayer-confession, humility and repentance, suffering and healing of the soul J. Caccini, Ave Maria etc. The super-task must be clearly understood as the main, main, all-encompassing goal, attracting Stanislavsky's tasks without exception. The score intended for concert performance, to the last detail, is studied by the choirmaster at home. Along with the identification of technical difficulties and the choice of ways to overcome them, a figurative and performing analysis of the work is necessary.
In this regard, once again about the most important elements of performance that contribute to the emergence of a creative stage well-being of the life of the spirit on stage? Understanding beyond the task of work and performance? An expressive form of the architectonics of execution? Ease, naturalness of voice formation? Purity and psychological figurativeness of intonation? The richness of timbre colors in the depiction of various artistic images? A wealth of dynamic hues? Accuracy and flexibility of pace? Logic in the musical metric embodiment of words, the priority of the text? A variety of strokes and imagery of sound science? Creative well-being mood of the conductor and the choir? Compliance of facial expressions and plasticity of the conductor with the artistic image of the work? The correct ratio of sonorous singing voices and accompaniment instruments is in favor of the choir.
The specificity of choral performance lies primarily in the fact that the choirmaster always faces the difficult task of coordinating the individual artistic aspirations of the choir members and uniting their creative efforts into a single channel.
During the rehearsal period, the leader needs to convince the team of the expediency and truth of the interpretation of this work.
He is faced with the responsible task of arousing in each member of the choir a disposition to active participation in the creative process. The main goal of an amateur choral group is not to work for the audience, not in a stormy concert and performing activity, not in the desire to come closer to professional choirs at all costs, or even surpass them, but to satisfy the cultural needs of its members.
Therefore, in amateur performance, the educational side acquires paramount importance, connected primarily with the enlightenment of the members of the team themselves, where the limited component as a natural result of this process includes concert activity. Concert-performing activity is the most important part of the creative work of the choir.
It is the logical conclusion of all rehearsal and pedagogical processes. The public performance of the choir on the concert stage causes the performers a special psychological state, which is determined by emotional elation, excitement. Amateur artists experience genuine joy from contact with the world of artistic images, of which they are interpreters.
Each concert performance must be carefully thought out. The unsuccessful performance of the choir brings deep feelings to its participants. by the most complex view concert performance is an independent concert of the choir in one or two divisions. Such concerts in the chapel are called reporting. The concert program should be varied. This is achieved by selecting diverse works that are contrasting in artistic images, the nature of the musical material, the style of presentation, etc. The conductor's behavior on stage, his artistry, charm largely affect the success of the concert.
Concert and performance activities should be planned. The number of concert performances of the ensemble is determined by its artistic and creative capabilities, level performance skills, quality and quantity of the prepared repertoire. Too few concert performances is just as bad as too many. Each concert performance of the choir should be analyzed and discussed with the choir.
It is necessary to note the positive aspects, pay attention to the shortcomings in order to eliminate them in further concert and performing activities.
End of work -
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Acquisition of professional performing skills in an amateur choir
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Chapter 2. Development of vocal and choral skills in music lessons in elementary school.
The initial stage of work in music lessons using vocal and choral skills.
In modern methodological literature, in any paragraph relating to choral singing, one can find next revolutions:
Educational work.
musical work,
vocal and choral work,
Vocal and choral activity.
With a single exception (L. Shkolyar), the concepts of “work” and “activity” are not divorced in the manual, but in fact there is a huge difference in them. Especially when we are talking about an art lesson, where “there should be no rules and exercises abstracted from live music, requiring memorization and repeated repetitions” (D. Kabalevsky). In other words, "memorization" and "multiple repetitions", in other words, vocal and choral work, so separate schoolchildren from choral art and replace its comprehension with tedious and insensitive coaching, give rise to the formal. indifferent performance. which cannot be revived by any work on the creation of an artistic image.
It is possible to talk about full-fledged activity in an art lesson if “schoolchildren reproduce the very process of the birth of music, comprehend the artistic meaning of works as their own, and carry out a creative selection of funds. which, in their opinion. Most fully and accurately reveal the artistic intent of the work. At the same time, children penetrate into the very nature of musical creativity. Putting yourself in the place of a composer, performer, listener ”(L. Shkolyar). Of course, for a music teacher, it is not at all easy to help children reproduce the "process of the birth of music" and penetrate into the holy of holies - the origins of the art of singing.
