What is the timbre of the voice. Timbres - musical colors the goal is to acquaint students with the variety of timbres of a symphony orchestra tasks - Lesson Message musical timbres

Guzenko Evgenia Dmitrievna, music teacher of gymnasium No. 1.

Timbres - musical colors

Target: introduce students to the variety of timbres of a symphony orchestra.

Tasks:

to form the artistic culture of students:

listener's attention, performing activity, as self-expression of experiences in singing, musical and rhythmic activity (playing instruments);

Develop musical ear;

Optimize the creative qualities of the individual.

SLIDE #1

Teacher: Here are two works: one is black and white, and the second is color. Which one is more expressive, bright, beautiful?

And with the help of what does the artist achieve this expressiveness and beauty?

With the help of COLOR.

Sometimes a symphony orchestra is compared to a painter's palette. Can we talk about colors in music? And if so, what are those colors?

Music also has its own colors, which are skillfully used by composers. After all, each instrument has its own unique voice or, as the musicians say, their own timbre…

The same note can be played by different instruments, but... A string sounds different than a metal or wooden plate, and a wooden pipe will sound different from a glass one.

The topic of our lesson: "Timbres - musical colors" (slide number 2)

And our tasks... (read on slide #3):

Today we let's get acquainted with timbres brass and percussion tools and try prove that the voices of these instruments are not only different from each other, but also various colors.

Not only the guys who prepared the information about the tools will help me with this, but all of you.

Listening to the voices of the instruments, on Sheet No. 1 ( Annex 1) you need to choose a “color” that matches the timbre of the instrument: for example, sonorous is a bright color, low is dark. You can use shades of colors, you can combine several colors ...

Teacher: So, let's get acquainted with a group of woodwind instruments. The very name "wind" speaks of how the sound is extracted from these instruments .... That's right, they blow. And they began to call them wooden because they were made of wood ... SLIDE No. 4

Once upon a time, wooden tools were made of wood, hence their name "wooden". But nowadays they are made from other materials, such as plastic, metal and even glass.

SLIDE #5 Flute

Student: The flute is one of the oldest musical instruments. Its origin is lost in the mists of time, but the modern flute has gone far from the ancient one. She has the highest voice among wind instruments. She has no equal in imitation of the natural world: bird voices, in the image of fabulous creatures inhabiting forests, rivers.

Its sound is light, sonorous, bright and mobile.

SLIDE #6 Oboe

Student : Entering the orchestra in the 17th century, the oboe immediately became the idol of musicians and music lovers.

The oboe is best able to express lyrical moods, tender love, humble complaint, bitter suffering.

The sound is warmer and thicker than that of a flute, his voice can be recognized as if by a "nasal" tone.

SLIDE #7 Clarinet

Student: It appeared only in the 18th century, but it is the only one of all available to change the strength of the sound from powerful to barely audible. Everything is available to the clarinet: it is good for expressing joy, passion, dramatic feelings.

The sound is very clear, transparent and round, distinguished by nobility.

SLIDE No. 8 Bassoon

Student: The last member of the group of wooden instruments is the bassoon. Appeared in the 17th century as the lowest sounding instrument. This is bass. Its wooden trunk is so large that it is "folded" in half. In this way, it resembles a bundle of firewood, which is reflected in its name: “bassoon” from Italian means “bundle”.

Its sound is accurately characterized by the writer Griboyedov in Woe from Wit: "... A hoarse, strangled man, a bassoon ...". Indeed, the timbre of the bassoon is a little compressed, grumbling, like the voice of an old man.

He can be grouchy, mocking, he can be sad, sad.

SLIDE №9 COPPER WIND GROUP

Teacher. The next group of wind instruments is COPPER. As the name shows, the material from which the tools are made is metal, although not necessarily copper, often it is brass, tin and other alloys. In an orchestra, "copper" can easily drown out other instruments, so composers use their sound with caution.

This group appeared later than other orchestral groups. It includes: trumpet, horn and tuba. Let's start our acquaintance with brass instruments with the Trumpet.

SLIDE №10 Trumpet

Student: In the Middle Ages, the trumpet accompanied festivities and solemn ceremonies, called the army to battle, and opened knightly tournaments. Often she performs warlike signals, which have come to be called "FANS".

The sound is bright, far-flying, festive, solemn.

SLIDE No. 11 Horn

Student: derived from an ancient hunting horn. The name "horn" is German for "forest horn". The length of the metal tube reached almost 6 meters, so it was bent like a shell. A warm, soulful voice allows you to play wide, smooth melodies. Sound - soft, "lazy", warm.

