Selection of repertoire. Repertoire is the face of the creative team

Many applicants fail the entrance exams to theater universities. And often this happens not because of ignorance or lack of talent, but because the literature for the competition was incorrectly selected upon admission. Theater school often provides a huge reservoir of knowledge that can become a lifeline for an applicant.

But even after taking courses or a similar school, the future student does not fully understand which works should be chosen in order to fully reveal his talent at the entrance test. No one can tell you exactly which literature to choose or which dance to choreograph, or how to choose the ideal image.

Most applicants do not have the slightest idea about what literature for admission to the theater is most convenient for such a competition. Practice shows that future students of such a university should choose:

famous fables;
classical poetry;
prose works of writers of past centuries (of course, the most popular).

The most important rule is that all texts must be learned by heart. It is unacceptable for an applicant to read a role from a piece of paper or tablet at the entrance competition. At the same time, the applicant should have several versions of works, preferably even different genre types.

What else is important for admission?

Developed erudition, culture, and erudition are also extremely important points. The future test will show the applicant's level of knowledge, his manners, cultural level and even upbringing. Equally important is understanding and knowledge of Russian literature.

In addition, the applicant must understand the basics of theatrical art, know who and when stood at the origins of this skill and which famous figures influenced the development of this creative profession.

If you choose GITIS, how to enter there is a question that should not cause difficulties. When an applicant wants to enter a university of this magnitude, he must understand in advance what difficulties may arise along the way.

Literature for admission to theater: common mistakes

When you have all the knowledge, a number of skills and abilities, excellent stage presence, then an incorrectly selected repertoire for entrance exams can ruin your path to a future career and fame.

There are a lot of guys who make mistakes at this stage and don’t go further. What are the most common mistakes made by future students during admission?

Selecting an unknown work.
Too simple to perform and unemotional passage.
Short or poorly learned material.
Lack of knowledge about the work itself.

It doesn't matter what you choose - poetry, prose or song. The drama school had to provide the applicant with all the basics of acting, including how best to present the chosen essay.

Some applicants do an excellent job even with unknown works. Sometimes enormous talent is visible to the naked eye, and no mistakes can overshadow the genius abilities of the applicant. Therefore, it is difficult to determine the ideal algorithm or recipe for the upcoming trial.

It must be said that the question of competent selection of the singing (or vocal) repertoire is rarely raised on vocal websites and even in specialized literature. Meanwhile, it seems to me that this question requires consideration and explanation, especially when we are talking about the very first repertoire (or a single song) in a person’s life, when he has just learned basic vocal skills.

And if we’re talking about building a repertoire, then it’s necessary to mention in a good way, HOW the repertoire is selected in professional music institutions for the same first-year students. This, in my opinion, is perhaps the most correct “model” (or plan) according to which it would be worth studying.

After mastering the skills and numerous chants, the first thing teachers usually give students to sing is VOCALIZES.

Vocalise is singing without words, also a piece for voice without words, from only vowel sounds or syllables. It is also used for the development of the voice: in relation to its quantitative characteristics and voice technique (Wikipedia)

Yes, vocalises are indeed a continuation of chants and exercises, so usually vocalises are performed to chant vowels or to repeat one word or phrase (for example, “Ave Maria”). There is no text in the vocalise, because this work involves consolidating, developing or training certain singing skills. It’s just that, unlike chants, vocalization sounds exactly like some kind of holistic and complete musical work (play). Many masters of the Italian vocal school themselves composed entire collections of vocalises for different voices (male and female) and their different timbres (soprano, tenor, etc.). Vocalization provides a lot of useful skills (such as phrasing, dynamics, rhythm and pitch tasks, etc.) and more systematically reinforces the student’s existing singing skills.

Moreover, folk songs are selected of different characters - one is slow, the other is fast, or one song is cheerful, playful, the other is lyrical, drawn-out. In folk songs, as you understand, work on the text and diction already begins while singing.

It seems to me that you can take folk songs not only of your own country and in Russian, for example, but also in a foreign language, ESPECIALLY if in the future a person plans or wants to sing in this foreign language. And the point here is precisely in the study of the so-called vocalization of the language, that is, the features of the pronunciation and sound of letters, sounds, consonances and words of a foreign language in which the song is sung. Studying foreign vocalizations greatly develops the ear, not to mention the fact that it gives the singer a lot of experience in working with sound. As a rule, in Russian music universities it is customary to sing only Russian folk songs.