Of course, first you need to try it yourself and only then give the students the opportunity to create, experience, comprehend, i.e. perform a piece of music. Always remembering that every child must “first hear the music in himself, ... and ... only when it is no longer possible to “sing” to himself, without breaking the melody, to sing for people without a false cry, without a hysterical strain, but in the way sounds a word torn out by life and voiced by the human heart” (V. Astafiev).
And there will be no need for endless repetitions and consolidation - the experience will leave a mark in the soul and awareness of the child, and, in memory, because “one can remember in music only what is understandable and emotionally felt” (D. Kabalevsky). And the student who feels, thinks, and hears understands what he wants to sing about, and perhaps his speech will not then be idle and empty. Perhaps both deeds and life itself will make sense. What is he...? Let each child search for himself.
The emphasis on music lessons in the system of mass musical upbringing and education should, in my opinion, be placed not so much on the acquisition theoretical knowledge, how much on solving the child's intonation-figurative baggage, developing his national response to music, forming a sustainable interest in musical art as part of the life around him. The main thing is not so much knowledge of music as immersion of children in the music itself, knowledge of the music itself. This is facilitated primarily by the performing activities of schoolchildren, the development of collective music-making skills - singing, playing musical instruments, plastic intoning, simple improvisations, and others.
Possession of the methodology for organizing various types of musical activities of students in a music lesson.
Vocal and choral work:
a) clarity of presentation of the goals and objectives of the singing activity of students, taking into account their age characteristics;
b) The expediency of selecting musical material for singing and learning, its artistic value;
c) The quality of the vocal display of the song repertoire;
d) the clarity of setting educational tasks for students and the ability to achieve their implementation;
e) Possession of working methods at various stages of learning a song (introductory, basic, final) and their correspondence to each of them;
f) Fixing the attention of students on their own singing and involving students in its analysis;
g) Possession of methods of working on the elements of vocal and choral technique (breathing, sound formation, sound science, system, ensemble, diction), artistic and expressive performance;
h) The expediency of the comments and methods used to correct the shortcomings of the choral sound;
i) The ability to teach schoolchildren to sing according to the conductor's hand, to anticipate possible inaccuracies and difficulties of performance with a gesture, to control the tempo, agogics, dynamics, phrasing, their strokes, etc.;
j) The ability to diagnose the levels of musical and singing development of students, analyze and evaluate the effectiveness of the choirmaster's work.
Chapter 1. Theoretical foundations of the organization of the choir at music lessons in elementary school.
Vocal and choral education. The concept of vocal and choral skills.
The musical education of junior schoolchildren is aimed at developing in children a holistic understanding of the art of music, at giving them basic key knowledge, skills and abilities of musical activity in a system that provides junior schoolchildren in their totality with a basis for further independent communication with musical art, for self-education and self-education.
The subject "Music" in elementary school has the following tasks:
* captivate with music, develop interest and love for music, the ability to appreciate its beauty, evoke a musical and aesthetic response to works, a sense of empathy with musical images, i.e. develop the emotional sphere of students;
* develop musical-figurative thinking, understanding the laws of art, perception of music, the ability to think about it in connection with life and other arts;
* develop creative musical abilities, practical skills in the process of performing, listening and composing music (improvisation), moving to music and its plastic intonation;
* develop musical and aesthetic taste and the need to communicate with musical masterpieces and musical self-education.
Methods and principles in working with a children's choir, as you know, have specifics. The main thing is that it is necessary to take into account the age of children, their interests. The responsiveness of the child's soul is so direct and unpredictable that it is simply unthinkable to go to a rehearsal with a children's choir, having some “ready-made recipes”, with an understanding of the psychological and physical characteristics of children, to be their teacher, educator and just a friend at the same time. It is extremely difficult for a conductor to find a form of communication with children in which vocal and choral tasks would be performed. Joy children's creativity unique and unrepeatable in nature. E.B. Abdulin identified three such stages in the study of a musical work:
1) acquaintance with a piece of music, its emotional and figurative perception; understanding from the point of view of the topic being studied;
2) more detailed analysis, the formation of musical and auditory representations, performing skills;
3) holistic, more complete than the initial perception of the work.
