1. Differs in dotted rhythm 2. The melody is drawn out, melodious, gentle 3. Written for a high female voice 4. Performed at a fast pace 5. Accompanied by a chamber orchestra 6. Written in minor, with a touch of sadness 7. In the form of a verse-chorus 8. Dynamics varied, from p to mf 9. The instrumental accompaniment is richly developed, its role in creating the image of the Lark is very important 10. It conveys solemnity and grandeur 11. It belongs to the genre of choral music Select from the list the characteristic features of the romance "The Lark", if you are right, answer by mouse click it will move to the right side of the table.
M. Glinka "Lark". Poems by N. Kukolnik. 1. Between heaven and earth The song resounds, In an unoriginal stream Louder, louder pours. Do not see the singer of the fields, Where he sings so loudly Over his girlfriend A ringing lark. 2. The wind carries a song, But to whom she doesn’t know ... The one to whom, she will understand, From whom she will know! Flow, my song, The song of sweet hope, Someone will remember me And sigh furtively.
Soprano bass contralto tenor baritone Mezzo-soprano The bird sang to us early in a thin voice ... Sings lower than a soprano, a woman ... It sounds low, we understand, a female voice ... The bear growled with us, it means this voice ... Above the bass it sounds a male voice ... It sounds high, probably not a bass, not a baritone, but ...
Means of musical expression.
Music, according to the ancient Greek philosopher Plato, gives life and fun to everything that exists in the world, is the embodiment of that beautiful and sublime that is on earth.
Like any other art form, music has its specific features and expressive means. For example, music is not capable of depicting various phenomena, like painting, but it can very accurately and subtly convey the experiences of a person, his emotional state. Its content lies in the artistic and intonational images formed in the mind of a musician, whether he is a composer, performer or listener.
Each art form has its own language. In music, the language of sounds acts as such a language.
So, what are the main means of musical expression that reveal the secret of how music is born?
The basis of any piece of music, its leading beginning is the melody. Melody represents a developed and complete musical thought, expressed in one voice. It can be very different - both smooth and jerky, calm and cheerful, etc.
In music, the melody is always inseparable from another means of expression - rhythm without which it cannot exist. Translated from Greek, rhythm is “measurement”; this is the ratio of the durations of sounds (notes) in their sequence. It is the rhythm that has the ability to influence the character of the music. For example, lyricism is given to a piece of music using a smooth rhythm, some excitement - an intermittent rhythm.
Lad- a system that connects sounds of different heights, based on stable sounds - tonic. There are two types of it: major and minor. Their difference from each other is that major music evokes clear, joyful feelings in listeners, while minor music a little sad and dreamy.
Timbre(French "bell", "distinguishing mark") - coloristic (overtone) coloring of sound.
Pace is the speed of metric counting units. It can be fast (allegro), slow (adagio) or moderate (andante). For accurate tempo measurement metronome.
A special means of musical expressiveness is timbre. It is a sound coloring characteristic of any voice and instruments. It is thanks to the timbre that one can distinguish the human voice or the "voice" of a musical instrument.
Texture- this is a device, organization, structure of the musical fabric, a set of its elements. And the texture elements are what it consists of - melody, accompaniment, bass, middle voices and undertones.
Stroke - a way (reception and method) of playing notes, a group of notes that form a sound - (translated from German - “line”, “line”). Types of strokes: Legato - connected, Staccato - jerky, Nonlegato - not connected.
Dynamics- varying degrees of sound strength, loudness and their changes. Designations: Forte - loud, Piano - quiet, mf - not very loud, mp - not very quiet.
Thanks to the harmonious combination of all the above expressive means or part of them, music appears that accompanies us in life almost everywhere.
musical sound.
Music is built from musical sounds. They have a certain pitch (the pitch of the main tone is usually from before subcontract to before - re fifth octave (from 16 to 4000 - 4500 Hz). The timbre of musical sound is determined by the presence of overtones and depends on the sound source. The volume of the musical sound does not exceed the pain threshold. Musical sound has a certain duration. The physical feature of musical sound is that the sound pressure in it is a periodic function of time.