Following folk songs come classical ARIA, at first small, then increasingly more complex in skill and longer in time. In the arias, the cultivation of the “cantilena” style of singing is pursued, as well as “legato” singing (Italian: legato - smoothly, coherently), vocal work at a slow or calm tempo, which immediately affects the development of the length of breathing.

Cantilena (Italian cantilena “song”, from Latin cantilena “singing”) is wide, freely flowing melodic music, both vocal and instrumental. In addition, the term also denotes the melodiousness of the music itself or the manner of its performance, the ability of the singing voice to melodiously perform a melody (Wikipedia)

It is clear that this is not the only task, but, perhaps, I have outlined the most important ones.

After the arias come, as a rule, ROMANCES, both classical and contemporary music.

Further, the repertoire can be significantly expanded to several diverse works. These can be arias from classical and modern operas, less often from musicals. The educational repertoire also necessarily includes songs from numerous vocal cycles and collections. The intonation and rhythmic plan of the song itself becomes more and more complex and after the classics they usually move on to works by modern composers or composers of the 20th century, which are sometimes much more difficult to perform in contrast to classical works.

It must be said that after significant experience in solo singing, the teacher may invite the student to take on a duet, trio, quartet or other form of chamber ensemble. This is a separate, interesting and, as you understand, multi-vocal work plan for a student, which requires partners (other vocalists) to play music together.

After a short review of the “standard” classical system for selecting educational repertoire, let’s move on to the question of selecting a song (or repertoire) in the private teaching of amateurs (not future professionals), which is now very common.

In this case, the “educational repertoire” means precisely the initial first works, in which a novice singer who is learning vocals simply “for himself” will first of all be able to realize his basic skills and gain experience in general working on a song, which is significantly different from work in individual vocal exercises. It’s just that in this case one should not confuse the “educational repertoire” with the concept of “concert repertoire,” which in turn is designed for professional singers who draw up a program for their public performances.

I already wrote about this in the article - Dear students, first of all TRUST repertoire selection for you TO THE TEACHER! Because this is the first problem that teachers face in this aspect.

Often, after mastering basic vocal exercises and the basics of vocals in general, when the long-awaited stage of transition to the repertoire finally arrives for the student, the burning problem of choice arises - “What will we sing?” And here the student can “break the chain”, bombarding his teacher with all sorts of options for what he himself would like to sing (he dreamed all his life, waited for a long time, cherished hope, etc.)

It is clear that the teacher will listen to all your wishes in any case, my dears, but this does not mean at all that he APPROVES your choice and that he is generally obliged to follow your “wants”.

Yes, it happens that a student voices a completely reasonable choice of a piece that really suits him and is within his strength. But, alas, this rarely happens... Because practice shows that learning to sing, having some skills and basic knowledge DOES NOT MEAN that the student can adequately talk about his voice and its capabilities, and often his knowledge of musical literature (as music is called. work) is simply not enough, or they are too poor to choose a really worthwhile song to perform and study, which will contain everything that is useful for the continued development of the student’s vocal skills and which at the same time will be a talented composition and beautiful music (I hope you don’t you will deny that music can be different and on the same stage there are more consumer-grade low-quality songs than truly worthy ones).

So, trusting your teacher as a professional in the world of vocals and voicing your personal wishes, reviewing and discussing many versions of songs, where the teacher will give you a preliminary analysis of the work from the point of view of its study by you, and will highlight at least approximately the prospects for your performance, you You will come to a consensus, believe me! And everyone will be happy!

Most often, teachers recommend that their students take on a lyrical piece as their first piece of work. As a rule, this is a very beautiful melody, harmonies, most often a love-themed text, a slow or calm tempo, a small volume of the song itself. But the teacher here pursues his own goals FOR YOU. Namely:

Development of your breathing, or rather the respiratory apparatus as a whole (meaning the length and evenness of exhalation)

Aligning the style of singing according to the style of music and the genre of the song (as an example, in classics an academic style of singing is adopted, “rounding” all vowel sounds, in pop, on the contrary, “open” vowel sounds and minimalism of dynamics)