SLIDE №12 Tuba

Student: The lowest sounding instrument among the brass is the tuba. It was created in the 19th century.

The sound is thick and deep, "clumsy".

SLIDE №13 Percussion instruments

Teacher. We came to the last group of the orchestra - percussion instruments. This is a large group, which includes timpani, small and large drums, tam-tam, triangle, bells, bells, xylophone. All of them are united by a common method of extracting sound - a blow. The element of these instruments is rhythm. No other instrument can give music such elasticity and dynamism as drums do.

Only one instrument, the timpani, is a permanent, obligatory member of the orchestra.

SLIDE №14 Timpani

Student: Timpani - an ancient instrument, it is a copper cauldron, tightened on top with leather, which is struck with a small mallet with a round soft tip.

The sound of various shades: from a barely audible rustle to a powerful roar. They can convey the feeling of a gradual accumulation of rhythmic energy. LISTENING(we select the color for the voice of the timpani).

SLIDE #15 Xylophone

Student: Xylophone - a tool with a set of wooden plates that are struck with two hammers.

The sound is sharp, snapping, strong.

Teacher: And now, while the assistants will place your work on the board, we will expressively read the characteristics of the timbres of all instruments

SLIDE number 16 (We expressively read)

Flute: light, sonorous, light and mobile.

Oboe: warm and thick with a "nasal" undertone.

Clarinet: clear, transparent and round, noble.

Bassoon: constricted, grouchy, "hoarse".

Trumpet: bright, far-flying, festive, solemn.

Horn: soft, "lazy", warm.

Tuba: thick and deep, "sluggish".

Timpani: from a barely audible rustle to a powerful roar (we tap on the desk with increasing hands).

SLIDE #17 (Conclusion)

Why are musical timbres compared to colors.

Teacher: yes, the color of the sound of the instruments is rich and varied. They can really be compared with paints in painting, and your drawings demonstrate how diverse the gamut of colors is, and hence the voices of the instruments, the timbres are just as diverse.

PLAYING THE INSTRUMENTS

Teacher. The orchestra is a special country. She lives by her own rules. Any instrument in the hands of a musician has its own duties, and if he does not fulfill them, then he destroys the whole, violates HARMONY.

Now several students will try to come up with their own rhythmic accompaniment on percussion instruments (tambourine, spoons, flute and maracas).

CALL 2-3 times and evaluate the performance:

Teacher. The guys played the rhythm very well on percussion instruments, and felt that it was not very easy to create HARMONY IN THE ORCHESTRA.

SLIDE #17 CROSSWORD

Teacher. And now it's time to check how you remember the instruments of the wind group, one of the most diverse voices in terms of color.

Do you have Sheet #2 on your desks? (appendix 2), in which you enter the answers, and then we check everything together.

SLIDE №18 Ancient Greek theater.

Teacher.

Music is generally inseparable from the timbre in which it sounds. Whether a human voice or a shepherd's flute sings, a violin melody or a grumbling voice of a bassoon is heard - any of these sounds is included in the multi-color palette of timbre incarnations of music.

Music sets you up for reflection, awakens your imagination... Let's imagine that we are in Ancient Greece and our class is "ORCHESTRA" - the place where the choir was located, and you and I are the choir. And we will finish the lesson with a beautiful song “MUSIC SOUNDS”, and your work for this song can be viewed on the screen.

drawings of students for the song "Music sounds."

Thank you for the lesson.

Goodbye!

Crossword

Horizontally.

He leads the entire orchestra.

In the Middle Ages, playing this brass instrument accompanied knightly tournaments and military ceremonies.

In ancient Greece, this was the name of the place for the choir.

This woodwind instrument has a deep voice.

The name of this copper instrument in German means "forest horn".

Woodwind instrument.

The ancestors of this woodwind instrument are reed pipes and flutes.

Lesson development (lesson notes)

Basic general education

Line UMK VV Aleeva. Music (5-9)

Attention! The site administration site is not responsible for the content of methodological developments, as well as for the compliance of the development of the Federal State Educational Standard.

WMC"Music" by V. V. Aleev and others.

The purpose of the lesson: hear and feel the role of timbre in creating a musical and pictorial image

Lesson objectives:

1. emotionally, consciously, holistically perceive music at the level of key knowledge;
2. education of the culture of the listener, reader, viewer, performer;
3. formation of vocal and choral skills.

