Methodological development "fundamental principles of vocal methodology in choral performance". Requirements for the level of training

MAUDO "Orenburg Children's School of Arts named after A.S. Pushkin"

ABSTRACT

Subject:

Vocal and choir teacherI qualification category

Sablina Elena Vadimovna

2014

Plan

I .The importance of preparing the vocal apparatus for singing ……………….. from 2

1. Typical difficulties at the initial stage.

2. The importance of vocal and choral exercises.

II .Development of performing skills ……………………………….. from 3

1. Development of singing breathing and sound attack.

2. Skills in the use of resonators and articulatory apparatus.

III . Final part. conclusions ………………………………………. from 6

IV . List of used literature …………………………………. from 7

Methodical development

"Formation of vocal-choral and performing skills in the choir"

I .The value of preparing the vocal apparatus for singing.

Vocal work in an amateur choir is one of the most important moments. As practice shows, the majority of people who come to the choirs do not have any singing skills, and often those who come who are characterized by certain vocal shortcomings: noisy singing, a clamped throat sound, hoarseness, tremulation and others.

Before proceeding to the performance of works, each singer needs to sing. Singing exercises solves two problems: bringing the voice into the best working condition and instilling good performing skills in the singer. "Warming up" the vocal apparatus precedes the vocal-technical training. Methodically, this concept should not be confused, although in practice both tasks can be performed simultaneously. For a novice singer, who does not yet have sufficient knowledge of the correct sound, any "chanting" is a technical part of the lessons. It is valuable to consciously combine vocal exercises with the aim of teaching musical notation. Musical scores help to achieve this, making it possible to connect their auditory representations with visual ones. An amateur performer sings a certain sequence of sounds and sees this sequence on the staff. With intonation defects, the leader points to the corresponding sound or melodic interval. So musically untrained singers imperceptibly join the musical literacy.

1. Typical difficulties at the initial stage. The need for chanting before a lesson or performance is dictated by the law of gradually bringing the organs of voice formation into an active working state. Chanting is a link between rest and singing activity, a bridge from one physiological state to another. The entire singing process in an amateur choir must be adjusted by the physiological capabilities and characteristics of the psyche. Consider some typical shortcomings of guys who come to the choir:

Vocal unprepared guys breathe unevenly while singing, they seem to choke on their breath, while raising their shoulders. Such superficial, clavicular breathing adversely affects both the sound and the body. To eliminate this shortcoming, it is necessary to perform exercises with a closed mouth, evenly distributing breathing and making a “half-yawn” position.

Forced, tense sound. It is distinguished by excessively increased dynamics, sharpness, rudeness of performance. The strength of the sound in this case is a false criterion for the artistic evaluation of singing, and loudness is achieved not by using resonators, but by intense pushing of the sound. As a result, there is a "pressure" on the ligaments. First of all, it is necessary to psychologically rebuild the choir singers, to explain to them that the beauty of the voice and full-fledged sound is achieved not by the physical tension of the respiratory organs and the work of the larynx, but by the ability to use resonators in which the voice acquires the necessary strength and timbre. This will help with singing exercises with a closed mouth in a high position, singing with chain breathing in the piano, mezzo-piano speakers, cantilena exercise, sound evenness, calm breath retention.

- “Flat, small “white sound”. Very often, such sounding in amateur choirs is identified with the folk style of performance. Amateur choral groups that sing with such a sound, as a rule, have no idea of ​​either folk or academic manners of singing, their vocal and choral technique is helpless. First of all, it is necessary to remove the singing at the throat, transfer it to the diaphragm, and be sure to develop the skill of “yawning” in the singers, sending a rounded sound to the point of the head resonator.

All this should be done in a single manner of sound formation: at the same time, exercises on “covered” vowels are useful. e", "yu", "y", as well as singing sustained sound into syllables mi, me, ma, with rounding of all vowels.

Bitter sound. It is characterized by the absence of a single manner of vowel formation, that is, "open" vowels sound light, open, and "covered" - more collected, darkened. This happens because the singers do not know how to maintain a fixed position of the “yawn” in the back of the oral canal in the process of singing. To eliminate this, singers need to learn to sing in a single manner, that is, to form all vowels in a rounding way.

Deep, "crushed" sound. May occur due to excessive sound overlap, when the "yawn" is made very deep, close to the larynx. Such singing always remains somewhat muffled, distant, often with a guttural overtone. First of all, you should ease the “yawn”, bring the sound closer, practicing singing syllables with “close” vowels - zi, mi, ni, bi, di, li, la, le etc. Correction of shortcomings will also help to include in the repertoire of works of light, transparent sound, using a light staccato.

2. The importance of vocal and choral exercises. Singing exercises are primarily aimed at the vocal perception of the choir: the correct formation of sound, its timbre coloring, and purity of tone. The main concern is unison. A well-built unison provides ensemble harmony and clarity of sound. But exercises of this kind can give even more. They will serve as a good help in developing musical acuity and prepare singers to overcome the intonation difficulties that they will encounter when working on some compositions. The basis of chanting exercises are combinations in which, one way or another, there are semitones or whole tones. To teach how to correctly perform a tone or semitone means to guarantee the purity of singing. For many reasons, it is easy to detect approximate intonation in most singers. Unfortunately, this applies not only to amateur singers, but also to many professional singers. Sloppy intonation is a consequence of insufficient ear culture. A culture of hearing is brought up and developed in the learning process. Apparently, there are some flaws in this process. Sound and purity of intonation are inextricably linked and interdependent; vocally, the right formed tone always sounds clear, and vice versa - there is never a clear tone if the sound is formed incorrectly.

II . Development of performing skills.

It is best to eliminate shortcomings and instill the right singing skills, on special exercises. We use such exercises to develop performing skills in singers.

Development of singing breathing and attack of sound. The initial skill is the ability to take the right breath. Inhalation is taken through the nose, silently. In the first gymnastic exercises, the breath is full, in the subsequent ones (performed on sound) it is taken sparingly and of varying fullness, depending on the duration of the musical phrase and its dynamics. In the first exercises, exhalation is done through tightly clenched teeth (sound s..s..s..). In this case, the chest is held in the inhalation position (“memory of inhalation”), and the diaphragm, due to the gradual relaxation of the abdominal muscles, smoothly moves back to the main position. The active state and tension of the respiratory muscles should not be reflexively transmitted to the muscles of the larynx, neck and face. In silent exercises, the first feeling of breath support is laid.

- Exercises on one sound. In subsequent exercises, when breathing is combined with sound, these sensations need to be developed and strengthened. To begin with, a single sustained sound is taken on the primary, i.e. most convenient, tone, nuance mf, closed mouth. Following the muscle sensations familiar from the previous

exercises, the choir members listen to their sound, achieving purity, evenness, stability. The evenness of the breath is combined with the evenness of the sound - they provide it and check it. In this exercise, the attack of the sound is developed. As the chorus masters the breath, more and more stringent requirements are imposed on the quality of all types of attack, and above all softness.

- Gamma exercises. The next cycle of exercises for the development of breathing and sound attacks is based on scale-like sequences, starting gradually from two sounds and ending with a scale within an octave - decima. The breathing technique and the feeling of support in these exercises become more difficult. There is an adaptation to the change of sounds, connected smoothly, on elastic breathing. The difference in the sensation of breathing when singing a sustained sound and a scale-like sequence is similar to the difference in the sensations of muscular elasticity of the legs when standing still and when walking. In the second case, the support moves from one leg to another, and the body moves smoothly, without feeling any shocks.

- Exercises in non Legato. It is advisable to start the skills of correctly connecting sounds with non legato, as the lightest stroke. Imperceptible caesura between sounds in a stroke non legato it is quite enough that the larynx and ligaments have time to rebuild to a different height. When combining sounds in non legato it is necessary to achieve that each subsequent sound arises without shocks.

- Exercises in Legato. Hatch Legato most common in singing, their possession should be given special attention. “In the exercises, all three types are worked out. Legato: dry, simple and legattissimo. You need to start dry. legato, which is characterized by a smooth connection of sounds "back to back", without the slightest caesura - a gap, but also without gliding. In the exercises Legato sound attack is used only soft or mixed. A solid attack divides the sound even in the absence of a caesura. In simple Legato the transition from sound to sound is accomplished by imperceptible sliding. For the best performance of this technique, you need, using the skill of "dry" Legato, make sure that the transition - sliding is made briefly, immediately before the appearance of the next sound, with an imperceptible extension (along this tempo-rhythm) of the sound of the previous one. Concerning legattissimo , then it in singing is only the most perfect execution of a simple Legato. When performing the Legato stroke, two breathing techniques can be used in accordance with the artistic task. The first - on a continuous and even exhalation, similar to the performance Legato with one bow for stringed instruments. The second is a decrease, slowing down of exhalation before moving on to the next sound, similar to changing the bow of strings (when they perform a stroke Legato).

- Exercises in Stacatt o. Very useful for developing breathing and a firm attack, singing with a stroke Staccato. You need to start by repeating one sound, and then gradually move on to scales, arpeggios, jumps, etc. “Using all kinds of Staccato: soft, hard, staccaticimo . When singing Staccato, in caesura, a pause between sounds, the muscles do not relax, but are strictly fixed in the inhalation position. The alternation of the moment of exhalation (sounding) and holding the breath on a pause (caesura) should be very rhythmic and not accompanied by crescendo And diminuendo on every sound. This reception is similar to the execution Staccato on the violin without removing the bow from the string. For inexperienced singers when performing Staccato there is an attempt to inhale in the pauses before each sound, which makes Staccato inaccurate, and execution this exercise useless. Preparatory gymnastic exercise for singing Staccato: breathing is gained gradually by microdoses; after each microbreath, the breath is held (fixed), the alternation of breaths and caesuras must be strictly rhythmic; exhalation is also performed in microdoses, alternating with stops-caesuras.

