Basic techniques for working with a choral ensemble. Section I

The ensemble as a musical organization is vocal group , united and organized by creative goals and objectives. The important principle here is the collective principle.

The ensemble is large in number of participants vocal group , consisting of ensemble parties. The basic basis of each ensemble part is unison , which assumes complete unity all vocal components of performance - sound production, intonation, timbre, dynamics, rhythm, diction. Thus, another component of the concept of ensemble is revealed - collective vocal unisons.

The singing of the ensemble is always expressed in various forms of music playing - unaccompanied (a cappella) And accompanied. Depending on the method of intonation in natural or tempered tunings, namely such sensations in ensemble intonation correspond to unaccompanied and accompanied singing, the role of “true and accurate” increases. intonation. Intonation and ensemble in a group are the main conditions for professionally competent work with an ensemble. A well-coordinated team is always perceived as a kind of vocal instrument like any musical instrument. But if a violin or cello is tuned first before playing, before rehearsal, and then during performance, the musician rarely influences the features and quality of the instrument’s tuning, and when playing, for example, the piano, he is simply not able to influence intonation, because it given, then the ensemble as vocal instrument consisting of living human voices, demands constant and systematic attention of the manager - from the moment the ensemble sings to the concert performance on the stage. The setting of the ensemble depends both on the skill and training of the singers participating in it, and on the personal and professional qualities of the leader, his will, knowledge, and experience. Setting up an ensemble always involves performing many different interrelated tasks - from organizing the singing process and educating (training) singers to building collective sonority with identifying problems of ensemble and structure. At the same time, important tasks in the process of building an ensemble are the creation of an ensemble of vocal unisons, pitch uniformity of sung sounds, timbral unity, that is, correctly organized vocal work with singers.

The last characteristic feature of ensemble performance lies in the organic combining musical and literary-poetic principles. The synthesis of these two types of arts brings specific features to ensemble creativity - a logical and meaningful combination of music and words not only defines such a concept as a “vocal genre”, but also allows us to talk about the features collective ensemble music playing. A good ensemble is always distinguished by technical and artistic-expressive performance, where, along with the problems of ensemble and structure, the problems of musical and literary interpretation are solved.

It should be noted that none of the properties listed above can exist in isolation. All components are closely interconnected and are in constant agreement.

The performing team can be characterized by the number of independent vocal parts , which is determined

concept type of ensemble. There are works for ensembles of various compositions - one-voice, two-voice, three-, four- and more. The principles of using divisi (separation) in vocal parts are associated with harmonic and timbre-color combinations of voices. Divisi saturates the vocal presentation harmonically, but noticeably weakens the power of the vocal voices.

It is believed that the main and quantitatively minimal structural unit of the ensemble is the vocal part. It is a coordinated ensemble of singers whose voices, in their general parameters, are relatively identical in range and timbre. It is from the vocal part (group of singers) that the construction of ensemble sonority in many aspects begins. The vocal part represents the initial object of the director’s work in establishing the ensemble and structure, and in the artistic decoration of the work. In this regard, a problem is discovered least amount singers (voices) in a vocal part - 3-4 singers, as well as their timbre and dynamic balance.

Theoretically, a homogeneous children's ensemble can consist of a minimum of 6 singers: 3 sopranos + 3 altos. An ensemble of approximately 24 people is considered more complete. In addition to enhancing the sonority of the parts, it is possible to divide each part into two groups: 6 first sopranos + 6; second soprano + 6; first altos + 6; second altos = 24 singers. The number of singers in the ensemble parts must be the same. An excessive increase in the size of the ensemble does not contribute to improving its performing qualities.

Since the leading form of ensemble performance is collective music playing, organizational work should be aimed at the ideological and aesthetic education of this team as a whole and its members individually. An extremely important point in the work of a director with a children's ensemble is his ability to teach children elementary theory, since without knowledge of the simplest rules of musical literacy it is impossible to fully conduct vocal work.

The leader of a children's ensemble must be able to clearly and clearly explain to the child the structure of the major and minor scales, the rhythmic organization of sounds, the features of musical notation, or any other topic. The structure of presentation of theoretical material should be simple, accessible and concise.

The leader, being demanding of himself as a musician and teacher, must pay great attention to organizational work in the team, constantly improving its forms. The leader of the group must be familiar with the latest musical and methodological literature. Head at the beginning of the school year draws up your work plan , where questions and tasks of musical-theoretical and vocal-singing development of students, methods of teaching musical disciplines should be provided. The team’s work plans indicate a pre-selected repertoire, the expected number of concert performances, trips, evenings, exams and other organizational and social educational events. If the plan is drawn up informally, it will serve as a guide and assistant in your work. Guided by the plan, the leader carefully prepares for the next lesson: he thinks through the teaching methodology and the way of presenting new material. The head maintains the closest ties with the class teachers. The creative contacts of teachers are mutually beneficial: the music teacher of a secondary school sends students with good voices to the ensemble, the director, in turn, helps the music teacher in selecting the repertoire for the school choir. Members of the vocal group should help in every possible way to develop the musical culture of their schools, bringing there their songs, experience, knowledge and skills.

Organizational work begins with admission to the ensemble, which is held annually. Admission can be announced in posters, wall posters that are hung in the premises of secondary schools in nearby areas. The announcement must contain complete information about admission: age of those admitted to the ensemble, time and days of audition, address of the ensemble. Organizing the selection of children into an ensemble is one of the necessary conditions for the normal functioning of a children's vocal group. What the leader has to deal with in this matter can ultimately become decisive in the entire future life of the ensemble. Conducting an audition of children and selecting them based on their vocal and auditory abilities does not yet mean creating a vocal group. Already for the first audition of children, the director must be well prepared and confident that the children will respond to his request to participate in the ensemble. You need to think in advance about interesting forms of rehearsal work, take care of the premises, repertoire and much more.

Announcement. The forms of organizing children into an ensemble can be different. This is a poster (announcement), hanging in a visible place and telling about the time and place of the audition; and a conversation between the leader and the children, both with the whole class and individually with individual children; a small concert, after which the leader talks about the team. There are many forms of campaigning; making the right choice is the leader’s concern. If earlier advertisements indicated the presence of an ear for music and a good voice as the main condition for admission to the group, now this is usually omitted, since the children themselves and their parents cannot always correctly assess musical abilities. In addition, we should proceed from the long-known position that all abilities develop. Admission to the ensemble is usually carried out in two rounds. In the first round, the director determines the condition of the vocal apparatus, the presence of musical hearing and voice, and musical memory. In the second round, the director carefully gets acquainted with the individual singing characteristics of the applicants. Students are immediately divided into votes (parties).

Listening. It is extremely important not to make the first audition of children an unbearably difficult exam, after which the children will lose the desire to sing in an ensemble. It is here that the important qualities of a leader should manifest themselves, creating a relaxed, calm atmosphere with their attention and disposition.

Typically, the test is carried out to determine the following characteristics of the singer: rhythm, memory, intonation, range, quality of the singing voice, emotionality, musicality.

First, the child is asked to sing a familiar song. During its performance, the correctness of the rhythmic pattern of the melody and intonation, and the clarity of pronunciation of the text are established. When checking the rhythm, simple, uncomplicated rhythmic grouping exercises are used, which the child is asked to tap or clap his hands. At the same time, when checking the sense of rhythm, memory is also checked, while in practice they use individual phrases of folk songs or melodies with different rhythmic groupings, which are played on an instrument (for example, piano). If it is clear that the child has sufficient abilities and can sing the melodic exercise after the first play, you should pay attention to it.

Testing singing data (intonation, range) usually begins on approximate tones with the help of small scale-tonally stable exercises. The chants chosen to test the range should be simple enough so that the child can quickly remember (learn) and reproduce them. Accurate intonation (or clear singing) indicates good hearing. Inaccurate intonation is most often caused by insufficient development of musical and auditory sensations in early childhood. Inaccurate intonation can be expressed in inconsistency between hearing and voice (that is, the “voice” does not obey the “ears”), in the lack of due attention when performing the desired sound, and, finally, in the inability to use different registers. The last reason, the most common, changes the impression for the worse even about children with good data. Sometimes it is enough to ask a child to sing a melody in a register that is convenient for him, bypassing transitional notes, and the impression of his vocal and intonation capabilities will be positive.

When determining the type of voice (soprano, alto) of a child enrolled in an ensemble, it is extremely important to follow the rule - pay attention to the timbre of the voice, and not to the range, since the color of the timbre and the natural sound of the voice in the middle, high and low tessitura will give a clear idea of ​​the type of voice . You should not rely on the size of the range, because children do not master the range that is provided for each individual voice group. When it is not possible to determine the voice type, singers are placed in groups of average voices for further adaptation. Subsequently, the director can conduct an additional study of the voice and determine the vocal group (party) of its location.

In determining the voice type of singers who have had active vocal practice, you can use the following listening rules: first, start listening to the voice in the middle tessitura; secondly, take into account the approximate scope of the ranges: first soprano - re first octave - beans second octave; soprano second -re first octave -re second octave; violas - B-flat small octave - salt first octave.

