Open vocal lesson in kindergarten. Summary of a vocal lesson in a secondary vocal group

Artistic creativity of preschool children in modern conditions

Every teacher knows: the ability of children to compose, invent, and draw requires systematic and targeted development. Research by E.G. Pilyugina, O.G. Tikhonova 3 convincingly prove: if you do not rush to show the child how to draw objects in the initial period of mastering the activity (i.e. up to three, or even up to four years), then the baby begins to create images on his own much earlier, quite complex subjects. At the same time, it is necessary to develop his perception and ensure that he accumulates sensory experience and culture.

A child is not born a dreamer. His ability to compose and invent is based on the development of imagination, i.e. “creating new images based on past perceptions.” Imagination is necessary not only in the activities of an inventor or experimental scientist, but also in the most abstract areas of science. In no other field does imagination have such exceptional importance as in art, in the process artistic creativity. Without imagination, closely related to imaginative thinking(both of these processes are based on figurative aesthetic perception), not a single artistic and creative activity is possible.

Therefore, for visual arts children need to develop aesthetic perception, teach them to see the aesthetic properties of objects, the variety and beauty of shape, combinations of colors and shades. Then the accumulated images will create that sensory experience, which, as it develops, interacts with newly perceived ones. All educational work should contribute to this. After all, as L.S. wrote. Vygodsky, “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience represents the material from which fantasy structures are created. The richer a person’s experience, the more material his imagination has at his disposal.” 4 . It is also necessary to develop imaginative thinking.

What are the conditions for development? creative personality? Play and artistic activities provide great opportunities for this. Preschool age is sensitive to the development of imagination, and therefore an adult should not rush to give the child answers to the questions posed. Meaning everyday life children. The teacher needs to make the natural process of life and children creative, put children in situations of cognitive, artistic, moral creativity. Special work in class, in games, etc. aimed at developing creativity, should organically enter the child’s life.

Another most important condition for the manifestation of creativity in artistic activity is the organization of an interesting, meaningful life for a child in preschool institution and family; enriching him vivid impressions, providing emotional and intellectual experience, which serves as the basis for the emergence of ideas and will be the material necessary for the work of his imagination.

IN last years In a number of preschool institutions, classes in visual arts are taught by specialists. In this regard, it is especially important that such a specialist knows the children of the group and each child individually well. He needs to maintain constant contact with the teacher, know overall plan the work of the teacher or participate in its preparation and analysis of the results of the work. In agreement with the teacher, the specialist includes in general content working with children, everything is necessary for subsequent visual activities (everyday observation of the phenomena that will be depicted, etc.) It is very useful to be present at children’s classes in other types of activities, to maintain relationships with parents, advising them in Sundays or during hours of communication with children, observe something, go to a museum with the children, etc. The more adults work with children, the greater the interaction there should be between them. The unified position of teachers in understanding the prospects for a child’s development and the interaction between them is one of the most important conditions for development children's creativity.

Mastering artistic and artistic activity is unthinkable without communication with art. Only in this way will the child understand the meaning, the essence of art, visual and expressive means and their subordinate meaning. And on this basis, he better understands his own activities.

Since creativity is always an expression of individuality, taking into account individual characteristics a child is necessary for the purposeful formation of creative abilities. It is important to take into account the temperament, character, and characteristics of some mental processes(for example, the dominant type of imagination), and even the child’s mood on the day when creative work is to be done.

An indispensable condition for organized by adults creative activity there must be an atmosphere of creativity. We mean adults stimulating such a state in children, when their feelings and imagination are “awakened,” when the child is passionate about what he is doing. At the same time, he feels free, relaxed, and comfortable. This is possible if an atmosphere of trusting communication, cooperation, empathy, faith in the child’s strengths, support in case of failures, and rejoicing in achievements reigns in the classroom or in home artistic activities.

The most important condition for the development of creativity is a comprehensive and system use methods and techniques.

The creative activity of preschoolers is ensured by task motivation, caring attitude to the process and result of children's work, material support for their visual activities.

A condition for the development of children's creativity is also training, during which knowledge, methods of action, and abilities are formed that allow the child to realize any idea. For this, the knowledge and skills developed in children must be flexible and variable, and the skills must be generalized, that is, applicable in different conditions. Otherwise, already at the older preschool age (by the age of seven), children experience a so-called “decline” in creativity. The child, realizing the imperfection of his drawings and crafts, loses interest in visual activities, which affects the development of the preschooler’s creative abilities as a whole.