Musical sounds are organized into a musical system. The basis for building music is the scale. Dynamic shades are subject to a loudness scale that has no absolute values. In the most common duration scale, neighboring sounds are in the ratio 1:2 (eighths are related to quarters as quarters are to halves, etc.).
musical scale.
A musical system is a system of relations of sounds in height, adopted in a particular practice of tuning musical instruments, which is characterized by setting the frequencies of the sounds of notes. There are many different musical scales, such as Pythagorean or midtone. Modern fixed-pitched musical instruments generally use equal temperament.
Consonance and harmonyI. The vast majority of modern musical trends make extensive use of the simultaneous sounding of tones, which is called consonance. The consonance of two sounds is called a musical interval, and of three or more sounds - a chord, while the regularity of the combination of tones in consonance is called harmony. The term "harmony" can refer to both a single consonance and the general patterns of their use. The branch of musicology that studies these regularities is also called harmony.
Many musical cultures have developed their own systems for fixing music with the help of written signs. The predominance of the seven-step diatonic modes in European music was the reason that in the process of evolution, seven notes were singled out, the names of which come from the Latin hymn of St. John - before, re, mi, F, salt, la, si. These notes form a seven-step diatonic scale, the sounds of which can be arranged in fifths, and the intervals between adjacent steps are a major or minor second. Note names apply to all octaves of the scale.
MBOU secondary school No. 17, Kamyshin, Volgograd region
Music lesson summaryon this topic: Tempo is a means of musical expression» developed according to the program of the VIII type for the 5th grade by the author V.V. Voronkova.
Lesson type: a lesson in learning and consolidating new knowledge.
The purpose of the lesson: consolidation and generalization of students' knowledge about mode, timbre, register, acquaintance with the concept of tempo as a means of musical expression, familiarization with the values of world musical culture.
Tasks:
Educational: introduce the basic tempo of music. Correction-developing: develop the ability to plan future activities to achieve the goal; develop the ability to recall and reproduce previously studied musical material, develop vocal and choral skills, and creative abilities.
Educational: to cultivate interest in classical music through listening, to cultivate self-control skills in the process of developing the ability to evaluate their work, to encourage students to adequate self-assessment in the classroom.
During the classes:
1. Org. Moment. Musical greeting.
2. Entering the lesson
Art-therapeutic exercise "The wind walks on the sea ..." (against the background of music).
Teacher
- Close your eyes, feel yourself on the open sea, where a light warm breeze is blowing. Let's blow on our hands and make sure the air is warm.
Waves appear on the water (children weave the fingers of both hands “into the castle” and perform wave-like movements).
Teacher
- And now we will imitate the sound of the waves: while standing, while inhaling, we easily and smoothly raise our hands up, leaning slightly forward, as we exhale we lower our hands, take the starting position and pronounce the sound (sh) for a long time.
Teacher:
“Sit where you are comfortable. Close your eyes. Imagine that you are a light feather in the sea. You are surrounded by water: sometimes a weak current, and sometimes raging, destructive waves. Feel how the wave flows around your motionless body. Here you are turning into a multi-colored algae. Listen to the sound of the drum, let the sound "penetrate" into your movements. Now open your eyes and greet each other with a handshake."
3. Actualization of basic knowledge
Teacher
- In music, as in any other subject, science has its own system of concepts, terms that are used only in music. They are called elements of musical speech or means of musical expression.
Teacher
- What means of musical speech did we talk about in previous lessons?
- We are familiar with the following means of musical speech: melody, mode, register, timbre.
Teacher
- What is the register like?
- It can be low, medium, high.
Teacher
- What is the way?
- Fret is major and minor.
Teacher - Let's sing the song "We are fifth graders" in different ways.
Teacher
-
The nature of the music depends on the mode. Today we will continue our acquaintance with the means of musical expression, and find out whether the character of music depends only on the mode.
4.
Discovery of new knowledge and primary consolidation of acquired knowledge.
Teacher - You can find out the topic of the lesson if you find the word in the table.
Melody and tempo table
Subject: Tempo is a means of musical expression.
Teacher
- One of the leading elements of musical speech is a melody.
If you have been to a concert, theater or cinema where a lot of music was played, then, returning home, and remembering what you heard, you sing to yourself or out loud.
What you hum is the melody. And what is the pace, I hope that you yourself will determine during the lesson
The song "Different Guys" is performed at different tempos.
