MBUDO DSHI Ob, Novosibirsk region.
ADDITIONAL GENERAL DEVELOPMENT GENERAL EDUCATIONAL PROGRAM IN THE FIELD OF MUSICAL ART in the subject SOLFEGIO
The program is addressed to solfeggio teachers of the Children's Art School and Children's Music School. It is intended for students in grades 1 - 7 in the EP "Instrumental performance", "Vocal and choral performance", children aged 7-17 years. The knowledge, skills and abilities gained will help students in their studies in the subject " Collective music making(choir)”, on the instrument, as well as in the study of other subjects of additional general education programs in the field of arts.
ADDITIONAL GENERAL EDUCATIONAL PROGRAM IN THE FIELD OF MUSICAL ART
by subject
SOLFEGIO
For students in grades 1 - 7 DShI
According to the OP "Instrumental performance",
"Vocal and choral performance"
Children aged 7-17 years
The structure of the curriculum of the subject
– Characteristics of the subject, its place and role in the educational process; – The term for the implementation of the subject; - The amount of study time provided for by the curriculum of the educational institution for the implementation of the subject; — The form of conducting classroom training; — Goals and objectives of the subject; — Substantiation of the structure of the curriculum of the subject; – Description of the material and technical conditions for the implementation of the subject;
- The content of the subject
— Educational and thematic plan; - Distribution of educational material by years of study; – Forms of work at solfeggio lessons;
III. Requirements for the level of training of students
Certification: goals, types, form, content; - Criteria for evaluation; — Control requirements for different stages learning;
- Methodological support educational process
- List of recommended educational literature
— Educational literature; – Educational and methodical literature; — Methodical literature.
Explanatory note
Characteristics of the subject, its place and role
in the educational process
Solfeggio is a compulsory subject in children's art schools that implement additional general developmental educational programs. Solfeggio lessons develop such musical data as hearing, memory, rhythm, help identify the creative inclinations of students, and introduce the theoretical foundations of musical art. Along with other activities, they contribute to the expansion of musical horizons, the formation musical taste, awakening the love of music. The knowledge gained in solfeggio lessons, the formed skills and abilities should help students in their classes in the subject "Collective music making (choir)", on the instrument, as well as in studying other subjects of additional general education programs in the field of arts.
The subject "Solfeggio" is aimed at developing the musical and creative abilities of students on the basis of the knowledge they have gained, the acquisition of children's experience of creative interaction in a team.
The course "Solfeggio" is in direct connection with other academic subjects, such as "Musical Literature", "Musical Instrument", takes important place in the system of teaching children and is necessary in the development of subjects in the field of musical performance.
The program of the subject "Solfeggio" was developed on the basis of the "Recommendations on the organization of educational and methodological activities in the implementation of general developmental programs in the field of arts", sent by letter of the Ministry of Culture of the Russian Federation dated November 21, 2013 No. 191-01-39 / 06-GI, and also taking into account personal long-term pedagogical experience of the work of the author-compiler at the Children's School of Arts in the city of Ob.
The term for the implementation of the subject
The term for the implementation of the Solfeggio subject is 7 years
for children from 7 to 16 years old studying in the EP "Instrumental Performance", "Vocal and Choral Performance". may be extended by one year. The program is adapted to the conditions of study at MBUDO Children's School of Art in the city of Ob.
Form of conducting classroom training
The form of conducting training sessions is group (from 6 to 12 people).
The curriculum of the Children's Art School in Ob provides for the development of a solfeggio course in the amount of 1.5 academic hours per week for students
1-5 grades and 2 academic hours for students in grades 6.7 ( elevated level). For extracurricular activities, 1 academic hour is allocated for students in grades 1–5 and 1.5 academic hours for students in grades 6.7. The duration of the academic year is 35 weeks.
The traditional lesson occupies a central place in children's music schools, it is understood as a combination of methods of complex influence on students, ensuring the most effective achievement of the goal of the lesson in the context of the objectives of the curriculum being implemented.
Along with the traditional, other forms of conducting a lesson are also acceptable:
- open lessons with the presence of parents;
- credit for accumulated creative skills;
- lesson - travel;
- lesson - competition;
— competitions, quizzes, educational games on solfeggio.
The participation of children in such lessons helps to consolidate knowledge, skills and abilities in a playful way, and also contributes to the creative self-realization of children, develops perseverance, the desire for success, and cultivates independence as a personality trait.
Goals and objectives of the subject
Target the subject of solfeggio is to contribute to the musical and aesthetic education of students, to expand their general musical horizons, to form a musical taste, to develop
musical ear, musical memory, thinking, creative skills.
Tasks:
- purposeful systematic development of musical and auditory abilities of students, musical thinking and musical memory as the basis for practical skills;
- education of the basics of analytical perception, awareness of some regularities in the organization of the musical language;
- the formation of practical skills and the ability to use them in a complex during performance musical material, in creative forms of music making;
- development of auditory representations in students.
Substantiation of the structure of the curriculum of the subject
The justification for the structure of the program is the "Recommendations on the organization of educational and methodological activities in the implementation of general developmental programs in the field of arts", approved by the order of the Ministry of Culture of the Russian Federation and reflecting all aspects of the teacher's work with students.
The program contains the following sections:
- information on the cost of study time provided for the development of a subject;
- distribution of educational material by years of study;
— description of the didactic units of the subject;
- requirements for the level of training of students;
— forms and methods of control, evaluation system;
- methodological support of the educational process.
In accordance with these directions, the main section of the program "Subject content" is being built.
Teaching methods:
- verbal;
- visual (didactic cards, rhythm cards, tables of chords and intervals, visual aids: "Column", "Moving note", etc.);
- problem-search;
— method of game motivation (using didactic games);
- scientific method (use of tests, tables, individual survey cards).
Description of the material and technical conditions for the implementation of the subject
The material and technical base of the educational institution complies with sanitary and fire safety standards, labor protection standards.
The implementation of the program of the subject "Solfeggio" is ensured by the access of each student to the library funds. The library fund of the children's art school is equipped with printed and electronic publications basic and additional educational and educational literature on the subject "Solfeggio", as well as editions of musical works, special textbooks. During independent work, students can be provided with access to the Internet. Basic educational literature in the subject "Solfeggio" each student is provided.
Classrooms intended for the implementation of the subject "Solfeggio" are equipped with a piano, sound-reproducing and multimedia equipment, educational furniture (magnetic whiteboard, tables, chairs, racks), decorated with visual aids. Classrooms have sound insulation.
Class equipment
In the lower grades, visual material is actively used - cards with Roman numerals denoting steps, a "ladder" depicting the structure of the major and minor scales, cards with the names of intervals and chords. In high school, posters with information on basic theoretical information are used. In the office there is a stand with basic theoretical concepts.
It is possible to use sound recording equipment to play timbre dictations, listen to a musical fragment for auditory analysis, etc.
Didactic material is selected by the teacher on the basis of existing teaching aids, textbooks, collections for solfegging, collections of dictations, and is also developed by the teacher independently.
Educational - thematic plan
1 class
| №№ | Section name, topic | Type of lesson | Total amount of time (in hours) | Independent work | Auditory lessons | |
| 1 | Musical notation | Lesson | 5 | 2 | 3 | |
| 2 | Gamma in C major. Stable and unstable steps | Lesson | 2,5 | 1 | 1,5 | |
| 3 | Resolution of unstable steps, introductory sounds | Lesson | 2,5 | 1 | 1,5 | |
| 4 | The singing of stable steps. Tonic triad | Lesson | 5 | 2 | 3 | |
| 5 | Duration, time signature, measure | Lesson | 2,5 | 1 | 1,5 | |
| 6 | Size 2/4 | Lesson | 2,5 | 1 | 1.5 | |
| 7 | current control | Control lesson | 2,5 | 1 | 1,5 | |
| 8 | Pause | Lesson | 2,5 | 1 | 1,5 | |
| Learning the Elements of the G Major Scale | Lesson | 5 | 2 | 3 | ||
| Size 3/4 | Lesson | 5 | 2 | 3 | ||
| 11 | Oral dictations | Lesson | 5 | 2 | 3 | |
| 12 | current control | Control lesson | 2,5 | 1 | 1,5 | |
| 13 | Learning the Elements of the D Major Scale | Lesson | 5 | 2 | 3 | |
| 14 | Learning the Elements of the F Major Scale | Lesson | 5 | 2 | 3 | |
| 15 | Gamma in A minor (for advanced groups) | Lesson | 2,5 | 1 | 1,5 | |
| 16 | Introduction to intervals | Lesson | 5 | 2 | 3 | |
| 17 | Zatakt quarter, two eighths in time 2/4 | Lesson | 5 | 2 | 3 | |
| 18 | current control | Control lesson | 2,5 | 1 | 1,5 | |
| 19 | Recording of monophonic dictations in 3/4 time | Lesson | 5 | 2 | 3 | |
| 20 | Size 4/4 (for advanced groups) | Lesson | 5 | 2 | 3 | |
| 21 | Repetition | Lesson | 7,5 | 3 | 4,5 | |
| 22 | intermediate control | Control lesson | 2,5 | 1 | 1,5 | |
| TOTAL: | 87,5 | 35 | 52,5 | |||
2nd class
| 1 | Repetition of material | Lesson | 7,5 | 3 | 4,5 | |
| 2 | Zatakt quarter in time 3/4 | Lesson | 2,5 | 1 | 1,5 | |
| 3 | Key of B-flat major | Lesson | 5 | 2 | 3 | |
| 4 | Size 4/4 | Lesson | 5 | 2 | 3 | |
| 5 | current control | Control lesson | 2,5 | 1 | 1,5 | |
| 6 | Key in A minor | Lesson | 5 | 2 | 3 | |
| 7 | Three types of minor | Lesson | 5 | 2 | 3 | |
| 8 | Rhythm dotted quarter and eighth | Lesson | 5 | 2 | 3 | |
| 9 | Parallel Keys | Lesson | 2,5 | 1 | 1,5 | |
| 10 | current control | Control lesson | 2,5 | 1 | 1,5 | |
| 11 | Rhythm four sixteenths in measures taken | Lesson | 5 | 2 | 3 | |
| 12 | Key in D minor | Lesson | 2.5 | 1 | 1.5 | |
| 13 | Key in E minor | Lesson | 2,5 | 1 | 1,5 | |
| 14 | Key in B minor | Lesson | 2,5 | 1 | 1,5 | |
| 15 | Intervals h.1, m.2, b.2, m.3, b.3 | Lesson | 7,5 | 3 | 4,5 | |
| 16 | Intervals in tonality and from sound | Lesson | 2.5 | 1 | 1,5 | |
| 17 | current control | control lesson | 2,5 | 1 | 1,5 | |
| 18 | Key in G minor | Lesson | 3 | |||
| 19 | Intervals h.4, h.5, h.8 | Lesson | 5 | 2 | 3 | |
| 20 | Consolidation of the passed | Lesson | 5 | 2 | 3 | |
| 21 | intermediate control | Control lesson | 2,5 | 1 | 1,5 | |
| 22 | Reserve lesson | Lesson | 2,5 | 1 | 1,5 | |
| TOTAL: | 87,5 | 35 | 52,5 | |||
3rd class
| 1 | Repetition of class 2 material | Lesson | 10 | 4 | 6 |