- Arpeggiated exercises and jumps. Singing arpeggiated exercises places new demands on the breath. The wider the intervals between sounds, the harder they are connected when singing with a stroke. Legato. Moves change abruptly at wide intervals

register sound conditions from sound to sound and increase the flow of breathing. Before the move

for a long interval up, the muscles of the respirators are activated, an imitation of inspiration is applied

(false breath) by soft, free and instant pushing the diaphragm down; outwardly, this is expressed in a soft jerky movement of the abdominal muscles forward, with complete immobility and free stability of the upper and middle parts chest. The difficulty of this technique is that it is performed not on inhalation, but on exhalation.

- Reception of "dumping" of breath. Sometimes there is a blurring of the endings of phrases when changing breathing, especially at fast tempos with a crushed rhythm and the absence of pauses at the junctions of constructions. In these cases, it is useful, having switched attention to the end of phrases, to suggest the technique of an instantaneous change of breath by dropping it at the end of the last sound of the phrase, i.e. think not about taking the next sound, but about removing the previous one. In this case, the diaphragm is instantly pressed down, fixing in the inhalation position, and in this way the removal of the last (sometimes very short) sound of the phrase is reflexively combined with an instantaneous breath taking. When performing this exercise, the leader makes sure that the caesura is instantaneous, and the sound preceding it is extremely finished. The breath changes with every beat. It is not allowed to accentuate the end of the sound when dropping the breath.

2. Skills in the use of resonators and articulatory apparatus. These skills are brought up in combination, since the resonators and articulatory organs are functionally connected. In their natural form, resonators usually function in isolation, each in its own section of the range. The training begins with the primary tones of the range, naturally including the chest resonator. Proper voice tuning involves singing with a close sound in a high position throughout the entire range. Taking into account these circumstances, the first exercises are given: singing single sustained primary sounds on the syllables “ si" And "mi", helping to turn on the head resonator in close and high sound, as well as the performance of descending and ascending progressive sequences of several sounds on combinations of syllables "si-ya" And "me-me". The combination of certain vowels and consonants contributes to the achievement of a close and high sound. Combination "b", "d", "h", "l", "m", "p", "s", "t", "c" bring the sound closer; " n", "r", "g", "k" - are removed. Vowels contribute to high sound "i", "e", "yu". It is convenient to connect the “head” and “chest”, achieving mixed sound formation on the syllables “ lu", "li", "du", "di", "mu", "mi", "zu", "zi".

It must be said that most of chanting exercises are performed in a neutral register zone, lonely and convenient for all singers. They are performed in quiet nuances, but with great overall activity. And only 1-2 final exercises cover the full range of all voices and are sung in a full free tone.

Each rehearsal begins with vocal exercises, preparing the vocal apparatus there to work on the repertoire. The repertoire as a set of works performed by a particular choir forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in direct connection with the various forms and stages of the choir's work, whether it is a rehearsal or a creative concert, the beginning or peak of the collective's creative path. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, vocal and choral skills are developed, and the artistic and performing direction of the choir is formed. The growth of the collective's skill, the prospects for its development, everything related to performing tasks, that is, how to sing, depends on a skillfully selected repertoire.

The formation of the worldview of the performers, the expansion of their life experience occurs through the comprehension of the repertoire, therefore, the high ideological content of a work intended for choral performance is the first and fundamental

in the choice of repertoire. The repertoire of amateur groups is as varied in terms of the sources of its formation, genres, style, themes, artistic, as the very concept of "amateur art" is multifaceted and heterogeneous.

Both adult and children's academic choirs, even with competent and conscientious performance concert program, do not always rise to the feeling of that special state of mind, which should be the main goal of both performers and listeners. This state can be defined as “the life of the spirit. In this state, a person comprehends the soul of another person, lives someone else's life in real feelings. And if such a "life of the spirit" appears on the stage, then the "divine spark" carries what is called "education through art." But how can we evoke this true "life of the spirit" in the choristers on stage? After all, what is required of them is what is called reincarnation, a transition to a different psychological state, enhanced - on the verge of hallucinations! - the work of imagination and fantasy! However, not everyone's psyche is so malleable, and figurative thinking is so bright. There are many other obstacles to real stage creativity in amateur choir activity: physical fatigue after work or study, nervous overload, diet and rest that are in no way connected with concerts, insufficiently learned works, etc. In order to find the “life of the spirit” on stage, a person must to imagine and feel something that he has not yet encountered at all in his own life. And far from always he is able to correctly evaluate the result of his work. Only a conductor-teacher, leading to the goal, can by his assessment give an educating artistic taste, intellect, a moral attitude towards art and life. The teacher has no right to be satisfied with a fake! And let all choristers have different intellect, temperament, life experience, mood, condition, etc., even if it is very difficult to teach them to “live on stage”, however, there is an explanation for lack of spirituality in art, but there can be no justification.

III . Final part. Conclusions.

Choral singing is based on the correct vocal and technical culture of performance. Therefore, it is the work on singing skills that is the core around which all other elements of educational and choral work unfold. To instill in the members of the choir the right singing skills means to protect their voices from damage and ensure their normal development. The solution of this problem is quite possible if the leader of the choir has sufficient training in the field of vocal culture and pays serious attention to vocal work. At least two conclusions should be drawn from what has been said:

1) a conductor-choirmaster, in order to be also a conductor-artist, must have a special potential for education, erudition, artistic taste, pedagogical skills and creative temperament. Such a leader can set up many different people for common empathy, for creative upsurges of the spirit, enrich the imagination and fantasy of adults or children with new thoughts and feelings for them;

2) the spirituality of choral singing is often hindered by ignorance or ignorance of the general principles of performance vocal and choral music, observance of which serves as a technical support for artistry, contributes to the emergence of inspiration.

IV. List of used literature.

Zhivov, V.L. Choral performance: Theory, methodology, practice: A textbook for students. higher accounting institutions / V.L. Zhivov - M .: Vlados publishing house, 2003. - 272p.

Ivanchenko, G.V. Psychology of music perception / G. V. Ivanchenko - L. "Music"; 1988-264s.

Kazachkov, S. A. From lesson to concert / S. A. Kazachkov - Kazan: publishing house of Kazan University, 1990. - 343s.

Lukyanin V. M. Training and education of a young singer / V. M. Lukyanini - L .: No. Music "1977.

A powerful educational tool. - L .: Music, 1978.-143s.

Morozov V.P. The art of resonant singing / V.P.Morozov. - M.: "MGK, IP RAS", 2002. - 496 p.

Romanovsky N.V. Choral Dictionary / N.V. Romanovsky. – M.: 2000.

Repertoire as the basis of musical education and its features in an amateur choir: Collection of scientific works of the Department of Arts of the Belarusian State Pedagogical University / ed. T. V. Laevskoy. - Barnaul, 2003. - 198 p.

Pashchenko, A.P. Choral culture: aspects of study and development / A.P. Pashchenko. - K .: "Music. Ukraine”, 1989.- 136 p.

Popov, S.V. Organizational and methodological foundations of the work of an amateur choir / S.V. Popov - M .: "State Musical Publishing House", 1961. - 124 p.

Choir work. - M .: Profizdat, 1960, - 296 p.

Samarin, V.A. Choir studies / V.A. Samarin - M .: "Academia", 2000.-208 p.

Sokolov, V.G. Work with the choir / V.G. Sokolov - M .: "Music", 1983.-192 p.

Chesnokov P. G. Choir and its management: A manual for choral conductors / P. G. Chesnokov. - M .: publishing house Moscow, 1961

Shamina, L.V. Work with an amateur choir / L.V. Shamin - M .: "Music", 1983, - 174 p.

In the process of all-round development of the individual, art plays a crucial role. Observing the children who study at the Children's Music School and comparing them with ordinary students of a general education school, I came to the conclusion that the former are more developed in all respects. Thoughts about all this led to analyzing this situation and revealing what personal qualities a person acquires in the process of musical education. And how musical education affects the world of his feelings and his behavior.

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Municipal budgetary educational institution

Additional education for children

Children's Art School "Rainbow"

Tatarsky district of the Novosibirsk region

Article

"Musical and aesthetic education of junior schoolchildren by means of vocal and choral performance"

prepared

solo and choir teacher

Gracheva Anastasia Alexandrovna

Tatarsk

2012

Musical education -

This is not the education of a musician,

And above all, the upbringing of a person.

V.A. Sukhomlinsky

In the process of all-round development of the individual, art plays a crucial role. Observing the children who study at the Children's Music School and comparing them with ordinary students of a general education school, I came to the conclusion that the former are more developed in all respects. Thoughts about all this led to analyzing this situation and revealing what personal qualities a person acquires in the process of musical education. And how musical education affects the world of his feelings and his behavior.

Musical education is considered in musical pedagogy as an integral part of the moral education of the younger generation, the result of which is the formation of a common culture of the individual. In our country, musical education is considered not as a sphere accessible only to the elite - especially gifted children, but also as an integral part of the overall development of the entire younger generation. An outstanding Soviet teacher V.A. Sukhomlinsky called music "a powerful means of aesthetic education." “The ability to listen and understand music is one of the elementary signs of aesthetic culture, without which it is impossible to imagine a full-fledged education,” he wrote.

“What is lost in childhood is very difficult, almost impossible to catch up in adulthood,” warned V.A. Sukhomlinsky. It is extremely important that the impact of art begins as early as possible, in childhood. If brought up with early years the ability to deeply feel and understand art, then love for it then persists for life, affects the formation of aesthetic feelings and tastes of a person.

The purpose of this work is to reveal the importance of early musical education of children, children of primary school age through the definition of aesthetic, moral and musical goals of education.