A calm pace will give you the opportunity to manage everything while singing - think about your actions, keep track of specific tasks, link individual skills into integral vocal work
Working on the “legato” touch (and as a rule, all lyrics are sung in “legato”), which has already been mentioned, will make it possible to subtly hear each of your sounds, notes, syllables, words, feel and react to changes in the timbre of the sound, and overcome “difficult” ones. notes
A small volume of work will teach you for the first time a small “vocal direction” of a song, where you are a director and a performer at the same time and can perform exactly what you think and think through in advance, show in singing those emotions that correspond to the given music and words, carry out competent dynamics (dynamics - these are various shades of sound volume, directly related to mastery of vocal breathing and articulation techniques, and to the capabilities of the vocal cords themselves)
The first work is the first “brainstorm” and psychosis, this is the first excitement, the first result, and all teachers know this. Learning not to worry, to gather and concentrate, to work on yourself, so that later you can have the pleasure of “relaxing and just singing for pleasure” - this is also, oh, what an important task for the student and his first experience of performing.

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“The problem of selecting repertoire for primary school students”

additional education teacher

Children's Art School No. 3 “Youth”

Timofeeva Elena Evgenievna

The problem of selecting repertoire for primary school students

Folklore is artistic pedagogy!

Folklore laid the foundations of not only aesthetic, but also moral education. Almost all children's fairy tales are based on moral teaching. At the same time, the edifying meaning of fairy tales is inseparable from the educational one. Fairy tales are an artistic way of understanding the world around us, the day.

The psychology of children, the basic laws of children's logic and children's perception - all this is taken into account in folklore. Even the feeling of fear is used in horror stories as one of the forms of education of feelings.

The main goal of the student’s activity is the process of singing together in combination with movement, fragments of rituals, with the addition of instrumental accompaniment, and folk songs.

Deep penetration into the essence of folk song creativity is impossible without studying the basics of folk performance, without educating the student in a folk performing manner, which contributes to a stylistically correct interpretation of folk music. To master it, it is necessary, along with general singing skills, breathing, sound production, and vocal diction

The entire process of teaching folk choral singing should be aimed at nurturing in students a creative attitude towards song, which constitutes one of the main features of folk performance. When I work on a piece, I don’t try to impose my attitude towards the song on the students, but I try to ensure that everyone “be themselves” and pass this piece through their heart and thinking.

The style of Russian song is not easy to comprehend; one can become imbued with it only through creating an appropriate spiritual atmosphere within oneself. Students need emancipation, spontaneity in expressing feelings, freedom in expressing emotions. The students singing at attention and standing in tense poses look awkward.

A folk song contains vivid examples that are accessible to children’s thinking and often suggests some kind of plot development (facial expressions, gestures)

It is known that the vivid imagery of the musical language of folk tunes, their performance, which includes elements of play, dance, recitation, and colorful costumes, make them accessible to understanding and performance by children of different ages, starting with the youngest. The special variety of colors of folklore songs, the bright musical language, the contrast in the characteristics of fairy-tale characters, the struggle between good and evil give reason to assume the advisability of using folklore material in the process of aesthetic education of children. Vivid images in children's folk songs and choruses are accessible and understandable to children; Moreover, children not only listen to fairy tales and songs, but they themselves become involved in fairy-tale play. Children are participants and directors of game compositions and puppet shows. In the process of playing, the child organically learns new musical images, acquires skills and abilities, and develops his imagination. Play in childhood can carry a functional load: cognitive, physical development of the individual, improvisational-creative, organizational-active.

One of the main issues facing the teacher is the selection of repertoire. First of all, the song should be interesting and understandable to the performer himself. But it should be considered not only as material for developing vocal and performing techniques, but also as a way of involving children in folklore, and a means of aesthetic and moral development.

The game accompanies humanity throughout the entire path of its historical development and is presented in different forms. A person plays differently from birth to old age, but the basis of gaming forms in our perception is in childhood.

From an early age, a child lives in the world of play. Play is the leading form of child activity that characterizes the world of childhood.

The game develops creative imagination. It does not appear by itself, but is cultivated as a result of the teacher’s long and regular work. Game creativity is manifested, first of all, in the gradual enrichment of the content of games. The development of the concept and the use of visual aids depend on the richness of the game’s content and its character. Each age group has its own range of emotions, images, and habits. The child’s way of life and his environment undoubtedly influence the formation of a creative personality.

Intertwined with games, folk instrumental music, fairy tales, and dances, folk song is perceived as a synthesis of arts. And to the greatest extent this synthesis is manifested in the interaction of words and melody.