Visual activity originates in early age. If the conditions for its appearance and development are created in time, it will become a bright and beneficial means of self-expression and development of the child. With the development of visual activity, the child himself grows, develops, and changes.

Of course, for the creation of images and the development of children's creativity, imagination, positive emotional attitude children to visual activities and children’s mastery of depiction methods, expressive means drawing.

This is facilitated unconventional techniques drawing:

fingers - palette,

hand print,

signet (can be made from an eraser),

tamponing (the pattern is applied with a piece of foam rubber),

stencil (more often used in combination with the tamponing technique),

spray (can be used toothbrush),

monotype (gouache is used different colors and a sheet of paper folded in half. Initially, this technique can be used as an exercise to develop fantasy, imagination, sense of color and shape.),

blotography (you can use a cocktail straw to “promote” blots. Playing with blots helps develop the eye, coordination and strength of movements, fantasy and imagination.),

drawing on wet paper (use watercolor chalk to draw on wet paper placed on a damp napkin),

colored threads, freshly dyed threads are laid out on one side of a sheet folded in half, the halves of the sheet are folded, pressed against each other, smoothed out, then, without removing the palm from the paper, the threads are pulled out),

grattage (drawing - the process of rubbing a pointed stick on a wax pad: a colored background is rubbed with watercolor with wax, covered with black gouache with a small amount of shampoo),

drawing on crumpled paper (in places where the paper is folded, the paint becomes more intense when painting, which gives a mosaic effect),

drawing wax crayons(the paint rolls off the surface on which the wax chalk or candle was passed, and a pattern appears on the colored background),

stroke (you can draw with sanguine, pencil, charcoal).

By doing drawing, modeling, appliqué, children learn various materials (paper, paints, clay, crayons, etc.), get acquainted with their properties, expressive possibilities, acquire skills to work with them. The child’s knowledge base expands. Children learn tools human activity- pencil, brush, scissors and learn how to operate with them, and, consequently, the socio-historical experience of humanity embodied in them, which, of course, is important for the intellectual development of children.

Activities to develop children's creativity in kindergarten are the perfect way Help children learn key skills. Practical scientific activity always arouses curiosity, and a variety of art projects provoke independence and creative thinking.

Painting for children

One of the most popular and sought-after types of art for children's creativity in kindergarten is painting, the techniques of which range from the simplest finger strokes to painting finely detailed shapes with a brush.

Paint is art material, which easily adapts to a wide range of art activities for toddlers. Using gouache or watercolor you can create... simple paintings and decorative art projects, as well as arrange various scientific experiments on mixing colors and painting a number of objects.

Making collages

Collage or assemblage various materials, is one of the main original works of art for the development of children's creativity in kindergarten. Students can use glue, colored masking tape, stickers, or colorful paper, so that you can then combine individual elements into a single whole in your own unique way.

Collages can be created on thick paper, cardboard, on windows, various three-dimensional objects and even on the body. You can use the most different materials, including rainbow feathers, napkins, pieces of fabric, ribbons, cotton balls, buttons, beads and so on. The sizes can be very different. The options are endless!

Modeling and sculpture

Most children love modeling and everything connected with it. They enjoy rolling balls and snakes out of dough or plasticine. If you add a rich set of tools and a variety of decorations to these materials, you can get an excellent set for children's creativity in kindergarten. Plasticine, dough (including bread and salt), clay can be molded into the most various shapes and sculptures.

Creativity matters a lot

Disclosure creative potential is one of most important tasks education. The full development of the future personality largely depends on this. What is creativity? There are several interpretations:

Development of imagination and fine motor skills

The creativity of children in kindergarten is inextricably linked with the development of other, no less important things, such as, for example, fine motor skills. A huge and varied collection of kindergarten activities meets all educational needs. Creativity can be defined as the process of creating original ideas and using abstract thinking to find solutions to problems.

Research shows that preschoolers are especially susceptible to creative development. Therefore, the topic of creativity in kindergarten is of paramount importance. It is at this age that children need to be given every opportunity to reach their potential. And for this you need to develop creativity in a preschool institution and create an environment that will stimulate creativity.

Creativity and intelligence development

Creativity is a process, not an end product. There are many different ideas and ways to do something interesting and unusual. According to scientists, creativity and intellectual development are inextricably linked. Children who are allowed to live and think outside the box have more high level intelligence.