| 2 | Key in A major | Lesson | 5 | 2 | 3 |
| 3 | Rhythm eighth and two sixteenths | Lesson | 5 | 2 | 3 |
| 4 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 5 | F-sharp minor key | Lesson | 5 | 2 | 3 |
| 6 | Rhythm two sixteenths and an eighth | Lesson | 5 | 2 | 3 |
| 7 | Variable fret | Lesson | 5 | 2 | 3 |
| 8 | Intervals from sound and in tonality | Lesson | 2,5 | 1 | 1,5 |
| 9 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 10 | Keys of E flat major and C minor | Lesson | 7,5 | 3 | 4,5 |
| 11 | Intervals m.6 and b.6 | Lesson | 5 | 2 | 3 |
| 12 | Interval inversions | Lesson | 5 | 2 | 3 |
| 13 | Main triads of mode | Lesson | 5 | 2 | 3 |
| 14 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 15 | Size 3/8 | Lesson | 2,5 | 1 | 1,5 |
| 16 | Triad inversions | Lesson | 5 | 2 | 3 |
| 17 | Repetition | Lesson | 5 | 2 | 3 |
| 18 | Tritons (introduction) | Lesson | 2,5 | 1 | 1,5 |
| 19 | intermediate control | Control lesson | 2,5 | 1 | 1,5 |
| 20 | Reserve lesson | Lesson | 2,5 | 1 | 1,5 |
| TOTAL: | 87,5 | 35 | 52,5 |
4TH GRADE
| 1 | Repetition of 3rd grade material | Lesson | 7,5 | 3 | 4,5 |
| 2 | Key of E major | Lesson | 2,5 | 1 | 1,5 |
| 3 | dotted rhythm | Lesson | 5 | 2 | 3 |
| 4 | Main triads of mode | Lesson | 5 | 2 | 3 |
| 5 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 6 | Key in C-sharp minor | Lesson | 5 | 2 | 3 |
| 7 | Syncope | Lesson | 5 | 2 | 3 |
| 8 | Tritons at IV and VII (increased) st. in major and harmonica. minor | Lesson | 5 | 2 | 3 |
| 9 | Sexchord and Quartsextachcord of tonic triad | Lesson | 2.5 | 1 | 1,5 |
| 10 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 11 | Triol | Lesson | 5 | 2 | 3 |
| 12 | Key in A-flat major | Lesson | 5 | 2 | 3 |
| 13 | Size 6/8 | Lesson | 5 | 2 | 3 |
| 14 | Interval m.7 | Lesson | 2,5 | 1 | 1,5 |
| 15 | Dominant seventh chord in major and harmonic minor | Lesson | 5 | 2 | 3 |
| 16 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 17 | key in f minor | Lesson | 5 | 2 | 3 |
| 18 | The repetition of newts | Lesson | 5 | 2 | 3 |
| 19 | Repetition of the dominant seventh chord | Lesson | 2,5 | 1 | 1,5 |
| 20 | Sexchord and quartersextachord from sound | Lesson | 2,5 | 1 | 1,5 |
| 21 | intermediate control | Control lesson | 2,5 | 1 | 1,5 |
| 22 | Reserve lesson | Lesson | 2,5 | 1 | 1,5 |
| TOTAL: | 87,5 | 35 | 52,5 |
5th grade
| 1 | Repetition of material 4 classes | Lesson | 7,5 | 3 | 4,5 |
| 2 | Dominant triad with invocations and permissions | Lesson | 5 | 2 | 3 |
| 3 | Rhythmic group quarter with a dot and two sixteenths | Lesson | 2,5 | 1 | 1,5 |
| 4 | Quint circle of keys | Lesson | 5 | 2 | 3 |
| 5 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 6 | Subdominant triad with invocations and permissions | Lesson | 7,5 | 3 | 4,5 |
| 7 | Repetition of tritones on the IV and VII steps in major and harmonic minor | Lesson | 2,5 | 1 | 1,5 |
| 8 | Reduced triad on the 7th degree in major and harmonic minor | Lesson | 5 | 2 | 3 |
| Mode, tonality, transposition | Lesson | 2,5 | 1 | 1,5 | |
| 9 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 10 | Keys B major, G-sharp minor | Lesson | 7,5 | 3 | 4,5 |
| 11 | Different types of syncopation | Lesson | 7,5 | 3 | 4,5 |
| 12 | Construction of major and minor triads, sixth chords, quarter-sext chords from sound | Lesson | 7,5 | 3 | 4,5 |
| 13 | current control | Control lesson | 2,5 | 1 | 1,5 |
| 14 | Keys D-flat major, B-flat minor | Lesson | 5 | 2 | 3 |
| 15 | Letter designations of keys | Lesson | 2,5 | 1 | 1,5 |
| 16 | Period, sentences, phrase | Lesson | 2,5 | 1 | 1,5 |
| 17 | Repetition | Lesson | 5 | 2 | 3 |
| 18 | intermediate control | Control lesson | 2,5 | 1 | 1,5 |
| 19 | Reserve lesson | Lesson | 2,5 | 1 | 1,5 |
| TOTAL: | 87,5 | 35 | 52,5 |
6th grade
| 1 | Repetition of grade 5 material | Lesson | 10,5 | 4,5 | 6 |
| 2 | Dominant seventh chord inversions, resolutions | Lesson | 10,5 | 4,5 | 6 |
| 3 | Rhythmic figures with sixteenths in 3/8, 6/8 meters | Lesson | 7 | 3 | 4 |
| 4 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 5 | Harmonic Major | Lesson | 3,5 | 1,5 | 2 |
| 6 | Subdominant in harmonic major | Lesson | 3,5 | 1,5 | 2 |
| 7 | Tritones in harmonic major and natural minor | Lesson | 10,5 | 4,5 | 6 |
| 8 | Rhythm triplet (sixteenth notes) | Lesson | 3,5 | 1,5 | 2 |
| 9 | Form. Variable mode (auditory analysis) | Lesson | 3.5 | 1.5 | 2 |
| 10 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 11 | Keys F-sharp major, D-sharp minor | Lesson | 7 | 3 | 4 |
| 12 | Diminished triad in harmonic major | Lesson | 3,5 | 1,5 | 2 |
| 13 | Diminished triad in natural minor | Lesson | 3,5 | 1,5 | 2 |
| 14 | Rhythm groups with tied notes | Lesson | 7 | 3 | 4 |
| 15 | Chromatism, alteration. IV raised step in major and minor |
Lesson | 7 | 3 | 4 |
| 16 | Deviation, modulation into a parallel key, into the key of a dominant | Lesson | 3,5 | 1,5 | 2 |
| 17 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 18 | Keys G-flat major, E-flat minor | Lesson | 3,5 | 1,5 | 2 |
| 19 | Anharmonicity of keys with 6 signs | Lesson | 3,5 | 1,5 | 2 |
| 20 | Quint circle of keys | Lesson | 3,5 | 1,5 | 2 |
| 21 | Repetition | Lesson | 7 | 3 | 4 |
| 22 | Variable and complex dimensions | Lesson | 3,5 | 1,5 | 2 |
| 23 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 24 | Reserve lesson | Lesson | 3,5 | 1,5 | 2 |
| TOTAL: | 122,5 | 52,5 | 70 |
7th grade
| 1 | Repetition of 6th grade material | Lesson | 14 | 6 | 8 |
| 2 | Characteristic intervals u.2 and u.7 in harmonic major and harmonic minor | Lesson | 7 | 3 | 4 |
| 3 | Characteristic intervals um.4 and uv.5 in harmonic major | Lesson | 3,5 | 1,5 | 2 |
| 4 | Characteristic intervals um.4 and uv.5 in harmonic minor | Lesson | 3,5 | 1,5 | 2 |
| 5 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 6 | Small introductory seventh chord in natural major | Lesson | 7 | 3 | 4 |
| 7 | Diminished opening seventh chord in harmonic major | Lesson | 3,5 | 1,5 | 2 |
| 8 | Diminished opening seventh chord in harmonic minor | Lesson | 3,5 | 1,5 | 2 |
| 9 | Various types of intra-bar syncopation | Lesson | 7 | 3 | 4 |
| 10 | Meter, size, kinds of size | Lesson | 3,5 | 1,5 | 2 |
| 11 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 12 | Keys with seven signs in the key | Lesson | 7 | 3 | 4 |
| 13 | Construction and resolution of tritones from sound | Lesson | 7 | 3 | 4 |
| 13 | Construction and resolution of uv.2 and ud.7 from sound | Lesson | 3,5 | 1,5 | 2 |
| 14 | Diatonic modes | Lesson | 3,5 | 1,5 | 2 |
| 15 | Pentatonic | Lesson | 3,5 | 1,5 | 2 |
| 16 | variable size | Lesson | 3,5 | 1,5 | 2 |
| 17 | Sizes 6/4, 3/2 | Lesson | 3,5 | 1,5 | 2 |
| 18 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 19 | Keys of the 1st degree of kinship | Lesson | 3,5 | 1,5 | 2 |
| 20 | Period, deviations, modulation into related keys | Lesson | 3,5 | 1,5 | 2 |
| 21 | Alterations of unstable steps | Lesson | 3,5 | 1,5 | 2 |
| 22 | Shape analysis | Lesson | 3,5 | 1,5 | 2 |
| 23 | Repetition | Lesson | 7 | 3 | 4 |
| 24 | intermediate control | Control lesson | 3,5 | 1,5 | 2 |
| 25 | Reserve lesson | Lesson | 3,5 | 1,5 | 2 |
| TOTAL: | 122,5 | 52,5 | 70 |
8th grade
| 1 | Repetition of the 7th grade material | Lesson | 14 | 6 | 8 |
| 2 | Auxiliary chromatic sounds | Lesson | 3,5 | 1,5 | 2 |
| 3 | Passing chromatic sounds | Lesson | 3,5 | 1,5 | 2 |
| 4 | Sizes 9/8, 12/8 | Lesson | 7 | 3 | 4 |
| 5 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 6 | Spelling chromatic scale(base - major mode) | Lesson | 3,5 | 1,5 | 2 |
| 7 | Spelling of the chromatic scale (base - minor mode) | Lesson | 3,5 | 1,5 | 2 |
| 8 | 2nd degree seventh chord in major and minor | Lesson | 7 | 3 | 4 |
| 9 | Interbar syncopations | Lesson | 7 | 3 | 4 |
| 10 | Melismas. Note abbreviation signs | Lesson | 3,5 | 1,5 | 2 |
| 11 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 12 | Interrupted revolution in major and harmonic minor | Lesson | 3,5 | 1,5 | 2 |
| 13 | Augmented triad in harmonic major and minor | Lesson | 7 | 3 | 4 |
| 14 | Complex types of syncopation | Lesson | 3,5 | 1,5 | 2 |
| 15 | Types of seventh chords | Lesson | 3,5 | 1,5 | 2 |
| 16 | Construction of seventh chords from sound and their resolution in key | Lesson | 7 | 3 | 4 |
| 17 | Building from the sound of inversions of a small major seventh chord and resolving it as a dominant one in major and harmonic minor | Lesson | 7 | 3 | 4 |
| 18 | current control | Control lesson | 3,5 | 1,5 | 2 |
| 19 | Repetition | Lesson | 14 | 6 | 8 |
| 20 | Written tests | Lesson | 7 | 3 | 4 |
| 21 | current control | Control lesson | 3.5 | 1.5 | 2 |
| 22 | Reserve lesson | Lesson | 3,5 | 1,5 | 2 |
| TOTAL: | 122,5 | 52,5 | 70 |
Distribution of educational material by years of study
First grade
Theoretical information
High and low sounds. Keyboard. Register. Scale. Gamma. Tone, semitone. Steps. Meter, rhythm. Weak and strong parts. Eighths, quarters, half, whole durations. Pace. Size 2/4, 3/4. Tact line. Lad. Major and minor. Major and minor triads. Tonic triad. Key. Stable and unstable steps. Tonic. The singing of stable steps. Structure major scale. Keys C major, G major, F major, D major. The concept of the same tonality. Transposition. Canon. Step-by-step movement and jumps to a fourth, a fifth, an octave in a melody. Reprise. Pause. Zatakt. Acquaintance - size 4/4.
Developing a sense of rhythm
Duration
Oral rhythmic exercises: reproduction of rhythmic patterns of melodies with the naming of rhythmic syllables, recognition of a melody by a rhythmic pattern. Timing skills with durations.
Determination by ear of the size when listening to musical works. 2/4,3/4. Movement to music (walking, running, dancing).
Solfegging melodies with timing in 2/4 and 3/4 time signatures (in the keys of C, G, F, D major).
Instrumental and vocal transposition of simple melodies-chants for a second, a third up and down.
Development of modal thinking
Determination by ear of the simplest modal patterns V-III-I, V-VI-III, V-IV-II-I, V-VI-VII-I, major and minor in sounding musical fragments.
Dictation
Rhythmic dictation - oral and written (4-6 measures). Melodic dictation. Volume - from two to eight measures. The intonational difficulties of the dictation are the volume within the octave, the movement is stepwise and along stable sounds. Written and oral transposition of dictations for a second up and down.
creative skills
Composing a rhythm without words and to given words in the measures taken, composing a rhythmic accompaniment to a melody, ending a rhythm.
Singing a melody (phrase, sentence) to the tonic on any syllable or with the name of the notes.
Written bringing the melody to the tonic, solfegging it from beginning to end.
Singing improvised melodies to different poetic texts, improvising melodies in a “chain”, improvising melodies in a different character on any syllable (possibly on given rhythm ic drawing).
Composition of melodies without text and with text in a given key. Selection of familiar melodies popular songs and melodies, melodies from films and cartoons, chants and songs from the choral repertoire) on the instrument.
Selection of melodies from different sounds composing melodies to a given rhythm.
Second class
Theoretical information
Types of minor: natural, harmonic. Major and minor keys up to two key signs. parallel tones. Size 4/4. Rhythmic groups a quarter with a dot and an eighth. Zatakt: a quarter, an eighth, two eighths. Pauses: eighth, quarter, half. intervals. Quantitative and qualitative value of the interval. Numerical designation of intervals.
Developing a sense of rhythm
The forms of rhythmic exercises of the 1st class are preserved, taking into account the rhythmic difficulties of the second. duration.
The repetition of a given rhythmic pattern on a syllable. Tapping the rhythmic pattern of the melody, as well as the musical text, tables, cards. Recognition of melodies by rhythmic pattern. Conducting in studied sizes. 2/4.3/4.4/4.
Development of vocal-intonation skills
Singing major and minor scales (natural major, natural and harmonic minor) up to 2 characters at the key.