There are many folk music games. By performing them, they reveal the secrets of their souls and their ability to create. And here the leader plays a decisive role. He must be able to contagiously and figuratively convey the plot of a fairy tale game, correctly and accurately define the acting tasks, and choose the desired line of behavior for the characters. And all this is connected with knowledge of the laws of dramatic art

Mastering the means of performing expressiveness: dynamics, tempo, phrasing, various types of sound engineering, etc.

The repertoire should be diverse in figurative and stylistic terms (include works of various genres);

The program repertoire should consist of works of varying degrees of difficulty. Performing the simplest forms opens up the possibility of quickly replenishing the repertoire with new songs (dances), instills in children confidence in their abilities, and increases their interest in classes. Mastering complex forms stimulates creative growth. When children master the program repertoire, the teacher should present as comprehensively as possible the whole variety of existing singing traditions. At the beginning of training, this may be one of the local singing traditions, and later - the singing traditions of neighboring regions. During the entire period of training, the repertoire must be replenished, the learned material must be “remembered” by children during ensemble classes, improved, and most importantly, constantly implemented in various forms of concert and festival activities of the ensemble.

When performing program repertoire within the framework of concerts and festivals, it should be taken into account that folklore material has its own special specificity. The large length of song texts (sometimes up to 20 verses) requires their reduction. But, if, when performing an abbreviated version of a song, its musical side is fully realized (that is, the modal organization becomes clear, the timbre coloring is highlighted, variation and improvisation manifest itself), then the meaning of the text is often lost, and the artistic image is destroyed. In this case, the text should be conveyed to the viewer in the form of a verbal monologue on behalf of the performer or the text should be completed after the song is performed. Another specific feature of folklore song material in some cases is its association with ritual actions. The performance of such songs outside the framework of the ritual becomes essentially meaningless and incomprehensible to the viewer. Placing songs in the context of the ritual is achieved by including in the concert performance elements of a stage theatrical production, within which a specific ritual will be shown. If the calendar song is performed outside the display of the ritual action, the audience should be briefly told about the ritual itself and the place of this song sample in it.

The teacher can obtain song material to replenish the repertoire from the following sources:

In music collections;

In musical appendices to articles and books on folklore. Each of the song (dance) samples is included in the repertoire with

based on a calendar and thematic plan:

Repertoire.

The decisive factor in the successful functioning of a folklore group is the choice of a repertoire that is appropriate specifically for the given composition of the ensemble. It is necessary to take into account the age, voice, and technical capabilities of children.

The selection of musical material should be well thought out, bright, varied in character and style, it should evoke a lively emotional response in children, and contribute to the most successful development of students' capabilities.

At the beginning of each semester, the teacher draws up a work plan for the ensemble in accordance with the general work plan of the department and taking into account specific conditions (student population, their workload, etc.).

The plan should include 2-3 mandatory works of various genres, for example:

a) authentic folklore;

b) processing of a folk song;

The mandatory list can be expanded and supplemented at the request of the teacher.

In the process of life of the team, it is necessary to repeat the previously learned repertoire, especially timed to coincide with calendar and family dates. The circle of these

works must be replenished annually so that the learned repertoire can be used in the future in everyday life.

The problem of repertoire - the main aesthetic problem of performing art - has always been fundamental in artistic creativity. The repertoire, as a set of works performed by one or another choir, forms the basis of all its activities and contributes to the development of the creative activity of the participants. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, vocal and choral skills are developed, and the artistic and performing direction of the choir is formed. Therefore, the question of what to sing and what to include in the repertoire is the main and determining one for the activities of any choir.

The skillful selection of the repertoire determines the growth of the team’s skill, the prospects for its development, and everything related to performing tasks, that is, how to sing. The repertoire of amateur groups is as diverse in terms of the sources of its formation, in genres, style, theme, artistic level, as the concept of “amateur artistic activity” itself is multifaceted and homogeneous.

The task of the repertoire is to steadily develop and improve the musical-imaginative thinking of the choir members, their creative activity, as well as enrich the intonation listening experience, public “musical memory”! This is only possible through updating and expanding the musical material. Bright melody, rhythmic flexibility, richness of intonation and dynamic shades, vocal convenience - these qualities make folk song an indispensable material for the school of choral singing. Propaganda of folk songs, both in original and processed form, is of fundamental importance for the creativity of amateur choirs.