Subject competencies

• expand the idea of ​​timbre as a means of musical expression
• find out what is common between timbre and painterly colors and how they differ from each other
• enrich knowledge about the timbre features of the violin, cello, flute
• get acquainted with the work of composers Nikolai Andreevich Rimsky-Korsakov, Sergei Vasilyevich Rachmaninov, Johann Sebastian Bach
• learn about the role of timbre in depicting a musical “hero” (symphonic suite “Scheherazade”, opera “The Tale of Tsar Saltan”, Suite No. 2 for orchestra
• learn to listen to the timbre-picturesque beauty of music
• develop vocal and choral literacy

Information competence

• find key knowledge in textual material (timbre as a means of musical expression, timbre as picturesque colors, timbre as a reflection of images and emotional state)
• develop an understanding of reading a musical-cognitive text (by reading musicological terms, memorize their spelling, reading detailed artistically designed texts enriches speech culture, reading a text creates the effect of theatricalization in the lesson)
• be able to make short notes of the lesson material

social competence

• find productive cooperation with peers in the process of preparing for song contests, musical concerts (choosing a song, choosing the composition of the ensemble members, coordinating the rehearsal time)

Communicative competence

• to cultivate a culture of communication through reading and reproducing a musicological educational text (to hear and listen to the answer of another student)
• to form a culture of text analysis using the example of the "description" technique - a description of the timbre characteristics of musical instruments

Personal competence

• direct yourself to building an independent route of communication with art (listening to music on your own at home, purchasing classical music recordings for your home music library, attending concerts, participating in music song contests, learning to play musical instruments, reading literature on art)

WMC: Music. Grade 6: according to the Program of V.V. Aleeva, T.I. Naumenko, T.N. Kichak:

1. Naumenko, T.I., Music. Grade 6: textbook. for general education Institutions /T.I. Naumenko, V.V. Aleev. - 6th ed., stereotype. - M .: Bustard, 2006. - 117
2. T.I. Naumenko, V.V. Aleev, Music. 6 cells Phonochrestomathy. - M .: Bustard, 2009, 2CD
3. Naumenko T.I. Music. Diary of musical reflections. Grade 6: a manual for general education. institutions / T.I. Naumenko, V.V. Aleev, T.N. Kichak.– M.: Bustard, 2009.– P.72
4. T.N. Naumenko, V.V. Aleev Music Reader and Guidelines for the Teacher. - M .: Bustard

Musical instruments: accordion, piano.

Equipment: computer, multimedia projector, screen.

Sources:

1. Aleev V.V. Music. Grades 1-4: Program for educational institutions / V.V. Aleev, T.I. Naumenko, T.N. Kichak-M.: Bustard, 2010. - P. 53
2. Aleev V.V. Music. Grades 1-4, Grades 5-8: programs for educational institutions / V.V. Aleev, T.I. Naumenko, T.N. Kichak. - 6th ed., stereotype. - M .: Bustard, 2008. - P. 53
3. V.V. Aleev On the role of the textbook in music lessons // Art and education. Journal of methodology, theory and practice of art education and aesthetic education. No. 5 (55).-M.: 2008.– P.71
4. Ivanov D. Competencies and competency-based approach in modern education / Dmitry Ivanov. - M .: Chistye Prudy (Library "First of September", series "Education. Education. Pedagogy". Issue 6 (12)). - 2007. - P. 8
5. O. Lokteva Interior design through the prism of XX century art // Art No. 14 (446), July 15-31, 2010. Educational and methodical newspaper for teachers of the Moscow Art Theater, Music, Fine Arts. Publishing House "First of September". - M. 2010. - P.4
6. T.V. Merkulova, T.V. Beglova Time - management for children, or How to teach schoolchildren to organize their time. - M .: Pedagogical University "First of September" 2011.- 40 p.
7. Shelontsev V.A., Shelontseva L.N. Implementation of the competency-based approach in teaching: Textbook. Omsk: BOU "RIAC" - 2009. - P. 4; 5

Teacher's Home Library: Reading for a Music Lesson

1. Mikheeva L. Musical dictionary in stories.-M.: 1984.-C.141
2. Rapatskaya L.A., Sergeeva G.P., Shmagina T.S. Russian music at school / Ed. L.A. Rapatskoi.-M.: Humanit. ed. center VLADOS, 2003. - P.185
3. A word about music: rus. Composers of the 19th century.: Reader: Book. For students Art. classes / Comp. V.B. Grigorovich, Z.M. Andreeva.– 2nd ed., Rev.-M.: Enlightenment, 1990.– P. 191
4. Smirnova E. Russian musical literature: for VI-VIIkl. Children's music school. Textbook.-M.: Music.-2000.- P.106
5. Sposobin I.V. Elementary Music Theory: Textbook for Musical Schools. - 7th ed. M.: Music: 1979.-p.48

During the classes

1. Organizational moment. Greetings

Evaluation sheet of the student in the lesson:

1. "The best interlocutor" (the ability to listen and hear the answers of students)
2. "The best researcher" (ability to work with the text of the textbook - Textbook, Workbook)
3. "Best Listener" (listening to music)
4. "Best Performer" (performance of the song repertoire)

Notebook entry:

Lesson topic: Timbres - musical colors

The purpose of the lesson:

1. expand knowledge of timbre
2. hear the role of timbre in creating a musical and pictorial image

2. Experience of creative activity of students in the process of mastering musical knowledge

Teacher: In elementary school, you compared musical sounds with colors in painting, said that each musical instrument has its own unique sound, its own timbre. So, the organ and the flute sound different. Annex 1 .

Notebook entry: Timbre - “sound coloring”

Teacher: Why do you think musical timbres are often compared to paint colors.

Student: Like colors expressing the color richness of the surrounding world, creating the color of a work of art and its mood, musical timbres also convey the diversity of the world, its images and emotional states.

(The student finds a detailed answer on page 117 of the textbook "Music").

Teacher: Explain the expression: "Music is inseparable from the timbre in which it sounds."

Student: Music consists of a variety of incarnations, and in each of them its own soul, unique appearance and character are guessed. Therefore, composers never create such music that can be intended for any timbre; each, even the smallest, work certainly contains an indication of the instrument that should perform it.

Student: …(your own answer)

Teacher: Consider Note Example 38, page 117 of our textbook.

A fragment from the symphonic suite "Scheherazade" by Nikolai Andreevich Rimsky-Korsakov is presented (Appendix 2, Appendix 3)

The composer indicated the musical tempo Lento (slowly), the solo instrument - VIOLIN from the family of bowed string instruments (it is shown in the illustration) and determined the nature of the sound (expressively).

Teacher: What is known about the nature of the sound of the violin?

Student: Every musician knows that the violin has a special SLOWNESS, so it is often assigned to melodies of a SMOOTH, SONG CHARACTER, with a special rounded lines. (Our textbook, page 118, helps to recall previously acquired knowledge)

Notebook entry: Violin - melodious, song.

Listening to music: CD 2, No. 8. N. Rimsky-Korsakov, Theme "Scheherazade", From the suite "Scheherazade", fragment

Teacher: The violin has not only the ability to be melodious and songlike. She has many talents. What other ability does the violin have?

Student: The VIRTUOSIS of the violin is also known, its ability to perform the most impetuous melodies with extraordinary lightness and brilliance. (Our Tutorial helps to reveal one more ability of the violin).

We continue to write in the notebook: -virtuoso

Teacher: Indeed, this ability allows many composers to create not only virtuoso pieces for the violin, but also to use it to convey sounds of a non-musical nature! Today we will listen to "The Flight of the Bumblebee" from the opera by N.A. Rimsky-Korsakov "The Tale of Tsar Saltan". Recall the literary story about the flight of the Bumblebee.

Student: An angry Bumblebee, preparing to sting Babarikha, makes his famous flight. The sound of this flight, which the music reproduces with pictorial accuracy and great wit, is created by the melody of the violin, so swift that the listener really has the impression of a formidable bumblebee buzzing.

Teacher: Before listening to music, let's study Note Example 39, page 118. The fast tempo "vivache" - "lively" is indicated. The rapid flight of sixteenth notes depicts the whirling movement of the Bumblebee.

Listening to music: CD 2, No. 9. N. Rimsky-Korsakov, Flight of the Bumblebee, from the opera The Tale of Tsar Saltan, fragment

Teacher: The CELLO is also included in the family of stringed bowed instruments. Annex 5. The instrument is illustrated on page 119. What do we know about the character of the cello sound?

Student: The extraordinary warmth and expressiveness of the cello brings its intonations closer to a living voice - deep, excitingly emotional.

Notebook entry: Cello - warmth, depth of sound

Teacher: This amazing ability of the cello to sound unusually warm and expressive made it possible to perform vocal works in instrumental arrangement. On page 119 there is an illustration of the instrument and a musical version of "Vocalise" by S.V. Rachmaninoff, with a wide, all-encompassing, singing legato (an arc that connects sounds).

Teacher: Let's open the Diary of Musical Reflections, page 19. Let's read the assignment.

Student: Write the names of musical instruments. Specify the groups of the symphony orchestra in which these instruments are included.

The task is being performed: “short ribbon” - we enter the word “cello”, “long ribbon” - “string bow group”.

Listening to music: CD 2, No. 10. S. Rachmaninov, "Vocalise" (arranged for cello), fragment

Teacher: In our lesson, we will also hear the timbre of an instrument from the woodwind family - the timbre of the FLUTE. Annex 6.