Music education can be understood in a broader or narrower sense. In a broad sense, musical education is the formation of a person’s spiritual needs, his moral ideas,intelligence, the development of ideological and emotional perception and aesthetic evaluation of life phenomena. In this understanding -this is human education.

In a narrower sense, musical education is the development of the ability to perceive music. It is carried out in various forms musical activities, which aim to develop the musical abilities of a person, educate emotional responsiveness to music, understand and deeply experience its content. In this sense, musical education isit is the formation of human musical culture.

As already noted, art always operates with artistic images. The specific features of musical art is that it reflects life phenomena in musical images.

Music has a powerful emotional impact, it awakens good feelings in a person, makes him higher, cleaner, better, since in the vast majority, it suggests a positive character, elevated emotions. Music seeks to embody the ethical and aesthetic ideal, this is the peculiarity of its content, the features of its impact on a person.

Music is the strongest means of shaping the intellect, emotional culture, feelings, morality.

A decisive role in the purposeful formation of a person's culture is played by artistic activity, which is necessary not only for professionals, but for all people without exception, because it helps to form an active, creative attitude of a person to work, to life in general.

A decisive emphasis is placed on the emotional, creative perception of music, on enriching the musical ear and musical experience of children. The problem of a live, direct reaction to music is put forward as the primary task of education.And it is very important not to miss the moment and start getting to know her at an early age..

The formation of personality is a complex, multi-valued process, acting in the form of a physiological, mental and social development of a person, which is determined by internal and external, natural and social conditions.

A person lives in a society and cannot be free from the demands of this society. These requirements relate primarily to the moral, moral qualities of a person, his behavior.

An important form of introducing children to music is creative performing activity, which can be carried out in a variety of forms (playing musical instruments, participating in an orchestra, solo, ensemble and choral singing, dance). Of all types of active musical activity capable of covering the broad masses of children, it should be highlightedvocal performance.

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content to it; on the other hand, singing gives rise to the ability to experience moods, the state of mind of another person, which is reflected in songs.Choral singing is the most effective means education not only of aesthetic taste, but also of initiative, fantasy, creativity children, it the best way contributes to the development of musical abilities (singing voice, sense of rhythm, musical memory), the development of singing skills, contributes to the growth of interest in music, increases the emotional and vocal-choral culture. Choral singing helps children understand the role of the team in human activity, thus contributing to the formation of the worldview of students, has an organizing and disciplined effect on children, and fosters a sense of collectivism and friendship.

The value of the singing performing activities It is difficult to overestimate the personal development of the child. Singing not only develops aesthetic perception, aesthetic feelings, artistic and musical taste and the whole complex of musical and musical sensory abilities. Singing contributes to the formation of an aesthetic attitude to the surrounding reality, enrichment of the child's experiences, his mental development, as it reveals to him a whole world of ideas and feelings. It expands children's horizons, increases the amount of knowledge about the surrounding life, events, natural phenomena. The importance of singing in the development of the child's speech is also great: his vocabulary is enriched, the articulatory apparatus is improved, and children's speech improves.

Singing classes help develop social, personal and communicative qualities, help organize and unite the children's team. In the process of singing, such important personality traits as will, organization, endurance are brought up. The influence of singing on moral development is expressed, on the one hand, in the fact that a certain content and attitude to it are conveyed in songs, on the other hand, singing gives rise to the ability to experience the mood, state of mind of another person.

Singing is considered as a means of strengthening the body of schoolchildren. It forms proper breathing, strengthens the lungs and vocal apparatus, improves blood circulation. According to doctors, singing is the best form breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states.

The correct selection of song material (including folk songs, works of classics, Soviet and foreign, as well as contemporary composers) contributes to the education of children's feelings of patriotism, internationalism, broadens their horizons.

The art of singing requires mastery of vocal and choral skills. But work on vocal and choral skills is not purely technical and should be connected with work on the artistic image of the work. Vocal and choral technique is improved as a result of systematic, hard work over song material of different form and content.

Choral singing has an exceptional influence on the formation of a child's personality. This is largely helped by the fact that in choral art music and words are united. This fact enhances the impact on the child's psyche, on his artistic development, imagination and sensitivity. The very process of mastering a choral work is always associated with painstaking work to overcome artistic, performing or technical difficulties, and therefore instills industriousness in children, makes them subordinate their personal interests to the interests of the collective. It is choral singing, as a mass art, that instills in children a feeling of sincere love for their Motherland and people. This art form has a special advantage.

Choral singing is the most accessible type of musical performance. The voice apparatus "instrument" is being improved along with the growth of a person, his development. The education of singing skills is at the same time the education of human feelings and emotions.

Choral music is closely connected with the word, which creates the basis for a more specific understanding of the content of musical works. Choral music is always bright programmatic. Its content is revealed through the word, through the poetic text and musical intonation, melody. Therefore, the ideological and emotional essence of the content of choral music doubles, as it were. Choral singing provides the possibility of initial musical impressions, contributes to the mastery of "musical speech", which helps to more accurately and deeply reveal musical abilities.

So, we found out that the aesthetic, moral and musical goals education is primarily developmental in nature. In the process of musical education, optimal conditions are created for the comprehensive development of children, and this happens only through activity.

Vocal performance has an impact on the formation of aesthetic taste, contributes to the formation of character, norms of behavior. It enriches the inner world of a person with vivid experiences. Music lessons are nothing more than a cognitive multifaceted process that develops the artistic taste of children, fosters a love for musical art - forms the moral qualities of a person and an aesthetic attitude to the environment.

Based on personal experience and analysis of the works of famous teachers-musicians (D.D. Kabalevsky, V.N. Shatskaya, N.L. Grodzenskaya, B. Asafiev), having studied the literature - Zh. V. Chalova, V.V. Emelyanova, A. E. Varlamova, we can conclude that music adorns our life, makes it more interesting, and also plays an important role in common work for raising our children. Musical development has an irreplaceable effect on general development: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and life.

In our country, many organizations are engaged in the musical and aesthetic education of children, and all of them are united by one goal - the education of a harmoniously developed, spiritually rich person.

List of used literature

1. Kotlyarevsky I.A., Polyansky Yu.A. Actual problems of musical education. - Kyiv. "Musical Ukraine", 1986.
2. Sukhomlinsky V.A. I give my heart to children. - Kyiv. "Radyanska school", 1973.
3. Radynova O.P. Musical development of children. - M.: "VLADOS", 1997.
4. Teplov B.M. Psychology of musical abilities. - M.: "Nauka", 2003.
5. Obukhova L.F. Age-related psychology. - M .: "Pedagogical Society of Russia", 2004.
6. Zolotareva A.V. Additional education for children. - Yaroslavl. "Academy of Development", 2004.
7. Kryukova V.V. Music pedagogy. - Rostov n / a .: "Phoenix", 2002.
8. Petrushin V.I. Musical psychology. - M.: "VLADOS", 1997.

The manual can be used as the main material for the course "Theory of Choral Performance", as well as additional - for the course "Choral Studies" in the classroom in the classes of choral conducting, vocals, reading choral scores. It is addressed to students and teachers of musical and pedagogical universities, colleges, teachers of music and general education schools, practicing choirmasters and a wide range of choral singing lovers. 2nd edition, corrected and enlarged.

A series: Textbook for universities (bachelor's degree)

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by the LitRes company.

The specifics of choral performance

choral art is one of the varieties of musical art, and choral performance is one of the varieties of musical performance. It is based on the laws inherent in any musical performing art as a creative process of recreating a musical work by performing means. Just like other types of musical performance, choral performance is a secondary, relatively independent artistic and creative activity, creative side which manifests itself in the form of artistic interpretation and materialization in the live sound of the composer's intention; as well as in other types and genres of musical performance in the choral genre, performers influence the listener with the help of sound, using changes in its temporal and spatial qualities: tempo-rhythmic, agogic, intonational, timbre, dynamic, articulatory deviations, various methods of sound extraction.

However choral performance has its own specific features. Let us name only some of them that are directly related to the mechanism of interpretation: a) human factor (choir is a living organism, consisting of thinking and feeling people); b) synthetic character (connection with the word); c) the specifics of the instrument (human voice); G) collective character ; e) the presence of a conductor , which is a creative intermediary between the author (authors) and singers who directly influence the listeners.

Each of these features deserves special consideration.

Human factor

In most choral literature, the specificity of the choir is associated primarily with its vocal nature and, accordingly, with the qualities and skills necessary for vocal activity. It remains without due attention to the fact that the choir is not made up of voices, but the owners of voices - living, thinking and feeling people entering into certain relationships both with each other and with the conductor in the process of creative activity.

Meanwhile, this is a very important point that determines the specifics of both the choral “instrument” and choral performance, because the quality of the choir depends not only on the sound of choral voices, but also on how the singers relate to each other and to their leader, how similar their aesthetic needs, interests, motives, aspirations; on what is the creative, moral, aesthetic atmosphere in the team, how common is their understanding of artistic requirements. After all, it is known that if the choir is monolithic, if it is driven by a common desire to fulfill the requirements of the conductor as best as possible, it is capable of performing miracles. That's why one of the main tasks facing the head of the choir is to coordinate the individual artistic aspirations of the members of the choir and direct their creative efforts in a single direction– in other words, establishing creative and business contacts with singers. Some succeed almost immediately, for others this component of the conductor's activity remains a difficult art, acquired along with experience. Many conductors, precisely because of the lack of contact with the collective, lose faith in their strength; the feeling of "inferiority complex" makes them give up the profession of conductor.