The indicated stages are inherently close to the three main types of music lessons:
a) lesson of introduction to the topic (the presence in the content of the lesson of the initial generalized characteristics of the new key knowledge);
b) lesson deepening the topic (the presence in the lesson new feature key knowledge);
c) a lesson on generalizing the topic (the presence in the lesson of a holistic, but already enriched, in comparison with the lesson of introducing the characteristics of key knowledge into the topic).
When listening, you should determine the quality of the voice (type, range), musical ear, sense of rhythm, musical memory, as well as find out musical training: knowledge of musical notation, possession of any musical instrument, experience of singing in a choir. There are various methods of listening to choir applicants. As a rule, the applicant is invited to perform some kind of vocal work; song, romance, aria. After that, the range of the voice, the type of voice (tenor, baritone, bass, etc.) is determined. On simple exercises, the quality of musical ear is determined. For example, it is proposed to repeat sounds of different heights after an instrument or voice within the middle segment of the incoming voice range, to repeat with a voice a simple construction of three to five sounds played on an instrument. If the applicant has a musical education or experience in singing in a choir, the exercises can be somewhat complicated. For example, an applicant is invited to determine by ear simple intervals in a melodic, and then in a harmonic form, to construct different intervals with a voice from a given sound. It is advisable to include chromatic constructions in listening.
Mastering the most diverse musical and singing knowledge, skills and abilities by each member of the choir contributes to the formation of choral culture, helps to master the singing voice, expressive artistic performance of songs and choral works. Individual singing development is the basis on which choral education is built, any children's or youth choir group is formed. This fundamentally distinguishes it from a professional adult choir.
The first condition for correct vocal and choral training is the emotional and aesthetic mood of the choir, i.e. the creation by the leader of a relaxed atmosphere that naturally combines hard work with exciting creativity, which activates the interest, curiosity of children, creates optimism and high efficiency. This attitude should be maintained throughout the lesson.
For the activity of the vocal apparatus, it is important to observe the singing installation, regardless of whether the children sing, sitting or standing. The rules of the singing installation are known to the leaders, and schoolchildren must observe them in the process of singing. They need to be reminded of this on a regular basis.
1. based on the development of musical ear,
2. accumulation of musical and auditory representations.
All vocal and choral work with children is based on the comprehensive development of musical and vocal hearing: melodic, harmonic, polyphonic modal, dynamic, timbre.
The main method of sound production when working with children, adolescents and youth should be a soft attack. Hard attack is unacceptable for young children. A solid attack is possible only sometimes, as a separate pictorial device. The use of a hard attack as a constant method of sound production disrupts the uniform work of breathing, negatively affects the work of the vocal cords.
Particular attention should be paid to work on the sound quality of a child's voice - the development of the basic properties of a singing timbre: sonority, flight, vibrato, intelligibility, evenness. It is important to remember that forced singing brings great harm to the singing voice of children. It prevents the development of its main properties, causes various disorders and diseases of the vocal apparatus. Forced, loud singing goes against the requirements of artistic performance.
Preserving the individuality of the sound of a child's voice in the classroom in the choir is of particular importance. As you know, a professional choir is required to merge the sound in its color, and not only in strength, intonation, formation, etc. Since the voices of the choir members are in one stage or another of formation, it is necessary to create conditions that would contribute to its maximum flourishing, and not leveling.
Individuality in children's voices in most cases is not clearly expressed. And if their singing development proceeds normally, the children do not sing with a forced sound, there is no nasal or throat overtone in their voices, then the individuality of the sound not only does not violate the general choral sound, but also enriches it. Removing great attention preservation of individual timbre, one should demand from the participants of the choir to merge not by timbre, but only by pitch intonation. The preservation of the individuality of the sound does not interfere with the development in the voice of properties that are objectively characteristic of the singing voice. Preserving the individuality of the sound of a healthy voice is one of the mandatory conditions its correct formation.
The essence of work on the sound quality of the student's voice in the process of working with the choir, in addition to the above, can be supplemented with the following: 1, a constant demonstration of the sound, in which the main singing properties would be present (a teacher's demonstration or a student's example);
It should be remembered that vocal skills are formed gradually and this is reflected in the quality of the voice timbre: sonority, flight, vibrato are objective indicators of the development of a singing voice, but also objective guidelines - signals that insist on the activity of the vocal apparatus.