Teacher -Tempos are slow, moderate and fast.
Italian designations are used to determine the rates.
Each student has a table on the table
The song "Wide Steppe" at various tempos.
Teacher- Does the character change? Pick up the tempo for this song.
Listening to a fragment of the ballet "Humpbacked Horse" music by Rodion Shchedrin.
Teacher - Guys, pay attention to the difference between the intro melody and the main part.
Changes in tempo during listening are recorded by students in a notebook.
1. Why does the melody of the procession sound solemn at first, and then it becomes clumsy, sounds with pauses and accents?
2. What elements of musical speech make a marching melody?
3. How does the pace change? Choose the appropriate Italian tempo symbols.
4. Name the instruments of the symphony orchestra that perform the introduction.
6. Generalization and systematization of the knowledge gained in the lesson.
We perform songs at different tempos and determine whether the nature of the music has changed.
Teacher - The nature of the work depends on the tempo
What is pace?
Teacher - Right. This is the speed of the music.
Write the definition in your notebook
Teacher - Guys, do you know what a competition is? It's a competition
Conductor Competition.
Teacher
- Who remembered the pace better? Name the tempo and conduct in the nature of the music.
Can we conclude that the nature of music depends not only on the mode, but also on the tempo?
6. The result of the lesson.
Teacher - What means of musical expression have we met today? (pace)
What is pace?
With what means did we meet? Melody, mode, register, timbre, tempo
Teacher
Which of these elements is the most important?
Teacher
- Each element is important in its own way: in the melody there is a mode, a register, a timbre, and a tempo. In the next lesson, we will continue our acquaintance with the elements of musical speech.
6. Reflection
Teacher
-
Please complete the self-assessment card. The lesson is over. Thank you for your work!
Basic elements of musical language
“Do not be afraid of the words theory, harmony, polyphony, etc. Be friendly to them and they will smile at you."
(R. Schumann)
Musical means of expression are rich and varied. If the artist in drawing and paint, the sculptor in wood or marble, and the writer and poet in words recreate the pictures of the surrounding life, then the composers do it with the help of musical instruments. Unlike non-musical sounds (noise, rattle, rustle). Musical sounds have a precise pitch and a definite duration. In addition, they can have a different color, sound loud or soft, be performed quickly or slowly. Melody, rhythm, mode and harmony, register and timbre, dynamics and tempo - these are all expressive means of musical art.
Melody
The world of music is filled with beautiful melodies by Bach, Mozart, Grieg, Chopin, Tchaikovsky...
You already know a lot of music. They remain in your memory. If you try to remember them, you will surely hum a tune. A. S. Pushkin remarkably followed the work of musical memory in the “little tragedy” “Mozart and Salieri”. Mozart exclaims to Salieri:
Yes! Beaumarchais was your friend;
You composed Tarara for him,
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La-la-la-la...
Tarar is an opera by Italian composer Antonio Salieri based on a libretto by Pierre Beaumarchais.
First of all, Mozart recalls the motive - an expressive particle of the melody. The motive can cause an idea of the whole melody, its character. But what is a melody? Melody- developed and complete musical thought, expressed in one voice.
The word "melody" comes from two words - melos - song, and ode - singing. In general, a melody is what you and I can sing. Even if we do not remember all of it in its entirety, we hum some of its motives, phrases. After all, in musical speech, as in verbal speech, there are sentences and phrases.
Several sounds form a motif - a small particle of a melody. Several motifs make up a phrase, and phrases make up sentences. Melody is the main means of musical expression. It is the basis of any work, it is the soul of a musical work.
The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally withers. The life of a flower is short, but the life of a melody is even shorter. In a short time, it manages to emerge from the motive, "bloom" and end. In each melody there is a "blooming point", the highest point of its development, the highest intensity of feelings. It's called the climax. The melody ends with a cadence - a steady turn.
If we continue the comparison with a flower, then we should remember that flowers bloom at different times of the day. Some open their cups towards the first rays of the sun, others “wake up” on a hot afternoon, and still others wait until dusk to give their fragrance to the coolness of the night.