There is an illustration of it on page 120 of the textbook. Where there is lightness, elegance and grace in music, there the flute reigns. What do you think is characteristic of the timbre of the flute?

Student: The refinement and transparency of the timbre, combined with its inherent high register, give the flute both a touching expressiveness (as in "Melody" from K. Gluck's opera "Orpheus and Eurydice"), and graceful wit.

Teacher:"Joke" I.S. Bach from Suite No. 2 for orchestra is an example of such elegantly humorous sounding of the flute. In the Note example 41 we will see the “openwork”, “fluttering” musical notation of the flute score.

Teacher: Let's reopen the Diary of Musical Reflections, page 19. Let's continue the task. What musical instrument, symphony orchestra group will you enter?

Student:“Short ribbon” - we enter the word “flute”, “long ribbon” - “woodwind group”.

Listening to music: CD 2, No. 11. I.S. Bach, "Joke". From Suite No. 2 for orchestra, fragment

3. Conclusion

Teacher: The musical material of the lesson was studied. What can be the conclusion?

(Students determine the conclusion of the lesson on their own and with the help of the studied text material of the textbook)

Among them:

1. Each musical instrument has its own timbre
2. Musical timbres can be compared to paint colors
3. Timbre helps to "see" the musical hero
4. Music is inseparable from timbre
5. ... (Own answer)

Writing in a notebook: Each musical instrument has its own timbre(or recording the output previously voiced)

4. Homework

Diary of Musical Observations (p.18)

Teacher: During the lesson, you expanded your knowledge of timbre, listened to music performed by the violin, flute, and cello. Read in the Diary of Musical Observations, page 18 of the task.

1. What instrumental timbres would give different sounds of nature?

Waves of the sea...

Nightingale singing…

2. Is it possible to “voice” the silent nature, endow it with its own timbre

wild flower…

mighty tree (oak) ...

(In view of the fact that the task is determined within the framework of studying the material of this lesson only, that is, the timbre of the violin, cello, flute, the answers are already heard at the lesson. At home, it remains only to write down the answers.)

5. Vocal and choral activities

Diary of Musical Observations, P. 72. "Violin", Lyrics by I. Pivovarova, Music by M. Slavkin

Teacher: So, in our lesson:

1. we have expanded our knowledge of timbre
2. learned to listen and distinguish the timbre beauty of the violin, cello, flute
3. read musical texts in the textbook;
4. learned to sing beautifully and correctly
5. reviewed homework assignments.

Thank you for being creative in class!

(Presentation for the lesson "Voices - musical colors")

"Timbres - musical colors"

(development of a lesson for grade 6)

Target: Formation of the need to communicate with music through artistic and creative activities.

Tasks:

educational- To acquaint with the variety of timbres of a symphony orchestra

Educational - To educate musical taste, performing culture, listening culture; to form a sense of personal responsibility for the result of joint work

Educational - Develop skills, abilities, ways of musical and creative activity (choral singing, vocal and instrumental improvisation)

Lesson problem: Why can timbres in music be called musical colors?

Lesson type: Lesson of discovering new knowledge

Teaching methods:

Verbal-inductive (conversation, dialogue)

Music making method

The "participation" method

Dive Method

Forms of study: collective, group

Material for the lesson: Johann Strauss "Rose Waltz of the South""; ON THE. Rimsky-Korsakov Symphonic Suite "Scheherazade"; I. Strauss "Polka - pizzicato"; P.I. Tchaikovsky's "Neapolitan Dance" from the ballet "Swan Lake"; I.S. Bach Suite No. 2 "Joke"; G.A. Struve "A friend is with us!"; reproduction of A. Lyamin's painting "Waltz"; poem by the Japanese poet Hitakara Hakushu "Ton.ton.ton"

Lesson equipment: computer , projector, screen, musical instruments (piano, xylophone, metallophone, drum, darbuka, bells, clavis, boxes, maracas, triangle), 3MP3 player, colored pencils, cards with musical instruments

Terms, concepts: pizzicato, image, mode, tempo, dynamics, timbre

During the classes.

Introduction to the lesson:

Musical greeting.

W: Guys, we just greeted each other. How was our greeting?

D: Joyful, light and beautiful.

U: And if you mentally take paints, brushes and draw a greeting as a picture - what colors will prevail in it?

D: yellow, red...

W: Look around - the world is full of colors, it is multi-colored. Remember the spring garden, summer meadows, autumn forest, winter sparkle of snow. Yes, we are surrounded by a colorful world, artists have learned to express it on canvas - with the help of paints, but in music? What will be the colors in music, what will help us to play and sing a multi-colored world?