The object of the conductor's influence is a person, his mind, soul and heart, and this brings the conductor's activity closer to pedagogical and educational. Moreover, the educational side of the conductor, director, pedagogical creativity has much in common in the emotional and communicative sphere, associated with the direct interaction of the teacher and students. The conductor and director, as well as the teacher-educator, actually develop the dramaturgy of the pedagogical action, determine the zones of its development, create a vision of a particular plot, act as active "translators" of educational ideas and attitudes. These very different creative processes have in common, first of all, the stage of communication, interaction, which is the most important driving force their creativity, communicative in its content.

Another significant sign of the commonality of the conductor, director and pedagogical processes is the well-known similarity of the goal: the impact of a person on a person and the call of experience in partners. The third indicator of their uniformity is the commonality of the instrument of influence, which in all these cases is the psychophysical nature of the influencing subject (conductor, director, teacher).

Thus we observe community of conducting, directing and teaching activitiesby purpose(the impact of a person on a person and the challenge of experiencing), content(communicative creative processes), by instrument(psychophysical nature of a conductor, director, teacher).

Contact, relationships, relationships with other people in any activity is a very complex phenomenon, especially in the activity of a conductor. Among the factors contributing to the establishment of contact, one can name the creative image of the leader and his musical and human authority, natural talent and artistry, practical experience and, of course, pedagogical abilities.

Modern pedagogical science identifies the following as the main pedagogical abilities:

1) didactic abilities, which make it possible to develop and apply methods for transferring knowledge and skills to students, taking into account the general patterns of learning;

2) constructive abilities that help shape the student's personality, anticipate the results of pedagogical work, and predict the student's behavior in various situations;

3) perceptual abilities, that is, the ability to perceive and understand the psychology of the student and his psychological state;

4) expressive abilities, that is, the ability to externally express one's thoughts, knowledge, beliefs and feelings through speech, facial expressions and pantomimes;

5) communication skills that help establish the right relationship with the audience (pedagogical tact, taking into account individual and age characteristics);

6) organizational skills.

If we consider the listed abilities from the point of view of musical and performing activity, then it can be noted that the first two relate more to its analytical aspect, while the last four relate to live practice. So, perceptual abilities primarily imply observation, the ability to "read faces", determine the mental state of a partner by external signs and respond accordingly, correcting one's behavior and methods of influence. Expressive - perseverance in achieving the goal, the ability to emotionally influence the listener, referring not only to his mind, but also to his feelings; the ability to awaken associations, activate the work of imagination and fantasy. Communicative - the ability to create an atmosphere of communication that promotes mutual understanding through the use of speech and non-verbal sign means (gesture, facial expressions, intonation). Organizational - the ability to organize educational work, create favorable psychological and pedagogical conditions for improving the performing skills of the choir as a whole and each of its members individually, developing the creative potential of singers and their personal value qualities.

It should be noted that personality traits that characterize one or another ability can be components of other abilities as well. For example, will, perseverance in achieving a goal are part of organizational, communicative, and expressive abilities. Understanding the psychological state of the addressee of communication is an indispensable condition for both perceptual and communicative abilities. The ability to express one's feelings and self-control are both communicative and expressive abilities. In addition, all of the listed abilities imply the presence suggestive(from lat. suggestio - suggestion) and adaptive(from lat. adaptatio - adaptation) personal qualities, which in the process of communication largely determine the degree of manifestation of other qualities, correcting them situationally.

Let us dwell in more detail on the problem of communication, without which the process is impossible. management collective in the broadest and fullest sense of the word.

Communication(from Latin communicare - to confer with someone) - a category denoting communication. Most often, this term is used in a broad sense as communication, communication. In the definition of the concept communication as a necessary condition for the collective activity of a person, dictionary entries are singled out as meaning-forming meanings: relationship, interaction, relationship. For example, in the Philosophical Dictionary we read:

“Communication is a way of mutual relations, a way of being a person in relationships with other people.” In the process of communication, information is exchanged, socio-psychological contacts and conflicts arise, cognitive activity is realized, the ability to assess the state of the addressee and predict his behavior in certain circumstances is improved.

Ways of communication can be very diverse, since they arise and are adjusted depending on the content, conditions, tasks, attitudes and motives of the activity and communicative activity in particular. Thus, in the conductor's profession, a managerial profession that implies purposeful impact on other people, comes to the fore pedagogical communication. Among the definitions of this term, first introduced by A. A. Leontiev a little over twenty years ago, the most successful, in our opinion, belongs to Z. S. Smelkova: "Pedagogical communication is the interaction of a teacher and students, providing motivation, effectiveness, creativity and educational effect of joint communication activities".

This formulation, without any adjustments, can also be applied to the work of a conductor and choirmaster, which is unthinkable without constant pedagogical communication between the leader and the entire choir and with each singer individually. The creative atmosphere of the rehearsal, which implies mutual understanding, goodwill, interest, enthusiasm, satisfaction, largely depends on the level of such communication.

The means of pedagogical communication between the conductor and the choir areperformance show(voice or instrument) speech, as well as non-verbal means of communication - appearance, gestures, facial expressions, intonation.

Quite a lot has been said about the role and significance of a bright performing demonstration by the conductor of his interpretation of the composition, but clearly not enough about speech and other means of communication. Meanwhile speech is the most important means of obtaining and transmitting information, a means of communication. With its help, the leader explains to the team his artistic and aesthetic criteria, emotionally infects the choir with his “vision” of the work, encourages and criticizes, organizes the rehearsal process, maintains discipline, and regulates the working atmosphere. Such a variety of functions indicates that the conductor uses all three communicative aspects of speech in his work: informational, expressive And volitional.

The informative side is manifested in the transfer of knowledge and involves the ability to find words that accurately embody the thought. The expressive side helps to convey the feelings and attitude of the speaker to the subject of the message. Finally, volition is aimed at subordinating the listener's actions to the speaker's intent.

In the course of work between the conductor and the singers, a style of verbal communication develops, which determines the effectiveness of communication. Depending on the age of the participants, their musical literacy, cultural level, this style, of course, changes somewhat. Nevertheless, there are certain rules of verbal communication, the knowledge of which will make it easier for novice leaders to achieve contact with the choir.

First of all, it must be remembered that the psychological nature of perception corresponds to speech that is clear, short enough, figurative, emotional, but not necessarily sterile correct. The conductor must express his thoughts concisely, almost aphoristically, using few but precise words. The verbosity of a conductor usually evokes a negative reaction from the choir, especially if his statements are not backed up by clear and convincing vocal and conductor demonstrations, with the help of which the desired result can be achieved faster and more efficiently. Deliberate “beautifulness”, “coquetry” with a word is contraindicated for the conductor’s language, because high words, used too often, lose their true meaning. For the same reason, a conductor should not speak for a long time in an elevated or irritated tone. In general, it should be remembered that the right tone of communication is half the success in achieving contact with the audience.

Of great importance for the activation of interest and the development of communication links is imagery of speech. Appeal to various analogies, parallels and associations, the use of comparisons, metaphors affects the imagination of the performers, making their perception sharper. A joke, humor is also a type of figurative speech. The ability of a leader to be witty and moderately cheerful is important for establishing a friendly atmosphere and relieving tension. The artist of the Republican Russian Choir I. Kornilova recalls such a feature of the rehearsal work of A. A. Yurlov: “In the midst of the rehearsal, when there was some fatigue of the team, Alexander Alexandrovich knew how to relieve tension very vividly, I would say, artistically and unexpectedly fun. For example, he could very figuratively define our manner or intonation in performance with the following words: “You know, when I listen to you, I get this image: there is a huge booth, a huge muzzle crawls out of it and suddenly it comes from there: woof!!! then again – woof!!!” It was necessary to see with what expressive facial expressions he did it. funny joke remembered instantly - next time you won’t sing like that. In general, the combination of intense studies in the chapel with “fun breaks” (but in moderation) relieved the feeling of fatigue, and creative productivity was enormous.”

A very important point of speech expressiveness is finding the right intonation. Intonation (from Latin intonatre - to speak loudly) means the tone of speech, its rhythmic and melodic characteristics, alternating rises and falls of the voice. It has always been recognized as the most important sign of oral speech, a means of clarifying the communicative meaning and emotionally expressive shades of any word or statement. And since the perception of intonation is usually ahead of the perception of meaning, incorrect intonation can lead to impaired communication. Depending on the intonation, the same remark can become offensive and affectionate, encouraging and destroying. By speech intonation, one can determine not only what the conductor wants, but also whether he is interested or indifferent, satisfied or upset, sincere or false. The intonation with which the phrase is pronounced can be good-natured or vicious, rude or soft, confused or confident, lethargic or energetic. It concretizes the true meaning of any statement, revealing the goal setting of the speaker, his attitude to the subject of speech and to the interlocutor. In other words, apart from communicative(establishing and maintaining contact between speakers), intonation performs and meaningful function. Associated with the semantic culminating, or vertex-forming, function of intonation, the essence of which is to highlight the most important words and phrases in the flow of speech. The methods of such acoustic emphasis in oral speech are diverse: changing the intensity (strength) of the stressed vowel in the highlighted word or the main word in the phrase, slowing down the tempo, increasing the tone, increasing the volume. Finally, intonation performs synthesizing(shaping) function: with its help, words are combined into phrases and sentences. Each sentence corresponds to a single tonal contour, a single melodic curve.

Along with intonation, expressiveness and intelligibility of speech are facilitated by its pace, clarity of articulation, thoughtful use of logical and psychological pauses.

In establishing contact with the choir, an important role is played by non-verbal means of communication , characterizing the appearance and behavior of the conductor - gesture, facial expressions, demeanor, etc. It is often possible to determine his true state from them. Thus, impetuous movements, lively eyes express joy; lowered shoulders, "cloudy" face, dull look - sadness; sharp, "stormy", decisive gestures, burning eyes, a distorted face - anger; stingy movements, a fixed look, pursed lips - stubbornness. And since for a conductor posture, gesture, movement, facial expressions are not only signs of revealing his creative intentions, but also means impact on the performing team, they should be the object of careful study.