Melodies also "bloom" at different times. Some immediately start from the top - the climax. In others, the climax is in the middle of the melody or near its end. A vivid example of this is E. Krylatov's song "Winged Swing" (lyrics by Y. Entin) from the movie "Adventures of Electronics". Its melody, gradually developing, reaches a climax, emphasized by sonorous repetitions of the highest note.
It is easy to see that the structure of the melody is similar to the structure of speech. As phrases are formed from words, sentences are formed from phrases, so in a melody small expressive particles - motives - are combined into phrases. A musical phrase, as a rule, is formed from two or three motifs. Its duration is determined by the duration of the breath of the performer singing or playing a wind instrument. (In the performance of music on bowed and keyboard instruments, the influence of breathing on the length of the phrase is not noticeable, but it is also taken into account.)
Usually one phrase is performed in one breath (exhalation). Several phrases connected by a common line of development form sentences, and sentences form an integral melody.
The climax (from the Latin culminis - peak) is usually located in bars 5-6 of an 8-bar period or in bars 12-13 of a 16-bar period (that is, in the third quarter of the period) and in these cases falls on the so-called "golden section" point . The meaning of the "Golden Section" is in the beauty of strict proportions, proportionality and harmonic balance of parts and the whole. The "golden proportion" exists in the structure of the human body, and in architecture, and in painting. The principle of the "golden section" was used by the great Italian scientist and artist of the 15th - early 16th century Leonardo da Vinci, although the doctrine of proportions was successfully developed and put into practice in ancient Greece.
Folk musical creativity is an inexhaustible treasury of wonderful melodies. The best songs of the peoples of the world are distinguished by their beauty and expressiveness. They are different. Sometimes, it seems, there is no and never will be the end of the chant. One sound turns into another, the song flows in a continuous stream. They say about such a melody: "the melody of a big breath." It is also called cantilena. Composers P. Tchaikovsky, S. Rachmaninov and others were distinguished by the ability to create such melodies.
Listen to the Russian folk song "Nightingale" performed by the Big Children's Choir. Slowly, singsongly flowing broad melody.
But the opposite happens. There are no long drawn-out sounds in the melody, it is closer to a simple conversation, the turns of human speech are felt in it. Similar melodies can be found in epics. It is not for nothing that people say that epics affect, and the performers of epics are called storytellers. These melodies are called recitative.
The word "recitative" comes from the Latin recitare, which means - reading aloud, recitation. Recitative - half-single, half-talk.
Especially often composers turn to recitative in the opera, where it serves as one of the means of musical characterization of the characters. For example, in the unhurried and majestic melody of Susanin's recitative, the courageous image of the hero of the opera M. Glinka arises.
In instrumental works, melodies sometimes differ significantly from vocal ones, that is, those intended for singing. For musical instruments, you can create melodies with a very wide range and large jumps. Remarkable images of instrumental melodies can be found in the piano works of the great Polish composer F. Chopin. In his nocturne in E-flat major, a wide melodiousness is combined with the complexity of the melodic pattern.
The melodic richness of classical music is inexhaustible. Songs by F. Schubert and romances by S. Rachmaninov, piano pieces by F. Chopin and operas by G. Verdi, compositions by W. Mozart, M. Glinka and P. Tchaikovsky and many other composers have become popular with listeners due to their bright expressive melodies.
Harmony
This is one of the main means of expression. It gives color to the music, and sometimes it carries most of the semantic and emotional load. Harmonious chords create harmony, leaving the impression of harmony, beauty, fullness. And sometimes it plays an even greater role than the melody. Listen to the famous Prelude No. 20 by F. Chopin. There is practically no extended melody in it. It is harmony that creates the general mood.
A sequence of chords along with a melody is called harmony.
Thanks to harmony, the expressiveness of the melody is enhanced, it becomes brighter and richer in sound. Chords, harmonies and their sequence constitute harmony, closely interacting with the melody.
In Chopin's Polonaise in A major, the powerful "orchestral" sound of the piano is achieved thanks to the polyphonic chords that accompany the melody of a solemn heroic character.
There are many works in music that sound light and graceful. For example, dancing. Chords in simultaneous sounding here would be perceived too ponderously and awkwardly. Therefore, in the accompaniment of dances on a strong beat of measures, the lower sound of the chord (bass) sounds separately, and then its other sounds in simultaneous sound. This type of presentation of harmony is used in Waltz in A flat major by F. Schubert, which gives the music lightness and elegance of sound.