Development of modal thinking
Singing tonic triad, individual steps, melodic turns type V-I, I-VII-II-I, V-IV-VI-V, etc. (per syllable, with the name of sounds, using a ladder). Work with the characteristic intonation formulas of the harmonic minor. Auditory consolidation of models of natural major, natural and harmonic minor V-III-I, V–VII-I, III-II-VII–I.
Singing of the passed intervals in the key and out of key in one and two voices m2,b2,m3,b3,ch4,ch5 at major and minor steps.
Oral and written transposition into the passed keys.
Determining the type of minor in a sounding piece of music.
creative skills
The ability to compose a rhythm in a given time signature, including rhythm groups, pauses.
The ability to compose several rhythmic variants for a given sentence (poem), including pauses, offbeats, chants.
Composing melodies to a given rhythm, in a given genre (waltz, lullaby, etc.), in a given size.
Composing melodies on a topic covered (for example, intervals, etc.), melodies for a poem with chants.
Composition of variations (rhythmic and pitch) on a given theme.
Composing melodies with a sequence (for advanced students), a response phrase, a sentence.
Improvisation of short and simple melodies based on the material covered.
Selection of songs from different sounds on the instrument, bass voice or second voice to melody (for advanced learners).
Dictation
Rhythmic: oral and written in the scope of the sentence.
Written dictation in the amount of 4-8 measures (melodic).
The degree of complexity of the dictation corresponds to the metro-rhythmic and modal experience of the class (tonality up to two signs).
Singing intervals (3,5,6,8) using the “layering” method or in two voices.
Singing major and minor triads in the same way.
Third class
Theoretical information
Major and minor keys up to three key signs inclusive. Three types of minor. Size 3/8. Rhythmic groups eighth and two sixteenths, two sixteenths and eighth. Vocal and instrumental grouping of durations. Inversion of intervals. Reversal of triads. Simple one-part, three-part form.
The main triads of the mode. Variable mode. Intervals b6, m6. Determination of the passed elements of the musical language in works by specialty.
Developing a sense of rhythm
The forms of work learned in the second grade are preserved. New rhythmic complexities are taken into account. Rhythmic exercises using completed durations in 2/4.3/4.4/4.3/8 time signatures.
Sizes 3/4,4/4,3/8, rhythmic dictations in these sizes.
Performance by groups of rhythmic scores.
Development of vocal-intonation skills
The work is carried out in keys up to three signs inclusive.
Singing major and minor scales (three types of minor) in a certain size and rhythmic pattern, tonic triads and their inversions in the keys passed.
Solfegging of single-voiced examples along a chain with and without preliminary prioritization. Melodic revolutions of the I-V-VI-V-II type, etc. In various types of minor, stable and unstable sounds with resolution, intervals passed, diatonic sequences, melodies in a variable mode, intervals in two voices and with appeals.
Development of modal thinking
Auditory consolidation of models of natural major and three types of minor.
Exercises are performed in keys up to three signs inclusive.
Singing tonic triads and their inversions in keys up to three signs inclusive.
Singing melodies and intonation exercises in a variable mode.
Development of harmonic hearing
Singing intervals up and down in key and from sound, in two voices.
In the auditory analysis of chords, it is not only the determination of the inversions of major and minor triads, but also a chain of 2-4 chords in a key.
Chains of 4-5 chords are given for building, intonation and playing on the piano in a simple rhythmic arrangement.
Dictation
Various forms of oral dictation, playing a melody or rhythmic pattern by ear. Written dictation - in the amount of 6-8 cycles. It is possible to use a Russian lingering song as a dictation as an example of non-square thinking.
The record includes all the passed rhythmic groups, jumps III-VI, VI-, IIIII-V (down), VI-II, II-VI, VII-III, III-VII, as well as movement along the sounds of inversions of the tonic triad.
creative skills
Composition (and improvisation) of melodies in the passed keys using the passed melodic and rhythmic turns, with movement along the sounds of known chords, jumps to the passed intervals.
Composition of melodies for poems (with and without chants).
Composition of melodies in harmonic and melodic forms of minor.
Selection of accompaniment to melodies using the main steps of the fret in the bass, the main triads of the fret.
Selection of accompaniment to a melody in the form of the simplest chord accompaniment, textured accompaniment in the nature of a waltz and polka (only for advanced students).
Composition of variations on a given theme, sequences, melodies with a sequence.
fourth grade
Theoretical information
Keys up to four characters inclusive. Major types:
natural, harmonic and melodic. Chromatism auxiliary
and passing. Rhythmic group eighth with a dot and sixteenth.
Intra-bar syncope in simple size. Eighth note triplet. Size 6/8, simple rhythmic groups in it. Newts. Dominant seventh chord with resolution as cadence harmony. Triads of the main steps. Modulation.
Developing a sense of rhythm
Rhythmic groups of the eighth with a dot and the sixteenth, the triplet of the eighths are worked out in cooperation with all previously learned
rhythmic figures in all types of exercises.
Particular attention is paid to the size 6/8 + passed sizes
(2/4,3/4,4/4,3/8).
Development of vocal-intonation skills
Singing scales in the passed keys in various rhythmic arrangements, in the form of a canon.
conducting in the passed sizes (2/4.3/4.4/4.3/8.6/8).
Development of modal thinking
Singing scales, individual steps, melodic turns,
previously passed intervals in keys.
Exercises are performed in all passed keys.
Intonation and auditory consolidation of all types of minor.
Development of harmonic hearing
The necessary complication of the forms of work learned in the third grade.
Building and singing chains of 6-8 chords in monophonic and
Auditory analysis includes similar complexes of lesser extent.
Acquisition of skills in harmonic analysis of musical text.
Education of inner ear and musical memory
Definition by ear and awareness of genre features,
character, structure of the work, mode, intervals, chords, time signature,
Oral transposition from memory in a small volume
melodic turns, including movement along sounds
triads of the main steps, dominants of the seventh chord, passed
intervals, tritones in major, and harmonic minor.
Acquaintance with functional coloring T,S,D.
Dictation
Rhythmic dictation is used as an auxiliary form of work
for the assimilation of rhythmic figures and especially for mastering the size 6/8,
characteristics of his group.
dictation - 8-10 cycles. All intonation and rhythmic difficulties
are organically included in the practice of dictation as they are mastered.
(with intervals h5, b3, m3, h8, h4) in keys up to 4 characters.
creative skills
Improvisation and composing melodies to a given rhythm, text, character, in a given genre (polka, waltz, mazurka, tarantella, march, song, lullaby, barcarolle, etc.), to a given harmonic basis (using the intonations of the intervals passed, movement by the sounds of passed chords, certain rhythmic patterns).
Selection of chord accompaniment to the melody.
Selection of textured accompaniment to the melody in the nature of polka, waltz, march, lullaby.
Selection of accompaniment in a variable mode (comparison of parallel and similar keys) - for advanced students.
Composing melodies in a certain form, in a certain way.
Fifth grade
Theoretical information
Keys up to five key characters inclusive. Quint circle. Parallel, homonymous tonalities. Letter designation
keys. Deviation and modulation. Modulation to Parallel
tonality and tonality of the dominant. Sizes 3/8 and 6/8 compared, all
rhythmic groups in them. T, S, D with appeals, D7, mind3 5 on VII Art.
Singing scales: even durations with the naming of key and
random signs, in various metro-rhythmic variants. Singing
separate steps, melodic turns using separate
steps of type III-IV-IV-V; III-II-II-I
options. Singing all known chords from the sound up with resolution in
possible tones.
Learning and singing solfeggio and with the text of monophonic and
Transposition of learned melodies by a second and a third.
auditory analysis
Recognition of major and minor types in scale movement and in melody.
Identification by ear of all passed chords.
Determination by ear of all passed intervals in different registers.
Identification by ear of chord chains consisting of 5-6 chords.
Awareness by ear of the nature of the work, mode, form,
rhythmic features.
Intonational difficulties include a combination of jumps to the sixth and
seventh, moves to the tritone, the movement of the melody according to the sounds passed
Rhythmic exercises with completed durations, also
rhythmic group quarter with dot and two sixteenths in time signature
2/4.3/4.4/4. Size 6/8. Syncopation.
creative skills
Composing melodies in a certain genre, in a certain form (period, variations).
Composition of melodies with harmonic accompaniment.
Composition of melodies with chromatisms.
Harmonization of half and full cadence.
Selection of accompaniment using all inversions of the main triads of the mode, the dominant seventh chord.
Selection of accompaniment to melodies in a parallel-variable mode (acquaintance with deviations and modulations in a parallel key).
Selection of textural accompaniment in the nature of a lyrical work (song, romance, nocturne).
Sixth grade
Theoretical information.
Keys up to six key characters inclusive. Pentatonic.
Enharmonic equal keys. Sizes 3/2, 2/2, 6/4. More complex
types of syncope.
Types of triads (major, minor, augmented and diminished).
Introductory seventh chord with resolution. Rejection and modulation into related
tonality. Analysis of the structure of the period, its tonal plan. Musical
terminology. Harmonic Major. Characteristic intervals, tritones.
Inversions D7 with permission, mind 35 on the II degree in minor and
harmonic major, minor subdominant in harmonic
major, diminished VII7.
Intonation exercises and solfegging
The old forms of work are preserved. Intonation exercises
performed in all passed keys (chromatism, modulation,
movement along the sounds of passed chords and intervals).
Singing characteristic intervals and tritones up and down from the sound with resolution and definition of key. Singing characteristic intervals and tritones in key.
Singing interval chains (8-10 intervals).
Singing from the sound of appeals of the dominant seventh chord with resolution in major and minor, mind 35 on the second step.
Singing in the key of VII7 with resolution, S chords in harmonic major.
Singing one-tone chord progressions in the form
period, including all passed chords.
modulating sequences (2 up and down). Building and playing
piano in a certain metro-rhythmic arrangement of chords
chains with simultaneous intonation of one of the voices.
All exercises with intervals and chords are performed in one voice.
passed keys with a variety of rhythmic patterns, in all
passed sizes.
third up and down.
auditory analysis
The types of exercises learned in the fifth grade are preserved.
Determination by ear of tritones and characteristic intervals in a melody,
passed composite intervals, appeals of the dominant seventh chord along
permission.
preference is given to dictation with a preliminary analysis,
self-recording of a melody and recording of a melody sounding with
harmonic accompaniment. Work is carried out in all passed
keys. The volume of the dictation is a period. Everything is used in the melody
intervals characteristic of the harmonic types of major and minor,
chromatic passing and auxiliary sounds, sequential development.
The metrorhythmic complex includes all previous experience. Recording
creative skills
Composition of melodies with chromatisms, deviations, modulations (in parallel key, dominant or subdominant key).
Composing or improvising melodies on a given harmonic basis.
Composition of melodies in harmonic major, in pentatonic scale.
Composing melodies in a certain form (period, simple two-part or three-part, rondo, couplet, variation).
Composing melodies for a given text, character, image or genre (using a more complex rhythmic pattern).
Selection of accompaniment to a melody using inversions D7, triads of side steps of the mode, reduced seventh chord VII7.
Selection of accompaniment to a melody with deviations or modulation into a related key (through a secondary dominant or VII7).
Playing the combinations of chords, interrupted revolutions on the piano in various textured versions.
Textured exercises for the left hand.
Composition of various variants of textural accompaniment for a given harmonic scheme.
Seventh grade
Theoretical information
Spelling of chromatic major and minor scales. Mixed and variable sizes. Intralobar syncope. Compound intervals. Anharmonicity of intervals. Types of seventh chords. Seventh chord of the II degree (for advanced students). cadences in a period. Analysis of the structure of the period, tonal plan, cadences in works for solfegging.
Pentatonic. Frets of folk music.
Modulation in related keys.
Intonation exercises
The former forms of work are preserved: singing scales, individual
steps, melodic turns using altered
steps.
Singing the chromatic scale in fragments from foot to foot,
combination of diatonic and chromatic movement.
Singing exercises based on passing and auxiliary
chromatism.
Singing sequences of 8-10 intervals.
Singing in the key of all learned chords.
auditory analysis
Determination by ear of simple and compound intervals, of all types
triads, main seventh chords of the mode and inversions of the dominant seventh chord.
Determination by ear of one-tone chord progressions in the form of a period (analysis by sentences); modulations in parallel tonality, tonality D, II stage.
Analysis of fragments of musical works in the form of a period from
points of view of structure, cadences, tonal plan.
teacher's control and recording of melodies sounding with accompaniment;
timbre dictations are actively used. Other forms
dictation includes chromatic sounds (auxiliary,
passing). All studied sizes are used.
Cultivating a sense of rhythm
Rhythmic exercises using all the
durations and sizes. Familiarization with the sizes 9/8,12/8.
creative skills
Composition of melodies in the diatonic modes of folk music.
Harmonization of the melody using II7 and its inversions, side triads of the mode, some double dominant chords.