For circles and groups that do not have a high performing culture, are still creatively undecided, have a small number of members, with a limited range of voices and tessitura capabilities, it is advisable to start with singing simple mass folk songs. Amateur choral performances draw a lot from the repertoire of professional choirs. But not all songs are available; they are selected according to their repertoire interests, creative and technical capabilities. A promising line in the repertoire of amateur choral performances can be considered the appeal of groups to a local theme. “Our own” songs are increasingly appearing on stage, telling about local events and facts.

Often, in order for an old song to become a “repertoire”, some rethinking of it in accordance with the new times is required. Each folk choir is interesting, first of all, by showing its local folk song creativity. In order to correctly and interestingly display the culture of folk singing of a given area, the leader must study folk art, dialect, and performing traditions of folk art. By observing folk singing in everyday life, one can determine what and how people in a given area currently sing.

The basis of the repertoire of each choir should be what exists in the given area, what is most typical and characteristic of this choir.

In the repertoire of folk choirs, a special place belongs to the ditty - the most active genre of modern folk creativity.

The manager must remember that when forming a repertoire, a strict, high-quality selection is necessary, especially of amateur compositions, which often have serious artistic and technical shortcomings; the installation of performing such amateur songs hinders the creative advancement of the group.

Basic principles in choosing repertoire:

1. The completeness of the ideological and artistic content.

2. Correspondence of the repertoire to the performing style.

3. Accessibility for the team (comprehension of the text, vocal technique).

4. Gradual increase in performance difficulties.

5. Possibility of using the studied works in a concert.

6. Select works for educational purposes, but the number of such works should be limited.

7. Variety of repertoire.

The main task of the choir is to promote the best examples of folk song creativity. The objectives of the repertoire are to develop the musical-imaginative thinking of choir members and to enrich the intonation listening experience.

When compiling the repertoire, we followed the principle “from simple to complex.” Works that help solve specific educational problems in a group were included in the repertoire plan.

Over time, each choral group develops a certain repertoire direction, accumulating repertoire baggage corresponding to the composition of the participants, singing style, and creative tasks. Having reached certain peaks, the creative team is looking for ground for its development in a more complex repertoire. In this sense, the repertoire should always be, as it were, aimed at the future; it must always be “overcome” in a certain sense.

The repertoire determines the artistic and performing direction of the choir.

The repertoire of the folklore ensemble also includes theatrical forms of folk art. These include rituals, games, performance games. Also fairy tales, riddles, sentences, jokes. The concert repertoire of the group is formed and determined mainly in the process of rehearsal work, depending on the intended form and theme of the future concert program.

Formation of mutual assistance skills among junior schoolchildren in a folklore musical ensemble

Children's folklore musical ensembles, designed to preserve and promote folk musical art, are focused on concert performance, which determines the specific organization of the musical and educational process: a combination of stationary educational and concert activities with trips to tours, festivals, competitions, and folklore expeditions. By uniting students of different ages, a folklore ensemble becomes for them not only a school of musical and performing skills, but also an environment that promotes the expansion of social experience and enrichment of life experiences.

However, as practice shows, the activities of such ensembles are currently associated with a number of problems. Younger schoolchildren who join the ensemble, as a rule, do not know folk singing style, do not know the essence of folk customs, rituals, features of folk costume, and also, in the overwhelming majority, do not know how to read music, which greatly complicates the process of mastering the basic repertoire and inclusion in the concert and performing activities of the ensemble. When communicating with each other, they often become rude, laugh at mistakes, and refuse to cooperate with children they do not know. In the current conditions, it seems relevant to raise the issue of purposefully developing mutual assistance skills among junior schoolchildren, taking into account the realities of a folk music ensemble.

Conclusion.

Folk singing is the most widespread and democratic form of musical education of children. Through singing in a group, the musical and creative development of the child is carried out. Singing helps to teach children from an early age an aesthetic perception of the phenomena of life around them, instills a love for various types of art, and fosters general and spiritual culture.

The revival of the traditions of folk pedagogy and the formation of spiritual culture based on folklore acquire special significance. The folk origins of Russian musical culture have enormous educational potential, as they are associated with the best traditions of the people and their enduring spiritual values.

Having studied various methods of leading specialists in working with children's folklore groups, we can conclude that the more multifaceted the process of developing the musical abilities of children in a group is and the more methods are included in vocal and choral work, the higher the level of performing skills of young performers.

Thus, the following factors contribute to the progressive dynamics of the development of musical abilities in children and the improvement of vocal capabilities in a children's folklore group: mastering the methodological foundations of working on the development of singing skills; professionally competent selection of the necessary methodological techniques in the process of mastering vocal and choral exercises; the ability to correctly resolve issues of selecting educational and creative song repertoire.