Creativity in children is an environmental issue

Children are creative when their environment allows them to. This is something that can be created both at home and in kindergarten. It is important a large number of space and oxygen-rich air, pleasant surroundings and good light. The creativity corner in kindergarten requires the most different requirements. Children do not come up with the idea of ​​creative solutions with ready-made toys on their own. They want something that doesn't require clear rules of the game, that can be used in many ways.

Artistic creativity in kindergarten

Why study art? Children learn differently, and preschoolers are not always able to fully express themselves through language. Artistic activity and other types of creativity in kindergarten and beyond are extremely important. Art is part of the human experience, and little ones are unique in their ability to enjoy it, produce it, and express themselves through various art projects.

Folk art in kindergarten is combined with such fine views activities such as modeling, plasticineography, designing from natural material, paper and cardboard, applique and others.

Creativity helps develop fine motor skills. The more operations children perform with their hands, the more confident they will be in holding a pencil or pen. primary school. Art gives each individual child a means to express themselves. Art education in kindergarten begins as spontaneous activities and becomes more structured over time.

Activities such as connecting dots or cutting along lines are not art. Children sometimes need to be given free rein for their imagination. Experimentation encourages their personal creativity and imagination. When they are free to create, they develop self-confidence and become more creative, well-rounded individuals.

Art activities can create a sense of collaboration and group belonging. For example, if children do something together, they feel a sense of belonging. Some art projects, such as handprint painting, also encourage collaboration and working together. With appropriate modeling, children during a group art project will not only be creative, but also learn to support group members, help each other, and work as a team.

MBU DO "House of Children's Creativity No. 4"

Address: st. Morisa, 82a, Novokuznetsk, Kemerovo region

SUMMARY OF VOCAL CLASSES

Singing installation. "The Magic Rules of Singing"

Developer:

Arysheva Svetlana Ivanovna,

teacher additional education,

vocal and pop studio "Orpheus"

Novokuznetsk

Focus: artistic.

Lesson topic: Singing installation. "The Magic Rules of Singing."

Target: Formation of ideas about the concept of “Singing attitude” and practical use in vocal lessons.

Tasks:

Introduce students to the concept of “singing attitude”.

Introduce the rules of singing set-up.

To develop children's musical perception, vocal apparatus, hearing:

Develop memory, attention, thinking, perseverance.

Cultivate an interest in vocal art.

Form: lesson-rehearsal.

Lesson equipment:

Piano;

Musical equipment;

Visual aids;

Collection of notes;

Phonograms.

Method of organizing student activities: group.

Progress of the lesson

Organizing time, introduction to the topic:

Musical greeting.

(The teacher sings: “Hello, guys!”, The children sing: “Hello, Svetlana Ivanovna!”)

Teacher: Today we will do a very important thing - get acquainted with “ magic rules singing”, which cannot be avoided. If you follow them, you will definitely learn to sing beautifully. But first I'll tell you about the singing setup. Guys, what do you think this is?

Children: this is a straight back, straightened shoulders, a good mood, etc.

Teacher: Right.

Main part

Singing installation- This correct position body (torso) when singing. In order for the voice to sound free and easy, nothing should interfere with it: your shoulders should be lowered, your back straight, you don’t need to stretch your neck and raise your chin high (otherwise you will immediately become like a rooster who wants to out-crow everyone). Your posture and even your well-being depend on how you hold your “body.” Good posture is always necessary, but especially when singing.

The correct singing attitude is the “magic rules of singing,” and there are many of these rules. Let's count how many there are. I will name them, and you count (the teacher shows visual material, which shows the correct position when singing standing and sitting).

1. The main rule is that when singing you cannot sit or stand relaxed: you need to maintain a feeling of inner and outer fitness.

2. Keep your head straight, freely, without lowering it down or throwing it back, and do not stretch your neck.

3. Stand firmly on both legs, and if sitting, then lightly touch the chair, also leaning on your legs.

4. When singing in a sitting position, your hands should rest freely on your knees.

5. You cannot sit with your legs crossed, because this position creates unnecessary tension in the body.

7. Open your mouth wide and vertically.

8. The lower jaw should be free, the lips should be mobile and elastic.

How many rules did you count?

Children: 8 rules

Teacher: Well done, you counted correctly. Now we know that there are 8 magic rules, however I have one more question. Why are these rules called magic?

Children: Because if you follow these rules, your voice will sound beautiful and easy.