All work should be built taking into account the age capabilities and individual characteristics of children. It must be emphasized that not only boys, but also girls need a special singing mutational regimen.
An important role in teaching good singing is played by singing without the accompaniment of an instrument (a cappella) and without the support of the teacher's voice. This form is specific to fore singing. Nominal singing without accompaniment, like no other type of musical activity, contributes to the development of musical ear, its different aspects. The need to constantly control one's own singing and the singing of one's comrades sharpens auditory attention and develops auditory self-control. It provides a cleaner and "sharper" intonation, contributes to the development of unity in the performance of rhythm, the pronunciation of a literary text, teaches children to understand the special beauty of the pure, perfect sound of human voices that make up the choir. Even though the singing a cappella- this is not only the highest form of choral art, but also its most organic, pure, natural manifestation, at the same time it is the most difficult type of choral performance.
Vocal and choral education occurs mainly in the work on musical works. With their perception and reproduction in the process of learning, the foundation of the singing culture of the choir members is laid. Under the influence of the work itself, the nature of work on it, depending on the personality of the teacher and his skill and other factors, special abilities are formed, attention, memory and other qualities of students are improved.
Educational and training material and exercises play an important role in vocal and choral work. They can be aimed at developing and consolidating any skills and abilities, any qualities. At the same time, it is important that they contain an "aesthetic grain", that they would not be "mechanistic". It is also advisable, in order to save time, to select and form educational and training material in such a way as to solve not only one educational problem, although the emphasis should be on the main thing. The exercises also include chanting. Their purpose: firstly, "warming up" the vocal apparatus at the beginning of the lesson, and secondly, solving the problems of vocal development of children "in its purest form" and concentrating their attention only on these tasks.
Along with the fact that learning works is to some extent possible by ear (this develops memory well and the ability to quickly navigate in a work), all greater value given to teaching children to read music. Very favorable for this younger age. Therefore, special attention should be paid to the staging of this case in the junior choir. The leader of the choir should thoroughly familiarize himself with the solfeggio program and rely on this course in his work.
All classes, especially at the first stage, must be subordinated main goal: to captivate children with choral singing, collective creativity, music itself. To achieve this goal, the creative atmosphere in the team is especially important. It is necessary to arouse interest in the song being learned, in its creators. It is very important to instill in children a love for the very process of singing together. Therefore, each rehearsal should be, first of all, an activity in which the leader tries in every possible way to create a team of like-minded people (music empathizers).
Work with the junior choir should be diversified in every possible way. For example, in addition to performing ordinary songs, kids can also perform a whole suite on one theme, or several songs connected by a literary text. You can also make a thematic musical and literary composition.
When teaching choral singing, it is also taken into account that the vocal apparatus and characteristics of the voice of a younger student also have their own characteristics, which the teacher must take into account in his work. Children's voices correspond approximately to the voices of the female choir. The difference lies in the width of the range (it is somewhat smaller), and also different in the nature of the sound. Children's voices are more "light", "silver" than women's. Soprano of the children's choir from "to" I octave - to "sol" II octave. Alto children's choir from "la" small to "re" II octave.
Children have a specific vocal apparatus (short and thin vocal cords, small lungs). High head sound, characteristic lightness, “silvery” timbre (especially for boys), but no timbre saturation are typical. Conventionally, children's voices in the choir can be divided into 3 groups, depending on age: the younger group, middle school students and the senior link. The younger children's group - from the youngest age to 10-11 years. False sound production. A rather small range, if at the maximum: up to the I octave - up to the II octave, or re I - re II octave. These are children of primary school age (grades 1-4). Small volume of sound. And moreover, there is no significant development between boys and girls. In the repertoire of such choirs, there are essentially 1-2 works. At this initial stage of choral education, professional singing skills are laid: intonation, vocal technique, ensemble.
Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. Many years of practice have proven that singing in childhood is not only not harmful, but also useful. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing contributes to the development of the vocal cords, respiratory and articulatory apparatus; Properly conducted singing strengthens the health of children.
A special place among the choirs is occupied by the boys' choir. Unfortunately, this traditional form of choral education is not in demand in the practice of mass musical education. AT general education schools there are practically no boys' choirs today.