In works of a melodious lyrical nature, in order to achieve a soft, "stringed" sound of harmony, chords decomposed by sounds are often used. In L. Beethoven's Moonlight Sonata, such sounding of the accompaniment, combined with the unhurried movement of the sad melody, gives the music smoothness and creates an elevated and noble mood.
The possibilities of combinations of chords, harmonies are infinitely varied. Their unexpected and abrupt changes give the impression of something unusual, mysterious. Therefore, when composers write fairytale music, harmony becomes one of the most important elements of the musical language. So, for example, the miracle of the magical transformation of swans into red maidens in N. Rimsky-Korsakov's opera "Sadko" occurs with the help of a colorful change of "magic" chords.
There are pieces of music in which harmony dominates, determines the character and mood of the piece. Listen to the prelude in C major from the first volume of I. Bach's Well-Tempered Clavier.
In the unhurried and smooth change of decomposed chords, in the alternation of tensions and recessions, in the steady movement towards the solemn climax and in the subsequent completion, a finished and harmonious work is formed. It is imbued with a mood of sublime peace. Fascinated by the magical play of harmonic colors, we do not notice that there is no melody in this prelude. Harmony fully expresses the mood of the piece.
Rhythm
Rhythm is the organizer of musical sounds in time. Rhythm means the ratio of the durations of sounds to each other. A piece of music cannot exist without rhythm, just as a person cannot live without the work of the heart. In marches, dances, fast pieces, the rhythm organizes, streamlines the movement, the nature of the work depends on it.
Can a piece of music be expressive without melody and harmony? The answer is given to us by the original play "Panic" by S. Prokofiev from the music for the play "Egyptian Nights". The action takes place in the palace of the legendary Egyptian queen Cleopatra.
...Night. The palace is surrounded by enemies - the troops of the Romans. The inhabitants of the palace face captivity or death. Crazed with fear, people run out of the distant chambers of the palace. They rush towards the exit. And here are the last steps...
Illustrating this episode, the composer uses the tremendous power of expressiveness of rhythm. The originality of the music lies in the fact that it is performed only by percussion instruments: small and large drums, timpani, tom-toms. The part of each instrument has its own rhythmic pattern. At the climax, a clot of rhythmic energy of great strength and tension is formed.
Gradually, the tension dissipates: the tam-tom falls silent, then the timpani, the snare drum, and the bass drum subsides ... Thus, using meager musical means, Prokofiev created a vivid piece in which rhythm plays the main role.
The expressive role of rhythm manifests itself especially clearly in the famous orchestral piece "Bolero" by the French composer M. Ravel. The unchanging rhythmic formula of the Spanish dance is sustained here throughout the entire work (it is written in the form of 12 variations). "Iron Rhythm" holds the melodious melody as if in a vice and gradually increases the grandiose tension in the development of restrained and passionate Spanish dance. The rhythmic "formula" of the bolero is performed by the solo drummer.
Recall that in music fret means the consistency of sounds, different in height. These sounds are combined around the main sound - tonics. In European music, the most common modes are major And minor. Most of the pieces that you play and that are discussed in our book are also written in these two modes. Is the dependence of the character of music on the mode strong? Let's listen to G. Sviridov's play "Spring and Autumn".
The composer painted the same landscape with sounds at different times of the year. In the first part, light transparent chords, a fragile melodic line recreate a spring landscape. Listening to music, we imagine the gentle colors of greenery that has dressed the trees, the light aromas of blooming gardens, the sonorous voices of birds. The piece sounds in a major key, upbeat, light.
But now the mood has changed, the pace has slowed down. The colors of a familiar landscape faded. You seem to see the black silhouettes of naked trees through the gray mesh of the rain. The sunlight seemed to disappear from the music. The spring colors of the major fret went out, they were replaced by the minor. In the melody, the intonations of dissonances-tritones were sharply outlined. The slow tempo intensified the expressiveness of the sad minor chords.
Listening to the second part of the play, we can easily notice that it is just a variant of the first. But the change of mode creates the impression that a new piece is being played, opposite in character and mood to the first one.