Like the acting profession, facial expressions in the professional activities of a teacher, choirmaster, conductor perform a special function - it serves as an indicator of emotional manifestations, a subtle regulatory “tool” for communication. For a musician-teacher, the possession of this “instrument” is especially important, since many artistic and communicative tasks involve non-verbal solutions. Often at a music lesson, at a choir rehearsal, the gaze of a teacher or choirmaster is much more powerful than a long conversation. Therefore, the conductor, as well as the actor, the speaker, the mobility of the face and the expressiveness of the gesture must be brought up.

K. S. Stanislavsky recommended exercises for novice actors in which the look, facial expressions, and gestures do not complement, but replace the verbal text. He attached particular importance to the ability to express feelings with the help of a glance, arguing that often only the eyes are able to convey what is not said in words. This type of communication he called "radiation". Deciphering this term, the director wrote: “This is invisible communication through radiation and radiation, which, like an undercurrent, constantly moves under words and in silence, forms that invisible connection between objects that creates an internal link.” Stanislavsky also emphasized the need for an actor to determine his partner's state by the expression of his partner's eyes in order to start communicating with him on stage with the right "note".

It seems that for a teacher, conductor, choirmaster, this skill is no less important.

External signs in which it manifests itself internal state human, have long been recorded and described. Let's name some of them.

Signs of concentration: the gaze is fixed, the muscles of the face are tense, the eyebrows are slightly shifted to the bridge of the nose. Signs of interest: an expressive attentive look, a sparkle in the eyes, the search for eye contact with a communication partner. Signs of surprise, doubt: raised eyebrows, a questioning look. Signs of disagreement: tension in facial expressions and posture, poorly restrained gestures of disapproval (negative shaking of the head, disappointment, hostility in the eyes, sometimes defiantly ironic smile). Signs of fatigue: relaxed posture, immobility of the face, lowered eyes. Signs of joy: a smile, laughter, an open look, a relaxed, lively face, contraction of the lower circular part of the eye, which is sometimes called the “muscle of friendliness” ...

In most cases, the leader, who knows each of the choir members well, sees and "reads" non-verbal signs expressing them. emotional condition, the level of interest and concentration, the attitude to the piece being studied and to the work of the conductor. However, quite often young choirmasters do not pay due attention to the reaction of the group, which leads to disengagement from it and, as an inevitable consequence, to the loss of authority. To avoid this, we can recommend that everyone who claims to be in contact with the audience treat it more attentively and respectfully, assessing both the level of perception of the material being presented and the general atmosphere of the rehearsal. "Decoding" of mimic signs, which indicate the manifestations of the spiritual movements of the choir members, will help the leader to adjust the process and methods of communication with the team and choose the best option for influencing it.

Considering the “emotional speech” of a conductor from the point of view of pedagogical communication with performers and establishing working contact with them, it should be noted that for singers the most significant signs of his appearance and behavior are those that speak of professional skill, interest, enthusiasm, inspiration, will, charm, tact, sincerity, objectivity and justice, benevolence, conviction in the performing plan and methods of its implementation, pedagogical and organizational skills, the ability to defend the interests of the team and its individual members. Unfortunately, even if all these qualities are present, the choir members are far from always able to discern and appreciate them, which can lead to a skeptical, even sharply negative attitude towards the conductor, sometimes turning into aggressiveness. This happens because, having communication skills, the leader often does not own communication skills that ensure effective communication at all levels.

Characterizing this concept, social psychology singles out and distinguishes between two aspects of such skills: 1) the ability to use personal abilities to achieve a communicative goal (sometimes called self-presentation; 2) possession of communication and contact technology, both verbal and non-verbal. At the same time, it must be recognized that there are innate qualities that are difficult, and perhaps impossible, to acquire. This applies, for example, to the gift, which B. Walter defined as “ educational instinct", or to such a mysterious property of a person as charm.

When we talk about charm, about its secret, we involuntarily think about those who are more successful in contacts, who more easily attract the sympathy of others. Charm is an ambiguous concept. There is the charm of youth, the charm of spectacular appearance, the charm of humor and the charm of seriousness, the charm of femininity and masculine charm, the charm of wisdom and the charm of innocence. There is even a term faccination”, translated as “bewitchment”. Among the methods of facination, first of all, a special voice is singled out (rich in timbre, flexible in modulations); a special rhythm of speech (similar to a changeable musical rhythm - sometimes exciting, sometimes soothing); richness of speech intonations - either rising or falling; a variety of speech loudness - from sounds of great power to a whisper; a special look (it should be direct, radiant, if firm, then warm), a special smile, expressive facial expressions ... Maybe this to some extent explains the truly “magical” effect outstanding conductors to the team they manage? About this mysterious, but nevertheless objectively existing phenomenon, the French conductor Ch. Munsch wrote: “The strength of the conductor's influence will be limited if he cannot rely on the magical influence of his personality. Some just need to appear on the stage. Even if they did not have time to raise their hand to call the orchestra to attention, the atmosphere in the hall is already changing. The audience is excited by the very presence of the conductor, it electrifies the air.” This statement contains a very important prerequisite for the success of managerial and, in particular, conducting activities - self-confidence. And for this, a teacher, leader, conductor must not only “know his own worth”, but also know the general patterns and rules of human communication and master the technique of pedagogical influence, the technology of communication. Characteristic in this sense is the recognition of A. S. Makarenko: “I became a real master only when I learned to say “come here” with 15–20 shades, when I learned to give 20 nuances in the setting of the face, figure, voice. And then I was not afraid that someone would not come up or would not feel what was needed.

The mentioned communication techniques are not universal and necessarily effective. Some of them correspond to the universal nature of the choir participants, others - to age characteristics, others - to their individual temperament, psyche, cultural level, inclinations, views, tastes. Depending on this, some of them may be in demand and effective, while others may not. Nevertheless, a conductor needs to strive for self-improvement and development of the qualities necessary for pedagogical communication, influencing people. “I am convinced that in the future pedagogical universities will definitely teach voice production, and posture, and control over one’s body, and control over one’s face, and without such work I cannot imagine the work of an educator,” wrote Makarenko. “The pupil perceives your soul and your thoughts not because he knows what is happening in your soul, but because he sees you, listens to you.”

It should be noted that the effectiveness of the impact of any pedagogical and communicative techniques depends on the authority of the leader. If the leader is authoritative, enjoys respect, trust, and even better - the love of the choir members, he causes them a natural need to imitate (especially in the field of his musical and vocal-choral competence), to strive in creativity and life to act as he does, which contributes to the activation of interest in work and the creation of a favorable creative atmosphere. However, in the conductor's activity, gaining authority is a rather difficult matter. As in any musical specialty, this requires devotion to art, aspiration for the goal, and high professionalism. In addition, the conductor daily, hourly must confirm his right to lead people, his unconditional leadership and, most importantly, his ability to influence singers with a view to their moral, aesthetic and professional improvement. This complex and, oddly enough, non-musical ability, interacting, of course, with higher musical abilities, psychologist V. G. Razhnikov called "productive influence." Revealing the deep roots of such an impact, K. P. Kondrashin named, in addition to increased musical abilities, will, plastic abilities, administrative talent as the leading ones in the complex of conductor talent, adding that here administrative functions are closely related to pedagogical ones, as well as “politeness in circulation, circle of interests other than music, self-sacrifice in relation to art, accuracy in behavior (being late for a rehearsal is a shame for a leader!) and even elegance in clothes. The conductor must always keep this in mind. Otherwise, he will not be able to influence his team. It is not for nothing that they say that there are “educated orchestras”, so to speak, aristocratic, where each musician proudly bears the honor of belonging to his team, and those where it is considered valor to oppose oneself to the conductor, object to any of his remarks and demonstrate one’s disinterest in careful work. The above, without any amendments, can be attributed to the choral conductor, adding only that the most important condition for creating the authority of any leader is the unity of word and deed. Nothing damages a choirmaster's reputation as much as the gap between his declared maxims and real practice, the lack of internal honesty. What kind of authority can we talk about if the conductor does not inspire confidence?

Of course, the head of the choir is always a specific person with his own positive and negative qualities, with his own character, temperament, mindset, cultural development, intelligence, level of musical and special choirmaster training, figurative and associative thinking, artistry. Someone is more conducive to himself as a musician, someone - as a teacher, someone - as a person. An absolutely uniform “dosage” of the qualities necessary for conducting activity is hardly possible in each individual case. Nevertheless, every leader is obliged to strive for their constant development and improvement, because he is entrusted with his talent, his voices, his time by living people, and this is a huge responsibility.

Connection with the word

Unlike such arts as literature, painting or sculpture, which describe and depict a specific subject side of phenomena or events, music can only reveal their general character, expressing a particular emotional state. When it interacts with some non-musical means - a word, a picture, a specific visual image, its expressive possibilities are significantly expanded and enhanced.

Such a connection is especially clearly seen if the music is written on a poetic text. In this case, the performing musician and the listener have the opportunity to comprehend the content of the work not only through intonation, but also through the semantic meaning of the text. In addition, the combination of music and speech enhances its impact on listeners: the text makes the thoughts expressed in music more concrete and definite; she, in turn, enhances the impact of words by the figurative and emotional side.

The possibilities of reading and interpreting a literary text in music are extremely wide. Very often it is born together with music, sometimes music appears earlier, then the poet or composer has to subtext the melody. But in most cases, the music of the choral work is written on the finished text. When choosing a text, the composer is primarily interested in the idea, image, mood contained in it, content that would be close to him, would resonate in his soul. And starting to compose music, the composer seeks to express in his own way the main idea and content of the text. Nevertheless, even in this case the musical image is not always adequate to the poetic image; they act in synthesis, complementing each other.