Teacher: Right. Now let's sing the familiar chant about an owl, following these rules. Let's sit upright, put our hands on our knees, straighten our backs.

Chant about the owl:

The owl was sitting on a tree,

And she sang her song O-U-U,

What the strange words,

It's an owl hooting!

Guys, today we sang in a new way, following the magic rules. Do you think they helped us? We began to sing freely and beautifully?

Children: Yes!

Teacher: Very good. Now let's repeat the song that we learned in the last lesson.

Vocal and choral work on the song “Far from Mom”, learning the second verse.

3. Summary of the lesson. Reflection

Teacher: Guys, let's summarize our lesson. What new did we learn today?

Children: We got acquainted with the magical rules of singing.

Teacher: How many of these rules are there? Tell me them?

Well done today, you did a good job. Let's say goodbye. Goodbye! (in musical form).

(The teacher sings: “Goodbye!”, Children sing: “Goodbye!”).

Internet resources used:

http://vocalmuzshcola.ru-resources:

Used Books:

M. A. Mikhailova Development musical abilities in children. A popular guide for parents and teachers. Development Academy, 1997 .

View certificate of publication

The lesson is conducted according to educational program"Vocaletto" 1st year of study. Given training session designed for the consistent formation of singing and performing skills.

The training session is designed for 2 academic hours with vocal ensemble“Vocaletto” (10 people) 1st year of study. The age of students is 7-17 years. Recruitment to the association is carried out on the basis of desire.

Lesson objectives:

1. formation of performing vocal skills in students skills and abilities.

2.creating conditions in which the student experiences pain achievable sensation

performing freedom and creative comfort.

Tasks:

1. development of singing skills (meaning sustainable singing

breathing on support, evenness of sound throughout the entire vocal range,accurate intonation, melodiousness, melodiousness of the voice, clear and precise diction, correct articulation).

1. stable intonation of monophonic singing

4.skills in working with phonograms and microphones

Teaching methods: explanatory-illustrative, reproductive, practical

Form of organizing a training session: individual, group

Equipment: piano, music Center, microphone, piano, CDs, phonograms minus, plus performance of “About Jam”, “Three Wishes”, “Lyceum”, handouts - lyrics

Stages and timing of the lesson

1 lesson – 1 hour 30 minutes

I.Organizational stage . Checking readiness for class. Correct singing position – 2 minutes;

II.Preparatory stage : gymnastics of the articulatory apparatus, phonetic exercises, breathing exercises, vocal – intonation exercises— 14 min

III.The stage of assimilation of new knowledge – learning the canon chant – 12 min.

IV.Main stage- work on the repertoire (work on

sound production, sound science, purity of intonation, expressive singing, two-voice).

1. Singing the songs “About Jam”, “Three Wishes”, accompanied by

piano and a capella – 8 min

2. Work with soloists. - 4 min.

3. Singing songs to a minus soundtrack - 8 minutes

4. Singing songs with a microphone – 8 min.

Dynamic pause - 10 minutes between songs for rest and relaxation,

Physical education minute

5. Work on the movements in the song “About Jam” - 5 min.

6. Repetition of the song “Lyceum” - 5 min.

V . Reflective stage : children’s self-esteem about their performance,

Emotional state – 2 min

VI. Final stage: singing songs from beginning to end under

Phonogram with movements. Summing up results, mistakes and successes

Each student – ​​10 minutes

VII. The final stage : homework assignment, message about the following

Lesson - 2 min

I. Organizational stage :

- meeting children;

— checking of those present;

— Correct singing position: stand straight, chest free, shoulders turned and lowered, good emphasis on both legs, hands free. Keep your head straight. A strong head lift leads to tension in the anterior neck muscles and constrains the larynx. The face should be free from grimaces. A smile on the face creates feeling of elation, necessary for the lesson.

Preparatory exercises.

II . Preparatory stage: Before we start singing, let’s prepare our vocal apparatus. We begin each lesson with articulation and breathing exercises, intonation and phonetic exercises. What is the articulatory apparatus? ( tongue, lips, hard and soft palate, lower jaw.)

Articulation gymnastics

Tongue gymnastics

— Lightly bite the tip of your tongue with your teeth four times. Stick your tongue out as far as you can, lightly biting the tip of your tongue in succession.

— Bite your tongue alternately with the right and left sides with my teeth, as if chewing it.