Harmonization of melodies with deviations and modulations in all related keys.
Playing the combinations of the main and side triads of the mode on the piano in various textured versions.
Playing in various textural versions of diatonic sequences using seventh chords of the side steps of the mode.
Selection of accompaniment using triads II, III, VI and VII low steps in major.
Harmonization of melodies by digital (using altered chords).
Eighth grade
Theoretical information
Keys: all keys of the fourth-quint circle.
Fret: pentatonic, seven-step diatonic frets.
Modulation: deviations and modulations in the key of the 1st degree of kinship, secondary dominants; modulating sequence.
Intervals: all diatonic intervals, characteristic intervals with key and sound resolution, tritones with key and sound resolution (in 8 keys using anharmonicity of sounds).
Chords: triads of main and side steps; with appeals; "Neapolitan harmony" (N5 3 and N6); II7 in 2 types of major and minor with invocations; D7 with appeals; MVII7 and UmVII7 with permits (2 types); passing and auxiliary, cadence revolutions, interrupted cadence.
Rhythmic groups: more complex types of syncopation and tied notes; grouping rules for durations 2/4, 3/4, 4/4, 3/8, 6/8.
Meter: complex, mixed and variable sizes; conducting in them.
Concepts: types of period; expansion period; supplement period.
Vocal and intonation skills
Singing: all kinds of major and minor scales; fret steps, incl. altered and chromatic;
chromatic scale;
pentatonic and seven-step diatonic frets;
diatonic and chromatic sequences with passed rhythmic figures;
all studied diatonic intervals in the key and from the sound and ↓;
characteristic intervals and tritones with resolution in tonality and from sound.
all passed chords in the keys and from the sound and ↓;
sequences of intervals and chords in tonality melodically and harmonically (ensemble, with a teacher, with piano);
sight reading;
transposition from a sheet into the studied keys;
melodies (songs, romances) with own accompaniment.
Cultivating a sense of rhythm
Rhythmic exercises using more complex types of syncopation and tied notes; rules for grouping durations 2/4, 3/4, 4/4, 3/8, 6/8.
Performing rhythmic accompaniment, reading rhythmic scores.
Conducting in mixed and variable sizes.
Rhythmic dictation.
auditory analysis
Definition by ear and comprehension:
steps in harmony (including altered and chromatic) and step ratios;
step dictation (recording steps with notes on one or two staves and designations);
melodic turns with passing and auxiliary chromatic sounds;
scales of all modes passed (including pentatonic and seven-step diatonic modes);
interval sequences in tonality (recording in notes and notation);
chord sequences in the key, including deviations and modulation in the key of the 1st degree of kinship (recording of digits from 7-8 chords during playback and from memory);
interval, chord and mixed sequences from sound (notation notation);
Analysis of musical fragments (character, genre, mode, size, form, structural, metro-rhythmic, melodic and harmonic features).
Harmonic analysis of musical text (period, tonality, cadences, deviations and modulations, harmonic functions, passed chords and revolutions).
Musical dictation
Oral dictation.
Dictation from memory (a simple melody in 3 plays).
A one-voice dictation in the form of a single-tone and modulating period of 8-10 measures in the passed meters, including the passed fret, melodic turns and rhythmic figures, altered and chromatic steps.
Timbre dictation.
Transposition of the dictation into the passed keys.
creative skills
Composition of melodies with given conditions.
Composition in a given genre (prelude, etude, program work etc.).
Composition of variations on a theme (own or proposed).
Selection of accompaniment to the melody.
Selection of a melody to a given harmony.
Recording and performance of composed works.
solo and ensemble music making: singing romances and songs (monophonic and polyphonic), arias and ensembles (duets, trios, quartets, choirs) from operas accompanied by musical instruments.
Forms of work in the solfeggio lesson
The main forms of work and types of tasks in solfeggio lessons serve to develop musical ear, memory, a sense of rhythm, creative initiative, help the practical development of theoretical material, form skills in reading from a sheet, pure intonation, auditory analysis, recording melodies by ear, selection of accompaniment. At each lesson, it is necessary to proportionally combine exercises to develop vocal-intonation skills, develop a sense of metrorhythm, solfegging and sight-singing, listening analysis, different kinds musical dictations, assignments for the development of theoretical concepts, creative exercises.
Requirements for the level of training
1 class
At the end of grade 1, students should be able to:
- Write under the guidance of a teacher a simple dictation (4-8 measures) within an octave, including stepwise movement or steady sounds.
- Sing the scales of Do, Sol, F, D major up and down, stable sounds in them, singing stable sounds.
- Give definitions: fret; key; major and minor, reprise, scale, tonic, pause, start-up. The structure of the major scale.
- Determine by ear the simplest modal patterns, major and minor; rhythmic patterns, meter.
5. Solve familiar melodies, simple melodies from a sheet in 2/4 and 3/4 time with clocking.
Grade 2
At the end of grade 2, students should be able to:
2. Solve with conducting a familiar musical example.
3. Sing a melody from a sheet, including several jumps (II-V-I, V-II-I, V-VII-I).
5. Determine by ear the types of minor, scale steps, intervals with the definition of quality, major and minor triads.
6. Perform your own song with accompaniment (optional).
Theoretical information: types of minor (natural, harmonic and melodic). Keys up to 2 characters (including parallel ones). Parallel keys (definition and example). Measures 2/4,3/4,4/4. Rhythmic groups: quarter with a dot and an eighth, four sixteenths and all the durations passed. Zatakt. Pause. Interval (definition, numerical designation, 2 interval values).
3rd grade
The result of 3 years of study is the following:
2.Solfegging with conducting a familiar melody.
3. Singing from a melody sheet, singing (solo and ensemble) interval chains.
4. Auditory analysis of the types of minor, intervals in the key and from the sound, triads in a musical fragment.
Know definitions:
Tonalities up to three characters with a key;
Three types of minor;
Inversion of intervals;
Triad inversion;
The main triads of the mode;
Variable mode;
Intervals (2 values, designation, definition).
Playing triads with inversions, triads of parallel keys, triads of the main steps on the piano.
4th grade
The result of 4 years of study is a written task:
jumps in combination, movement according to the sounds of appeals of the main triads
fret, various rhythmic figures with sixteenths.
2. Oral response:
Solfegging a previously played melody.
Singing newts with resolution.
Singing a chain of 4-6 chords.
Determining by ear the type of major or minor, intervals and chords
out of key and in key, chains of 3-4 chords in key.
Theoretical information:
Keys up to 4 characters inclusive;
Three types of minor;
Chromatism, modulation;
Tritons, b7, m7 in tonality and from sound;
Seventh chord. D 7;
Triads of the main steps;
Reversal of triads.
5th grade
The result of the 5th year of study is a transfer exam.
The exam takes place in 2 stages:
- Written (1.5 hours)
- Orally (1.5 hours)
Singing from a sheet of melody with intonations of intervals passed
with movement along the sounds of passed chords (including D7, mind35).
Singing traversed intervals and chords in isolation and in sequences (dissonant intervals and chords
intoned with resolution).
Auditory analysis of individual intervals and chords out of key.
Determination of appeals D7 for permission.
Analysis of a sequence of 6-7 chords.
Theoretical information
Concepts: circle of fifths of keys, period, sentence, cadence, figuration, chromatism, deviation, modulation, keys up to 5 characters inclusive.
Rhythm groups in 2/4, 3/4, 4/4 time signatures
Intervals: m7 on the 7th degree of the major, um7 on the 7th degree in harmonic modes, tritones with resolution.
Inversions of the main triads, triads from sound, mind35 on the second step.
D7 from sound resolution.
Letter designations of tonality.
Determination of musical language elements, deviations, modulations from the musical text.
6th grade
By the end of the sixth year, the student should know and be able to:
build, play and sing simple intervals in the key up to six signs, as well as tritones, characteristic intervals, D7 and its inversions in major and minor;
build, play and sing from sound and resolve in major and minor keys D7 and its conversion, tritones;
know the circle of fifths of major and minor keys, introductory seventh chord, interrupted turnover;
build inversions of intervals and triads;
sing interval chains, single-tone chord progressions consisting of 7-8 chords;
be able to identify individual intervals outside the key and chords in the key;
analyze a chord progression of 6-7 chords;
be able to compose and compose melodies, vary, select chord accompaniment, texture the accompaniment to the melody.
7th grade
The result of 7 years of study is the final exam,
which takes place in 2 stages:
1. Written - 2 hours
listed in the "Dictation" section);
which meets the requirements of the section "Intonation
exercises and solfegging»);
solfeggio melody by heart with conducting (from the collection of Solfeggio, part 1 One-voice authors Kalmykov, Fridkin, Solfeggio 6th grade author T. Kaluzhskaya);
singing in the key of characteristic intervals and tritones, D7 and its invocations with resolution.
singing a given one-tone chord progression,
consisting of 6-8 chords, intervals up and down from the sound.
auditory analysis of 8-10 intervals and 6-8 chords.
harmonic analysis of the single-tone period of the repeated structure.
ensemble performance of a simple duet (at the discretion of the teacher).
determination by ear of melodic modulation in the key of the first
degree of relationship (at the discretion of the teacher).
Theoretical information
related tones;
modulation into related keys;
parallel, similar, enharmonic equal tonalities;
chromatic scale;
all types of sizes (simple, complex, mixed, variable);
all tones;
2 types of major, 3 types of minor;
frets of folk music (acquaintance);
spelling of the major and minor chromatic scales;
groupings in mixed sizes;
intervals: diatonic, simple and compound, tritones, characteristic;
chords: triads of main steps with inversions, mind 35 on
VII and II degrees in major and minor and from sound; seventh chords of the VII stage, II stage, D7 with appeals and with permission in the VI Art. (for advanced students), uv35 in major and minor.
8th grade
Approximate requirements for the exam in the eighth grade:
write a monophonic dictation (volume 8-10 measures) in one of the commonly used keys (natural, harmonic major or one of the three types of minor), including the passed melodic turns and rhythmic groups, elements of chromatism, modulation in the key of diatonic kinship. Sizes - 2 4, 3 4, 4 4, 3 8, 6 8;
analyze the elements of musical speech and the structure of the melody in one of the passed keys; sing it from a sheet;
perform (in duet) one of the learned two-voice examples;
sing, determine by ear in any of the passed keys the elements of musical speech: scales, separate tetrachords, diatonic and chromatic steps, intervals and chords with resolutions, diatonic and modulating sequences, sequences of 8-10 intervals, chords;
intervals - diatonic, characteristic: SW. 2, SW. 5, mind. 7, mind 4, tritones on IV, VII, II, VI degrees in major and minor (natural and harmonic);
chords: triads of the main degrees and their inversions, augmented triad on the III and VI degrees of the harmonic minor and major, diminished triad on the VII and II degrees of the major and minor, D7 with inversions, seventh chords of the VII and II degrees in the major and minor (natural and harmonic) ;
sing, play separate intervals, chords from the sound up or down, resolve them in different keys;
Forms and methods of control, grading system
Certification: goals, types, form, content of certification of students
The objectives of certification: to establish the correspondence of the level of knowledge and skills achieved by the student at a certain stage of training to the program requirements.
Forms of control: current, intermediate, final.
current control is carried out regularly by the teacher in the classroom, in the course of classes and is aimed at maintaining academic discipline, responsible organization of homework. Knowledge is tested in the form oral questioning, self written work. In addition, it is possible to use game forms of knowledge testing, for example, quizzes.
When grading, the quality of the proposed tasks, initiative and independence in the performance of class and homework, the pace of student progress are taken into account.
intermediate control produced in the form of control lessons, which are held at the end of each quarter (October, December, March, May).
Final control is carried out in the 7th grade in the form of an exam, which is held in 2 stages: written (2 hours) and orally (2 hours).
oral survey (individual and frontal), including the main forms of work - solfegging of one-voice and two-voice examples, sight reading, auditory analysis of intervals and chords out of key and as a sequence in key, intonation exercises;
independent written tasks - recording a musical dictation, auditory analysis, performing a theoretical task;
"competitive" creative tasks (for the best selection of accompaniment, composition for a given rhythm, best performance, etc.).
Criteria for evaluation
The level of acquired knowledge, skills and abilities must meet the program requirements.
Tasks must be completed in full and within the time allotted for them, which demonstrates the skills acquired by the student. An individual approach to the student can be expressed in material of different complexity with the same type of task.
For attestation of students, a differentiated 5-point grading system is used.
Musical dictation
Grade 5 (excellent) - the musical dictation was recorded completely without errors within the allotted time and number of plays. There may be minor flaws (no more than two) in the grouping of durations or in the recording of chromatic sounds.
Grade 4 (good) - the musical dictation was recorded completely within the allotted time and number of plays. 2-3 mistakes were made in the recording of the melodic line, rhythmic pattern, or a large number of shortcomings.
Grade 3 (satisfactory) - the musical dictation was recorded completely within the allotted time and the number of plays, a large number (4-8) errors were made in recording the melodic line, rhythmic pattern, or the musical dictation was not completely recorded (but more than half).