In this case, the color of the vocal sound (sound - thick, dark, light, soft, flying, strong, weak, with more or less overtones, etc.) will indicate that the voice belongs to a specific vocal part. When checking applicants to secondary

or an older group (11-15 years old), you can invite them to sing any song without accompaniment (optional) and repeat simple chants performed by the teacher on the instrument.

Young children (5-10 years old) can sing a short song using different sounds accompanied by an instrument, as well as a simple rhythmic pattern. Often, due to shyness, the child cannot sing anything at all or sings (“buzzes”) on one note. Such children should be enrolled in the ensemble conditionally so that, by establishing special observation over them (ask more often, correct intonation on the go), subsequently find out the reason for the stiffness. Studies have shown that sometimes false singing or “humming” is the result of a lack of interest in music in the family, inattention to intonation in music classes in kindergartens, a disease of the vocal apparatus - phonosthenia, the cure for which restores impaired coordination between hearing and voice and helps correct repetition sound heard by a child.

In the junior ensemble, it is recommended to distribute students into first and second voices. In the part of the first voices, children with light, sonorous voices sing, as well as those with poor intonation, with a range re -mi; in the part of the second voices - children with strong, ringing voices, with a range within the first octave.

All data on new entrants is recorded in a journal and in a special questionnaire-card, in which examination grades for ensemble, Solfeggio, vocal and piano (if there is a teacher) will be given twice a year, as well as changes in vocal and auditory development that have occurred will be noted. as a result of training. The journal records the applicant's last name, first name, age, home address, telephone number, school number, class, shift, and also indicates whether the child is involved in music, as well as in other artistic or sports clubs.

The forms and order of listening can be very different, but it should be remembered that ultimately the impression should be comprehensive, so it is advisable not to omit a single section when checking.

In the very first days of organizing a vocal group, Parent meeting , at which the director introduces parents to the educational, pedagogical and artistic-performing tasks of the ensemble, the conditions and schedule of classes, the long-term plan for concert activities and cultural and educational events. A parent committee is selected that will provide assistance in resolving a number of organizational issues. At the beginning of the school year and periodically throughout the year, it is necessary to invite phoniatrist to examine the vocal apparatus of newly admitted children and to monitor the development of their voices during the learning process. In the very first days of organizing a collective, you should choose from the most active members of the choir prefects , consisting of the headman of the entire ensemble, his deputy, the headmen of individual vocal parties and their deputies. Their social function includes working to strengthen discipline in the ensemble, preparing the premises and musical material for classes, and actively participating in organizing meetings and “cabbages.”

Periodically, the collective holds meetings of all ensemble members. Meetings discuss current problems, issues of discipline and relationships, and conduct creative reports and conversations. Meetings should be held at least four times a year.

During the winter holidays, relaxation evenings can be organized for team members, at which, in addition to amateur performances, mass dances and quizzes are held.

The director of the ensemble must maintain close contact with parents, involve them in all possible assistance (accompany the ensemble

for concerts and recordings, help in organizing evenings, summer holidays in the camp, in holding social and cultural events, etc.).

The formation of vocal groups should be carried out taking into account the age and individual characteristics of children: 5-10 years old - junior ensemble; 10-12 years old - medium ensemble; 12-16 years old - senior ensemble.

The issue of transferring students from one group to another should be decided individually, since the development of children depends on the musical abilities with which they came to the group. In this regard, children with weak auditory orientation can be kept in the junior ensemble longer, and vice versa, the transfer to the middle or senior ensembles of children with pronounced musical abilities and a good voice should not be delayed. However, one must be wary of prematurely transferring children under 11 years of age to a senior ensemble, since a heavy singing load beyond their age can have a detrimental effect on fragile vocal cords.

The groups of the new intake study the first half of the year according to a separate curriculum: students master singing skills, study musical literacy, learn songs, and get acquainted with individual works from the repertoire of the main groups. Having received a certain musical and singing training, students of these groups are transferred to the main composition of the junior and middle ensembles

In addition to vocal groups, a solo singing group should be organized, where work will be carried out with children with pronounced vocal abilities (learning solo parts, choruses in repertoire works). In the same group, you can prepare children who want to enter the vocal departments of music schools. It is also advisable to create a vocational guidance group of the most musically capable students. Her tasks include training in musical theoretical subjects: music theory, solfeggio and conducting for admission to the conducting and choral department of universities. And, as already mentioned, it is good to organize a group to teach children the piano.

When planning the work of the team as a whole, you should take into account the school workload of students and, accordingly, build a schedule that is convenient for everyone.

One of the important tasks of organizational work in the ensemble is creating optimal conditions for his studies generally. For a vocal group, given the presence of different groups in it, it is advisable to have a large hall and at least two or three spacious, bright rooms for practice. Each room should have a well-tuned instrument, a sufficient number of chairs arranged in a semicircle, boards with musical rulers, chalk, pointers, a closet in which sheet music, magazines and methodological literature are stored. It is very useful to purchase an audio-video system, a camera and other technical equipment that helps in the work.

The room can be equipped with stands on which a wall newspaper, information about musical news, notes about performances, and various announcements are displayed. It is advisable to decorate the room with posters, portraits of composers, hang beautiful curtains, and place flowers.

The ensemble should be arranged in a semicircle according to height in two or three rows. The most common placement scheme: in the center are the leading voices - the first sopranos and first altos, on the edges on the left - the second sopranos, on the right - the second altos. There may be other patterns: voices gradually rise from right to left; distributed in quartets (one from each party). Experienced ensemble members should be placed at the edges of the parts, and those who are not confident in singing should be placed in the middle.

It is recommended that chanting, and sometimes rehearsing finished works, be done while standing. Singing while standing brings the children closer to the feeling of performing on the stage. The leader should be in the center in front of the ensemble so that everyone singing can see him. The piano is installed on the right or left side in front of the ensemble. Constant attention should be paid to education external and internal discipline of students. External discipline provides for decent behavior in everyday life, a responsible attitude towards school and ensemble activities, towards social activities, a neat appearance, and a moderate attitude towards fashion. Internal discipline includes self-education, which means cultivating will, determination, perseverance in achieving assigned tasks, and the ability to renounce personal interests for the sake of the interests of the team.

The director of the ensemble, through his impeccable behavior and dedicated work, must win the authority, love and respect of students and serve as a clear example to follow.

Municipal budgetary educational institution for additional education of children

"LYANTORSKAYA CHILDREN'S SCHOOL OF ARTS No. 2"

REPORT

on the topic: “Work on the development of vocal ensemble skills in a junior school ensemble, as an integral part in the formation of professional competence of a young vocalist”

year 2013

Content

Introduction………………………………………………………………………………….3

Exercises for developing vocal ensemble skills………………………………………………………………………………….5

Warm-up 1………………………………………………………………………………6

Warm-up 2…………………………………………………………………………………7

Vocal exercises……………………………………………………9

Developmental techniques…………………………………………………………….11

Principles for selecting repertoire………………………………………………………14

Work on the repertoire……………………………………………………………….15

Conclusion……………………………………………………………………………...17

List of used literature………………………………………………..18

Introduction

Working with a vocal ensemble, as a creative team, is based on the achievements of many sciences: musicology and aesthetics, psychology and pedagogy. With the development of musical culture and the increased interest of the listening audience, the attitude towards the creative work changes. New methodological views and techniques are emerging that reflect the understanding of the traditions of vocal and choral experience, because The theory and practice of working with a vocal ensemble are inseparable from the basic techniques of working with a choir.

The tasks of the subject “Vocal Ensemble” are directly related to such subjects as solfeggio, solo singing and directly follow from them. The main tasks of a vocal ensemble include the formation of ensemble singing skills, the development of artistic taste and understanding of the style of the works performed, their form and content, the expansion of musical horizons, the development of auditory self-control skills, the ability to hear and interpret one’s part as part of a jointly performed work. In the process of training, you develop demands on yourself and acquire stage behavior skills.

The musical-performing process in an ensemble presupposes that its participants master a system of special musical-theoretical, vocal-ensemble knowledge, skills and abilities, the application of which is inextricably linked with the theory and practice of musical performance.

The basic principles of individual work with a vocal ensemble are laid down and implemented as a result of a certain vocal organization headed by a director (leader). His communication with the singers in the ensemble is multifaceted. During rehearsals, concerts, studio recordings, on radio and television, ensemble members must follow all instructions from the leader, strictly following the established work schedule. In interpersonal communication, experience of emotional and creative contacts is gained on the basis of mutual interest and friendly attitude towards each other. And the leader of the vocal ensemble himself must make certain demands on himself, since the profession itself is multifunctional: it is a psychologist, vocalist, teacher, organizer, and ideological inspirer.

Vocal ensembles in an art school should, if possible, be formed from students of approximately the same level of musical theoretical training and preferably of the same age and from the same vocal school. By following these rules, it is easier to achieve a “natural” ensemble in sound production, intonation and manner of performance.

Singing in an ensemble is the emotional and psychological return of each singer. It is necessary to create a creative atmosphere in the classroom. Encouraging early success helps to liberate students. Existence in an ensemble is collective creativity. The most important thing is to find a common musical language (terminology that everyone understands, so that everyone understands each other perfectly).