This is largely due to the fact that music teachers at school do not have enough psychological and pedagogical knowledge of the history and theory of vocal and choral performance, the methodology for organizing vocal and choral work with the voices of boys, and singing is far from the most common occupation among them. Boys are often excluded from music. For many of them, nothing is more important than football, the computer or the street. In addition, boys often have an increased motor activity, "excessive" mobility, nervous excitability, defects in the development of speech. Boys take longer than girls to develop all mental functions, the mechanisms of speech, speech thinking, memory, social emotions, and control of voluntary movements. Boys are characterized by a strongly pronounced search and research activity, they are less disciplined, their interest in something quickly fades, especially if something does not work out. In boys, there is more often discoordination of hearing and voice, among them there are more "hooters" with a good ear for music.
According to psychologists' research, boys already in the preschool period suffer from social instability to a greater extent, they clearly lack positive emotions either at home or in kindergarten. If such a child is not taught sympathy, empathy, assistance, then he can grow up narcissistic, callous, limited. Classes in the boys' choir, due to the teacher's taking into account the characteristics of the development of boys, can largely contribute to improving the situation on these problems. That's why given form work is preferable in the practice of school music education.
Starting vocal- choral work with boys, the teacher must know well the characteristics of the voice of children and own the methodology for its development. He must be familiar with the basics of vocal work, the experience of the masters of vocal and choral art, special literature, compare different points of view, accumulate his own practical experience (as a choir singer, conductor, teacher) and on this basis manage the choir, love children, understand them problems and treat them with respect.
When selecting the most effective methods of vocal work with children, one should rely on the experience of progressive methodologists of the past and present. The most common and preferred in the practice of vocal and choral classes is the concentric method developed by M.I. Glinka. It allows you to strengthen the middle, middle sounds of the range, and then the upper and lower ones. Useful tips are also Complete school singing "A.V. Varlamov, allowing to bring up sonorous, silvery, gentle children's voices, to form a free, natural voice formation with an average sound strength, even from the first to the last note. An interesting technique I.P. Ponomarkov, built on taking into account the timbre features of a child's voice, singing exercises from top to bottom, evoking a natural, sonorous childish voice, individual approach to everyone who sings in the choir.
At the initial stage of work, the formation of vocal and choral skills of younger students should be given special attention, since these skills are the basis for the further musical development of the choir members. When organizing this work, it is important to use such methods of vocal education that will have a positive impact on personal and psychological development each participant and the establishment of organic relationships in the team.
At the initial stage of work, an important task of the teacher is to bring the choir to a common tone, i.e. unison production. At the beginning, the teacher's work in this direction should be focused on mastering the students' natural voice registers, starting with the register mode to which the child's natural inclinations are manifested. In the future, it is necessary to form the skill of conscious use by students of registers in the range corresponding to them. At the third stage, along with arbitrary switching, jumping from one register to another, it is necessary to form the ability to gradually and smoothly move from the falsetto register to the chest through the mixed one.
At the next stage, one should consolidate and improve the student's ability to arbitrarily use voice registers when singing. The development of the singing voice of children can be effective on the basis of correct singing, during which the correct singing skills should also be formed. The duration of each stage is determined differently, depending on how often the classes will be held, on the pedagogical impact, the student's susceptibility, his musical abilities. To solve all the problems described, it is not enough to use only a collective form of education; it must be combined with an individual form of work with children. In the collective teaching of singing, it would be more expedient to use all types of register sound in work. In addition to vocal skills, it is necessary to develop choral skills, which are formed in parallel with singing and influence each other.
Work on the formation of vocal and choral skills solves a number of educational opportunities. In the process of studying in the choir, students develop endurance, the ability to hear each other, a positive reaction to performance shortcomings, the removal of aggression, a sense of dignity, self-respect, patience.
The process of formation of vocal and choral skills in boys in the choir classes is based on a combination of general didactic and special methods. Among general didactic methods, preference is given to explanatory-illustrative and search methods. The special ones include: concentric, phonetic, the method of mental singing, comparative analysis. Each method represents a system of techniques united by common tasks and approaches to their solution. The use of a set of these methods and techniques should be focused on the development of the basic qualities of the singing voice of boys by stimulating, first of all, their auditory attention and activity, consciousness and independence. A special role in working with boys is played by the use of search situations and leading questions. They help the boys to find the appropriate performing techniques, take the initiative, which helps to develop thinking, show independence and be creative in the performance of works.