Grade 2 (unsatisfactory) - the musical dictation was recorded within the allotted time and the number of plays, a large number of gross errors were made in recording the melodic line and rhythmic pattern, or the musical dictation was recorded less than half.
Solfegging, intonation exercises, auditory analysis
Grade 5 (excellent) - pure intonation, good response rate, correct conducting, demonstration of basic theoretical knowledge.
Grade 4 (good) - shortcomings in certain types work: small errors in intonation, violations in the tempo of the answer, errors in conducting, errors in theoretical knowledge.
Grade 3 (satisfactory) - mistakes, poor command of intonation, slow response rate, gross errors in theoretical knowledge.
Grade 2 (unsatisfactory) - blunders, lack of intonation, slow response rate, lack of theoretical knowledge.
Control requirements at different stages of training
At each stage of training, students, in accordance with the requirements of the program, should be able to:
write down a musical dictation of the corresponding difficulty;
solfege learned melodies;
sing an unfamiliar melody from a sheet;
determine by ear the passed intervals and chords;
build passed intervals and chords in the passed keys in writing, orally and on the piano;
analyze the musical text using the received theoretical knowledge;
know the necessary professional terminology.
Approximate forms of the final exam:
exam tickets;
Practice:
singing from a sheet;
auditory analysis.
METHODOLOGICAL SUPPORT OF THE EDUCATIONAL PROCESS
Brief guidelines
Vocal and intonation skills.
One of the necessary forms of work in solfeggio lessons is vocal-intonation exercises (singing scales, intervals, chords, sequences, various melodic turns, etc.). They help develop an ear for music (modal, harmonic, internal), as well as the development of practical skills in sight-singing, recording melodies and analyzing by ear. Vocal-intonation exercises make it possible to consolidate practically the theoretical information that students receive in solfeggio lessons.
When working on intonation exercises, the teacher should carefully monitor the quality of singing (purity of intonation, structure, free breathing, the ability to sing in a singsong voice, legato).
As with solfegging, tonal tuning plays a big role. At the initial stage of training, it is recommended to sing intonation exercises in a choir or groups, and only then proceed to individual performance. Intonation exercises at the beginning are performed at a moderate pace, in a free rhythm and according to the teacher's hand. In the future, intonation exercises should be rhythmically formalized. Exercises should be given both in harmony and from a given sound.
Modal intonation exercises include singing scales (major, minor), individual scale steps and melodic turns composed of them, tonal sequences, intervals and chords in harmony with resolution, etc.
In order to develop a functional-harmonic ear, a sense of order, an ensemble, and as preparatory exercises for polyphonic solfegging, it is necessary to sing intervals, chords and their sequences in harmonic sound. In parallel with fret exercises, one should systematically practice singing the passed intervals and chords (in melodic and harmonic form) from a given sound.
Vocal-intonation exercises are most often used at the beginning of a lesson, when singing or before solfegging. You should not devote too much time to them, as this is an auxiliary means of educating basic skills. Vocal material for intonation exercises can be excerpts from musical literature, as well as exercises compiled by the teacher.
Solfegging and sight singing.
Solfeggio is the main form of work in the solfeggio class. During solfegging, correct singing skills, intonational accuracy, a conscious attitude to the musical text are developed, a sense of harmony is brought up. Work in this direction should be carried out during all years of study. When solfegging, you should achieve clean, harmonious, expressive singing from notes (at the beginning - melodies learned by ear, and later - unfamiliar melodies, songs). At the same time, the teacher should pay attention to the correctness and clarity of the student's conductor's gesture.
From the first lessons, it is necessary to follow the correct sound production, breathing, phrasing, pay attention to the landing of students when singing. The teacher should focus on the voice range of students lower grades. In high school, it can be expanded. There are students with a limited vocal range. You should systematically work on its expansion without overloading the voice apparatus. In some cases, it is advisable to change the key of the performed work, transposing it in accordance with the student's vocal range. Solfeggio lessons should be dominated by unaccompanied singing (a capella); It is not recommended to duplicate the performed melody on the piano. In some cases, with difficult intonation turns, with a loss of a sense of harmony, it is possible to support the student's singing with harmonic accompaniment. However, along with singing without accompaniment, it is necessary to use (especially in the lower grades) singing songs with text and piano accompaniment.
For the development of ensemble feeling and harmonic hearing, elements of two-voiced examples should be introduced.
Sight-singing is one of the most important practical skills. This is singing from the notes of an unfamiliar melody. The skill of sight-singing is developed gradually and requires the student to have significant auditory experience, a sense of metrorhythm, familiarity with the rules for grouping durations, the ability to sing without the accompaniment of an instrument, knowledge of notes and music notation. The determining moment in this case is the orientation in harmony, the ability to feel the modal turns, to keep the harmony, the tonality.
In the process of work, special attention should be paid to the development of inner hearing (to teach students to mentally imagine a written melody, to freely navigate it).
In the process of developing the skill of sight singing, meaningful and expressive singing should be achieved. Mechanical singing from note to note should not be allowed, the student should be taught all the time to look at the musical text as if ahead and sing without stopping, without losing the feeling of a specific tonality.
Before singing, the executable example must be disassembled and analyzed. In the lower grades, students do this together with the teacher, in the older grades - on their own. Structural, modal, metrorhythmic and other features of the example should be analyzed. As a preparatory exercise, you can use the solmization technique (pronouncing the names of sounds in rhythm).
When singing from a sheet is very important presetting in this tone. Approximate form settings: the teacher plays a free harmonic sequence in this key (several chords that affirm this key).
Musical examples Sight singing should be easier to learn in class. They should be dominated by melodic and rhythmic turns familiar to students. Very important artistic value examples, accessibility for a given age, stylistic diversity.
Both the solfegging of learned examples and sight-singing in the lower grades should be carried out mostly collectively, in groups, and only later on should one move on to individual singing.
An important and useful technique in the work is the transposition of learned melodies into other keys, as well as the transposition of unfamiliar melodies from a sheet.
Cultivating a sense of rhythm.
The development of a sense of metrorhythm is just as necessary as the development of modal and intonational skills. There are opportunities for developing a sense of metrorhythm in each type of work (solfegging, dictation, auditory analysis, etc.), but for a more successful, effective result, it is sometimes necessary to isolate and work out separately, comprehend metrorhythmic relationships in the studied works, and also apply special rhythmic exercises.
When selecting the initial rhythmic exercises, one should rely on the fact that the perception of rhythm, especially in children, is associated with a motor response. It is with these movements that the initial ideas of children about durations are associated (a quarter - a “step”, eighths - a “run”). A number of rhythmic exercises can be recommended:
tapping the rhythmic pattern of a familiar song, melody;
repeated tapping (with claps, pencil, on percussion instruments) of a rhythmic pattern performed by the teacher;
tapping a rhythmic pattern written on the board; special cards, according to musical notation;
pronunciation of a rhythmic pattern in syllables with or without clocking;
rhythmic ostinato as an accompaniment to songs;
reading and playing simple rhythmic scores on percussion instruments;
rhythmic dictations (recording a rhythmic pattern of a melody or a rhythmic pattern performed with claps, pencil, on percussion instrument etc.).
All exercises are offered in different sizes and paces. The teacher can also create options for such exercises. It must be remembered that each rhythmic figure, turnover must first of all be perceived emotionally, then practically worked out, and only then given their theoretical justification.
Conducting plays an important role in the development of a sense of metrorhythm, which is a significant difficulty for the student at the initial stage. Therefore, it can be replaced by any other movement that marks the even pulsation of the beat, for example, clocking. Gradually, a strong beat is allocated, and then a scheme of gestures is determined and worked out. At first, it is better to work on the conductor's gesture when singing familiar, learned melodies, exercises, and also when listening to music.
Upbringing musical perception(auditory analysis)
Auditory analysis in the solfeggio course, along with singing, is the main form of work on the development of a student's musical ear. All awareness begins with perception, so the most important task is to teach the student to listen to music correctly. Musical perception creates the necessary auditory base for studying and understanding various musical phenomena and concepts. It is closely connected with other forms of work (intonation exercises, sight-singing, creative work, dictation). Systematic work on analysis by ear enables the student to accumulate internal auditory representations, develops musical memory, thinking. Special meaning it has in the development of harmonic hearing. Finally, the analysis by ear connects solfeggio with the musical practice of students, helps them in the analysis and performance of works on the instrument. Classes in auditory analysis should take place simultaneously in two directions:
holistic analysis of musical works or their fragments;
analysis of individual elements of the musical language.
Holistic analysis.
The main task of this type of analysis is to teach students to listen to musical works. When listening to a monophonic melody, they should not only emotionally perceive it, but also analyze the structure of the melody, the principle, logic of its construction and development (the direction of the melodic line, repetition, sequence, etc.), recognize familiar melodic and rhythmic turns in it, hear alterations, chromatisms, modulations and give everything a verbal explanation.
When analyzing polyphonic music, students should hear the harmonies they have passed through (chords, intervals), understand the texture (melody, accompaniment), types of polyphony (imitation, subvocal, contrast). The selection of musical material plays a decisive role in this. Musical works, especially at the beginning, should be small in volume, accessible in content, diverse in nature, stylistic features. These may be examples from the musical literature. It is desirable to use as much as possible the works performed by students in instrumental classes.
One of the prerequisites for successful work according to auditory analysis, a bright, emotional and competent performance of musical works by a teacher. It is also possible to use voiced manuals and examples in an audio recording. holistic analysis it is necessary to study throughout all the years of study, but it is especially important in grades 1-3, i.e. before starting music lessons.
Analysis of the elements of the musical language.
The task of this type of analysis is the auditory study (determination by ear and awareness) of those elements of the musical language that determine expressiveness. piece of music: analysis of scales, scales, segments of scales, individual steps of the mode, melodic turns; rhythmic turns; intervals in melodic sounding up and down, in harmonic sounding, echo, in tonalities on the steps of the mode, taken separately and in sequences; chords and their inversions in a close arrangement, in a melodic and harmonic sound.
It should be remembered that this section of the work, despite its importance, should not prevail in solfeggio lessons, and determining intervals and chords by ear cannot be the goal.
Musical dictation.
Dictation is one of the most difficult forms of work in the solfeggio course. It develops the musical memory of students, contributes to the conscious perception of the melody and other elements of musical speech, and teaches how to write down what is heard. In the work on the dictation, all the knowledge and skills of the students are synthesized, the level of their auditory development is determined. Therefore, one should not rush to introduce this form of work, but for some time (depending on the advancement of the group) engage only in various preparatory exercises.
Successful recording of a dictation also depends on the individuality of the student, his musical memory, modal hearing, modal thinking, orientation in melodic movement: up, down, abruptly, according to the sounds of chords, etc. It is equally important for students to understand the structure of the melody form (dividing the melody into phrases and sentences), as well as to have a clear idea of the meter-rhythmic structure of the melody: its size, the structure of the measures, and the features of the rhythmic pattern.
Forms of dictation may be different. It can be a dictation with a preliminary analysis. With the help of a teacher, students determine the mode and tone of a given melody, its size, tempo, structural moments, features of a rhythmic pattern, analyze the pattern of melody development, and then start recording. The preliminary analysis should take no more than 8-10 minutes.
Along with such dictations, a dictation should be given without preliminary analysis. Such a dictation is recorded by students with a certain number of plays. First, the dictation is played 2-3 times in a row (students listen and memorize the melody at this time), and then several more times with an interval of 3-4 minutes.
It is necessary to widely use the form of oral dictation, which helps students to consciously perceive the individual difficulties of the melody, and develops musical memory.
For the development of inner hearing, students should be offered, in particular for homework, a recording of a familiar melody previously read from a sheet. This helps to remember and realize the sung melody and strengthens the connection of the heard sound with its musical image.
A very important point in working on a dictation is its verification, fixing and analysis of errors. The forms of verification can be different (the teacher checks the notebooks, the students check each other's notebooks, one of the students writes the dictation on the blackboard or plays it on the piano, the class sings the dictation with the name of the sounds and conducting, etc.).
At home, you can learn the dictation by heart, transpose, pick up on the piano.
Education of creative skills.
The development of creative initiative in the learning process plays a huge role. It contributes to a more emotional and at the same time meaningful attitude of students to music, reveals the individual creative possibilities of each of them, arouses interest in the subject, which is a necessary prerequisite for its successful mastering, and helps in performing practice. Since the child's creativity is associated with independent actions, he becomes psychologically liberated, becomes bolder when performing practical musical tasks, learns to make quick decisions, and think analytically. creative exercises in solfeggio lessons, they activate auditory attention, train various aspects of musical hearing, and also develop hearing and observation.
One of the prerequisites for creative work, especially at the initial stage, is the leading role of the emotional principle. However, the exercises must be linked to the main sections of the course. The purpose of these exercises is not only to develop creative skills in students, but also to help them acquire basic skills - sight-singing, writing dictation, and determining by ear.