At the beginning of each lesson, it is necessary to mobilize the attention of students, instill in them a feeling of cheerfulness and faith in their abilities. A few preliminary questions regarding their well-being, and the friendly appearance of the teacher starting work usually contribute to a good mood. The absent-mindedness of students during the lesson indicates either their fatigue from intense attention, or that the teacher’s methodological instructions are not presented in a lively and interesting enough way, and perhaps not entirely clearly. In this case, you need to try to change tactics, or better yet, switch the students’ attention to another type of activity, for example, play some kind of game.

It is necessary to teach students to sing from notes and gradually adapt to the ensemble score. In addition to the skill of reading notes, the problems of melodic and harmonic intonation must be solved in parallel.

The synchronicity of performance depends on the individual elaboration of the poetic text (emphasis, meaning, articulation). The use of syllabic improvisation (“scat”), on the one hand, emphasizes the instrumentality of jazz vocals, and on the other hand, can serve as one of the methods of working on rhythm, intonation and achieving a unified manner of sound production. In order to achieve synchronized pronunciation, it is necessary, at the initial stage of learning a piece, to pronounce the text at different tempos, clapping the rhythm and achieving a uniform manner of pronunciation.

It is important for students to understand the external effect. These are issues of behavior, communication with others, attitude towards classes, the teacher and the knowledge gained. This also includes issues of appearance on stage and internal psychological preparation for creative expression. For self-confidence, you can use various autogenic attitudes and psychological trainings.

Exercises for the development of vocal ensemble skills.

Various exercises have always been used in the pedagogical practice of vocal schools. They are necessary for developing singing skills and mastering the elements of singing skill. To turn the voice into an obedient instrument, systematic work on the precision of coordination of all parts of the vocal apparatus is necessary.

It is important to carefully select and correctly use exercises that have a specific focus. At the initial stage, you should pay attention to the correct formation of sound, the elimination of vocal deficiencies, and the development of vocal technique. All together this is called voice production.

As a rule, it is better to start a lesson with a short warm-up, which will help singers relieve internal tension, feel psychological and physical relaxation, and also prepare the vocal apparatus for singing.

Warm-up 1.

To relieve tension from internal and external muscles:

a) Count by four: inhale - head down, hold - head straight, up, straight, exhale - head down.

b) Count by four: turn the head to the right, left.

c) Count by four: put your head on your shoulders.

d) Count by four: a smooth turn from shoulder to shoulder, from left to right and back.

2. To develop lateral vision:

Count by eight: eyes look up, down, right, left. The vocalist's task is to see the objects around him.

To wet and soften the vocal cords:

Count by four:

a) “Sword” - pricking each cheek with the tip of the tongue;

b) Chewing the tongue (accumulating saliva and swallowing);

c) “The horse is running” - clicking the tongue;

d) “Teasing monkey” - movements of the tongue back and forth, touching the upper lip;

e) “Chatter” - movements of the tongue from side to side, while the mouth is open.

4. Cleaning the nasopharyngeal system:

Count by four:

a) Inhale - run your index finger from the base of the nostril to the upper sinuses, exhale - lightly hit the wings of the nose with your index fingers;

b) “Smelling a flower” - inhale - draw in air through your nose, exhale - “Ah!”

5. To prepare the respiratory system:

Count by four:

a) “Inflate the balloon” - we slowly inhale the air, spread our palms to the sides, the balloon deflates to the sound ssss - we connect our palms;

b) “The plane is taking off” - to the sound ooo-oo;

c) “Snake or the noise of the forest” - to the sound sh-sh-sh, increasing or weakening the sound;

d) “The cicada chirps” - dosed exhalation;

e) “Start the motorcycle” - rrrr.

e) “An annoying fly” - the fly itches as if moving away and approaching.

6. Tongue twisters should be spoken at a given pace, gradually speeding it up. You can come up with simple movements for some tongue twisters, only such that they do not interfere, but help in pronunciation.

Tongue Twisters:

a) Sasha walked along the highway and sucked on a dryer.

b) The golden-tailed duck dived and surfaced, surfaced and dived.

c) Three magpies were chattering on the hill.

d) The nanny washed Mila with soap,

Mila didn't like soap.

But Mila didn’t whine,

Mila is great!

e) The gourmet lapped the milk, lapped it, but did not latch it.

e) Tell us about your purchases. What about purchases?

About shopping, about shopping, about my shopping.

g) Forty forty ate cheese,

The rhinoceros brought the horn to the doorstep.

“Why did he come?” - the chatterers shout, -

“He’s not enough for a tongue twister!”

h) The king saved a penny for his crown,

Yes, instead of a crown I bought a cow.

And this king was saving for a cow,

Yes, instead of a cow, I bought a crown.

Warm-up 2.

For breathing:

a) Slow inhale (3-6 sec.), hold (3-6 sec.), exhale (3-6 sec.), hold (3-6 sec.), exhale (3-6 sec.);

b) Inhale slowly, hold for a moment, and then very loudly (but without shouting), with an expression, rather slowly, placing emphasis on each syllable, read the poem:

Na-sha Ta-nya is crying loudly.

U-ro-ni-la in the river-ku ball,

Hush, hush, don't cry,

Don't drown the ball in the river!

c) The “long talker” is also one of the breathing exercises. Take a deep breath, hold your breath and say slowly:

Like on a hill, on a hill

Twenty-two Yegorkas stood up:

One Egorka, two Egorkas, three Egorkas - etc.

Such long breathing will not appear immediately, but with constant training you can achieve reading at least 22 “Egorok” on one exhalation.

Exercises aimed at developing the articulation apparatus and pronunciation.

Clear diction is an indispensable condition for an artist’s successful performance on stage. For a vocalist, working on articulation is of particular importance because it affects the strength of the voice, its delivery and sound quality. It is better to perform lip and tongue exercises in front of a mirror.

a) Count by two: “one” - stretch out your lips, “two” - turn into a wide smile. Repeat the exercise at least 10 times.

b) Fold your lips into a tube - proboscis, firmly fixing the position, move the “proboscis” left and right. The cheeks should be motionless. This does not happen right away, so at first you can hold them with your palms.

c) In the position of the previous exercise, move the “proboscis” up and down.

3. exercise from warm-up 1, point 3 b).

4. exercise from warm-up 1, point 3 a).

5. “Sword 2” - rest the tip of your tongue on your upper lip, then on your lower lip.

When working on exercises, it is necessary to cultivate in students a conscious attitude towards the formation of sound, and the acquisition and fixation of singing skills. Students must know why this or that exercise is given and how to achieve the set vocal and technical goal.

In the process of working on exercises, two points are important:

2. practicing certain singing skills.

For the first stage - chanting, bringing the muscular system into a state of singing readiness - two or three exercises are enough.

The second stage is longer. It is associated with the technique of forming sound quality, the development of various elements of singing, hearing, and musical skills.

Vocal exercises.

A few words about singing breathing. It should be noted that excessive attention to it makes it difficult to control the very quality of the sound of the voice and intonation. Therefore, it is better not to focus the attention of students in the ensemble too much on the breathing process, while at the same time avoiding violations of it, such as: raising the shoulders, stretching the abdomen, excessive movements of the chest and especially excessive breathing, as well as “breathless singing.”

Breathing as a technique in the ensemble needs to be given special attention. Team members must be able to use chain breathing, and this is quite difficult. At first, the guys can simply agree among themselves where, when and which of them takes their breath, and this should be done only within the party, i.e. sopranos agree among themselves, altos among themselves, etc. This is done in order to all the voices of the ensemble sounded without interruption. Later, students will learn to feel each other and will take the breath intuitively.

Filing is the constant strengthening or weakening of the sonority of one tone. The ability to master, that is, master all gradations of sound strength, is a sign of a good vocal school. This is a rather complex technique and it is simply necessary to work on it, since thinning is directly related to chain breathing.

The cantilena is closely related to the singing breath, the support of sound. Any intervention in the breathing process outside of work on sound quality is not only useless, but can lead to negative results.

The correct position of the body, the state of singing preparation precedes inhalation. It should be light and silent. The attack is soft but precise. At the beginning of training, breathing should be resumed more often. Singing “breathlessly” is no less harmful than hyperventilating.

It is very important to develop in students a sense of correct singing position. It is almost impossible to correct the position, but you can cultivate a sense of tight control over the sound. Ask to mentally track the altitude and take the sound from above.

Alternating staccato and legato is useful. Staccato gives a feeling of closeness of sound, greater accuracy of hitting the position. In addition, combining different types of staccato and legato helps to feel the support of the sound.

It is also very important in an ensemble to avoid variations in the sound of vowels. It is necessary that students maintain the same singing setting for all vowels, replacing them carefully, without disturbing the general position. That is, they sang in a “single mouth position.”

The development of singing vibrato is also important. It is formed due to periodic displacement of the larynx. The lack of vibrato makes the voice “lifeless” and the timbre unsinging. You can work on developing vibrato with almost any exercise, but at the initial stage it is better to “swing” the sound on one long sound, helping yourself with your hands.

The combination of fast and slow tempos helps to master the evenness of the sound. At a fast pace, the voice does not seem to have time to reveal its shortcomings. Exercises at a fast pace are especially useful in combating the “swinging” of sound, i.e. excessive vibration. An exercise sung at a fast tempo will sound smoother; if repeated slowly, it will maintain the smoothness of the sound.