SLIDE #1

The theme of our lesson: "Timbres - musical colors."

Each lesson involves the repetition of the known, the discovery of the new. What would you like to learn new things to learn?

D: Why timbre is called musical colors, to find out how different instruments sound.

T: That will be the purpose of our lesson.

Let's define what tasks we have to solve in the lesson so that our goal is achieved?

D: You need to listen to musical works, try to hear how the timbre of musical instruments makes them colorful; you need to learn to compare paintings by artists and musical works.

T: Great, that's what we'll devote our lesson to. You are good students and we have completed the part of the lesson where you were just students.

And now we will be transformed: there are very rare professions in the world, thanks to which culture is preserved and passed on to the next generations from century to century.

Let's get acquainted:

Before you - restorers - this is group number 1.

Group number 2 - art historians.

Group number 3 - musicians from the symphony orchestra.

Group No. 4 is the audience who, by subscription, came to the Philharmonic for a smart meeting dedicated to timbre in music.

Each group will perform a very important task. And I will act as a senior assistant accompanying group studies, as a moderator (leader) of a musical lecture hall and as a conductor.

(children receive cards with a task, answer questions within 3-4 minutes)

Task group number 1:

Dear restorers! A sad event happened: the picture of the contemporary artist Alexei Lyamin lost its color and name. Please restore both.

What has changed in the picture after the return of color and name?

Start your answer like this...

“We examined the painting by the artist Alexei Lyamin and decided that it should contain ___________________________________________________________________

colors because __________________________________________________________

______________________________________________________________________.

When the painting took on color, we felt that it _____________________

___________________________________________________________________________________________________________________________________________________________________________________________________________________»

Task group number 2:

Dear art critics! Look carefully at the picture of the artist Alexei Lyamin, listen to a piece of music performed by a symphony orchestra. What unites a piece of music and a piece of art? How do they differ?

(LISTENING TO HEADPHONES) I. Strauss "Waltz"

Task group number 3:

Dear musicians! Consider a photograph of a symphony orchestra. Get ready to tell everyone what a symphony orchestra is. What instruments are played in a symphony orchestra? Sort the tools into groups.

Get ready to tell how you grouped them.

Arrange the instruments as they are in the orchestra. Why do instruments occupy such a place in the orchestra?

Assignment to group No. 4

Dear viewers! We already know that music and painting are consonant. But how is the musical pattern of a poetic work constructed, especially one in which there is no rhyme? Let's try to catch the musical rhythm and play with the timbre of the voice, reading the poems of the Japanese poet Hitakari Hakoshu. Each of you has his own timbre of voice, let's make an orchestra of voices.

Read the poem rhythmically, choosing the timbre of the voice.

And now - a word to the young guardians of culture!

SLIDE #2

U: Word to the restorers:

(at this time on the screen - a picture slide). The children answer the question.

W: CONCLUSION. Thus, you felt that the picture sounded in a new way.

SLIDE #3

U: Word to you, art historians:

At this time, a color picture appears on the screen and waltz music sounds. Children answer questions .

U: Summing up your work, we can say that there are common means of expression in music and painting.

W: Word to you, musicians!

Well done, each group did a very good job!

And now it's time to visit our music lecture hall. The topic of our conversation is the timbres of musical instruments.

So, the queen of music sounds - the violin.

SLIDE #4

Listening to an excerpt from the symphonic suite by N.A. Rimsky - Korsakov "Shezerazada"

D: softly, melodiously, softly...

W: In the next piece of music, you will hear the sound of not only the violin, but also other musical instruments. Notice if the sound of the violin has changed?

Listening to an excerpt from the musical work of I. Strauss "Pizzicato Polka"

D: changed

W: What causes a different coloration of the sound?

D: from the method of extraction.

W: This method of extraction is called pizzicato. (ON THE SCREEN)

SLIDE #5

W: And now let's get acquainted with the timbres of wind instruments. In the Middle Ages, this instrument accompanied the festivities and solemn ceremonies, called the army to battle. What instrument do you think it is? Look at the screen.

D: it's a pipe.

Listening to an excerpt by P.I. Tchaikovsky "Neapolitan dance"

from the ballet "Swan Lake"

W: Choose adjectives that characterize the sound of the trumpet.

D: The sound is bright, far-flying, festive, solemn.

U: Look: in my hands is one of the most famous wind instruments: a flute. Listen to how it sounds (the teacher plays the flute). This is an instrument for beginning musicians, and on the screen you see the flute of a symphony orchestra. Pay attention to the sound of the flute.