Creative exercises reinforce theoretical knowledge, they should be available to students. Creative work can be started from the 1st grade, but only after the children have accumulated at least a small amount of musical and auditory impressions and knowledge. The main type of creativity is improvisation:
singing the response phrase;
compose a melody to a given rhythmic pattern;
composition of melodies on the given text.
The selection of accompaniment also belongs to creative work.
Creative assignments can be both classroom and homework, with the condition of mandatory verification or discussion of the work by the whole class. The best works can be used as material for dictation, sight-singing, transposition, etc. Creative techniques for developing hearing are especially effective in elementary grades.
Theoretical information.
This section contains a list necessary knowledge By musical literacy and elementary music theory. Each subsequent class sets out new material, which can be mastered under the condition of repetition and consolidation of the previously covered. All theoretical information should be closely related to the musical and auditory experience of students. This is especially true for students in the lower grades, where each theoretical generalization should be preceded by auditory training on the appropriate musical material.
Playing all the elements of the musical language (intervals, chords, scales, melodic and harmonic turns, etc.) on the piano is of great benefit for mastering theoretical material, free orientation in keys. Students in solfeggio lessons perform, record, analyze musical works and their fragments, therefore it is necessary to acquaint them with the basic musical terms, designations of tempos, dynamic shades, and the nature of the performance. This is done throughout the years of study.
An indispensable condition for the success of the learning process is the strength of assimilation of educational material and the consolidation of educational material with homework. Homework is designed to reinforce what has been learned in class. They should be small in volume and accessible in terms of difficulty. Homework can include all forms of work in the classroom - intonation, rhythmic exercises, transposition, written creative and theoretical exercises.
Educational literature
Abelyan L. Funny solfeggio. Tutorial for preschool and toddlers school age. - M., Sov. composer, 1982.
Alexandrova N. Workbook on solfeggio.1, 2 classes -
Novosibirsk, 2007
Alekseev B. Harmonic solfeggio. - M., 1975.
Andreeva M. From prima to octave in three parts. - M., Kifara.
Artsyshevsky G., Artsyshevskaya Zh. To the young accompanist. Musical examples for singing with accompaniment for students in grades 1-7 of the music school. - M., Sov. composer, 1990.
Baeva N., Zebryak T. Solfeggio for I - II classes of music school. - M., Kifara, 2000.
Bazarnova V. Solfeggio exercises. Issue I. - M., Music, 2000.
Baraboshkina A. Solfeggio for 1st, 2nd grade music school. - M., Music, 1995.
Bogdanets M., Pechkovskaya A. Learning to sing. Reader "Intonation at solfeggio lessons". Study guide for classroom and homework. - Novosibirsk, 1993.
Borovik T. Sounds, rhythms and words. Part I
Borukhzon L., Volchek L. ABC of musical fantasy. Manual for children of primary and secondary school age on the development of creative skills in six notebooks. - S.-P., Composer, 1995.
Bykanova E., Stoklitskaya M. Musical dictations for grades 1-4 of music school. Monophony. - M., 1979.
Byrchenko T., Franio G. Reader on solfeggio and rhythm for preparatory groups of music schools and art schools. - M., Sov. composer, 1991.
Weiss P. Steps to music. A guide to solfeggio for preparatory and first grade children's music schools. - M., Sov. composer, 1987.
Goncharova L. From rhythm to dance. - Novosibirsk, 2000.
Davydova E. Solfeggio for 4th grade music school. - M., 1981.
Davydova E. Solfeggio for 5th grade music school. - M., 1982.
Davydova E., Zaporozhets S. Solfeggio for grade 3 children's music school. - M., 1984.
Zebryak T. Intonation exercises in solfeggio lessons in music schools and for homework (grades 1-7). - M., Kifara, 1998.
Zolina E.M. Solfeggio homework. 2, 4, 7 grades. - M., Presto.
Kalinina G. Musical entertaining dictations for primary school students of children's music schools and children's art schools. - M., 2002.
Kalinina G. Musical prescriptions. - M., 2001.
Kalinina G. A guide to solfeggio. Grade 2 - M., 1997.
Kalinina G. Solfeggio. Workbook. 1-7 grades. - M., 2002.
Kalmykov B., Fridkin G. Solfeggio. I part. Monophony. - M., 1984.
Kalmykov B., Fridkin G. Solfeggio. Part II. Double voice. - M., 1972.
Kaluga T. Solfeggio for 6th grade children's music school. - M., 1988.
Kirillova V.A. Harmonic analysis in the solfeggio course. Diatonic. - M., 2001.
Konchalovskaya N. Musical alphabet. Ed. 5th. - Kyiv, 1987.
Kornyakova T. Workbook on solfeggio.6, 7, 8 classes. - Novosibirsk, Tempus, 2007.
Kotlyarevskaya-Craft M. Solfeggio. Preparatory class. 1-5 classes of music school. - L., Music.
Kuznetsova O. Vocalises at solfeggio lessons. A manual for music school. - Novosibirsk, 1999.
Kuznetsova O. Solfeggio by models. Reader on solfeggio for beginners. - Novosibirsk, 1996.
Metallidi Zh., Pertsovskaya A. We play, compose and sing. Solfeggio for 1-3 classes of music school. Tutorial. - M., Sov. composer.
Musical dictations for music school. - L., 1972.
Musical entertaining dictations. Music application for teachers of children's music schools and children's art schools, grades 4-7. - M., 2001.
Nikitina I.P. 200 examples for sight reading in solfeggio lessons. - M., Presto, 2002.
Oskolova E.L. Solfeggio, part I, II. - M., VLADOS Humanitarian Publishing Center, 2002.
Ostrovsky A., Solovyov S., Shokin V. Solfeggio. Issue. 2. - M., 1976.
Panova N. Workbook. Solfeggio prescriptions for preschoolers and students of the 1st grade. - M., Presto, 2001.
Auditory analysis in the solfeggio course. Reader for grades 4-7 music school. - L., 1983.
Struve G. Choral solfeggio. - M., 1976.
Trachtenberg F. Solfeggio Workbook. 4, 5 classes. - Novosibirsk, Tempus, 2007.
Fridkin G. Sight-reading in solfeggio lessons. - M., 1969.
Frolova Y. Solfeggio. Preparatory class, grades 1-7. - Rostov-on-Don, Phoenix.
Khromushin O. Jazz solfeggio. Study guide, grades 3-7 of the music school. - S.-P., Reindeer, 1997.
Tsareva N. Lessons from Mrs. Melodiya, Grade 1. - M., Rosman, 2001.
Chustova L. Gymnastics of musical ear. The initial course of solfeggio, part II. - M., 2000.
Shaimukhametova L., Islamgulova R. Music primer in games, riddles, pictures. - Ufa, RIC UGUI, 2000.
Shaikhutdinova D. A short course in elementary music theory "Phoenix", 2008.
Yusfin A. Solfeggio on the material Soviet music. - M., 1975.
Methodical literature
Andreeva M., Konorova E. First steps in music. Toolkit. - M., Kifara. – 1994.
Apraksina O. Methods of musical education. Tutorial. - M., 1984.
Belaya N. Activation of thinking at solfeggio lessons in music school. - M., Zareks Publishing House.
Vakhromeev V. Questions of methods of teaching solfeggio in music school. Third edition, revised. - M., Music, 1978.
Weiss P. Absolute and relative solmization. Questions of methods of education of hearing. - L., 1967.
Vygotsky L. Questions of child psychology. - S.-P., Soyuz, 1999.
Garbuzov N. Zone nature of musical ear. - M.-L., 1948.
Golitsyna L. Formation and development of musical ear in students of choral studios. - M., 1995.
Davydova E. Methods of teaching solfeggio. - M., 1986.
Disciplines of the musical-theoretical cycle (solfeggio, elementary music theory, harmony, analysis of musical compositions). Program for the Musical Lyceum of the Oil and Gas Conservatory named after M.I. Glinka. - Novosibirsk, 1998.
Karaseva M. Solfeggio - psychotechnics for the development of musical ear. - M., 2000.
Kotlyarevskaya-Kraft M., Studen L. Introduction to creativity. - Novosibirsk, 2002.
Kraft M. I can't remain silent...To touch the strings of a child's soul. - Novosibirsk, 2000.
Kuznetsova O. Guidelines for conducting didactic games at solfeggio lessons in music school. - Novosibirsk, 2000.
Kutonova T. Some forms of work on the development of a sense of metrorhythm at the initial stage. - Kemerovo, 1995.
Maltsev S. Musical improvisation as a form of creative activity. Theory, psychology, teaching methods. - S.–P., 1993.
Medushevsky V. About laws and means of music. - M., 1976.
Methods of teaching music to younger students. Methodological course. - M., MEGU, 1997.
Mukhina V. Developmental psychology: phenomenology of development, childhood, adolescence. Textbook for university students. –7th ed., stereotype. - M., Academy, 2002.
Nazaikinsky E. On the psychology of musical perception. M., 1972.
Nezvanov B. Intonation in the course of solfeggio. - L., 1985.
Nemov R. Psychology. Textbook for students of pedagogical schools, students of pedagogical institutes and employees of the system of training, advanced training and retraining of teaching staff. - M., Education, 1990.
Educational program of the Children's Choir Studio "Vesnyanka". The Children's Choir Studio "Vesnyanka" sings. - M., Humanitarian publishing center VLADOS, 2002.
Ostrovsky A. Methodology of music theory and solfeggio. - L., 1970.
Oskina S. Inner ear for music. - M., 1977.
Oskina S., Parnas D. Musical ear. Theory and methodology of development and improvement. - M., 2001.
Pankova O, Gvozdeva O. Education of musical thinking of gifted children. - Novosibirsk, 1994.
The development of musical abilities in the lessons of solfeggio. Methodological recommendations for teachers of children's music schools and children's art schools. - M., 1998.
The system of children's musical education by Karl Orff: a collection of articles. - L., 1970.
Sladkov P. Fundamentals of solfeggio. Story. Theory. Methodology. - M., 1997.
Modern methods of solfeggio. Program (Project). - M., 1989.
Solfeggio. Program for music schools, music departments of art schools, evening general schools music education. - M, 1984.
Solfeggio. Program for secondary specialized music schools (grades I-XI). - M., 1991.
Solfeggio. Program for secondary specialized music schools. - M., 1966.
Tarasova K. Ontogeny of Musical Abilities (Pedagogical Science - School Reform). Research Institute of Preschool Education of the Academy of Pedagogical Sciences of the USSR. - M., Pedagogy, 1998.
Teplov B. Psychology of musical abilities. - M., 1947.
Tyutyunnikova T. Concept creative learning Carl Orff: history, theory, methodology - M., 1999.
Shatkovsky G. Course "Solfeggio" in Children's Music School (grades 1-7). - Omsk, 1991.
Shatkovsky G. Development of musical ear. Section I. Fret. - Omsk, 1992.
Elementary musical education according to the system of Karl Orff. - M., Sov. composer, 1978.
Yukecheva O. On the dynamization of the solfeggio lesson in music school. - Novosibirsk, 1993.
Yukecheva O.L. Solfeggio (program-compendium) for the performing departments of the SSMSh. 1 - 11 classes. - Novosibirsk, 2000.
Greece, Peloponnese Peninsula
REGULATIONS OF THE INTERNATIONAL COMPETITION - FESTIVAL
"CIRCLE"
GOALS AND MAIN TASKS OF THE FESTIVAL:
ü Revival, preservation and development of national cultures;
ü Acquaintance with the best soloists and ensembles, establishing creative contacts between participants, exchanging work experience;
ü Creation of conditions for the support and development of children's and youth creativity;
ü Preservation of cultural heritage and improvement of art and dance;
ü Raising the next generation in the spirit of patriotism
VOCAL PERFORMANCE CHORAL SINGING INSTRUMENTAL PERFORMANCE ARTISTIC WORD
Basic concept
– a performer or composer presents one or two any works, experienced members of the jury evaluate the performers. The performers and teams that have particularly distinguished themselves in each competitive category, discipline and nomination are awarded the title of Laureate and Diploma winner of the competition-festival of arts - with the presentation of diplomas and medals of the FORUM corresponding to the title. Winners - teams (from 3 people) cups.
The main principle of the formation of competitive categories, nominations and disciplines is the departure from their traditional division exclusively into age groups. And also, a separate competitive category is introduced. "For participants aged 18 and over", which is formed on the basis of experience and general experience the contestant's classes in one or another musical discipline and nomination, regardless of the age of the contestant on the day of the competition subject to the age of the contestant 18 years old on the day of the competition. Category is introduced professionals(soloists or groups - for which performing skills are a profession).
Comments: For example, a member is 18 years old and in their third year of music studies, and another member is 46 years old and also in their third year at a private music school, either on their own or with a teacher. In this example, both of these participants will compete in the same nomination: 3-4 years of study. Thus, this competition gives an opportunity to express themselves to people who, for various reasons, started playing music late, and for whom the path to successful participation in competitions, where the principle of forming participants and competitive requirements is based solely on age, is closed forever.