Unfortunately, even today the support of sound or the interaction of ligaments and breathing in attempts to explain their essence have different interpretations among vocal teachers, mainly due to the individual properties and sensations of the singer, manifested in the process of breathing.

In teaching practice, supported sound has a fairly clear and definite concept: it is an energetic, collected, colored sound that easily carries into the audience. In contrast, the unfinished sound is sluggish, pale, scattered, without proper coloring, without content. A well-supported sound seems to us to be the result of the harmonious, coordinated work of all parts of the vocal apparatus, controlled and regulated by the will of the singer.

Motif is the smallest semantic unit of music. Phrases are made up of motives. Each phrase has the most expressive reference sound. The reference sound is stable, strong, dense. It is useful to sing support exercises with squats on the support sound - “squat”.

Special talk about rhythm. Along with melody, rhythm is considered one of the main expressive elements of music. Rhythm has an extraordinary effect on listeners, it unites and fascinates.

The singer should feel the rhythmic pulsation. It is necessary to do rhythmic exercises. It’s convenient to work with a metronome; you can tap your foot or clap your hands, gradually connecting them together (claps, stamps).

Diction is a means of conveying the content of a work, expressed in a verbal text, and one of the most important means of artistic expressiveness in revealing a musical image. The main rule of diction: complete release of the articulatory apparatus from tension. The ease, expediency and economy of movements of the speech organs, their subordination with the work of the respiratory organs and resonators are a reliable condition for correct diction.

Of course, in ensemble classes, polyphonic exercises and canons, possibly combined with diction, occupy an important place. Each teacher must select these exercises himself depending on the training and level of the ensemble.

Developmental techniques.

As mentioned above, the ensemble should be formed from students of approximately the same level of musical training and age. The main reason for this is not only the results of the team, but also the psychological aspect. After all, a good, sung ensemble will only come from a friendly team, and a friendly team will only come from equal children. Often students communicate with each other only during the lesson, so the use of various developmental techniques, such as games, is very useful. Play is the leading type of child activity. She is familiar to him, close, and in a state of play he feels calm and comfortable. The game is an effective way to introduce and make friends with children.

An example for young children. Development of fantasy and tempo-rhythm.

The teacher reads a nursery rhyme, the children move in the rhythm specified by the nursery rhyme. As soon as the teacher ends the nursery rhyme, or it ends on its own, the children freeze, further justifying their pose in terms of the plot of the nursery rhyme.

Such techniques are very good to use during a lesson as a rest. Sometimes it is useful to switch students’ attention to another type of activity, to give them the opportunity to move, so that they can then return to fruitful work with renewed vigor.

The following exercises are taken from acting and stage movement training. This allows you to “kill two birds with one stone” - relax and do what the artists need.

1. Tempo-rhythm exercise.

The setting is given that the slowest tempo is the first, the fastest, for example, the tenth (at the request of the leader). Students must move at a pace set by the leader, and they must move in the circumstances suggested by the leader (for example, it’s hot, slippery, raining, strong wind, etc.). Each participant chooses the time and place of action, that is, where I am, what I’m wearing, what’s happening, why I’m moving like that. The presenter can stop any participant and ask who he is, where he is, etc.

2. Exercise “Fairy Tale”.

Participants sit in a semicircle. One of them begins to tell a story until he is interrupted. As soon as this happens, the next one continues the tale, but does not start a new tale.

3. "Cat".

All participants are cats and cats. The presenter tells what the animals should do, e.g.:

The cat is sleeping (everyone is sleeping), an annoying fly is bothering her, she smells something tasty, etc.

Coordination exercises.

1. “Palms” - one palm is open, but the fingers are together (pressed against each other), the other - the fingers are apart. Clench both palms into fists, then open them, but each palm is now in the position in which the neighboring one was previously. Open - squeeze - open - squeeze, etc. increasing the pace.

2. "Sail" - hand movements: one on the count of 1, 2, 3...12 for each beat, without pauses, performs movements - forward - to the side - bend at the elbow in the same position so that the hand touches the shoulder - lower along the body. Second on the same count without pauses - forward - bend at the elbow so that the hand touches the shoulder - lower.

Leg movements: the legs take steps forward to the same count of 1, 3, 5, 7, 9, a beat of 11 - put your foot down. When the counting begins again, the legs take steps back according to a similar principle, placing the leg on 11 (then a forward movement will follow, etc.).

Simultaneously with the movements of the arms and legs, we recite the poems of M.Yu. Lermontov “Sail”:

The lonely sail turns white

In the blue sea fog.

What is he looking for in a distant land?

What did he throw in his native land?

The waves are playing, the wind is whistling,

And the mast bends and creaks;

Alas, he is not looking for happiness

And he’s not running out of happiness!

Below him is a stream of lighter azure,

Above him is a golden ray of sun...

And he, the rebellious one, asks for a storm,

As if there is peace in the storms!

3. "Aquarium" - people are the inhabitants of the aquarium (algae, fish). Act according to the instructions of the leader I am an algae in the proposed circumstances, for example: an aquarium at night, interaction with fish.

4. “Running” + “Knocks.” “Running”: size 4 quarters (4 measures) legs perform movements through a jump: first one leg goes to the side, then the other, landing on the heel: 1st beat - the position of the legs changes every quarter, 2nd and 3rd beats - every eighth, 4th beat - a quarter. Hands in girls bent at the elbows and moving like a clock, now to the right, now to the left; in boys bent at the elbows and placed behind the top of the head, either the right hand or the left: 1 beat - on every eighth, 2 and 3 beats - on every quarter, 4 - on the eighth.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Hands \\ \\ \\ \\ \ \ \ \ \ \ \ \ \\ \\ \\ \\

Legs \ \ \ \ \\ \\ \\ \\ \\ \\ \\ \\ \ \ \ \

This exercise can be combined with the following “Knocks”. The count is 4 quarters (two measures). Hands Russian folk movements are performed: 1 - open, 2 - close, 3 - open, 4 - close, 1 - open, 2 - close, 3, 4 - on the belt. With your feet stamps are made through a small jump: 1 - forward, 2 - backward, 3 - left, 4 - right, 1 - forward, 2 - backward, 3 - jump (without stamping) to the left, to the right every eighth, 4 - jump to the center.

5. “Cross stitches”. Size 4 quarters (4 measures). Hands clap hands and

knees: 1,2,3 - for every eighth in clap, on knees, 4 - clap, 1,2 - for every eighth in clap, by count, 3,4 - clap, pause. These two measures are repeated. Legs perform steps for each quarter 1,2,3, for 4 - jump - feet shoulder-width apart, 1,2 - steps, 3 - cross your right leg, 4 - turn in the opposite direction. These two measures are repeated in the opposite direction.

Principles of repertoire selection.

For the successful work of a vocal ensemble, a correctly selected repertoire is of great importance, on which the interest of all participants, and sometimes the very existence of the vocal ensemble, depends. The repertoire must meet the objectives of the musical and artistic education of the ensemble and at the same time must be accessible to it in terms of vocal, technical and performance level. The repertoire must include works that are diverse in form, genre, and content. When choosing a work, the following parameters must also be taken into account: the number of voices, their tessitura conditions, intonation, rhythmic, dynamic difficulties, the presence of accompaniment.

Careful selection of the repertoire from the point of view of its artistic value, compliance with the performing level of the vocal ensemble and pedagogical expediency is the key to creative growth and aesthetic education of students.

Work on the repertoire.

When starting to work on an artistic repertoire, you must first find out whether this work is familiar to the students. But even if the answer is positive, it is necessary to carefully study the music and verbal text. Most often, it is precisely those works that are “by ear” that are more difficult to learn without errors. Usually they are “contaminated” with many inaccuracies, from which it is not so easy to get rid of them.

If the work is completely unfamiliar to the students, they need to listen to it and get an idea of ​​it as a whole. It is important that the child “grasps” the main idea of ​​the work, its character, mood, style.

Having become familiar with the work as a whole, you should study the poetic text in more detail, temporarily separating it from the music, so that the meaning of the poem is not lost, so that the music does not “drown out” its beauty. For, together with music, the text ceases to be perceived as an independent aesthetic value and is refracted only through music, although ultimately it is in this synthesis that it must reach the listener. You need to read the text, understand its structure, and expressively recite it out loud. Correct, expressive reading of the text, correct accents, highlighting the main words, clear pronunciation of stressed and mixed vowels - all this should find its place in the subsequent performance of the work.

The musical text should also be analyzed: to identify the features of the melodic and harmonic structure and rhythm, to find the climax, to understand how the melodic line develops, to pay attention to changes in tempo and rhythm, to dynamic shades.

In order for the piece to be immediately well and correctly remembered, it is better to learn it in small passages at a slow pace, avoiding inaccuracies and mistakes. A carelessly, inattentively analyzed work remains in the memory with all the errors, which are then difficult to correct. Repeating a musical phrase several times at a slow tempo, there is no need to rush to move on to subsequent phrases until it is firmly remembered. Of course, students’ memory varies, and some are capable of correct, accurate and quick memorization of large amounts of musical material after one or two repetitions. However, for many, the rule of precise, slow learning in parts remains in force.

When learning a piece, it is necessary to monitor not only the accuracy of reproduction of the musical and verbal text, but also the correctness of sound production and sound engineering.