I.S. Bach "Joke from Suite No. 2

Q: How did the flute sound?

D: (children's answers)

U: Thank you for your active and creative participation in our lecture hall, and we are moving to the stage: now we are an orchestra, and we have a rehearsal of one of the fragments of the future lecture hall: we need to combine the timbre of the voice and the timbre of musical instruments. We have a youth orchestra, and therefore we love rhythm very much, and, therefore, percussion instruments. There are percussion musical instruments on the table - choose the instrument you like. Each of them has its own timbre: listen to the chosen instrument, how does it sound?

SLIDE №7

T: Now I ask you to show the completed work to the members of group No. 4.

U: Guys, be careful, now the adult participants will read the text of the poem, and the task of our orchestra is to match the timbre of a musical instrument to the poetic image of the poem.

ADULTS READ.

T: How many poetic images can you identify?

D: maple leaf, mountain wind, moonlight.

Q: Do they sound the same or different? What tools will best convey the image of a maple leaf? (maracas, spring)

mountain wind? (dishes)

Moonlight? (metallophone, triangle)

U: And now let's try together: adults read, and we voice these lines.

(CONDUCTING)

W: Thank you. We have a good creative team.

Do you think we managed to combine the timbre of the voice and the timbre of musical instruments?

(adults thank you, sit down)

U: Creating and presenting multi-colored pictures influenced by the timbre of the voice and the timbre of the instruments, can we say that the timbre is the colors in music?

Thanks for the smart answers, put down your tools and take your seat.

What is the most important thing for an orchestra?

Professionalism and talent of musicians, unity, cooperation.

T: At the beginning of the lesson, you defined what an orchestra is. Remember your feelings when working in an orchestra, and in one word say: the orchestra is ... ..

U: Do you think such qualities as co-creation, solidarity, friendship will remain important if we create an orchestra, only from voices - a choir? And how, with the help of the timbre of our voices, to convey the joy that there are real friends nearby, that together we can do many, many good deeds?

D: Sing a song together!

SLIDE #8

Performance of the song "Friend with us!" G.A. Struve

The timbre of a musical instrument is determined by the material, shape, design and vibration conditions of its vibrator, various properties of its resonator, as well as the acoustics of the room in which this instrument sounds. In shaping the timbre of each particular sound, its overtones and their ratio in height and volume, noise overtones, attack parameters (the initial impulse of sound production), formants, vibrato characteristics and other factors are of key importance.

When perceiving timbres, various associations usually arise: the timbre specificity of sound is compared with organoleptic sensations from certain objects and phenomena, for example, sounds are called bright, shiny, matte, warm, cold, deep, complete, sharp, rich, juicy, metal, glass; auditory definitions are also used (for example, voiced, deaf, noisy).

A scientifically substantiated timbre typology has not yet developed. It has been established that timbre hearing has a zone nature.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be distinguished, contrasts can be strengthened or weakened; change of timbres is one of the elements of musical dramaturgy.

Very extensive banks of new (mostly artificially synthesized) timbres have been created today in the field of electronic music.

see also

Literature

• Nazaikinskiy E., Pags Yu., Perception of musical timbres and the meaning of individual sound harmonics, in the book: Application of acoustic research methods in musicology, M., 1964.
• Garbuzov N., Natural overtones and their harmonic meaning, in the book: Collection of works of the commission on musical acoustics. Proceedings of the HYMN, vol. 1, M., 1925.
• Garbuzov N., Zone nature of timbre hearing, M., 1956.
• Volodin A., The role of the harmonic spectrum in the perception of pitch and timbre of sound, in the book: Musical Art and Science, issue 1, M., 1970.

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See what "Timbre" is in other dictionaries:

Timbre, a [te] ... Russian word stress

timbre- timbre, and ... Russian spelling dictionary

timbre- timbre/... Morphemic spelling dictionary

- (fr.). The tone of the same tone on different voices or instruments. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. TEMP is a shade of sound of the same tone on different voices or instruments. ... ... Dictionary of foreign words of the Russian language

- [te], a; m. [French. timbre] The characteristic coloring of the sound, given to it by overtones, overtones, according to which the sounds of the same pitch differ from each other. Pleasant, low t. Various timbres. T. voice, instrument. ◁ Timbre, oh, oh.… … encyclopedic Dictionary