Pace
Of course, you know well that this word means the speed of movement. True, this term does not come from the word speed, but from the word time (Latin tempus). Both the character and the mood of the play depend on the tempo. A lullaby cannot be played at a fast pace, and a gallop cannot be played at a slow pace.
Let's remember the basic musical tempos. They are commonly referred to in Italian.
Largo (largo) - very slowly and widely.
Adagio (adagio) - slowly, calmly.
Andante(andante) - at the pace of a calm step.
Allegro (allegro) - quickly.
Presto (presto) - very quickly.
Often there are variations of these rates:
Moderato (moderate) - moderately, restrained.
Allegretto (allegretto) - quite lively.
Vivace (vivache) - alive.
Listen to a fragment of the main theme of the famous Fantasy in D minor by the great W. Mozart. Listen to how well the soft pulsating texture of the accompaniment to this delicate, fragile melody is chosen.
And the next example is also from the music of W. Mozart - the most popular finale of his piano sonata, also known as the Turkish March or Turkish Rondo. Incendiary music, quite different. Here W. Mozart does not feel sad, does not dream, but contagiously has fun.
Previously, tempos in music were determined approximately, according to mood. But sometimes composers wanted to indicate the tempo very precisely. At the beginning of the 19th century, the German mechanic I. Melzel invented the metronome specifically for this. The desired speed is easily found by the metronome.
Dynamics
Equally important is the performance dynamics, that is, the power of the sound. Surely you paid attention to the fact that during the performance the musicians play either loudly or softly. This is not happening because the musician wants it that way. So the composer conceived and indicated with the help of what dynamic shades it is possible to reveal his idea.
There are two main dynamic shades, and you know them very well: forte - loud and piano - quiet. In music they are written in Italian letters: F and R.
Sometimes these shades are enhanced. For example, very loud - FF (fortissimo) or very quiet - PP (pianissimo). Often during the work, the strength of the sound changes more than once. Let's remember P. Tchaikovsky's play "Baba Yaga". The music starts barely audible, then its sonority grows stronger, reaching very loud, and gradually subsides again. As if a stupa with Baba Yaga appeared from afar, swept past us and disappeared into the distance.
Here's how dynamic hues can help a composer create a vibrant musical image.
Timbre
One and the same melody can be played on the piano, and on the violin, and on the flute, and on the guitar. And you can sing. And even if you play it on all these instruments in the same key, at the same tempo, with the same nuances and strokes, the sound will still be different. With what? The very coloring of the sound, its timbre. This word comes from the French timbre, which means a bell, as well as a label, that is, a distinguishing mark.
Timbre- a special coloring of sound, characteristic of each voice and instrument. By this coloring we distinguish different voices and instruments from each other.
Listen to a Russian folk song performed by the choir Im. Pyatnitsky "I walk with loach".
The variety of singing voices is especially noticeable in the opera, where for each character the composer selects the timbre of voice that best suits his character. In N. Rimsky-Korsakov's opera The Tale of Tsar Saltan, the role of the Princess Swan was written for soprano, and the matchmaker of Babarikha was written for mezzo-soprano. The performer of the role of Tsarevich Gvidon is a tenor, and Tsar Saltan is a bass.
Register
Wander all over the piano keyboard. Listen to how the lowest sounds differ from the highest.
When you were just starting to get acquainted with the instrument, you were probably told that “a bear is lying in a den” below, and “birds are singing” above. But the keys that are in the middle sound the most melodic. They are most often used in music. And not because it is more convenient to reach them, but because they are richer than others in terms of musical expressiveness. But if we need, for example, to depict a thunderstorm, then how can we do without thunder in the bass and sparkling zigzags of lightning in the "bird" register?
What is a row of piano keys? A number of sounds. And in short - a sound row. So the register is part of the scale. This is correct, but does not tell us anything about the registers themselves - about their nature, features.
Here, for example, is the middle case. The one in which we sing and speak. Our ear is best tuned to the "conversational" wave. And besides, whether you know it or not, we listen to music not only with our ears, but also with our vocal cords. When we listen to a melody, our vocal cords sing it silently, whether we like it or not. Therefore, when a singer's ligaments get sick, he is not allowed not only to sing himself, but also to listen to other singers.