A highly artistic poetic work, as a rule, has a figurative and semantic versatility of the text, and each composer has the right to read it in his own way, placing his semantic accents, highlighting certain aspects of the artistic image. Hence the possibility of different musical interpretations of the same poetic text. The composer can emphasize and deepen the dominant mood poetic work or sharpen the contrast, sometimes barely outlined in it, since the possibilities of music in revealing the emotional and psychological "subtext" are enormous. Following the subtext, the musical image can sometimes even contradict the external meaning of the words. In this case, the composer, using musical means, completes what is not directly stated, creates sound pictures that complement the poetic image.

A choral conductor must take into account the fact that the quality of music and the quality of a poetic source may not be equal. Many cases are known when even a bad text was accompanied by beautiful music and, on the contrary, when magnificent verses could not be adequately expressed in music. Therefore, understanding the value of the text and the degree of interpenetration of music and words is extremely important for the maximum realization of the expressive, emotional, dramatic possibilities inherent in them.

If in instrumental musical performance the path of creating and embodying an artistic image is usually presented as a chain: composer - performer - listener, then in vocal and choral performance it is more correct to designate this path as follows: poet - composer - performer - listener, because the performer here serves as an intermediary not only between composer and listener, but also between poet and listener. In this regard, the question may arise: who should the performer give preference to: the composer or the poet? Of course, the composer, since vocal and choral performance is a genre of musical art. And the interpreter of music must consider the literary text from the point of view of the composer. After analyzing which images, thoughts, ideas of the poet found the most vivid embodiment in music, the performer can conclude what attracts the composer in this poem, what he considers the main thing, what he sees as the essence of its content. The result of such a comparative analysis will be to establish the similarity or divergence of the poet's and composer's intentions and to find ways to eliminate such a divergence.

Significance of the poetic text for objective interpretation choral composition becomes even more understandable if we remember that the main, defining feature of the primary musical image is its ambiguity, which makes it possible to find many options for performing embodiment. Thanks to the interaction with the word, the boundaries of the variant plurality of content are significantly narrowed, and the content itself appears more definite.

The synthetic nature of choral music influences not only the content, form, structure of compositions, but also their performance intonation. The laws of musical form in the choral genre interact with the laws of poetic speech, which causes specific features of shaping. A more generalized or more detailed approach to a poetic text largely determines the nature of the vocal melody, the composer's choice of this or that structure, this or that meter and rhythm. That's why the conductor’s analysis of a poetic text should be two-sided, requiring an approach both from the side of figurative-semantic and constructive, since both of them to the strongest degree influence the nature of musical expressiveness and the form (in a broad and narrow sense) of a choral work. Such an approach, of course, requires the conductor to have certain knowledge in the field of poetic genres, forms and temporal organization of a poetic text.

First of all, you need to know that the rhythmic organization of the text in most cases is based on the tendency to preserve the same number of main stresses in verses, which subjugate other stresses, as well as unstressed syllables and words, creating original rhythmic and semantic groups. The rhythmic organization of speech accent verse is determined by the alternation of stressed and unstressed syllables, depending on the arrangement of which three types of it are distinguished: syllabic, tonic, and syllabic-tonic.

Syllabic the system of versification was used by Russian poets-virsheviks of the 18th century. They developed more than a dozen sizes, which, according to the number of syllables in a line, were called fifteen-syllable, fourteen-syllable, thirteen-syllable, etc. The main feature of syllabic versification is the preservation of the same number of syllables in verses, which in most cases are united by paired rhyme and more or less similar arrangement of stresses inside lines.

IN tonic versification there is no equisyllabism inherent in syllabic versification. Stress within lines can vary due to the different number of unstressed syllables. This type of verse is found in epics, lamentations and some other folklore genres, as well as in the works of Mayakovsky, Blok, Aseev and other poets.

The greatest distribution in Russian poetry of the XIX-XX centuries. received syllabic-tonic versification, which takes into account both the number of syllables and the number of stresses and their location. Since the stresses here are repeated regularly, the repeated combination of the stressed and one or more unstressed syllables forms the smallest unit of articulation - the foot, characteristic of one or another size.

There are five main sizes. According to the number of syllables that make up the foot, they are called two-syllable and three-syllable. Iambic - two-syllable size: -, trochee - two-syllable size: -, dactyl - three-syllable size: -, amphibrach - three-syllable size: -, anapaest - three-syllable size: -.

Depending on the number of feet included in a verse, it is called two-foot, three-foot, four-foot, five-foot, etc. (iambic four-foot, six-foot trochee).

To determine the size of the poem, you need to trace the order of alternation of stressed and unstressed syllables over several lines. Only in this case, the characteristic signs of size appear quite clearly.

The next unit of division after the foot is a line (verse) that divides poetic speech into segments that, regardless of syntax, have a certain intonational unity. Therefore, at the end of the verse, an intonation cadenza necessarily occurs, and each verse is separated from the other by a caesura.

The combination of two or more poetic lines, united by a system of rhymes, forms the largest unit of division of poetic speech - a stanza.

Thus, three structural-temporal units of the poem are constantly increasing in scale: foot, verse (line), stanza.

As follows from what has been said, poetic speech, like music, has a certain metric-rhythmic organization, being divided into comparable segments. In addition, the syllabo-tonic system, with its uniform periodic alternation of homogeneous feet, is somewhat similar to a regular meter in music. Finally, such units of division of music as "phrase", "sentence" are clearly borrowed from the structure of speech. All this indicates the presence of essential prerequisites for the interaction of musical meter and syntax with the structure of the text, the connections of the temporal organization of poetic speech and music.

It is natural that the conductor's close attention to the size of the verse, to the number of stressed and unstressed syllables and their location can provide him with significant assistance in the meter-rhythmic organization of the musical text and phrasing. At the same time, the conductor must take into account that the real verbal stresses that arise during a live performance reading of a poem do not always correspond to any metrically (i.e., conditionally) stressed syllable of the foot. Superimposed on the metric scheme, as on a canvas, but not completely coinciding with it, they often form their own rhythmic pattern. Such rhythmic interruptions, without destroying the general foot system of the verse, without violating the measured chanting, give the verse liveliness and flexibility, which are especially important when reciting and perceiving it by ear. This moment is very important for the performers, since the vocalization of the poem, its musical reading by the composer (and even more so by the performer) is somewhat similar to the art of recitation. Turning a poem into musical speech, the composer in a certain way intones it, taking into account both the tempo of his "pronunciation", and semantic accents, and caesuras, and the general metric scheme of the verse, and especially its internal rhythmic content.

The simplest rules for the vocalization of poetic speech provide for the coincidence of stressed syllables with strong beats of the measure, and unstressed syllables with weak ones. The elementary method of vocalization of classical verse implies the exact correspondence of the musical meter to the poetic one: the choice of two-part meters for iambic and trochaic, and three-part ones for dactyl, amphibrach and anapaest. The duration of a syllable is equated to a certain musical duration - a quarter or an eighth; when subtexting, the coincidence of accented syllables with metrical musical accents is observed. However, such a solution comes down to only the simplest chanting of a verse and, when repeated for a long time, gives the impression of monotony and monotony (naturally, such a technique has the right to exist if it is dictated by a certain artistic task). Usually, even if the musical and poetic meter coincide, composers try to avoid the uniformity of the rhythmic pattern. Most often, variety is introduced by means of musical rhythm: an increase in the duration of individual syllables compared to the unit of duration chosen as the norm, chanting of syllables, etc. If a characteristic rhythmic formula (rhythmic grain) is taken as the basis for the development of music, a phenomenon arises, usually called "counter musical rhythm" (the term of E. A. Ruchyevskaya), is one of the most important factors musical communication. All these means, subordinated to certain musical-expressive tasks, protect against "scanning" the metrical scheme of the verse.

In poetic and prose speech, in addition to verbal stresses, there are also phrasal stresses that highlight the most important word of the semantic-syntactic group. Each sufficiently extensive speech utterance (sentence) is divided into several mutually subordinate phrasal groups, united by stresses of different strength. By placing a word in a metrically stressed position, the composer can emphasize its meaning by means of musical meter (as well as rhythm and pitch). In addition, emphasizing semantic accents with the help of phrasal (logical) stresses can smooth out and make imperceptible the “irregularities” of recitation - the mismatch of stressed syllables with strong ones, unstressed ones with weak beats of the measure.

Depending on their meaningful and artistic and expressive function, punctuation marks are displayed by the composer in music with the help of caesuras (rhythmic stops, pauses, backlashes). The nature of the caesuras in vocal speech, their coincidence or non-coincidence with one or another type of caesuras in verse is of great expressive significance.

In relation to the structure of the verse, musical caesuras are divided into three types:

1) rhyming, or verse, - that is, corresponding to the rhyme and the end of each line;

2) syntactic- corresponding to syntactic segments separated by punctuation marks;

3) asyntactic- not connected either with the end of the verse or with syntactic segments and are determined mainly by musical and expressive tasks.

The conductor must take all this into account, because his awareness of the logical-grammatical, formative and artistic-expressive functions of punctuation will have a beneficial effect on the formation of an objective interpretation of the composition.

Of course, it is desirable that the conductor also take into account other means of poetic expressiveness: various types of alliteration (repetitions of homogeneous vowels), onomatopoeia, the predominance of certain sounds and sound combinations - all that gives the poem a certain timbre coloring, as if instrumentation. The result of such instrumentation is various sound-visual characteristics (rustling, whistling, rumble) that affect the figurative-emotional structure of the composition. Naturally, taking into account and reflecting these characteristics in a musical performance significantly affects the timbre and character of the sound of the choir.