In the process of singing, it is sometimes useful to vocalize a song using a vowel, which will allow you to overcome many vocal and technical difficulties. From difficult places, it is advisable to create exercises, sing, transposing in semitones up and down the sound scale.

Each teacher must be able to correctly assess the capabilities of a given vocal ensemble and select a piece that will be most useful to students at this stage of development. The leader is faced with a difficult task - not only to teach vocal technique, develop musicality and performance abilities, but also to educate a friendly, sung team with a high musical and performing culture.

Conclusion

The ensemble is the balance, unity and consistency of all the expressive elements of the ensemble sound.

It implies an organic fusion of individuals, the ability of each singer to hear his part and the ensemble as a whole. Equate, subordinate your voice to general sonority, flexibly coordinate your actions with the actions of other singers. An ensemble is a group in which people think alike and speak the same language.

It is necessary to bring out the best physical and human qualities in each student. In contact with him from the first minutes of communication, it is necessary to reveal the beauty of these qualities, their significance for the student himself, for his environment, as well as their necessity in the creative process.

Extraordinary manifestations must have support. When increasing self-esteem, it is advisable to reveal for the student only his inherent beauty, external and internal. This self-esteem, fostered by a teacher, is important for strengthening desires, the will, if necessary, to express oneself through the voice.

Only when each member of the team feels comfortable and free to show all their abilities, when he is happy to meet his classmates - friends and is confident in his leader, can we say that this is a team, an ensemble in full the meaning of these words.

The following literature was used when working on the report:

1. I. Isaeva “Pop singing. Express course for the development of musical abilities.” Moscow, 2007.

2. T. V. Okhomush. "Methodology of vocal work in a children's variety studio." Moscow, 2003.

3. Seth Riggs. Audio school for vocalists “How to become a star.” Moscow, 2004.

4. T. I. Ruchinskaya. Methodological development “Fundamentals of vocal technique”. St. Petersburg, 2001.

5. N. D. Fokina. Course of lectures “Pop vocal technique”. Moscow, 2006.

6.A. Bill. Methodological materials for organizers and teachers of children's pop vocal studios “Pure Voice”. Moscow, 2003.

7. N.B. Gontarenko. “Solo singing: secrets of vocal mastery.” Rostov-on-Don, 2006.

8. P.V.Golubev. “Advice to young vocalist teachers.” Moscow, 1963.

9. N.Z.Andrianova. “Features of the methodology for teaching pop singing.” Mogskva, 1999.

10. L.V.Romanova. "School of Pop Vocals". St. Petersburg, 2007. Educational webinars

“Vocal ensemble Methodological recommendations for working in the Children's Art School CONTENTS Explanatory note..3 Methodological recommendations for working with a vocal ensemble Principles for selecting a repertoire in a vocal ensemble...”

Explanatory note……………………………………………………………………………….3

Principles for selecting repertoire in vocal

ensemble…………………………………………………………………………………………………………5

Organization of the rehearsal process……………………………………………………..7

Intonation difficulties in the ensemble. Working on rhythmic

ensemble……………………………………………………………………………………………….9

Diction in a vocal ensemble………………………………………………………..10 Vocal and choral exercises……………………………………………………………… ………13 Conclusion………………………………………………………………………………………17 Appendix………………………… ………………………………………………………..18 Repertoire list of vocal literature…………………………………20 List of used literature………… ………………………………… 21 Explanatory note In recent years, small forms of joint music-making, in particular vocal ensembles (in the classical sense), occupy a significant place in concert practice. Raising children in vocal traditions is one of the most important means of moral and aesthetic education of the younger generation.

Work with a creative team - a vocal ensemble - is based on the achievements of many sciences: musicology and aesthetics, psychology and pedagogy.

The subject course provides an opportunity to reveal the fundamentals of the educational process and ensure the development of creative initiative and independence of students. Classes in the ensemble contribute to the development of voice, hearing, musical and artistic taste, and expand the musical culture of children.

A creative team (hereinafter referred to as a “vocal ensemble”) is an organized group of singers whose performing activities are subordinated to common goals and objectives.

Goal: Based on the study of children's songs, vocal works, Russian romance and other things, to expand children's knowledge about the history of the Motherland, its singing culture. To cultivate and instill love and respect for spiritual heritage, understanding and respect for singing traditions.

Tasks:

1. Instill a love for vocal art and teach how to perform vocal works correctly.

2. Teach to perceive music and vocal works as an important part of every person’s life.

3. To develop the skills and abilities of performing simple and complex vocal works, to teach 2- and 3-voice performance of songs and romances.

To teach the basics of musical literacy, stage culture, and teamwork.

4.Develop children’s individual creative abilities based on the works they perform. Use various vocal performance techniques. Contribute to the formation of emotional responsiveness and love for the world around you. Instill the basics of artistic taste.

5.Develop needs for communication with vocal music. Create an atmosphere of passion and success for each member of the ensemble.

The implementation of tasks is carried out through various types of vocal activity, the main of which is solo and ensemble singing, listening to various interpretations of performance.

Methodological recommendations for working with a vocal ensemble The concept of ensemble comes from the French word ensemble - together, meaning unity, consonance, consistency. “The singer’s ability to subordinate his individuality to the tasks of the group is the basic rule of a real ensemble. This is how the skill of ensemble singing reveals the main essence of choral performance – collectivity” (School of Choral Singing.

/ compiled by V. Sokolov, V. Popov, L. Abelyan. Issue 2 – M. 1978 – p.9) Work in the ensemble class is carried out under the guidance of a teacher. When forming a team, the timbre capabilities of each voice are selected and listened to so that they “merge,” the range, and age of the students. The composition of the ensemble can be very diverse, depending on the number of students. For the team to be successful, the leader must plan classes in advance and select the repertoire wisely.

Principles for selecting repertoire in a vocal ensemble Repertoire is a sound map on which the creative routes of the group are visible.

The issue of forming a repertoire has always been fundamental in the work of vocal ensembles. The growth and development prospects of the team depend on the skillful selection of the repertoire. In order to choose the right repertoire, the director must remember the tasks assigned to the ensemble and the selected piece should also be aimed at developing certain skills.

The repertoire must meet the following requirements:

1) Be educational in nature

2) Be highly artistic

3) Appropriate to the age and understanding of children

4) Comply with the capabilities of the given performing group

5) Be diverse in character and content

6) Selected difficulties, i.e. Each work should move the team forward in acquiring certain skills, or consolidate them.

You should not take complex and voluminous works. For children who will be singing this, this may be an insurmountable task, and this will certainly affect their productivity in their work, and may lead to fatigue, lack of interest in the work they are doing, in some cases even alienation from singing altogether (depending on character of the child). But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy works should be limited in the repertoire, since an easy program does not stimulate professional growth. And also naturally it should be of interest to the ensemble members; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader.

And as mentioned above, the work must correspond to the age level in terms of subject matter.

A successful concert vocal group must have in the list of works performed works from different eras and schools of composition, differing in stylistic and genre orientation. The basis of the repertoire can be works by Russian and foreign classics, folk songs, works of modern authors, etc. The main thing is that these works should be highly artistic in music and text. It is necessary to take into account the vocal and technical capabilities of the singers and the “concert quality”

repertoire, which must include at least 20 works.

It is desirable that at least half of it be made up of a cappella choirs (it develops hearing and intonation frequency well).

Organization of the rehearsal process Having chosen a piece, the director must first of all carefully study it. To do this, you need to outline a general execution plan and analyze difficult areas. Before starting to learn the work, the leader conducts a conversation about its content and character, and provides brief information about the composer and author of the literary text.

The forms of familiarization are different. It is better to organize them by listening (audio recording, etc.) performed by a highly qualified team.

If it is not possible to listen to the recording, then the artistic director himself must reproduce this work: play or sing the main melodies to the accompaniment. This contributes to the musical development of children, the development of musical texture and the ability to listen to the harmonic surroundings of the melody, and brings activity and awareness into the process.

The initial work is solfegging. During solfege, the accuracy of intonation and the correctness of rhythmic patterns are checked, i.e.

musical - theoretical basis of the work. When solfegeing occurs, there is a detachment from the emotional side of understanding the mode-harmonic, metro-rhythmic features of the new work.

When reading notes from a sheet, the vocal group still gets a primary idea of ​​the work (Egorov A. Theory and practice of working with a choir

M., 1951 p.226).

The work should be taught according to pre-planned parts, and divided in connection with the structure of musical speech and literary text, so that there is a certain completeness. You can move from one part to another only when the previous part has been mastered. But if the part is difficult, learning should continue, but you should return to consolidating the difficult part after familiarizing yourself with the entire piece.

The process of learning works and working on the artistic and technical side of performance is complex; requires the manager to have extensive experience, knowledge and skills. Conclusion: first analyze the work in parts, then work on overcoming technical difficulties and artistic finishing of the work. At the same time, an experienced leader will find a way to bring artistry to a technical phrase, at least in small doses. This is expressed in vivid figurative comparisons and juxtapositions; in addition, these images may not directly relate to the ideological and artistic image of a given work.

This is natural and necessary. Something similar happens in the last, artistic period of work, when attention is focused on the artistic side of performance. There is an inverse relationship here: in the process of artistic finishing of a vocal work, purely technical techniques are also incorporated, this is also necessary and natural.