This suggests the conclusion: the one who sings better and cleaner, hears the music better and gets more pleasure from it. It is no coincidence that R. Schumann, already known to you, wrote in his “Rules for Young Musicians”: “Sing diligently in the choir.”
The middle register is the most familiar to us. And when we listen to music written in this register, we pay attention not to the register itself, but to other details: melody, harmony and other expressive details.
And the lower and upper registers are sharply distinguished by their special register expressiveness. The lower case resembles a "magnifying glass". It makes musical images larger, more important, more significant. He can scare. And say, "Shh, it's a secret."
Mysteriously, unusually, E. Grieg's play "In the cave of the mountain king" begins. And here is the frightening theme of the formidable king Shakhriar from N. Rimsky-Korsakov's symphonic suite "Scheherazade".
The upper register, on the contrary, seems to “reduce” what sounds in it. In the "Children's Album" by P. Tchaikovsky there is a "March of Wooden Soldiers". Everything in it is like in a real military march, but small, “toy”.
Now we can say that register- this is a part of the scale that has a certain sound color. There are three registers: upper, middle and lower.
We listened to examples written in the same register. But this kind of music is rare. Often composers use all registers at once. As, for example, E. Grieg in the piano piece Nocturne. "Nocturne" means "night". In Norway, in the homeland of E. Grieg, in the summer there are the same white nights as in St. Petersburg. The music of E. Grieg's Nocturne is colorful and picturesque. Register paints play an important role in this sound painting.
Presentation
Included:
1. Presentation - 30 slides, ppsx;
2. Sounds of music:
Bach. Prelude in C minor (harpsichord in Spanish) Beethoven. Sonata "Lunar", part I - Adagio sostenuto (fragment), mp3;
Glinka. Susanin's recitative "Smell the Truth" from the opera "Life for the Tsar", mp3;
Grieg. "In the Hall of the Mountain King" from the suite "Peer Gynt" (fragment), mp3;
Grieg. Nocturne from "Lyrical Suite" (fragment), mp3;
Mozart. Rondo in Turkish style (fragment), mp3;
Mozart. Fantasy in D minor (fragment), mp3;
Prokofiev. "Panic", from the music for the play "Egyptian Nights", mp3;
Ravel. "Bolero" (fragment), mp3;
Rimsky-Korsakov. "The Miracle of the Transformation of Swans into Red Maidens" from the opera "Sadko", mp3;
Rimsky-Korsakov. Shahriar's theme from the symphonic suite "Scheherazade", mp3;
Sviridov. "Spring and Autumn", mp3;
Chaikovsky. "Baba Yaga" from "Children's Album", mp3;
Chaikovsky. "March of the Wooden Soldiers" from the "Children's Album", mp3;
Chopin. Nocturne in E flat major, Op. 9 No. 2 (fragment), mp3;
Chopin. Polonaise in A major, op. 40 No. 1 (fragment), mp3;
Chopin. Prelude in C minor, op. 28 No. 20, mp3;
Schubert. Waltz in A flat major, mp3;
"I walk with loach", mp3;
Nightingale (in Spanish BDH), mp3;
3. Accompanying article - lesson summary, docx.
The musical image is a complex of expressive means that affect listeners with their specific characteristics. The main thoughts, feelings of the musical image conveys:
1) melody. The image is also enriched with other elements of musical speech - 2) formation, 3) harmony, 4) dynamics, 5) methods of presenting musical material, 6) the construction of the work itself.
Expressive means that create a musical image evoke associations with the phenomena of life, human experiences. What an exciting feeling, for example, is evoked by the hero of Borodin's opera, Prince Igor, who strives for freedom, struggle for the sake of his homeland! Or a fast-moving melody that conveys almost obviously the flight of a bumblebee from the opera The Tale of Tsar Soltan by Rimsky-Korsakov! It is clear that the combination of the expressive means of music with the word (in a song, opera), with the plot (in a program work), with action (in a performance) makes the musical image more understandable, concrete. But even without a connection with a literary text, an instrumental work that does not have a program or a name makes it possible to feel and present the content of the musical image. Many musicologists talk about the similarity of verbal and musical speech. This identity is observed both in intonation, and in movement, and in the fragmentation of this movement (pauses, phrases, sentences). Musical and verbal language are united by the intonational nature of music, its peculiar “questions” and “answers”, excited or calm “story”, “call”, etc. The concepts of clarity and figurativeness in music are directly related to the musical image.