This contest also does not in the least infringe on the potential and opportunities to express themselves to those participants who have traditionally become involved in music since childhood. For such contestants, whose age does not exceed 17 full years on the day of the competition, the traditional competitive category is preserved, in which the method of distribution of participants in competitive disciplines and nominations is formed based on age criteria. Success always comes in different ways. To someone in youth, and to someone in maturity. Everyone should have a chance to prove themselves.
Nominations, performance time
ü Solo (1 person) up to 7 minutes
Baby 7 years and under
Children (11 years and younger)
ü Duet (2 people) up to 7 minutes
Children 7-9 years old
Juniors (12-15 years old)
ü Mixed duet (2 people of different ages) up to 7 minutes
Children 10-11 years old
Youth (16-17 years old)
ü Teacher + student up to 7 minutes
Juniors 12-13 years old
Adults (18 years and over
ü Trio (3 people) up to 7 minutes
Juniors 14-15 years old
Mixed ( different age)
ü Quartet (4 people) up to 7 minutes
Youth 16-17 years old
ü Ensemble, choirs, orchestras,
Adults aged 18 and over
groups (from 5 people) up to 7 min ut (indicating the experience of playing music)
ü Professionals aged 18 and over, program limit up to 10 minutes
Notes:
1) 1 or 2 any works are performed within the time specified for the nomination.
2) In pop vocals - 1 piece.
Disciplines
VOCAL PERFORMANCE CHORAL SINGING INSTRUMENTAL PERFORMANCE ARTISTIC WORD
ü Academic singing
ü Classical instruments
ü Folk instruments
ü Jazz vocals
ü Orchestras
ü Literary and musical composition
AUTHOR'S MUSIC (COMPOSITION) 1 or 2 author's works with a duration of no more than 7 minutes are performed. It is possible to perform full-time author's performance, full-time involvement of performers, as well as public listening to the audio version of the work in the presence of the author. Participants of the nomination, together with the application, send the notes of their compositions in any format, provided that it is clearly and accurately formatted. All involved performers of the discipline receive commemorative medals of the competition.
Rules
Discipline: INSTRUMENTAL PERFORMANCE
Criteria for evaluation: musicality, purity and quality of sound, virtuosity, stage culture, complexity of the repertoire, compliance of the repertoire with performing abilities and age category, performing skills.
Program:
-piano, synthesizer– 1 or 2 works
-violin, cello, viola, double bass- 1 or 2 works.
- button accordion, accordion– 1 or 2 works
-balalaika/domra– 1 or 2 works
-guitar-1 or 2 pieces
- brass– 1 or 2 works
-ensembles and groups- 1 or 2 works.
Discipline: VOCAL PERFORMANCE
(academic, folk, pop direction)
Criteria for evaluation: musicality, artistic interpretation of a musical work, purity of intonation and sound quality, beauty of timbre and power of voice, stage culture, complexity of the repertoire, compliance of the repertoire with the performance capabilities and age category of the performer, performing skills.
Program: in folk and academic directions - 1 or 2 any works.
In the pop direction - 1 any work.
Note:
pop vocal
In this nomination, performances are presented based on the pop style of performance .
Theatrics are welcome. It is allowed to have “backing vocals” in the form of harmonic support, previously recorded in the “minus one” phonogram or performed “live”, the group does not have the right to use backing vocals in the recording. It is not allowed to receive a "double-track" (duplication of the soloist's part in the form of a single overtone). Competitive performances are held with the use of "minus" phonograms, "live" accompaniment (instrumental ensemble, piano, etc.) or without accompaniment. The use of phonograms with recorded backing vocal parts is allowed (subject to the addition and decoration of the number, but not the replacement of vocal data). The participation of backing vocalists is possible (at the request of the contestant).
Evaluated: the ability to use registers, mastery of breathing, diction, artistry,
the complexity of the work, the possession of the microphone.
Discipline: CHORAL SINGING
( academic, folk, pop directions)
It is not divided into age categories.
Criteria for evaluation: musicality, artistic interpretation of a musical work, purity of intonation and sound quality, complexity of the repertoire, compliance of the repertoire with the performance capabilities and age category of the performer.
Discipline: ARTISTIC WORD.
(prose, poetry, tale, literary and musical composition)
Criteria for evaluation: completeness and expressiveness of the disclosure of the theme of the work, stage performance (plasticity, costume, performance culture), disclosure and brightness artistic images, performance level, diction of actors, decoration performance, props, compliance of the repertoire with the age characteristics of the performers.
Evaluation criteria: logic musical composition, demonstration of knowledge and ability to work with various means of musical expression, genres and forms, originality of creative style.
MUSIC
Media: USB - flash drives with recording (flash drive should contain only melodies for the festival in mp3 format, indicating the number of the participant, nomination and age category). Flash media must be checked for viruses. We recommend that you carry a copy of the recording on a CD-R with you. CD-RW discs are not accepted. For the lack of melodies for the festival and / or their quality, the participant himself is responsible.
Main questions.
I.1) Definition of the choir by prominent masters of choral art.
2) Directions in choral performance.
3) Type of choir.
4) The number of choirs.
II. Chorus types.
III. Arrangement of the choir.
Target: Determine the significance of the arrangement of the choir for the most favorable sound of the choral work, in connection with the type and type of choir.
Definition of a choir by eminent masters of the choral art
A. A. Egorov (“Theory and practice of working with the choir”): “A choir is a more or less numerous group of singers performing a vocal-choral work. Moreover, each part is sung by several homogeneous voices. In this, the choral group, as a vocal organization, differs significantly from the chamber vocal ensemble (duet, trio, quartet, etc.), in which each individual part is always entrusted to only one performer. The most typical clean view a choral group is an a cappella choir, i.e. a group that sings without instrumental accompaniment. Another type of choir group - a choir group accompanied by a piano, an ensemble of instruments or an orchestra - is no longer completely independent: it shares its performing tasks with instrumental accompaniment.
The a cappella choir is a kind of vocal orchestra, which, based on the synthesis of sound and words, conveys the artistic images of a musical work with its rich colors.
V. G. Sokolov (“Working with the choir”): “A choir is a team that is sufficiently familiar with the technical and artistic and expressive means of choral performance necessary to convey the thoughts, feelings, and ideological content that are embedded in the work.”
P. G. Chesnokov (“Choir and its management”): “The a cappella choir is a full-fledged union of a significant number of human voices, capable of conveying the subtlest bends of spiritual movements, thoughts and feelings expressed in a performed composition. A choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely adjusted system and artistic, distinctly worked out nuances.
Note that Chesnokov refers nuances to the elements of choral sonority, interpreting this concept more broadly than a moving dynamic scale. Nuances, according to Chesnokov, cover the means of musical and choral expressiveness - features of rhythm, tempo, agogics, diction, etc., in connection with their dynamic changes.
Chorus is an extremely capacious concept. It is usually regarded as a musical and singing group whose activity is the creative process of choral music-making (or choral performance). In this context, the choir is a vocal and performing group united and organized by creative goals and objectives. The principle of the collective beginning is obligatory for all participants of the choir and must be maintained at any stage of the work of the choir. A choir is a large vocal ensemble in terms of the number of participants, consisting of choral parts. The basic basis of each choral part is the unison, which implies the complete fusion of all vocal and choral components of the performance - sound formation, intonation, timbre, dynamics, rhythm, diction, in other words, the choir is an ensemble of vocal unisons. Choral performance is expressed in two forms of music making - singing without accompaniment (a cappella) and singing with accompaniment. Depending on the method of intonation - in natural or tempered tuning - the role of intonation increases. Accurate intonation (system) and balanced sound (ensemble) in the choir are the main conditions for his professionalism. A well-coordinated choir is always perceived as a vocal orchestra consisting of human voices, and therefore requires the constant and systematic attention of the choirmaster from the moment the choir sings to concert performance on stage. The structure in the choir depends on the skill and training of the singers participating in it, as well as on the personal and professional qualities of the conductor-choirmaster, his will, knowledge, and experience. The system in the choir is always associated with the performance of many different interrelated tasks - from the organization of the singing and choral process and the education (training) of singers to the embedding of the actual choral sonority with the identification of ensemble and system problems. At the same time, important tasks in the process of building a choir - the creation of an ensemble of vocal unisons, the high-altitude uniformity of the performed sounds, their timbre unity - are solved under the condition of properly organized vocal and choral work with singers. In choral performance, various types of arts are organically combined - music and literature (poetics). The synthesis of these two types of art introduces specific features into choral creativity. A logical and meaningful combination of music and words defines the concept of the vocal-choral genre. A good choir is always distinguished by technical and artistic and expressive performance, where, along with the problems of the ensemble and the system, the tasks of musical and literary interpretation are solved.
None of the properties listed above can exist in isolation. All components are interconnected and are in constant agreement.
Initially, choral performance was amateur and only due to special historical conditions acquired the status of professional art. From here come two main forms of choral activity - professional and amateur, hence their own names - professional choir and amateur choir (folk, amateur). The first is a choir consisting of specially trained singers, the second is a choir in which everyone who wants to sing takes part. Classes in amateur choirs are not as regulated as in professional ones.
There are two main directions in choral performance - academic and folk, which are characterized by qualitative differences in the manner of performance.
The academic choir (or chapel) relies in its activities on the principles and criteria of musical creativity and performance, developed by professional musical culture and the traditions of the centuries-old experience of the opera and chamber genre. Academic choirs have a single condition for vocal work - the academic manner of singing. In considering the problems of vocal-choral singing, we will start from the concept of the academic manner of singing.
A folk choir is a vocal group that performs folk songs with their inherent features (choral texture, voice leading, vocal manner, phonetics). Folk choirs, as a rule, build their work on the basis of local or regional singing traditions. This determines the variety of compositions and the manner of performance of folk choirs. It is necessary to distinguish a folk choir in its natural, everyday form from a specially organized, folk choir, professional or amateur, performing both genuine folk songs and author's compositions in the folk spirit.
Choral works can be characterized by the number of independent choral parts in them, which is determined by the concept of the type of choir. There are works for the choir of various compositions - one-voice, two-voice, three-, four- and more. The principles of using divisi (separation) in choral parts are related to the pitch ratios of singing voices, as well as their harmonic and timbre-color combinations. It is known that divisi harmonically saturates the choral presentation, but at the same time noticeably weakens the power of the sound of choral voices.
The main and minimal structural unit of the choir is the choral part, which is a coordinated ensemble of singers whose voices in their general parameters are relatively the same in range and timbre. It is with the choral part (a group of singers) that the construction of choral sonority begins in many aspects: the choral part is the initial object of the conductor’s work in establishing the ensemble and the system, in the artistic decoration of the work. In this regard, the problem of the smallest number of singers (voices) in the choral part - 3-4 singers, as well as their timbre and dynamic balance, is revealed.
Theoretically, according to the definition of P. G. Chesnokov, a homogeneous two-voice children's, women's or men's choir can be at least 6 singers, for example, 3 sopranos (treble) + 3 altos, 3 tenors + 3 basses. However, in modern performing practice, a choir of a similar size is called a vocal ensemble. The double composition of the choir is considered more sonorous, where each part has two minimum compositions: 6 first sopranos + 6 second sopranos + 6 first altos + 6 second altos, in total 24 singers are obtained. Here it is also possible to divide (divisi) each party into two groups.
The number of singers in the parts of the choir must be the same. It is unacceptable that a female or children's group of singers of 30 people consists, for example, of 11 first sopranos, 9 second sopranos, 6 first altos and 4 second altos. It is recommended to slightly increase the number of singers in the parts of the first sopranos and second altos in the women's (children's) four-part choir, which is associated both with the dynamic selection of the choral part that performs the upper melodic voice (C I), and with a more compact sound of the chord base (A II) , For example:
soprano first - 8 people;
soprano second - 7 people;
first violas - 7 people;
violas second - 8 people.
Total: 30 people
Density of sounding unison parts chamber choir, the number of which does not exceed 10 singers, is incommensurable with the sound of the choral parts of a large choir, where the number of singers in the choral parts is 20-25 singers.
In the theory of choral studies, it is customary to classify the quantitative composition of choirs into three main types - small (chamber), medium and large choirs. In modern performing practice, a chamber choir with an approximate number of singers is 20-30 people. The average mixed choir, numbering up to 40 people, involves the division of each choral part into two. The number of a large mixed choir usually ranges from 80-120 people (occasionally more).
Under favorable conditions, mass and combined choirs of several hundred and even thousands of people can be created. In the choral literature there are examples of multi-choir compositions, in general, numbering over a dozen and a half independent choral parts.
The existing concept of a double choir means a choir divided into two honors, each of which is relatively independent; both parts of the double choir can be both mixed (full and incomplete) and homogeneous composition. The triple choir accordingly consists of three parts.