— Make a circular motion with your tonguebetween lips and teeth with closed mouth. The same in contrastin the right direction.

- Place your tongue on your upper lip, lower lip, right my cheek, into my left cheek, trying to pierce them right through.

Lip gymnastics:

Bite your lower lip, upper lip, suck in your cheeks andbite their inner surface with your side teeth.

Intonation-phonetic exercises.

1. Starting position: mouth open as much as possible with jaw movements forward and down. The exercise consists of a strong, active pronunciation of consonant sounds in the following sequence: Sh, S, F, K, T. P, B, D, G. V, Z, Zh. Each sound is pronounced four times.

2. Sequence of vowels: A, E, I, O, U.

3. The starting position is the same as in exercise 1.
The main element of the exercise is sliding ascending and descending intonation with a sharp transition from the chest to the falsetto register and from the falsetto to the chest with a characteristic fracture of the voice.

U~u, u~o, o~a.

Tongue Twisters:

1. The bull is blunt-lipped, the bull is blunt-lipped, the bull’s white lip was blunt.

2. How 22 Egorki lived on a hill on a hill. One Yegorka, two Yegorkas, etc.

Breathing exercises.

— How does the singing process begin? ( with inhalation)

- Where do we direct the air when inhaling ( in the stomach). The body is loose, the shoulders are lowered.

1.Inflate balloon(inhale through your nose, hold your breath, exhale through the SSS, the air comes out, the ball remains.)

2. Short inhale into the stomach, short exhale to “shoo”, “shush”.

3. Riding a motorcycle (arms stretched forward, inhale - brushes back, fasten, exhale RRRRRRR).

4. Feet shoulder-width apart, arms at shoulder level, elbows bent parallel to each other. We connect the elbows, inhale, elbows to the sides, tack, body down. Exhale to “Ha.”

5. An exercise to activate the work of the anterior abdominal wall for the sounds “k” and “g”.

The teacher's attention should be directed to:

-muscle freedom

- correct posture;

— the ability to take a breath and expediently distribute the exhale;

— operation of the resonator system;

— general speech intelligibility;

-rhythmic precision.

Vocal intonation exercises.

Goals of vocal intonation exercises:

Develop the skill of maintaining a tone at the same height, the same volume or with different nuances, which trains singing breathing
form correct articulation one or another vowel sound
achieve certainty in the attack of sound
clarify intonation at the moment of sound attack
build unison

All exercises are performed in an ascending and descending chromatic sequence (in the range A m - F 2)

1.Singing with your mouth closed helps to equalize the timbre sound and auditory tuning. The exercise is sung with slightly open teeth (mouth closed), high palate, sensation of sound in the upper resonator, on the sonorant consonant sound “M”. (example 1) When you feel a slight vibration and a slight tickling of the lips.

2. Register smoothing. (Lip vibration, then RRRR)

Make sure your lips are free and have an even, full sound when moving to

head register. The slower the vibration speed, the better.

3.Practice a soft but precise sound attack. This will be

facilitate the execution of legato exercises on one note.

4. Exercise based on triad sounds. Rely on breathing.

Goal: expanding the sound range in order to equalize the register sound of voices and to activate the work of the anterior abdominal wall.

2. Exercise to develop voice mobility and work on diction.

Monitor the clear pronunciation of syllables, the jerky work of the diaphragm, the larynx remains in the middle position and does not rise behind the sound. The tip of the tongue touches the two upper front teeth.

III. The stage of assimilation of new knowledge is learning the chant of the canon “There is a birch tree in the field”

The first acquaintance with two-voices should begin with the singing of canons. This is the most interesting and accessible form of polyphony for children. What is canon? Canon translated from Greek language means "rule, order." Musical canon - a song performed in a special way. All performers of the canon sing the same melody with the same text, entering alternately. The one who started singing first and finishes first. Singing with the canon became very popular in the 16th and 17th centuries, and now the canon is gaining a new surge in popularity among young performers due to the fact that it clearly demonstrates the performer’s singing technique

Stages of work on the canon:

1) speech recitation. Invite the children to recite the first

a line to everyone together. Recite again, and the teacher recites in canon. Divide the ensemble into two groups, the second group now taking the place of the teacher.

2) Having mastered the performance of the rhythmic canon, you can start singing.

To begin, sing the melody of the canon to everyone together with the teacher:

Bring to pure a-cappella unison. After the melody is learned, the children perform the 1st voice, and the teacher performs the 2nd.