Thus, vocal and choral work in the process of extracurricular choral activities with boys should be based on the main provisions general methodology work with the choir. Its significance is determined by the need to educate all members of the choir with the correct and uniform skills of singing breathing, sound production, and the culture of singing sound. All elements of choral sonority and the level of artistic performance of choral works depend on the quality of vocal work.
The main task of the choirmaster-teacher in the classroom in the choir is to enrich the spiritual world of the boy who came to the choir. The teacher helps him to believe in his abilities not only as a singer, but also as an organizer and assistant. In addition to the choir, students also attend classes solo singing. They perform an auxiliary function to the choir class, since the sound quality of the choir depends on the individual sound of each chorister. The experience of many choirmasters working with boys shows that at a younger age they concentrate their attention to a greater extent not on auditory, but on visual impressions, and therefore they do not intotone well. The discovery by a child of his ability to correctly perform a melody along with other children changes the attitude of schoolchildren to singing for the better.
Classes with boys began with simple exercises, always in game form; the repertoire corresponded to their age and psychological characteristics, took into account their interest, and had an educational orientation. To identify positive dynamics in the formation of vocal and choral skills in working with first-graders in the choir classes, specially selected vocal and choral skills were used throughout the year. The following methods were chosen as the main methods that allow building the course of the choir lesson in accordance with the characteristics of the development of boys: game, competition, improvisation, comparison and evaluation, a combination of rehearsal work with concert practice, methods and techniques.
Under the methods of musical education (from the Greek means "methodos" as "the path to something") are understood certain actions of the teacher and students aimed at achieving the goal of musical education of younger students.
Of the general pedagogical methods, a group of methods is used:
a) according to the source of knowledge (practical, visual, verbal, work with a book, video method),
b) by purpose (acquisition of knowledge, formation of skills, application of knowledge, creative activity, consolidation, testing of knowledge, skills),
c) by nature cognitive activity(explanatory-illustrated, reproductive, heuristic, research, game),
d) for didactic purposes (methods that contribute to the initial assimilation of the material, consolidation and improvement of acquired knowledge).
Combining boys into a separate choir team allows for extracurricular choral work with maximum consideration of all the features of their development. It is very important that a boys' choir be organized in every school today, as choral singing has a number of obvious advantages from all activities. The song principle underlies the original warehouse of Russian national culture, and in our time it is really worth reviving the tradition of the existence of a boys' choir at school and not only.
The tasks of learning to singThe main requirement of the program is to teach the child expressive, sincere performance of simple songs that are understandable, interesting to him.
The artistic and pedagogical significance of singing is to help children correctly understand the content of musical images, master the necessary skills, and express their feelings in a relaxed, natural singing. For example, when performing a lullaby, emphasize caring, affection, tenderness, show
that the song calms down, helps to fall asleep, therefore, it must be performed quietly, hummingly, at a slow pace, even rhythm, gradually fading away. In the march, cheerfulness, striving, vivacity are needed. It should be sung loudly, clearly pronouncing the words, emphasizing the rhythm at a moderately fast pace. The child understands the meaning of these requirements, their purpose.
The main tasks in the process of classes are as follows: to form in children singing skills, skills that contribute to expressive performance;
to teach children to sing songs with the help of a teacher and on their own, accompanied and unaccompanied by an instrument, in the classroom and outside of them;
develop an ear for music, teaching you to distinguish between correct and incorrect singing, the height of sounds, their duration, the direction of movement of the melody, hear yourself while singing, notice and correct mistakes (auditory self-control);
develop the voice, forming a natural childish sound, strengthening and expanding the singing range, overcoming the monotonous "buzz" of low and inaccurate singing children;
to help the manifestation of creative abilities, the independent use of familiar songs in games, round dances, playing children's musical instruments.
All subsequent singing activities of the child largely depend on the correct organization of teaching singing in the classroom - in everyday life, on holidays, entertainment, which arose on his initiative or at the suggestion of adults in kindergarten and family.
Singing skills and abilities
In order to successfully solve problems, it is necessary to teach children skills and abilities, which include singing, vocal and choral skills.