- [timbre], timbre, husband. (French timbre). The characteristic coloring imparted to the sound of an instrument or voice by overtones, overtones. Soft tone. Sharp tone. Cello, violin timbre. The vowel sounds of speech differ from each other in ... ... Explanatory Dictionary of Ushakov

timbre- a subjectively perceived feature of sound in the form of its color, associated with the simultaneous impact of different-frequency sound vibrations that make up a complex sound. Dictionary of practical psychologist. Moscow: AST, Harvest. S. Yu. Golovin. 1998.… … Great Psychological Encyclopedia

timbre- A definition commonly used in psychoacoustics. Timbre is an attribute of auditory sensation, in terms of which the listener can judge the extent to which two sounds are different, presented in a similar way and having the same loudness ... Technical Translator's Handbook

- (French timbre) ..1) in phonetics, the coloring of sound, determined by the position of the formants in the frequency spectrum of sound2)] In music, the quality of sound (its coloring), which makes it possible to distinguish sounds of the same height, performed on different instruments or different ... Big Encyclopedic Dictionary

TIMBRE- TEMBR. A qualitative characteristic or specific coloration of sound, in the physical sense, representing a certain combination of tones. T. is characteristic of musical sounds, for the sounds of human speech. Existing languages ​​differ in T. like ... A new dictionary of methodological terms and concepts (theory and practice of teaching languages)

TIMBRE- timbre, sound quality that allows, at the same pitch, to distinguish the sounds of individual musical instruments, the sounds of the voices of different people, etc. The timbre is due to the presence of overtones in the composition of the sound and is determined by the relative intensity ... ... Big Medical Encyclopedia

Books

• A set of tables. Physics. mechanical waves. Acoustics (8 tables) , . Educational album of 8 sheets. Article - 5-8665-008. wave process. longitudinal waves. transverse waves. Periodic waves. Reflection of waves. standing waves. Sound waves. Sound pitch...

These are the colors we hear.

Look at any painting or photograph. But no picture would have turned out if it were all painted with the same paint, without shades.
Take a look at how many of them, these speaking shades.
Dozens of shades of the same color. They also have sound.
The same note, the same pitch sound, can be played by different musical instruments. And although the pitch is exactly the same, we recognize either the voice of a violin, or the voice of a flute, or the voice of a trumpet, or a human voice.
How do we do it?

Our hearing is as sensitive as our sight. Even the smallest child among many voices immediately recognizes the voice of his mother and does not confuse it with the voice of his grandmother. We recognize friends and acquaintances by the voice in the handset. You will probably immediately recognize the voices of your favorite artists and singers by the first sounds. And all together we have fun, guessing their voices in a playful mimicry of a parody artist. To achieve similarity, he changes the color of his voice, timbre.
And we recognize different musical instruments because each of them has its own sound coloring. The sound can be of the same height, but sometimes with a whistle, sometimes a little ringing, sometimes as if smooth, and sometimes rough. A string sounds different than a metal plate, and a wood pipe sounds different than a copper pipe. After all, every sound has overtones. These shades are overtones and change the “color” of the sound. The coloring of the sound is the timbre. And each musical instrument has its own.
TIMBRE- an important means of artistic expression. One and the same musical thought, depending on the timbre incarnation, can sound with varying degrees of brightness, brilliance, softness, tenderness, decisiveness, severity, severity, etc. Thus, the timbre enhances the emotional impact of music, helps to realize its semantic nuances, and ultimately contributes to a deeper disclosure of the artistic image.
Changing the timbre, widely used in instrumental compositions, often becomes an important factor in musical expression.
The initial classification of orchestral instrument timbres is their division into pure (simple) and mixed (complex) timbres.
Pure (simple) timbre - the timbre of solo instruments, as well as all unison combinations of identical instruments. Pure timbre is used both in monophony and in polyphony (for example, ensembles of accordions or button accordions, domras or balalaikas).
Mixed (complex) timbre is the result of combinations of various instruments. Used in monophony and polyphony. Such combinations are used to change the phonic qualities of voices and ensembles and are caused by expressive or formative factors.
In various compositions of the folk orchestra, the greatest unity is found in ensembles of identical instruments, as well as instruments - representatives of the same family. Balalaikas merge most organically with the domra group, because the performing techniques on domras, balalaikas, as well as on percussion instruments are based on the general principles of sound extraction: short sounds are performed by a blow (pluck), and long ones - by means of tremolo.
Wind instruments (flutes, oboes) merge very well with button accordions and accordions. The timbre variety of the sound of the accordion (bayan) is due to the presence of registers. Some of them received names similar to those or other instruments of a symphony orchestra: clarinet, bassoon, organ, celesta, oboe.
The farthest degree of timbre affinity and fusion of sound occurs when wind and percussion instruments are combined.
TIMBER RELATIONS of orchestral instruments and ensembles is a concept that determines the degree of their fusion and contrast while sounding simultaneously.