Thus, it can be argued that the process of working on a work with an ensemble cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each of the phases. This will be formal and can only be accepted as a scheme, following which the manager, to the extent of his experience, skills and abilities, will accept certain methods of work.

The result of all rehearsal work is a concert performance, the last link in a single chain of creative, teaching and educational process of the team.

The concert is an important event both for the members of the creative team and for the artistic director. This is a happy summing up of what has been achieved. The ability to communicate with the audience through musical language.

Intonation difficulties in the ensemble During the rehearsal process, students are faced with complex tasks. One of which is working on intonation. It is necessary to achieve intonation confidence and independence, because in an ensemble, unlike a choir, the performer is deprived of the intonation support of his colleagues in the choral part.

After checking each voice (solfeggio and with words), you can combine them together. This method of work will form in each ensemble member a functional perception of their voice in sound and the entire ensemble. There cannot be a good ensemble without each individual voice being well trained. Other factors that positively influence intonation include: correct voice placement, proper breathing and sound production, the ability to listen to the singing of others and accompaniment. Work on sound, diction, rhythm and intonation should be closely related. In this work with the ensemble, the leadership's demonstration will be of great importance. Based on your knowledge and auditory experience, try to prevent mistakes by showing with your voice how to sing.

Working on a rhythmic ensemble For the members of the group, the hard work during the rehearsal process is building a rhythmic ensemble. By rhythmic ensemble we should understand: the ability of performers to simultaneously begin and end a work and its individual parts, to pronounce words simultaneously and in the same way, to take breath in indicated places, to move together to changes in tempo, to clearly identify the metric structure of a work, all this is the most important quality of singers, for in the rhythm of execution lies that order, without which not a single creative task can be solved. The development of rhythmic flair begins from the very first moment of the vocal ensemble’s work. Already while singing, the singers were quite conscious of rhythm. Durations must be actively counted.

Counting methods:

Listen out loud in chorus rhythmic pattern.

Tap (clap) the rhythm and at the same time read the rhythm of the song.

After this setting, solfage, and only then sing with the words.

In professionally trained children's vocal groups, in order to achieve expressiveness and accuracy of rhythm, exercises are used for rhythmic fragmentation, which subsequently turns into internal pulsation and gives timbre richness.

The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten.

It is known that “the sense of musical rhythm has not only a motor, but also an emotional nature: it is based on the perception of the expressiveness of music” (Masters of Choral Art./compiled by Lebedev K.M. - M. 2002, p. 53).

Therefore, only through active musical activity is it possible to develop rhythmic freedom in singers. In developing a sense of rhythm, a special role belongs to the connection between music and movement.

Diction in a vocal ensemble Another important aspect is working on diction. All books on vocal art mention the need for good diction. Without clear pronunciation of the text, performers will not be able to convey to the listener the artistic idea of ​​the vocal work.

Diction – clarity, legibility, correct pronunciation of the text. It plays a huge role in singing. Good diction contributes to the clear sound of each vowel and consonant separately, as well as words and phrases as a whole. The human organs that produce sound are: lips, tongue, jaws, larynx with vocal folds, teeth. All this is an articulatory apparatus. In young singers, the articulatory apparatus often works weakly (the muscles of the face, lips, and tongue are little involved in the work), it is constrained and clamped. Very often, children sing with their teeth clenched, their head thrown back (raised upward), which leads to jaw clenching. All this interferes or makes it impossible to articulate clearly and comfortably, without tension.

Articulation warm-up (exercises without intonation).

Biting the tip of the tongue.

Biting the tongue and gradually sticking it out completely.

- “Chew” the tongue alternately, then with the right and then with the left lateral teeth.

- “Brush” the teeth with the tongue (circular movements between the teeth and lips with the mouth closed.

We are trying to “pierce” the cheek (put your tongue on the upper, lower lip, left, right cheek).

Clicking the tongue (changing the shape of the mouth while making a clicking sound, trying to randomly make higher and lower clicks).

It is suggested to click the same way, that is, to build a unison.

Biting the upper and lower lips.

- “Massage” of the facial muscles (circular, kneading massage movements over the entire face from the roots of the hair on the forehead to the neck).

Tingling movements across the face with the tips of bent fingers (so that the face lights up).

- “It smells bad” - wrinkle your nose.

- “Surprise” - raising eyebrows.

- “Joy, sadness” - alternating “masks”.

Circular movements of the lower jaw (forward, backward, “koschey”).

Movement of the jaw in a circle (forward-right-back-left-forward).

At the same time, the correct position of the body also affects the freedom of the articulatory apparatus. The correct position is a straight, stress-free position of the body and head, straightened shoulders, arms should be freely lowered down when standing or rest freely on the knees when sitting. The most important thing is muscle freedom and at the same time tightness.

The teacher needs to constantly monitor the implementation of correct singing posture, and also demonstrate to himself and individual children the correct and incorrect position when singing. If you want to sing while standing, don’t stand up like a bear.

Straighten your back quickly, put your feet on the floor boldly.

Once, he inhaled and sang, the sound flew like a bird.

Arms, shoulders, everything is free, Singing is pleasant and comfortable.

When working on a work, great attention is paid to diction, articulation, orthoepy (correct pronunciation). Vocal orthoepy and speech orthoepy are very different. At the first stage, logical stresses and semantic centers are designated. “The singer’s text in singing is perceived only if the performers maintain the correct speech stresses in combination with the musical pattern of the work”

(Voice training and methods of teaching singing./compiled by Daletsky O.V. - M. 1990, p. 7). In speech, unstressed endings naturally, out of habit, are pronounced more quietly and weakly. In singing, this is also necessary so as not to distort the meaning and not violate the rules of speech culture. But in singing, even the shortest, unstressed vowel must be sung. The teacher must teach children to sing stressed vowels more clearly (to rely on them), and then unstressed vowels (for example, the end of a word) will fade into the background.

The basic rule of singing diction is brevity and active pronunciation of consonants. “In singing, the vowels are the river, and the consonants are the banks.”

Vowels should sound dense, and consonants should sound clear, energetic, and short.

Attention to the word is one of the characteristic features of the Russian vocal school.

One of its founders was M.I. Glinka, and it is from him that we find a remarkable statement: “In music, especially vocal music, the resources of expressiveness are endless. One and the same word can be pronounced in a thousand different ways, without even changing the intonation, the notes in the voice, but only changing the accent, giving the lips either a smile or a serious, stern expression.

Singing teachers usually do not pay any attention to this, but true singers, quite rare, always know all these resources well” (Memoirs of M.I. Glinka. Selected articles./compiled by A. Serov. – vol. 1 – M. ,1950, p.139).

Vocal and choral exercises An important role in working with a vocal ensemble is given to vocal and choral exercises. The purpose of the exercises is to equip the group with technical techniques that will help them expressively perform compositions of varying nature and degree of difficulty. The exercises expand the range, develop ensemble and intonation skills, and develop technique (for example, singing at a fast tempo, chain breathing). Finally, to a large extent, they are aimed at creating a unified style of singing in the ensemble. The first exercise should be comfortable in terms of tessitura and it is advisable that it be permanent. This helps to renew the singing sensations.

The Russian language is convenient for singing, but there are vowel sounds that are inconvenient - in singing we will alternate them with more vocal vowels. Vowels in singing differ in duration and capacity, while speech vowels are varied.

The use of consonants “m” and “d” relieves tension in the work of the tongue.

“v” activates the work of lips and teeth.

The vowel “i” - brightens the timbre, “m”, “n”, “r”, “l” - sonorant consonants, sound without noise, are intonated on the adjacent vowel sound, and contribute to a melodious sound.

Expanding the range, relaxing the facial muscles.

The first 2 and 3 voice exercises and works should be chosen with a “pedal” - a sustained sound in any voice. “Pedal” is especially characteristic of Russian folk songs of the subvocal type. These songs are the most beneficial material for developing the skill of polyphonic singing. The presence of consistent sounds in individual parts and a certain independence of each voice with common supporting melodic turns simplify learning Russian folk songs.

(The rest of the exercises are in the Appendix) Mastering the skill of polyphonic singing largely depends on the degree of development of musical ear. As you know, musical ear is the ability of our hearing to analyze musical pitch. There is a distinction between melodic hearing - in relation to melody, and harmonic hearing - in relation to consonances.

In polyphonic singing, harmonic hearing is of particular importance. Singing individual intervals and chords, first in melodic movement, and then polyphonically, recognizing the functions of the scale on the piano or when performed by an ensemble, entering a given tone, learning special exercises and a wide variety of repertoire - all this helps the successful development of harmonic hearing. It is also necessary to constantly improve inner hearing - the ability to hear music and its individual elements. It is this type of hearing that helps to hear in advance what is to be performed. The ability to “predict” the sound of individual steps, intervals and chords allows the ensemble to sing with intonation clarity.

Everything that has been said about polyphonic singing should also apply to unaccompanied singing. This type of vocal performance is the most difficult, but at the same time the most interesting. Fluency in unaccompanied singing is the main indicator of achieving the highest level of vocal mastery, since the beauty and richness of the human voice are presented here in the most complete form.

Singing a capella requires singers to have a developed sense of all aspects of vocal sonority, as well as fairly perfect mastery of vocal skills.