So, the synthetic nature of choral performance makes it necessary for the conductor to consider the poetic text and music in their unity. At the same time, the interaction of music and text should be assessed in terms of the correspondence between the form and structure of the poem and music (compositional level), the interaction of musical and poetic means of expression (artistic and expressive level), and the general correspondence of poetic themes and images to musical ones.

Tool Specifics

Unlike the musician-instrumentalist, the instrument of the choral performer is the singing voice. It is clear, therefore, that choral performance depends both on the quality of the singing voices that make up the choir, and on the ability of each member of the choir to control his voice.

If violins or flutes, trombones or double basses, even with a difference in the quality of each instrument, still have much in common in the nature of sound and timbre, then the singing voices of even one group (for example, soprano), as a rule, differ significantly from each other in timbre, and strength and range. And when they come together, the choirmaster needs to make a lot of effort to make a smooth, unified, single-sounding choir part out of many individuals, sometimes not “joining” with each other in any way either in strength, or in timbre, or in singing style.

Singing voice is an extremely complex, multifaceted, mysterious and controversial concept. On the one hand, it is the most perfect and flexible performing instrument, since it is directly connected with the performer, with his thoughts, feelings and emotions, being both a means and an instrument of communication, communication, and influence. In addition, this is the only instrument that can significantly change the sound quality and timbre characteristics depending on the genre, style, figurative and emotional sphere of a musical work.

On the other hand, like any musical instrument, the singing voice has a number of properties, the degree of expression and development of which tells us about the vocal skill of the singer. So, they distinguish between staged singing voices (professional singing) and unstaged, everyday ones; "open" and "covered", mobile and "heavy". In addition, each singing voice is characterized by height, range, strength, timbre, vibrato severity and some other features that are formed and improved only under the condition of long, complex and necessarily competent pedagogical work. The last point should be especially noted, since the main difficulty in working with the voice is that the singing process is controlled and controlled solely with the help of a qualitative assessment of the sound. The singer cannot pick up his instrument, examine its structure, follow his work with his eyes. To give the larynx the desired, most convenient and advantageous position, he can only intuitively. The method of extracting sound - breathing - is also a complex process that cannot be observed. The methods of raising and lowering the sound are also inaccessible to observation, since they are performed by the vocal cords hidden in the larynx, the functions of which are purely reflex. Finally, the singer has to accompany his performance with the pronunciation of the words, which is an obligatory and difficult process for him.

All these features explain why the main method of vocal pedagogy has always been and remains the method of self-observation, qualitative assessment of the sound and transfer to the student of his own (subjective) pedagogical feelings, most often based on intuition. Therefore, one of the main factors in the correct organization of the singing process is the development of vocal zone hearing, which reacts subtly to deviations from the desired tone and captures the rich range of colors of the human voice. It is no coincidence that in vocal work, many pedagogical techniques are based on the purely physiological sensations of the singers and on their auditory representations, for which all kinds of figurative comparisons, spatial associations, etc. are used.

It must be admitted that the difference in the individualities of singers, the variety of vocal pedagogical techniques, the frequent discrepancy between our own feelings and the feelings of another person sometimes turn out to be a significant obstacle in teaching vocal art.

Nevertheless, vocal practice and the centuries-old history of musical performance have developed certain criteria for mastering the voice. The well-known Russian vocal teacher I.P. Pryanishnikov formulated these criteria very fully and almost exhaustively: to master the voice “means to be able to control the breath, to give a sound softly and cleanly, without any extraneous non-musical impurities that harm its quality, to own all levels of strength and timbre, in various ways of linking sounds, to possess vocalization to the greatest extent possible, and, finally, to have good diction, that is, the correct and distinct pronunciation of the text.

All this, combined with an impressionable nature, with a musical sense capable of understanding and feeling any kind of music, as well as with a versatile general and musical development, forms a first-class artist.

The above criteria, formulated mainly in relation to individual vocal training, retain their significance for the training of a choral singer - after all, choral singing is also based on the vocal and technical culture of performance. The only difference is that the choral conductor deals not only with the individual singer, but also with the collective sonority of the choral parts and the entire choir as a whole. It is the work on singing skills that is the core around which the rest of the elements of educational and choral work unfold. That's why the choirmaster must know and feel the singing process very well, own his own voice, be in singing form, constantly improve his vocal skills to be ready at any moment to show this or that technique, stroke, nuance. If you want to teach others to sing, you yourself must be a good singer and vocal specialist. Only then will you have authority as a choirmaster – a truth many choir conductors need to be well aware of.

At the same time, it would be wrong to consider collective sonority only as a simple sum of many terms, and choral vocals as the vocal training of many singers at once. Of course, collective sonority is by no means the result of a simple summation of a number of individual sonorities. This is a completely new quality, characterized by a new timbre, different density and saturation, different volume, different dynamic and colorful possibilities. Naturally, the criteria for collective sonority differ significantly from the ideal idea of ​​the sound of an individual voice. Much of what is good in solo singing is completely unacceptable in a collective ensemble performance. Therefore, the pedagogical tasks of the leader of the choir, despite the similarity in many positions with the tasks of the vocal teacher, have their own characteristics, determined primarily by the collective nature of the choral performance.

Collective character

Collective basis, the collective principle of choral singing permeates all aspects of the educational and pedagogical process of working with the choir and concert choral performance. Here success depends on each individual and on the team as a whole. It is in the relationship between the singer and the group, as an element of the whole, that the essence of ensemble performance lies. To teach everyone to sing individually and at the same time to teach him to sing in an ensemble - such is the dual task of vocal and choral training. The higher the vocal and technical equipment, the general and musical culture, the artistic taste of each member of the choir, the more opportunities for achieving high artistic results open up for the choir as a whole. Only a vocally and musically developed member of the collective will be malleable, flexible, emotionally responsive to the artistic and performing requirements of the conductor.

A choir group is a complex concept, because it consists of different people, individually unique, different upbringing, different culture, different character and temperament, sometimes of different ages, not to mention different vocal abilities and musical abilities. The general definitions of "healthy team", "strong team", "capable team" do not yet mean that each of its members is morally healthy, strong and capable. The team is not an administrative, organizational concept. It is not created by order - it develops gradually, sometimes over years. A collective cannot arise if its composition is constantly changing. But even for years, the composition that has not been updated leads to the fact that the team turns into a closed group, and then it is doomed to degeneration.

It is clear that a creative team can live and create only if all its members are united by common goals and objectives. This does not mean that every choral singer cannot have personal interests. But personal interest, personal interest in art should not be opposed to success, the interest of the whole team. In principle, choral performance differs from solo performance in the same way that the performance of an instrumental soloist differs from performance in an ensemble. This difference lies primarily in the fact that both the general plan and all the details of the interpretation are the fruit of reflection and creative imagination of not one, but several performers, and they are realized through their joint efforts. Moreover, the knowledge of the party does not yet make the choral singer a partner. He becomes such only in the process of joint work with other members of the ensemble. And although the ensemble performance is based on the equality of its participants, the creative atmosphere of ensemble music-making arises when the musicians have some special qualities.

Trying to define these characteristic, specifically ensemble performing qualities, let's compare a talented storyteller with a talented interlocutor. For the first, the art of speaking will be the main thing, for the second it is no less important the art of listening. It is the art of listening to a partner, the ability to subordinate one’s performing “I” with the artistic individuality of another that distinguishes, first of all, an ensemble player from a soloist.. When implementing a collectively created interpretation, the concept of “performing creative experience” is transformed into a related, but by no means identical concept of “creative empathy of performers”. Natural and vivid empathy arises only as a result of continuous and comprehensive contact of partners, their flexible interaction and communication in the process of performance.

The principle of collectivity has an impact both on the interpretation as a whole and on each of the performing expressive means used in choral practice.

Take, for example, the area of ​​dynamics. Each member of any choral part, due to the specific conditions of collective work, is somehow limited in revealing his vocal abilities to the full extent: he must subordinate the sonority of his voice to the sonority of the choral part and the general sound of the choir. Or, for example, the formation of vowels, which all participants in the choral part must be formed in the same timbre. In order to achieve this, each singer in the choral part is forced to some extent give up his individual manner of forming vowels and, in accordance with the instructions of the conductor, find and master those methods of rounding and covering them, darkening and brightening, which will ensure maximum commonality and unity of the ensemble. .

The collective principle is very clearly manifested in such an important ensemble quality as the synchronicity of sound, which is understood as a coincidence with the utmost accuracy. the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of a common understanding and feeling by the partners of the tempo and rhythmic pulse of the performance. A slight change in tempo or a slight deviation from the rhythm, almost imperceptible in a solo performance, when singing together can sharply break the synchronism if one of the singers, performing this nuance, is ahead or behind the partners. It happens that, feeling uncomfortable and wanting to keep the synchronicity in the part, the singers follow the leader, who does not have a sufficiently developed sense of tempo and rhythm. In this case, the synchronicity of the sounding of the part will inevitably come into conflict with the tempo and rhythm of other parts, and the tempo and rhythmic ensemble of the entire choir will be disturbed. It must be said that the ability to keep the set tempo and, if necessary, easily switch to a new one, overcoming the inertia that has arisen, “tempo memory”, which is needed when returning after a series of deviations or changes to the original tempo, “tempo eye” to maintain proportions when the tempo changes - all this qualities that, alas, not all musicians-performers, and even more so choral singers, possess. However, without these qualities it is impossible to become a real ensemble player.