Singing installation is the correct posture. While singing, children should sit straight, without raising their shoulders, without hunching over, leaning slightly on the back of a chair, which should correspond to the height of the child. Put your hands on your knees.
vocal skills- this is the interaction of sound production, breathing and diction. The inhalation should be quick, deep and silent, and the exhalation should be slow. Words are pronounced clearly and clearly. It is important to monitor the correct position of the tongue, lips, free movements of the lower jaw.
Choral Skills- this is the interaction of the ensemble and the system. Ensemble translated from French means "unity", i.e. the correct ratio of the strength and height of the choral sound, the development of unison and timbre. Build - it is precise, pure singing intonation.
Teaching vocal and choral skills to preschool children has a number of features.
sound production with the correct setting of the voice, it should be sonorous and light. However, one must take into account the imperfection of the child's voice, its rapid fatigue. Children can't take long
Table 5
Singing skills as a means of teaching expressive singing
Vocal and choral skills |
Age groups |
||||||
2nd junior |
preparatory for school |
||||||
vocal skills |
Expressive singing without tension, smoothly: |
||||||
sound production |
|
||||||
Light sound: |
Sing with a light moving sound: |
||||||
Take a breath between short musical phrases: |
Take a breath between musical phrases |
Take a breath before starting |
|||||
Pronounce words clearly |
Pronounce the words intelligibly, but correctly |
Pronounce words clearly |
Pronounce words clearly |
||||
Choral Skills |
|||||||
Build (purity of intonation) |
The same skill in all groups is to convey the melody correctly. But |
||||||
Ensemble (coherence) |
Sing without falling behind or ahead of each other |
Start and end the song together |
Start and end the song at the same time; sing moderately loud and softly |
Independently all together to start and end the song; sing, speeding up and slowing down: |
|||
|
|||||||
Note. The table (under the numbers 1-16) contains excerpts of the following songs for different age groups: |
sing in different paces amplifying and weakening the sound: |
||||||
and sing loudly. Toddlers sing "talk", they have no melodiousness. Older children can sing in a singsong voice, but sometimes show loudness and tension. Breathing in preschoolers is shallow and short, so they often take a breath in the middle of a word or musical phrase, thereby breaking the melody of the song.
Diction(clear pronunciation of words) is formed gradually. Many children have speech defects: burr, lisp, which take a long time to eliminate. The lack of clear and distinct diction makes singing languid and weak.
It's hard for children to sing in the ensemble. Often they are ahead of the overall sound or behind it, trying to outshout others. Ba-lyshi, for example, sing only the last words of phrases.
It is even more difficult for children to master the skill of harmonious singing - pure intonation. In this case, individual differences are especially noticeable. Only a few easily and accurately intonation, while most sing inaccurately, arbitrarily choosing intonation. You need to work on developing this skill.
Development of singing skills and abilities
Vocal and choral skills are acquired in the process of learning songs. Skills become more complex and change as more and more complex pieces are learned. This can be seen from table 5 (see p. 81), which shows the system of singing skills for children from 3 to 7 years old. Using the table, you can see how a particular vocal-choral skill becomes more complicated as it develops (horizontally) and what is the total amount of program requirements in each age group (vertically). Separate musical examples illustrate those parts of the melody where the use of appropriate skills is required.
By the end of the year, children should be able to:
2nd junior group - to sing with the help of a teacher and with musical accompaniment the simplest songs;
middle group - sing with and without instrumental accompaniment (the easiest songs);
senior group - sing with a teacher without musical accompaniment and independently, accompanied by an instrument; recall and sing the learned song; to distinguish by ear correct and incorrect singing; distinguish sounds by their height and duration; be able to maintain the correct posture while singing;
preparatory group - expressively perform familiar songs with and without accompaniment; recall and sing songs learned in previous groups; be able to sing collectively and individually, while maintaining the correct posture; listen to yourself and others while singing and correct mistakes; to distinguish between the movement of the melody up and down, long and short sounds; know the name of the notes (when using musical instruments - metal
backgrounds); have an idea that higher sounds are located above the note lines, and low ones are lower (a conditional graphic image - a "bird" - sits on the top line and sings high); improvise various onomatopoeia, chants based on acquired singing skills.