The skill of singing without accompaniment is acquired through constant training. In this sense, learning special exercises, singing unaccompanied vocal works written with instrumental accompaniment, as well as skillful selection of repertoire are of great benefit.

Folk songs are of particular importance in developing the skill of polyphonic singing without accompaniment. Many qualities of a folk song help to develop stability of structure. But, perhaps, the most important thing that we need to borrow from folk singers is genuine passion for their performance, thanks to which folk singers achieve deep expressiveness and purity of structure.

Therefore, the leader working with children should strive to ensure that the child in the ensemble experiences creative inspiration and sincere passion for polyphonic singing. Thanks to stage expressiveness, works in a vocal ensemble will have a great emotional impact. “There is no greater pleasure than when you feel that with your performance you create a mood, unite the audience in your musical faith. It is for this lofty goal that it is worth studying and working…” (About music and musicians./compiled by Bird K. - ICHP, 1995, p. 45) Conclusion Ensemble singing in the aesthetic education of children always has a positive beginning. This was noted by prominent cultural figures, philosophers, thinkers of all times and countries. In Russia, the idea of ​​primacy, i.e. The fundamental role of ensemble singing lies in the original makeup of Russian musical culture, a predominantly vocal culture. Maintaining the best domestic traditions of vocal and choral performance is always conditioned by school education, since it is in music schools at the earliest educational level of children that there is an opportunity for targeted vocal and choral education while simultaneously solving the problems of musical and aesthetic development. It is the direct responsibility of the leader of a vocal ensemble to improve the methods of working with the group so that they serve not only musical and educational purposes, but also educational ones in the broadest sense of the word.

Ensemble singing is a mass art, it involves the main thing - the collective performance of artistic works. Children’s awareness that joint, friendly singing is good and beautiful, each of them’s awareness that he is participating in this performance and that a song sung by an ensemble sounds more expressive and brighter than if he sang it alone - awareness of this The power of collective performance is a factor for further creative development for young singers.

Appendix Exercise No. 1 – active, short breathing, stable intonation singing of each sound and exaggerated pronunciation of consonants Exercise No. 2 – wide breathing and melodious flowing sound Exercise No. 3 – development of the skill of 3-voice singing on various syllables Exercise No. 4 – compliance with 2 voices, the purity of the third, as well as the ensemble - balance between the first and second voices Exercise No. 5 - for a 4-voice ensemble Repertoire list of vocal literature Romances and duets of Russian composers (Golden Repertoire of Vocalists). – L., 2000

Duets. Repertoire of a beginning singer/comp. Daletsky O.V. – M., 2001

Reader on the vocal ensemble course. Notebook 2 / comp. A. Skulsky - M., 1983

Trios and quartets of Russian composers. – M., 1981

The song is always with you (for female vocal ensemble with or without piano accompaniment) - M., 1966.

Collection of vocal ensembles, part 3 / compiled by N. Raisky - M., 1949

Literature used:

Daletsky O.V. “Vocal training” - M., 2003

Lebedev K.N. “Masters of Choral Art” - L.: Teneta - Barteneva, M., 2002.

Bird K.B. “About music and musicians” - ICHP, 1995

V. Sokolov, V. Popov, L. Abelyan “School of Choral Singing”, issue 2 - M., 1978 Stoletov, I. A. Chikharev Educational and methodological manual Izvestia Publishing House Moscow Educational and methodological manual...” Education "National Research Nizhny Novgorod State University named after N.I. Lobachevsky" Balakhninsky branch of I.V. Gurylev..."

Work on the development of vocal ensemble skills in a junior school ensemble, as an integral part in the formation of professional competence of a young vocalist

Municipal educational institution for additional education of children

Children's Art School No. 2 in Marx

METHODOLOGICAL DEVELOPMENT

ON THE TOPIC: VOCAL ENSEMBLE IN DSHI

Completed by teacher

MU DODSHI No. 2, Marx, Saratov region Biskup Elmira Flaritovna 2014

Explanatory

a note
……………………………………………………………………….3

1.Principles of selection of repertoire in vocal

ensemble
……………………………………………………………………...4
2.Organization of the rehearsal process
………………………………..6
3.Vocal and choral work
…………………………………………………7
-Intonation difficulties in the ensemble. Working on rhythmic

ensemble
…………………………………………………………………….7
-Diction in a vocal ensemble
………………………………………………8
-Vocal and choral exercises
……………………………………………..10
Conclusion
……………………………………………………………………...12

……………………………..13
Bibliography
……………………………………...........13

Explanatory note
In recent years, small forms of joint music-making, in particular vocal ensembles (in the classical sense), occupy a significant place in concert practice. Raising children in vocal traditions is one of the most important means of moral and aesthetic education of the younger generation. Work with a creative team - a vocal ensemble - is based on the achievements of many sciences: musicology and aesthetics, psychology and pedagogy. The subject course provides an opportunity to reveal the fundamentals of the educational process and ensure the development of creative initiative and independence of students. Classes in the ensemble contribute to the development of voice, hearing, musical and artistic taste, and expand the musical culture of children. A creative team (hereinafter referred to as a “vocal ensemble”) is an organized group of singers whose performing activities are subordinated to common goals and objectives.
Target:
Based on the study of children's songs, vocal works, Russian romance and other things, expand children's knowledge about the history of the Motherland, its singing culture. To cultivate and instill love and respect for spiritual heritage, understanding and respect for singing traditions.
Tasks:
1 . To instill a love for vocal art and teach how to perform vocal works correctly. 2. Teach to perceive music and vocal works as an important part of every person’s life. 3. Develop skills and abilities to perform simple and complex vocal works, teach 2- and 3-voice performance of songs and romances. To teach the basics of musical literacy, stage culture, and teamwork. 3
4.Develop the individual creative abilities of children based on the works performed. Use various vocal performance techniques. Contribute to the formation of emotional responsiveness and love for the world around you. Instill the basics of artistic taste. 5. Develop needs for communication with vocal music. Create an atmosphere of passion and success for each member of the ensemble. The implementation of tasks is carried out through various types of vocal activities, the main of which are solo and ensemble singing.
Methodological recommendations for working with a vocal ensemble
The concept of ensemble comes from the French word ensemble - together, meaning unity, consonance, coherence. “The singer’s ability to subordinate his individuality to the tasks of the group is the basic rule of a real ensemble. Work in the ensemble class is conducted under the guidance of a teacher. When forming a team, the timbre capabilities of each voice are selected and listened to so that they “merge,” the range, and age of the students. The composition of the ensemble can be very diverse, depending on the number of students. For the team to be successful, the leader must plan classes in advance and select the repertoire wisely.
1. Principles for selecting repertoire in a vocal ensemble
The issue of forming a repertoire has always been fundamental in the work of vocal ensembles. The growth and development prospects of the team depend on the skillful selection of the repertoire. In order to choose the right repertoire, the leader must remember the tasks assigned to the ensemble, 4
such as: the formation of artistic taste, vocal and choral skills, the development of a sense of style. The chosen piece should also be aimed at developing certain skills. The repertoire must meet the following requirements: 1) Be educational in nature 2) Be highly artistic 3) Correspond to the age and understanding of children 4) Correspond to the capabilities of the given performing group 5) Be diverse in character and content 6) Selected difficulties. You should not take complex and voluminous works. For children who will be singing this, this may be an insurmountable task, and this will certainly affect their productivity in their work, and may lead to fatigue, lack of interest in the work they are doing, in some cases even alienation from singing altogether (depending on character of the child). But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. But also, naturally, the repertoire should be interesting to the ensemble members; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader. And as mentioned above, the work must correspond to the age level in terms of subject matter. The basis of the repertoire can be works by Russian and foreign classics, folk songs, works of modern authors, etc. It is desirable that at least half of it be a cappella choirs, as this promotes ear development and purity of intonation. 5