Bibliography

Aliev Yu. When they start singing in our schools / Music at school No. 2, 1982.
Karasev A. Singing technique. – M., 1915.
Litvinova M. Russian folk outdoor games. – M., 1986.
Naumenko G. Folklore alphabet. – M., 1996.
Popov V. Russian folk song in a children's choir. – M., 1985.

.Shamina L. School of Russian folk singing. – M., 1998.
Shamina L.V. About the art of folk singing. Traditional folklore and modern folk choirs and ensembles. / Ed. – comp. V.A. Lapin. – L., 1989

Vavilina M.V.

SELECTION OF REPERTOIRE FOR CHILDREN'S CHOIR

When working with a children's choir, the leader is always faced with the question of selecting and forming a repertoire.

Selection of repertoire is a creative process that requires a serious approach.

In this development, I will try to consider the main principles of the formation of the repertoire, without setting the goal of revealing this serious work in full.

From a large number of songs written for children, the choir director needs to select the most interesting works for the performers and useful for their creative development into the repertoire. In essence, the repertoire should solve the issues of creative growth and artistic education of choristers.

In the selection of repertoire, there are 4 basic principles that the artistic director should rely on. This:

1 principle . The main task of a choirmaster in working with children is the ability to captivate them with music and instill an interest in choral creativity.

The children should like the selected repertoire; they should work on it and perform it with pleasure. It is necessary that the songs evoke emotional responsiveness in them. The more emotionally the choristers perceive the content of the song, its musical material, the longer it will remain in the hearts and minds of young singers.

2nd principle. The principle of accessibility, i.e. The works performed must correspond to the age of the choristers and their vocal capabilities.

To form a repertoire, the director has to take into account a number of reasons dictated by the choral group, its qualitative and quantitative composition. This may be a composition of different ages, a team with varying degrees of professional preparedness, i.e. a group of participants with varying singing experience.

An important point when choosing a score is the auditory presentation and interpretive plan of the choral work, which will help the choirmaster to first think through the methodology for conducting classes.

3 principle. Cultivating the artistic taste and personality of choristers.

Choral music is vocal music, inextricably linked with literary text. Music and words complement each other, and to identify the main idea of the work, you should study the text and music simultaneously.

When starting to select the repertoire, it is necessary to determine, first of all, the content of the work and the features of its artistic image.

Children singing in the choir are given artistic and performing tasks, and at the same time they are being educated and their consciousness is being formed. The repertoire forms in children a feeling of love for their native nature, school, homeland, etc., and introduces them to classical art.

A sensitive attitude to the performance of classical choral works helps to develop high artistic taste, teaches a caring attitude towards works of musical art of the past, and forms a collective. Using the classical repertoire, children's choir participants develop a melodic and harmonic ear and acquire skills in performing polyphonic compositions.

Particular attention should be directed to the embodiment of musical content, to the disclosure of artistic images of the composition, and the content of the poetic text. The leader, embodying musical and aesthetic goals, must not forget about educational ones in the broad sense of the word.

Teaching children to sing involves the need to instill in them a certain set of vocal and technical skills. The choirmaster needs to teach the choir members to master the singing voice and the art of singing in the choir. It follows from this4th principle selection of repertoire that sets educational tasks aimed at developing musical and singing skills. By including a choral score in the repertoire plan, the director determines its accessibility, degree of complexity, brightness and at the same time the feasibility of working on it.

Each embodied work is a solution to specific educational problems, mastery of specific vocal and choral skills, and is a way of developing a choral group. During choir classes, choristers must learn to read notes and intonate clearly. The correct repertoire will help develop singing range, timbre, musical memory, and sense of rhythm. Singers will master a variety of dynamic sound, as well as general literacy and diversified development. The main idea when selecting a repertoire is the idea “from simple to complex.” The repertoire should always be aimed at the prospect of mastering technical techniques and improving the singing apparatus. Working with a choir requires continuity, systematicity, consistency with gradual complication. When selecting a repertoire, it is also important to find a balance between artistic and technical goals. V. Popov drew attention to the fact that the works selected for learning were grouped into 3 sections: 1. according to the capabilities of the team; 2. works that are ahead of the curve; 3. lighter than the achieved level.

Creative growth is possible only through work on works that are slightly above the performing level.