These requirements are important because musical education in the classroom takes place in an atmosphere of great enthusiasm, the process of learning songs and their subsequent performance seems to be uninterrupted and, as it were, not having accurately measured results, which take place, for example, when teaching counting, literacy. In addition, much of the musical educational work is designated only as a task. For example, the task of developing an ear for music is formulated in programs for young children. But as a certain result, as an acquired skill of distinguishing musical sounds according to their pitch, it is mentioned only in senior group. The teacher needs to establish what he taught the children in a year, which of the children did well in their musical development or, conversely, still find it difficult in something, whether the children can sing songs and which ones, etc. The result of pedagogical work should be consistently taken into account .
The program formulates individual knowledge and skills that do not yet have sufficient application in everyday practice, for example, songwriting. At the same time, the requirements for improving the preparation of children for education in primary school necessitate the development of these skills.
Preparation for learning to sing from music
A child of 6-7 years old is gradually preparing for singing from notes. This is a difficult task. It is complicated by the fact that a seven-year-old child must be able to correlate the height and duration of sounds perceived by the ear.
musical sounds with their musical representation. If at preschool age the child does not develop musical and sensory abilities that help him listen, compare, distinguish sounds, then learning at school will be difficult. The child must be brought closer to conditional graphic images (pictures, cards, circles-notes), using which he can visualize that a higher sound is depicted higher, that a wide card depicts a longer sound, and a narrow card depicts a short one, etc. e. In kindergarten, they are not yet introduced to the musical staff, but they are already learning to place circles-notes on it, to sing a scale with the names of sounds, etc.
Here are a few examples of songs, learning which children acquire skills: distinguish sounds by pitch and duration, determine the direction of the melody.
"Petushok", Russian folk song:
[Leisurely]
Children stretch out the last sound in each measure and note its duration (it sounds longer than the previous ones). "Mother's holiday", music by E. Tilicheeva:
[Live]
Children note that the melody is moving down. "May Song", music by E. Tilicheeva:
[with movement]
The melody moves first up and then down.
All these skills are also fixed when learning to play children's musical instruments and when learning musical and rhythmic movements.
To systematically and systematically bring children to these knowledge and skills, a methodological system has been developed, set out in the "Musical Primer", which will be described in the following paragraphs.
Song creativity
Development opportunity songwriting in children of preschool age, composers B. Asafiev, D. Kabalevsky, psychologist B. Teplov, musicians-teachers L. Barenboim, N. Vetlugina, K. Golovskaya, A. Khodkova are noted. It is known that, on their own initiative, even small children can vary any melodic turns from several sounds and, choosing one they like, sing it for a long time. These little improvisations represent aesthetic value and, most importantly, help the child to satisfy the need for music, to express their feelings. If lead creative process, then children receive more active musical development: they arbitrarily use singing intonations, learn song melodies faster, they develop auditory control over their performance, etc.
The singing program of the kindergarten preparatory group provides for the development of creative improvisations and singing. Children are offered a series of gradually becoming more difficult tasks. At first, these are self-invented singing intonations: imitation of the singing of a cuckoo, hooting in the forest, inventing roll calls ("Lena, where are you?" - "I'm here." - "What's your name?" - "Marina", etc. .), then more detailed musical questions and
answers and, finally, improvisation on a given text. Creative tasks in teaching singing take little time in the classroom, but require systematic exercises.
Thus, in the process of learning to sing:
the tasks of getting acquainted with a variety of songs that enrich the spiritual world of the child, encourage good feelings, aesthetic experiences, the formation of interests and the first manifestations of musical taste are being implemented;
vocal and choral skills are acquired, which gradually become more complicated from group to group and are associated with the complication of songs;
melodic ear is gradually improving, which creates the basis for further learning to sing from notes;
learning acquires a conscious, active character; children are introduced to the elements of musical literacy, they are given some information about musical terms, about the nature of the performance (singing, moving, jerky, slowly, quickly), about the form of the work (singal, chorus, introduction, phrase);
creative inclinations develop, enriching the personality as a whole;
familiar songs are used, learned in the classroom, holidays, entertainment, in independent activities, rhythmic movements, playing children's musical instruments, as well as in the classroom artistic reading, physical culture movements, drawing, on a walk, in games.
The singing training program contains the tasks of developing interest in singing, teaching singing skills, developing voice and hearing, as well as creative manifestations.