“There can be no artistic image without an external concretization of its content, acting in colors, shapes, lines, sounds.” The clear content of the works should be "expressed" displayed in certain intonational turns, motifs with their inherent melody, rhythm, harmony. There is a close connection between the clear and pictorial function of art.
The main means of musical expression
Music exists in time, and one of the properties of sound is its length. The sound always takes some time. The temporal nature of music is associated with one of its most noticeable, although its most common means of expression - speed, tempo. Together with other means of music, it largely determines its appearance, mood, conveying those emotions, thoughts, feelings that are embedded in the work. Calm music goes at a slow pace, when a dramatic character will require a fast pace. The music is written at a slow tempo, in which a state of peace is conveyed (the romance "Islet" by Rachmaninov), or sublime emotions (Bach's Chaconne), or sorrowful intonations ("Gluck's Melody, the first movement of Beethoven's Moonlight Sonata"). 
The average tempo is quite neutral and is found in music of different moods. A fast tempo is encountered when conveying an inseparable movement (Rimsky-Korsakov's Flight of the Bumblebee, Glinka's Song Along the Way, many etudes). Fast music conveys a bright, festive mood, ebullient energy, etc. Fast tempo is also used in dramatic, internally tense music.
In the sense of tempo, not all sounds are important, but only those that have accents, more “heavy”. In any music, accents periodically appear, and between them there are weak ones, which in the human language, stressed syllables alternate with unstressed ones. And the sense of tempo depends on the time that passes between adjacent accented sounds. Accents organize time in music by dividing it into certain distances.
Such an organization of sounds, built on an emphasis on some sounds, is called a meter. In other words, meter is a certain sequence of accented and not accentuated sounds. Meters are strict and free. The distance between two nearest strong sounds is called a measure (measures are separated by vertical lines). 
Small, relatively independent parts of the melody, in which several weaker sounds are combined around one strong sound, make up the motive. A strong sound of a motive can be both at the beginning, and in the middle, and at the end (as in a poetic foot).
Various motifs are identified: choreic (trochee) - with an emphasis on the first note, iambic, starting from the beat and going to a strong beat (the theme of fate from Beethoven's Fifth Symphony). Combining motifs by two or three creates broader constructions - phrases. The phrase contains two or even three accented sounds. The phrase makes it possible to feel not only the tempo of the music, but also the quality of the meter, in particular the size. The value of a bar or its size is made up of a strong beat together with weak beats, for example, in a waltz there are three beats (the first is strong, the second is weak).
Not always each beat of the measure corresponds to a single sound of the melody, usually the melody consists of sounds of different lengths, which can be either equal parts of the measure, or larger or smaller. For the clarity of music, the ratio of long and short notes is also important - the musical rhythm. There are a lot of rhythmic patterns in comparison with the size.
The simple rhythm is common, it is less individual. Individuality is inherent only in developed and diverse rhythmic patterns. An even rhythm gives the music dimension and balance (the children's song "The Gray Goat", the slow part of Tchaikovsky's Fourth Symphony).
A more complex rhythm is the only elongated sound and two short ones (the chorus "Slavsya" from the opera "Ivan Susanin" by Glinka). Often used in music, dotted rhythm is also combined with meter. This rhythm is typical for marching and dance compositions. In marches and compositions of the marching staff, sometimes weak beats (especially out-beats) are fragmented, creating a dotted figure (“Farewell of the Slav” march). Meeting this rhythm, we can conclude that it is related to the march genre. This rhythm is found in Mazurkas, although in these works the first strong beat of the bar is split. 
If the reference points of the rhythm and meter do not match, the so-called syncopation is created - a long sound on a weak beat. Syncopation is typical for dance music, but is often found in many works of light, pop, jazz music.
The above expressive means are closely related to the temporal side of music, because tempo, meter and rhythm organize music in time. It should be noted that these means are used not only by music. Tempo and rhythm are present in performances, films.