Equally important is comprehensive development the participants of the ensemble have the stability and flexibility of individual rhythm, the sensitivity of "rhythmic hearing", necessary for solving the rhythmic problems of collective performance. The principle of collectivity makes its own adjustments to almost all performing skills and elements of musical and expressive technique. There is no need to prove that a competent musical performance also implies the consistency of the strokes of all performers (choral parts), and, consequently, the possession of stroke technique, the consistency of phrasing, articulation skills, diction, and intonation.

All these skills are formed in the rehearsal choral work, which is based on collective activities that bring up a "sense of elbow", a common responsibility for performance. And here much depends on the conductor, on his ability to give each member of the team an equal opportunity to fully express themselves in the name of a common artistic goal, on his ability to instill in each singer the desire to create together.

The presence of a conductor

Conducting art is a unique activity of performing creativity, arising only in a collective ensemble performance in order to coordinate the creativity of the ensemble members and based on specific talent, specific techniques and specific techniques.

Since the conductor's reading, the conductor's interpretation of a musical composition is decisive for all members of the ensemble, it can be said that the conductor is an intermediary between the author (authors) and performers. In this sense, the work of a conductor resembles the art of directing, with the only difference being that the work of a director always precedes the performance, while the work of a conductor goes beyond the rehearsal process and, in its final form, unfolds before the eyes of the public along with the work of an orchestra or choir. But the main similarity remains. Like a director staging a performance based on a play, the conductor is the director of a musical work, the interpreter and coordinator of the creative team he leads and manages. How the conductor understood the composition, how much he managed to convince the choir with his performance interpretation, both the comprehension of the composition by the choir, and the quality of its artistic and technical implementation depend to a large extent. This is the reason for the great responsibility of the conductor to the author (in a musical and poetic work - the authors), to the performers, listeners, as well as responsibility for the present and future life of the composition.

In choral performance, the “comprehension-transmission” system operates, as it were, at two levels - the conductor and the choir. Both the conductor and the team he leads must first understand and feel the work, and then pass it on to the audience, with the only difference being that for the conductor, the perceiving object is not the audience, but primarily the members of the choir. Therefore, the way of creating and embodying an artistic image in choral performance is most accurately represented by the line: poet - composer - conductor- performers - listeners.

Conducting activity includes several important components. Firstly, the conductor must be able to concretize in external expression his understanding of a musical work, its figurative structure, form, and stylistic features. Secondly, he must bring the whole team into a creative state, captivate him, make him sing the way music is heard to him, the leader. Thirdly, the conductor must be able not only to clearly and vividly identify his performing intentions, but also to achieve their implementation in the process of painstaking rehearsal work, and then in the course of a public concert performance.

In order to fulfill these tasks, a conductor, in addition to the qualities of a musician, interpreter, director of a musical work, must possess such qualities specific to the conducting profession as the ability to lead a team, establish creative contact with performers, succinctly and clearly formulate their requirements and wishes, perfectly hear the choir and properly how to respond to performance inaccuracies, be able to plan a rehearsal, be able to gain trust, sympathy, authority among the choir members (this also requires the artist’s personal charm) and be sure to have pedagogical abilities, since the leader of the choir is not only a musician, but also a teacher-educator .

As already noted, the work of a conductor on a choral work is divided into the following stages: preliminary work on the score (formation performance intention); rehearsal work with the choir (implementation of the idea); concert performance (reproduction of the idea). Each of these stages differs from the other both in methodology and in specific means and techniques, as well as in its technique. So, if for the pre-rehearsal period the conductor uses the technique of studying and memorizing the musical text, the technique of its mental reproduction, etc., then at the stage of rehearsal work he uses various methods and techniques of rehearsal, allowing him to achieve the maximum musical and pedagogical effect with a minimum expenditure of time and effort. performers. The rehearsal technique presupposes the ability of the conductor to actively influence the performing team not only through conducting itself, but also through oral explanations, voice and instrument demonstrations, the use of various exercises, etc.

Concert performance requires the conductor to master the performance technique, in which two functions are usually distinguished: the timing function and the expressive, expressive function. The timing is a kind of canvas, a grid for artistic conducting. The task of the expressive function is to reveal the inner meaning, the ideological and emotional content of music.

The essence of conducting is that, being a way of expressing the ideological and emotional content of music, a means of revealing the creative intentions of a conductor, it is also a means of managing a team, a means of volitional influence on performers. It is this influence that imperiously encourages musicians to realize the artistic ideas of the conductor in live sound. A musician who does not master the art of this influence cannot be called a conductor, because he does not control, does not call this or that sound to life, but only reflects, registers the music being performed.

The famous Russian conductor and teacher N. M. Danilin said: “If a conductor is capable, like a commander, with one exclamation, with one gesture, to captivate the team along the path of his intentions, his place is at the conductor’s stand. If not, you need to change your profession.

However, one should not forget that before demanding anything from the choir, the conductor must demand a lot from himself. The administratively established right to leadership crumbles instantly if it is not backed up by a genuine, moral right to leadership. And such a right gives the band's conviction that their leader is a really good musician, an educated, widely erudite person who, in addition to special knowledge, has the skills of a conductor, a fine artistic taste and a good sense of style. “A significant musician can only be a person with great spiritual, intellectual and emotional content, - wrote Academician B. M. Teplov. Music is a means of communication between people.

In order to speak music, one must not only master this “language”, but also have something to say… In order to understand musical speech in all its content, one must have a sufficient stock of knowledge that goes beyond music itself, sufficient life and cultural experience. A good musician, whoever he may be - a composer, a performer, or just an understanding "listener" - must be a person of great intelligence and great feeling. It is clear that this applies even more to the conductor - a musician called by his very profession to be the artistic director of the whole group. Starting work with the choir, the conductor must have an already established attitude towards the work - both to the whole and to its particulars, to be able to substantiate this attitude. Only if each member of the choir understands the conductor's intention will a true ensemble be achieved, based on the unity of perception, understanding and emotional experience.

Questions and tasks

1. List the characteristic features of choral performance.

2. What qualities and abilities are needed to lead a choir?

3. What does a conductor need to establish creative and business contacts with singers?

4. What are the similarities between 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 measurements and give an example of each.

7. What is the specificity of the human voice as a vocal-choral "instrument"?

8. Expand the meaning of the concept " 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 conducting activity and what specific qualities should a musician who has chosen it as his specialty have?

* * *

The following excerpt from the book Choral performance. Theory. Methodology. Practice (V. L. Zhivov, 2018) provided by our book partner -

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, pure type of choir group is the a cappella choir, i.e. the group singing 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 movable 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 the concert performance on the 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

The sound density of the unison parts of the 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.

Chorus 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 successful work choir, a certain arrangement of parties 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 on the left hand of the conductor are high voices, on the right - low. 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, the 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 somewhat 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) uses the arrangement of the choir, 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 leveling timbres, but by identifying the natural timbre capabilities of each voice, which reflects the trend of progressive vocal and choral methods and contributes to the successful development and improvement of singing abilities.

Creates more effective conditions to organize 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

Choir; 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

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(chorus)”, on the instrument, as well as in the study of other educational subjects of additional general educational 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

1. Explanatory note

– 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 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;

1. 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 at different stages of training;

1. Methodological support of the educational process

1. 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", occupies an important place in the system of teaching children and is necessary in the development of academic 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 School of Arts 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 (advanced 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 in 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 of the organization 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 (use of 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 editions of 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. Each student is provided with the basic educational literature on the subject "Solfeggio".

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 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 stages	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 of the 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. The structure of the 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 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 intonation difficulties of the dictation are volume within an octave, stepwise movement and steady 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 various poetic texts, improvising melodies in a "chain", improvising melodies in 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 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 a tonic triad, individual steps, melodic turns of the 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 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 size, including passed rhythmic 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), response phrases, sentences.

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 turns of the type I-V-VI-V-II, 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 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.

Intrabar syncopation in simple meter. 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 mastering 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.

Rhythm groups: more complex types 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 notation);

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, various types of musical dictations, tasks for mastering theoretical concepts, creative exercises.

Requirements for the level of training

1 class

At the end of grade 1, students should be able to:

1. Write under the guidance of a teacher a simple dictation (4-8 measures) within an octave, including stepwise movement or steady sounds.
2. Sing the scales of Do, Sol, F, D major up and down, stable sounds in them, singing stable sounds.
3. Give definitions: fret; key; major and minor, reprise, scale, tonic, pause, start-up. The structure of the major scale.
4. 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 assignment:

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:

1. Written (1.5 hours)
2. 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, the introductory seventh chord, the interrupted revolution;

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 of 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. Excerpts from musical literature, as well as exercises compiled by the teacher, can serve as vocal material for intonation exercises.

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 primary school students. 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 considerable auditory experience, a sense of metrorhythm, familiarity with the rules for grouping durations, the ability to sing without an instrument, knowledge of notes and musical notation by the beginning of the moment of work. 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).

Pre-tuning in a given key is very important when singing from a sheet. An approximate form of tuning: the teacher plays a free harmonic sequence in a given key (several chords that affirm this key).

Musical examples of sight singing should be easier to learn in the classroom. They should be dominated by melodic and rhythmic turns familiar to students. The artistic value of examples, accessibility for a given age, and stylistic diversity are very important.

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 reaction. 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, 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.

Education of musical perception (Analysis by ear)

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. It is of particular importance 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 passed in it (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 character, 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 on auditory analysis is 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 should be practiced throughout all 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 the expressiveness of a musical work: 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 necessary prerequisite for its successful development, helps in performing practice. Since the child's creativity is associated with independent actions, he is psychologically liberated, becomes bolder when performing practical tasks. musical assignments, learns to make quick decisions, 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.

TO creative work also applies to the selection of accompaniment.

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 of required knowledge of musical literacy and elementary music theory. In each subsequent class, new material is presented, which can be mastered by repeating and consolidating what was 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

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