When selecting a repertoire, the conductor must imagine the features of the choral sound: the line of movement of each voice, phrasing, dynamics, tempo, metro-rhythmic features (dottedrhythm, syncopation, changing the grouping of durations...), harmony, spasmodicity, intervalics, modal features.

Tessiturashould be comfortable and correspond to the free, beautiful sound of the voice. Such features of the score affect the intonation and the overall choral ensemble.

In cases where the score turns out to be difficult to perform, but desirable in the repertoire, simplifications of the texture are possible, i.e.: replace a wide arrangement of chords with a close one, remove the doubling of voices, release melismas, decorations, replace small figurations with larger durations, make transposition, etc. d. This is why the choirmaster must master the basic techniques of choral arrangement. Be able to make arrangements for your own choir.

Mastering compositions of a higher level of difficulty helps choristers concentrate their attention, develop self-control in intonation, dynamics, etc.

A complex work must be included in the repertoire very carefully, taking into account the entire sequence of its study. The formation of a performing form due to a complex repertoire can negatively affect the work of the choir. The process of learning an inflated program is drawn out over a long period of time, and the piece may not work out.

Often choristers are happy to sing simple, primitive, but bright songs that do not benefit their development as musicians. But by adding a song like this to the repertoire, the director will have the opportunity to switch the choir members from complexities to simple tasks. Having rested, they will not lose interest in working on overcoming difficulties in other essays.

When working on the repertoire, we must also remember such tasks as: 1. pedagogical; 2. concert.

It is important for a choir to have works from different eras and schools of composition in the list of pieces they perform.

The inclusion of works by Russian and foreign classical composers in the repertoire expands children's knowledge about their homeland and other countries. The classical repertoire introduces singers to the era in which the author of the music lived, his ideological and artistic concepts, typical features of writing, and features of harmonic language. Students will learn that each era has intonation and stylistic features.

Arrangements of folk songs and works can become a separate page of the repertoire listacapella. In progressacapellaHarmonic hearing, purity of intonation, sense of harmony, and vocal and choral technique develop most actively. Beginners need to learn to sing unaccompanied from canons and folk songs.

It’s not easy for a children’s choir to master the skills of singing without accompaniment, but singingacapellafully develops singers musically. One must look for the origins of national culture and traditions in folk songs and sacred music. Through folk song one gets to know the national characteristics of one’s own and other peoples of the world, their musical cultures. Russian folk song in all its genres: dance, round dance, lullaby, comic, song about folk heroes has accompanied a person all his life. Native intonations and rhythms provide fertile ground for nurturing love for the Motherland and instill a sense of patriotism.

Words and music in a song are inseparable: in this unity lies the great power of choral art, Russian folk song, glorifying the vast expanses of the Motherland, the beauty of nature has a wide chanting melody and this allows, in contact with the origins of culture, to achieve the correct sound production and breadth of breathing.

You can diversify choral performance by using different expressive means: rhythmic movements, imitative sounds, verbal inserts, as well as simple percussion instruments and noise instruments.

In addition, the repertoire list should include songs by modern authors. Schoolchildren love bright, rhythmic songs. They subtly feel songs of a patriotic nature, deeply experiencing various dramatic situations, and react sensitively to gentle, affectionate images (about mother, nature, animals).

When performing modern music, special attention must be paid to the intonation sphere, tonal deviations, modulations, and rhythmic modal difficulties. Such works captivate children with their complexity, work to overcome difficulties, and develop their special auditory thinking.

When planning choir performances, the repertoire is created taking into account the group’s upcoming concerts (these are performances at competitions, festivals, anniversaries, reporting concerts, etc.). The conductor most often builds the program of a solo choral concert chronologically: at the beginning - ancient music, at the end - works by modern composers; or compiled according to genre and stylistic sections.

The main condition for concert performance is a variety of thematic orientation, stylistic diversity, versatility of the repertoire, its forms and genres. G. Struve noted that “during the concert there must be contrasts, tempo dips, a variety of song themes, and mood.”

A manager must constantly work to improve his professional qualifications and be aware of everything new. It is necessary to clearly plan classes, set certain goals for the choir, which the singers will consciously strive to achieve. Regular visits by the choirmaster to performances by performing groups, choral concerts, and familiarity with new choral works give rise to comparative analysis and give rise to new creative ideas.

A well-chosen repertoire will be a powerful driving force for the development of a choir. The result of a correctly structured process of children mastering choral song, when the technical and artistic principles are closely intertwined, will be good, beautiful singing.