2. Organization of the rehearsal process
Having chosen a work, the leader must first of all carefully study it and analyze difficult parts. Before starting to learn the work, the leader conducts a conversation about its content and character, and provides brief information about the composer and author of the literary text. The forms of familiarization are different. It is better to organize them by listening (audio recording, etc.) performed by a highly qualified team. If it is not possible to listen to the recording, then the artistic director himself must reproduce this work: play or sing the main melody to the accompaniment. This contributes to the musical development of children, the development of musical texture and the ability to listen to the harmonic surroundings of the melody, and brings activity and awareness into the process. The initial work is solfegging. During solfege, the accuracy of intonation and the correctness of rhythmic patterns are checked, i.e. musical - theoretical basis of the work. When reading notes from a sheet, the vocal group still gets a primary idea of ​​the work. If it is polyphony (2x - 3x), then the piece can be learned in parts; this is a productive method of working on the ensemble, structure and diction of each part. This way the manager will get to know the singer’s capabilities better. The work should be taught according to pre-planned parts, and divided in connection with the structure of musical speech and literary text, so that there is a certain completeness. You can move from one part to another only when the previous part has been mastered. But if the part is difficult, learning should continue, but you should return to consolidating the difficult part after familiarizing yourself with the entire piece. The process of learning works and working on art - 6
the technical side of execution is complex; requires the manager to have extensive experience, knowledge and skills. The result of all rehearsal work is a concert performance - the last link in a single chain of creative, teaching and educational process of the team.
3. Vocal and choral work
Throughout the work, the leader monitors the formation and development of students’ vocal and choral skills: ensemble, diction, vocal and choral exercises.
Intonation difficulties in the ensemble
During the rehearsal process, students are faced with difficult tasks. One of which is working on intonation. It is necessary to achieve intonation confidence and independence, because in an ensemble, unlike a choir, the performer is deprived of the intonation support of his colleagues in the choral part. After checking each voice (solfeggio and with words), you can combine them together. This method of work will form in each ensemble member a functional perception of their voice in sound and the entire ensemble. There cannot be a good ensemble without each individual voice being well trained. Other factors that positively influence intonation include: correct voice placement, proper breathing and sound production, the ability to listen to the singing of others and accompaniment. Work on sound, diction, rhythm and intonation should be closely related.
Working on a rhythmic ensemble
A rhythmic ensemble should be understood as: the ability of performers to simultaneously begin and end a piece and its individual parts, to pronounce words simultaneously and in the same way, to take breath in the indicated 7
places, together to move to changes in tempo, all this is the most important quality of singers, because in the rhythm of performance lies the order, without which not a single creative task can be solved. The development of rhythmic flair begins from the very first moment of the vocal ensemble’s work. Durations must be actively counted. Methods of counting: - rhythmic pattern out loud in chorus. - tap (clap) the rhythm and at the same time read the rhythm of the song. After this setting, solfage, and only then sing with the words. In professionally trained children's vocal groups, in order to achieve expressiveness and accuracy of rhythm, exercises are used for rhythmic fragmentation, which subsequently turns into internal pulsation and gives timbre richness. The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten. Only through active musical activity is it possible to develop rhythmic freedom in singers. In developing a sense of rhythm, a special role belongs to the connection between music and movement.

Diction in a vocal ensemble
Diction – clarity, legibility, correct pronunciation of the text. It plays a huge role in singing. Good diction contributes to the clear sound of each vowel and consonant separately, as well as words and phrases as a whole. The human organs that produce sound are: lips, tongue, jaws, larynx with vocal folds, teeth. All this is an articulatory apparatus. In young singers, the articulatory apparatus often works weakly (the muscles of the face, lips, and tongue are little involved in the work), it is constrained and clamped. Very 8
Children often sing with their teeth clenched, their head thrown back (raised upward), which leads to jaw clenching. All this interferes or makes it impossible to articulate clearly and comfortably, without tension. Articulation warm-up (exercises without intonation). - Biting the tip of the tongue. - Biting the tongue and gradually sticking it out completely. - “Brush” the teeth with the tongue (circular movements between the teeth and lips with the mouth closed. - We try to “pierce” the cheek (rest the tongue on the upper, lower lip, left, right cheek). - “Massage” the facial muscles (circular, kneading massage movements all over the face from the roots of the hair on the forehead to the neck). - Circular movements of the lower jaw (forward, backward, “koschey”). - Movement of the jaw in a circle (forward-right-back-left-forward). At the same time, the correct position of the body also affects the freedom of the articulatory apparatus. The correct, tension-free position of the body and head, straightened shoulders, arms should be freely lowered down when standing or rest freely on the knees when sitting. The most important thing is freedom of muscles and at the same time smartness The teacher needs to constantly monitor the implementation of correct singing posture, as well as demonstrate to himself and individual children the correct and incorrect position of the body when singing.
When working on a work, great attention is paid to diction, articulation, and orthoepy. Vocal orthoepy and speech orthoepy are very different. In speech, unstressed endings naturally, out of habit, are pronounced more quietly and weakly. In singing, this is also necessary so as not to distort the meaning and not violate the rules of speech culture. But in singing, even the shortest, unstressed vowel must be sung. The teacher must teach children to sing stressed vowels more clearly (to rely on them), and then unstressed vowels (for example, the end of a word) will fade into the background. The basic rule of singing diction is brevity and active pronunciation of consonants. “In singing, the vowels are the river, and the consonants are the banks.” Vowels should sound dense, and consonants should sound clear, energetic, and short. Attention to the word is one of the characteristic features of the Russian vocal school. One of its founders was M.I. Glinka, and it is from him that we find a remarkable statement: “In music, especially vocal music, the resources of expressiveness are endless. One and the same word can be pronounced in a thousand different ways, without even changing the intonation, the notes in the voice, but only changing the accent, giving the lips either a smile or a serious, stern expression. Singing teachers usually do not pay any attention to this, but true singers, quite rare, always know all these resources well.”

Vocal and choral exercises
An important role in working with a vocal ensemble is given to vocal-choral exercises. The purpose of the exercises is to equip the group with technical techniques that will help them expressively perform compositions of varying nature and degree of difficulty. The exercises expand the range, develop ensemble and intonation skills, and develop technique (for example, singing at a fast tempo, chain breathing). Finally at 10
To a large extent, they are aimed at creating a unified style of singing in the ensemble. The first exercise should be comfortable in terms of tessitura and it is advisable that it be permanent. This helps to renew the singing sensations. The Russian language is convenient for singing, but there are vowel sounds that are inconvenient - in singing we will alternate them with more vocal vowels. Vowels in singing differ in duration and capacity, while speech vowels are varied. For example: MA-ME-MI-MO-MU or DA-DE-DI-DO-DU, etc. The use of consonants “m”, “d” relieves tension in the work of the tongue, “v” activates the work of the lips and teeth. Before starting work on a 2- or 3-voice piece, the director must complete the parties so that they are equal in composition, both quantitatively and qualitatively. The first 2 and 3 voice exercises and works should be chosen with a “pedal” - a sustained sound in any voice. “Pedal” is especially characteristic of Russian folk songs of the subvocal type. These songs are the most beneficial material for developing the skill of polyphonic singing. The presence of consistent sounds in individual parts and a certain independence of each voice with common supporting melodic turns simplify learning Russian folk songs. It is recommended to learn several canons. Singing the same melody in a canon will make it easier for students to perceive the resulting polyphonic fabric while accurately intonating their part. Mastering the skill of polyphonic singing largely depends on the degree of development of musical ear. As you know, musical ear is the ability of our hearing to analyze musical pitch. There is a distinction between melodic hearing - in relation to melody, and harmonic hearing - in relation to consonances. In polyphonic singing, harmonic hearing is of particular importance. Singing individual intervals and chords first in melodic movement, and 11
then polyphonic, recognizing the functions of the scale on the piano or when performed by an ensemble, entering a given tone, learning special exercises and a wide variety of repertoire - all this helps the successful development of harmonic hearing. It is also necessary to constantly improve inner hearing - the ability to hear music and its individual elements. Everything that has been said about polyphonic singing should also apply to unaccompanied singing. This type of vocal performance is the most difficult, but at the same time the most interesting. Fluency in unaccompanied singing is the main indicator of achieving the highest level of vocal mastery, since the beauty and richness of the human voice are presented here in the most complete form. Singing a capella requires singers to have a developed sense of all aspects of vocal sonority, as well as fairly perfect mastery of vocal skills. The skill of singing without accompaniment is acquired through constant training. In this sense, learning special exercises, singing unaccompanied vocal works written with instrumental accompaniment, as well as skillful selection of repertoire are of great benefit.
Conclusion
Ensemble singing in the aesthetic education of children always has a positive beginning. This was noted by prominent cultural figures, philosophers, thinkers of all times and countries. In Russia, the idea of ​​primacy, i.e. The fundamental role of ensemble singing lies in the original makeup of Russian musical culture, a predominantly vocal culture. Maintaining the best domestic traditions of vocal and choral performance is always determined by school education, since it is in music schools at the earliest 12
At the educational level of children, there is the possibility of targeted vocal and choral education with the simultaneous solution of problems of musical and aesthetic development. It is the direct responsibility of the leader of a vocal ensemble to improve the methods of working with the group so that they serve not only musical and educational purposes, but also educational ones in the broadest sense of the word. Ensemble singing is a mass art, it involves the main thing - the collective performance of artistic works. Children’s awareness that joint, friendly singing is good and beautiful, each of them’s awareness that he is participating in this performance and that a song sung by an ensemble sounds more expressive and brighter than if he sang it alone - awareness of this The power of collective performance is a factor for further creative development for young singers.
Repertoire list of vocal literature
1.Duets. Repertoire of a beginning singer/comp. Daletsky O.V. – M., 2001 2. Quartets of Russian composers for male voices / comp. Y. Dubravin - M., 1964 3. Songs for ensembles of female voices / comp. E. Lobacheva - M., 1968 4. Romances and duets of Russian composers (Golden repertoire of vocalists). – L., 2000. 5. Collection of vocal ensembles, part 3 / compiled by N. Raisky – M., 1949. 6. Reader on the vocal ensemble course. Notebook 2 / comp. A. Skulsky – M., 1983
Used Books:
1. Daletsky O.V. “Vocal training” - M., 2003 2. Lebedev K.N. “Masters of Choral Art” - L.: Teneta - Barteneva, M., 2002. 3. V. Sokolov, V. Popov, L. Abelyan “School of Choral Singing”, issue 2 - M., 1978. 13
4. Musical encyclopedia. T.1 / compiled by Yu. Keldysh - M., 1973 5. Romanovsky N. “Choral Dictionary” - M., 2002 14