Then divide the children into 2 groups. Everyone sing a cappella, in dynamics p, listen to each other, vertical. Remind children: “First I listen, then I sing.” Pay attention to the precise introductions of voices, the ability to maintain the tempo from beginning to end.

Appendix No. 1

Main part.

Work on the repertoire.

Work on the songs “Three Wishes” and “About Jam”.

Stage 1 . Singing songs with piano accompaniment and a capella. Work on purity of intonation, clear pronunciation of words, endings, correct sound management, unison.

The song “Three Wishes” has a complex dotted rhythm, it is important that each of the students learn it. Simultaneous removal and entry of voices by the hand of the teacher. Consonant sounds are pronounced easily, clearly, clearly and energetically. Pay attention to singing narrow vowels, avoid flat sounds. Needed whenteach students to clearly pronounce consonants at the end of words, monitor the clear pronunciation of consonants in the middle of words fast pace.

Particular attention is paid to working on two-voices in the song “About Jam” - pure intonation. The main task is to teach students to listen to each other, to hear both voices, and not just their own. First, each part is worked out separately, then the voices are combined.

Stage 2. Working with soloists in the song “Carousel of Melodies”. This song contains solo episodes.

Much attention is paid to working on intonation and sound production, since each student has his own voice timbre and his own shortcomings. This applies to the vowels “A” and “E”.

The basis of any singing is vowel sounds. Depends on the correct sound formation of vowelssits the beauty of timbre. For students of the 1st and 2nd year of study school age the timbre is uneven, which is annoyingcaught mainly by the “variegation” of vowels. Sound smoothness is achievedthrough maintaining a high sound (position) on all sounds of the singing range on the.

The condition for competent sound production is a correctly open mouth, a freely lowering jaw, active lips that clearly articulate eachsound. On initial stage Basically, you should pay attention tothe student inhaled correctly, distributing the exhalation until the end of the word or smallphrases, did not take breath in the middle of a word.

10 minutes rest

Face massage

- Go over the entire face with a tapping massagewith the tips of bent fingers. The blows must be strong enoughso that the face “lights up”.

- Massage the jaw-temporal joints with your fingers.Make a forward and downward circular motion with your lower jaw.: Make a forward circular motion with your lower jaw. right-back-left-forward.

Back massage.

Free time

Stage 3. Singing songs to a soundtrack. Songs are sung at a faster tempo, with a clear rhythm.

Stage 4. Singing songs with a microphone.

Stage 5. Working on movements in the song “Slush”

Stage 6. Repeating the song "New Day"

IV. Reflective stage: children’s self-esteem about their performance, emotional state

— What did you remember most about the lesson and what did you like...

V. Final stage: singing songs from beginning to end to a soundtrack with movements. Summing up the results, mistakes and successes of each student

— What new concepts did you learn about in class?

— Meanings of the concept canon.

VI. The final stage: homework, message about next lesson

Bibliography

Gerasimova I.“Vocal and choral education of children” Samara 2001

Gontarenko N.B. Solo singing. Secrets of vocal mastery. —

Rostov-on-Don, 2006

Methodological development. Samara, 1997

Dmitriev L.B. Fundamentals of vocal pedagogy. M., 1968.

Erokhina I.A. Working with beginning singers. Methodological development. -Samara, 1999

I. Isaeva « Pop singing. Express course for the development of vocal abilities"

Ogorodnikov D.E.. Musical and singing education of children in secondary schools. - M.: Muzyka, 1972

Romanova L.V. Pop vocal school. - St. Petersburg: Publishing House "Lan"; Publishing house "PLANET OF MUSIC" 2007.

Stulova G.P. Theory and practice of working with a children's choir. Moscow 2002

Seth Riggs How to become a star. -M, 2004.

“If you have a talent, share it with others! If you know what to say to this world, say it! If your soul sings, sing!”

Natalia Knyazhinskaya

Introduction.

Singing has a beneficial effect on the development of the voice and helps to build smooth and continuous speech. Group singing is an effective means of relieving stress and harmonizing the personality. Through group singing, an individual can be adapted to difficult conditions or situations. For children with speech pathology, singing is one of the factors in improving speech. Classes for children of all ages vocal association- this is a source of emancipation, optimistic mood, and self-confidence. The program provides skills development singing activity and improving special vocal and stage skills. Over time, singing becomes for the child aesthetic value, which will enrich his entire future life.