This article emphasizes the need and importance of an in-depth approach to the analysis of works when selecting a choral repertoire, and maintaining harmony in teaching.

The choir's repertoire always reflects the musical and pedagogical level of the choir director, his professional experience and general culture.

If each piece is selected based on the characteristics and capabilities of children of a given age, this will largely be the key to the successful singing development of students and the protection of their voices. A diverse, diverse repertoire will help the director of a children's choir to develop the musical and vocal abilities of each child, conduct successful concert activities and ultimately achieve a serious artistic level.

The main mission of the choir conductor will be fulfilled, children will fall in love with choral art and music in general.

Concert repertoire of the senior choir of Children's Art School No. 1

Head: Vavilina M.V..

E. Medvedovsky, lyrics. Sadovsky "Ships Set sail."

R. Boyko, lyrics. V. Viktorova “It was in Carolina” - arr. M.V.

G. Komrakov, lyrics. V. Ryabtsev “Eternal Flame” - arr. M.V.

V. Sareva, lyrics. V. Stepanova “Morning Song” - ar. M.V.

K. Pushenok, lyrics. T. Sobakina. Let the hippos fly.

2012-13 academic year

1 K.V. Gluck, lyrics. I. Karus “Feast of the Choir”. – ar. M.V.

2 G. Struve, lyrics. A. Barto, from the cantata “Dove of Peace”. - “Mom sings.” – ar. M.V.

3 A. Grechanikov, lyrics. Belousov "Spring has come."

2014-15 academic year

A. Pakhmutova, lyrics. Dobronravova "Belovezhskaya Pushcha".

Ya. Dubravin, lyrics. G. Prusov “About Russia”. – arr. M.V.

Zapolsky, lyrics. Ruzhentsev “Conductor” - ar. M.V.

2015-16 academic year

P. Tchaikovsky, lyrics. Tatarinov "Spring". – ar. M.V.

Christmas carol "Heaven and Earth".

Music etc. L. Marchenko “Holidays”.

V.A. Mozart "Bright Day", trans. V. Popova.

D. Tukhmanov “Victory Day”.

Holiday repertoire– this is a certain pre-prepared musical program, consisting of the customer’s preferences and can include HIT hits from both domestic and foreign performers.

You, dear reader, are welcomed by Moscow and we, like no one else, know how important a correctly selected repertoire for any event is. Because the mood of all those present, the presence of mutual feedback with the viewer, and therefore an exceptional positive impression depends on it! Here we will tell you how to choose a holiday repertoire and what you should pay special attention to. 🙂

Fundamental points when choosing a holiday repertoire

We have already found out that the correct musical selection of various works is very important at any celebration. In combination with professional musicians and high-quality vocals, an invited cover band will become a highlight and bring the event 100% success.
By what principle will a competent musical group help you choose a holiday repertoire to suit the tastes and wishes of the customer:

holiday format - it can be a birthday, wedding, corporate party, and each of these celebrations has its own repertoire;
the presence of the theme of the event can categorically change the musical direction - it could be the repertoire of the Wild West, motives of the 60-70s, a party for avid rockers, etc.;
main age category - if it is, for example, a grandmother’s birthday, she is unlikely to dance to Yegor Creed or Green Day;
who the holiday repertoire is intended for - it can be exclusively compositions selected by the customer, only his favorite songs, or, depending on the event, a professional cover band can create its own playlist based on experience.

There are few people who don't listen to music at all. In transport, at home, at work. When we feel bad or, on the contrary, have fun, we catch melodies that help us achieve the desired moral state, throw out energy, etc. Do you know the most interesting facts about music? For example:

the heart beats to the beat of the melody that a person is listening to at a certain moment;
the maximum duration of an organ concert was 639 years;
favorite musical tunes activate the part of the brain responsible for pleasure;
if you listen to music during your workout, it will increase your endurance;
if you include calm motives around the cow, she will give more milk;
none of the Beatles knew sheet music.

Listen to music and enjoy?!

For any occasion with Elim’s Band

Elim’s Band has been accompanying various events in Moscow and other cities of the Russian Federation for many years. We have everything to ensure that holidays of various formats and themes are held at the following level:

professional equipment;
high-quality male and female vocals;
more than 250 songs in the repertoire.

The most important thing for us is your mood! Many people talk about us as a real concert program, and not just musical accompaniment. Check out our