There is a special choral literature for any performing composition of choirs, which, of course, takes into account the timbre-catalistic features and the size of the choir composition. Thus, works written for a chamber choir, and therefore oriented to a small group, will sound thick and heavy in a large choir, numbering about 100 singers. And vice versa, the score for a large choir with divisi in different voices in the sound of a small choir loses its figurative brilliance.
Choir types
The composition of the performing team by groups is characterized by the term type of choir. Singing voices are divided into three groups: women's, men's and children's. A choir consisting of the voices of one group is called homogeneous, and a choir consisting of female (or children's) and male voices or singing voices of all three groups is called mixed. Currently, there are four types of choirs: women's, men's, children's and mixed.
Mixed choir (full composition)
The range of the mixed choir is more than 4 octaves in G-A counter octaves up to 3 octaves. The mixed choir has a great dynamics of sound power from barely audible pp to ff, capable of competing with a symphony orchestra.
male choir
The range for the counter octave is up to 2 octaves. The male choir has a great dynamism of sound, bright timbre colors. The tenor part is the lead melodic voice and sings with a thicker chest sound.
Women's choir
The range is from the fatal octave to up to 3 octaves. Extreme sounds are rare. The most common is a mixed and close arrangement of voices. Many original compositions and adaptations of folk songs for women's choir were created by Russian and foreign composers.
Children's choir
The expressive and technical capabilities of the children's choir are closely related to the age characteristics of the composition.
A child's voice is characterized by transparency, softness, sharpness of intonation, and the ability to perfect harmony and ensemble. The sound of the children's choir is distinguished by immediacy and sincerity of performance. The children's choir has great performing abilities.
The arrangement of the choir
The arrangement of the choir is a specific system for the arrangement of singers for the purpose of their joint performing activities. Domestic choral culture has accumulated rich experience on the issue of arranging the choir. The theoretical understanding of this experience was reflected in the works of P.G. Chesnokov, G.A. Dmitrevsky, A.A. Egorov, S.V. Popov, K.K. Pirogov, V.G. Sokolov and others. So, V.G. Sokolov notes that “for the successful work of the choir, a certain arrangement of parts during rehearsals and concert performances, which is familiar to both the leader and the singers, is of no small importance.”
One of the most important in this matter is the artistic and performing aspect. It is known that the arrangement should provide the singers of the parts with the most favorable conditions for ensembles. In this regard, A.A. Egorov writes: “By successively rearranging the voices within the group and carefully selecting one voice for another on the basis of homogeneity and timbres, it is possible to establish a complete merger and thereby lay the foundation for a choral part.”
The correct arrangement should ensure the possibility of auditory contact between the singers of various choral parias, because "good mutual hearing of the choral parts creates the most favorable conditions for the emergence of an ensemble and system, which is the basis for the coherence of the choir."
Usually, in the placement of the choir or the stage, they are guided by established traditions. Related parties are in the same group. The voices of each part match each other in terms of timbre, sound range, etc. The choir group is located in such a way that high voices are on the left hand of the conductor, and low voices are on the right. In a mixed choir, sopranos are placed to the left of the conductor, followed by tenors; on the right are the altos, followed by the basses.
Among the many options for the arrangement of homogeneous choirs, one where each party is located in a group, like a sector, is popular. In the women's or children's choir (from left to right): second sopranos, first sopranos, altos first, altos second. In the male choir: second tenors, first tenors, second basses, first basses, octavists are in the center. It is believed that placing the first high voices (I soprano or I tenors) in the middle of the choir improves the sonority, and the location of the second high voices (II soprano or II tenors) “covers” the sound of the first to some extent.
Women's (children's) choir
male choir
|
Octavists |
|||
|
Tenora II | |||
|
Tenora II | |||
|
Tenora II | |||
|
Tenora II | |||
This arrangement of the choir is usually used in sound recording. In this case, a separate microphone is placed before each choral part. The placement of a mixed choir when recording sound takes into account the direction of the sound of each choral part to a separately exposed microphone.
In addition to the above, other options for arranging the groups of the choir group are also used, for example:
Women's (children's) choir
|
Soprano I |
Soprano II |
During rehearsals, the choir should be positioned in the same way as during the performance. It is not recommended to place the choir in the same horizontal plane, as this loses proper visual contact between the singers and the conductor. In addition, members of the choir will be forced to sing “in the back” of the choristers in front. In a mixed choir, it is customary for the male parts to be placed slightly higher than the female ones.
The quartet arrangement of the choir creates the best conditions for the auditory self-control of the singers, takes into account the individual singing abilities of each member of the collective and is used in chamber choirs.
The placement of the choir on the stage depends on the acoustic properties of the reverb. Reverbation is the acoustic property of a room due to the reflective ability of their internal surfaces to increase the strength and duration of sounds (the "echo" effect). With insufficient reverb, the sound becomes “dry”, with excessive reverb, the performance will be “illegible, dirty”. Based on this, at the present time in the St. Petersburg State Singing Chapel. M.I. Glinka (headed by V.A. Chernushenko), the arrangement of the choir is used, in which female voices make up the third and fourth rows, and male voices occupy the first and second rows. At the same time, the leader of this group uses a wide arrangement of the choir.
It is better to arrange the choir in the form of a small semicircle (fan-shaped) or, in extreme cases, in a straight line with small roundings at the edges. The location of the choir exclusively in a straight line is less appropriate.
When performing choral works with piano accompaniment, the instrument is placed in front of the choir in the center or to the right (from the conductor); when performed with an orchestra or ensemble accompaniment, the orchestra or ensemble is placed in front, and the choir is placed in a small semicircle behind it. For example, when performing “Three Russian Songs” by S. Rachmaninov, written for an incomplete mixed choir (altos and basses) and orchestra, choral voices are usually located to the left (altos) and to the right (bass) of the conductor behind the orchestra on a special platform (choral benches) . In this case, the sonority of each individual part becomes more compact and monolithic. The long-term use of one choral part, as, for example, in the specified work, makes it possible to characterize the choral part with a very rare term - a choir of violas or a choir of basses.
Conducted modern Scientific research about the influence of acoustic patterns and the location of the singers made it possible to make adjustments to the arrangement of the choir and develop a number of practical recommendations aimed at ensuring the proper conditions for the auditory self-control of the singers:
do not put strong and weak voices in the neighborhood;
use a mixed version of a wide arrangement with an alternation of related and heterogeneous voices.
The presented arrangement has the following advantages:
It creates conditions for achieving artistic ensemble not on the basis of timbre leveling, but by revealing the natural timbre possibilities of each voice, which reflects the trend of progressive vocal-choral technique and contributes to the successful development and improvement of singing abilities.
Creates more effective conditions for the organization of the choir as a community of individuals (ensemble of soloists).
Contributes to the formation of each singer a higher degree of responsibility for the quality of their "vocal production". Making music in such an arrangement requires the singer to show maximum initiative and independence.
It contributes to the identification of the individual timbre characteristics of each voice and thus has a very significant impact on the quality of the sound of the choir, which becomes richer in timbre, more saturated and voluminous.
Keywords
Chorus; type; view; number; choral parts; female; male; mixed; children; arrangement; execution; timbres.
Short conclusions
The vocal and methodological aspect of the arrangement of the choir is touched upon in works on children's musical education. So, M.F. Zarinskaya notes the importance of the arrangement of singers for organizing the influence of some voices on others in the process of vocal education in the choir. She recommends placing in the last row and along the edges of the choir "those who sing in the most beautiful timbre and naturally, also experienced choristers, in front - children who sing more dimly or have certain shortcomings in singing."
Control questions
1. What is a choir?
2. Give a description of the mixed choir.
3. What options do you know for arranging the choir?
4. What factors influence the location of choir singers on stage?
Literature
Osenneva M.S., Samarin V.A. Choral class and practical work with the choir. - M. 2003
Keerig O.P. Choreology - S.-P. 2004
Sokolov Vl. Work with the choir - M., "Music", 1983
3. What does a conductor need to establish creative and business contacts with singers?
4. What is the similarity of the activities of a conductor, director and teacher?
5. Expand the connection between music and words as features of choral art.
6. What are the main poetic sizes and give an example of each.
7. What is specific human voice as a vocal-choral "instrument"?
8. Expand the meaning of the concept of "choir".
9. What influence does the collective principle have on the elements of choral technique and on the performing process as a whole?
10. What are the main tasks of a conductor
news and what specific qualities should have
the musician who chose her as his specialty?
Chapter 3
HOW PERFORMING
"TOOL"
The concept of the choir
In musicological literature, when characterizing performance, it is customary to single out three of its components: the composer, the performer and the listener. Another important element of the performing act is left without attention - a musical instrument, with the help of which the performer realizes the author's intention, recreating it in live sound. This is explained by the fact that in most types of musical performance the musician is not directly related to the quality of the instrument. Another thing is the choir, which is a living organism, formed in accordance with the artistic tastes and criteria of the choirmaster - the master who created it. This organism can be flexible and clumsy, understanding and slow-witted, benevolent and aggressive, enthusiastic and indifferent. The spirituality of the choral instrument requires a special attitude towards it, since this feature of it makes it both the most intelligent and receptive, and the most unstable and changeable. The latter circumstance is due to the fact that its main qualitative parameters (brightness and beauty of sound, purity of intonation, unity of the ensemble, timbre richness, loudness, overall vocal range, articulatory "mechanism") cannot be fixed for a long time, but are recreated and updated at each rehearsal. conductor-choirmaster, who in the choral genre is not only a performer, but also the author of the instrument (like a violin maker) and its tuner (like a piano tuner).
52
In the history of Russian choral studies, many definitions of the concept of "choir" were given: from "assembly of singing" to "ensemble of singing unisons". Here are some of them:
“The choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely adjusted system and artistic, clearly developed nuances” (PG Chesnokov) 1 .
“A choir is a more or less numerous group of “singers performing a vocal work” (A.S. Egorov) 2 .
“A choir is a group of singers organized for joint performance. In the choir, the quantitative and qualitative ratio of voices must be observed, ensuring the possession of all the elements of choral sonority, necessary for the implementation of the performing tasks facing it” (GA Dmitrevsky) 3 .
“The choir is an organized group of singers... In the understanding of the Soviet listener, the choir is a creative group whose main purpose of performing activity is the ideological, artistic and aesthetic education of the masses” (K.K. Pigrov) 4 .
“A choir is a team that is sufficiently proficient in the technical and artistic and expressive means of choral performance necessary to convey thoughts, feelings, and ideological content that are embedded in a work” (Vl.G. Sokolov) 5 .
“A choir is a singing group performing vocal music with instrumental accompaniment or a cappella” (N.V. Romanovsky) 6 .
“The choir is a large vocal and performing group, which, through the means of its art, truthfully, artistically fully reveals the content and form of the performed works and its creative activity contributes to the ideological and artistic education of the masses. As a musical and performing "instrument" choir
1 Chesnokov P.G. Chorus and management. - M., 1961. - S. 25-26. 2 Egorov A.S. Theory and practice of managing the choir. - L.; M., 1951. - S. 13.
3 Dmitrevsky GL. Choir and choir management. - M., 1957. - S. 3.
4 Pigrov K.K. Choir leadership. - M., 1964. - S.21.
6 Sokolov Vl. Choir work. - 2nd ed.-M., 1983. - S. 5.
6 Romanovsky N.V. Choral dictionary. - M., 1980. - S. 124.
The concept of the choir
is an ensemble of vocal unisons” (V.I. Krasnoshchekov) 1 .
As you can see, in each of these definitions, the emphasis is either on structural organization, or on technical and artistic parameters, or on goals and objectives. Having linked together the various essential features that different authors put into the concept of "chorus" and critically assessing them, the author of this book considers it possible to propose the following generalizing formulation: choir- This is a vocally organized performing group, the basis of which is an ensemble of intonation, dynamic and timbre fused groups with artistic and technical skills necessary to embody the musical and poetic text of the work in live sound. This definition, perhaps, accurately enough establishes features concepts, content and boundaries.
According to the composition of voices, the choir is homogeneous (male, female, children's) and mixed(i.e. consisting of male and female or male and children's voices). Another category - boys' choirs - requires clarification, since it can be represented by a homogeneous choir (if only boys sing in it) and mixed (if young men singing male parts sing along with the boys).
A normal full mixed choir consists of four parts: soprano, alto, tenor and bass. But sometimes in a mixed choir one or even two choral parts from heterogeneous groups of voices are missing (for example, the part of altos or tenors). Such a composition is usually called an incomplete mixed choir. In professional choral performance, this type of choir, as a rule, does not occur. Among amateur choirs, it is quite common. Particularly often, an incomplete mixed composition is found in amateur factory and club activities, in schools, colleges and universities. So, for example, the situation is quite typical when only 5-6 men sing in a choir with 40 members. In this case, most often tenors and basses are combined into one choral part.
1 Krasnoshchekov V.I. Questions of choral science. - M., 1969. - S. 81-82.
54 Chapter 3. Chorus as a performing "instrument"