Description of material: the summary of the vocal lesson I presented is designed for working with a senior ensemble (13 - 14 years old). Topic of the lesson: “ Concert activities" This material is offered to teachers of additional education and music directors in cultural centers.

Topic: “Concert activity as one of the methods of active learning”

Target: Increase the adaptive capabilities of the child’s body through success or failure when speaking in front of an audience.

Tasks:Educational: teach how to confidently stand on stage in any unexpected situation.

Developmental: promote the development of singing skills and stagecraft.

Educational: form goal setting, sensibly assess your strengths, the situation in the room.

Health-improving: creating a system for the prevention and correction of children’s health through speaking in front of an audience.

Equipment, didactic material:

Piano, musical equipment.

Lesson plan:

1. Organizational moment.

2. Repetition of the material covered.

3. Creative part

4. Summing up.

PROGRESS OF THE CLASS:

1. Organizational moment (2 min.)

Greetings. Set the mood for a good mood, list of the order of speech.

Teacher:Hello my friends! Are you all here today?

Children's response (checking those present)

I am very glad to see you, and I hope you also came to class with good mood. Moreover, today we have a very interesting and important day. And so that nothing overshadows our lesson, I want to remind you what you need:

Be polite to the audience in the hall, do not walk around while other participants are performing;

Be careful not to get your concert costumes dirty;

Do not turn on or touch any equipment yourself;

Do not insert pens, hairpins, paper clips or other foreign objects into the outlet.

· Do not use electrical appliances if the wire is damaged.

2. Repetition of the material covered (10 min.)

Teacher:Let's continue with the vocal warm-up.

Exercise No. 1

On one note let's sing ma-e-i-o-u(ascending movement along chromatism)

Exercise No. 2

We sing the syllables “I sing” using the sounds T53 with a downward movement.

Exercise No. 3

According to the ascending and descending chromatic movement we sing da-da-da-da-da-da-da-da.

Exercise No. 4

We sing syllable-by-syllable “The night was shining” using the sounds T53 with a downward movement.

Exercise No. 5

We sing “Here I go up, here I go down”

Exercise No. 6

Do-re-do; do-re-mi-re-do; do-re-mi-fa-sol-fa-mi-re-do. The chant is sung upward in chromaticity.

Exercise No. 7

We sing the syllables “We are coming” using the sounds T53 with a downward movement.

Exercise No. 8

According to the sounds of T53, with an upward movement, we sing da-de-di-do-doo; bra-bra-bri-bro-bru; za-ze-zi-zo-zu.

Exercises for the articulatory apparatus:

Exercise No. 9

We sing the tongue twister “Under the clatter of hooves, dust flies across the field”

Exercise No. 10

We say the tongue twister: “The cuckoo sewed a hood for the cuckoo, the cuckoo in the hood is terribly funny.”

Exercise No. 11

Warm up exercise vocal cords:

Day yourself day. Each syllable is sung on one note. The exercise is performed according to the scale, depending on the range of the voice.

It is after full chanting that I move on to the active teaching method that I have developed:

An exercise aimed at self-affirmation and a positive attitude, promoting successful self-realization:

We sing in chorus down the triad throughout major scale up and down: “I sing, I sing well!”

After this, we move on to repeating works aimed specifically at this concert or competition. If this reporting concert, we close it common song all vocal studio. The active teaching method “Let's sing” works here. We perform it in choir to reinforce positive emotions.

4. Creative part (30 - 35 min)

5. Summing up the lesson (4 min.)

An active learning method is perfect for summarizing “ Orchard" Instead of wood, you can take scale degrees, and instead of lemons and apples, note durations.

Teacher:Thanks guys. Until the next lesson.

Used Books.

1. Dubrovskaya S.V. Strelnikova’s famous breathing exercises. – M.: RIPOL classic, 2008.

2. Emelyanov V.V. Voice development. Coordination and training. – St. Petersburg: Publishing House “Lan”; Publishing house "PLANET OF MUSIC", 2007.

3. Zhavinina O., Zats L. Musical education: searches and finds // Art at school. – 2003. – No. 5.

4. Morozov V.P. The art of resonant singing. Fundamentals of resonance theory and technology. – M., 2002.

5. Psychotherapeutic encyclopedia. - SPb: PETER, 2000.

6. Razumov A. N., Ponomarenko V. A., Piskunov V. A. Health healthy person. – M., 1996.