Methods of working on smooth voice leading at the lesson of academic vocals. Folk singing or ethnic singing

I. Explanatory note

Orientation

The program "Vocal education of children in the classroom for academic solo singing"is a modified, basic level and has an artistic and aesthetic orientation. It was developed taking into account the requirements of the letter dated December 11, 2006 N 06-1844 of the Ministry of Education and Science Russian Federation"ABOUT exemplary requirements to programs additional education children" and in accordance with SanPin 2.4.2. 2821–10 article 4.12 and SanPin 2.4.4.1251-03.

Novelty, relevance, pedagogical expediency

Singing like the most mass view musical activity occupies one of the leading places in the system of artistic and aesthetic education of children in our country. Singing lessons develop artistic taste, wake them up creative possibilities, educate in children a conscious attitude to mastering musical knowledge. To this end, purposeful vocal education of children and adolescents is necessary.

The program of vocal lessons is based on the principle of solo academic voice formation. An important factor in solving the problem of developing a child's voice is the need to take into account the age periods in the development of the child and the psychophysiological characteristics of each period. This is important when dividing childhood depending on the physiology certain periods in which vocal classes with children can be carried out in one form or another.

The program of vocal lessons provides in what sequence and what exactly can be developed in children in the process of vocal education, in connection with the child's capabilities at different periods of his development.

The program makes it possible to take into account in each age period the risk factor in teaching singing and the ability of children to fulfill the various requirements of the vocal school from the standpoint of physiology and psychology, closely linking education with the protection of children's voices.

Singing is one of the many functions of the body, with the help of which a person expresses his feelings, thoughts, images born from the work of the imagination. Singing accompanies a person from the cradle.

Singing is one of the many functions of the body, a type of its activity, with the help of which a person expresses his feelings, thoughts, images born from the work of the imagination. Singing accompanies a person from the cradle. Starting from the first cry of a child, the vocal function of a person develops and improves in different periods of the development of the organism.

At musical child love for singing is revealed from early childhood, the song, the singers are in the circle of his interests. The development of the musical outlook of children in most cases occurs through communication with the art of singing. Singing from childhood makes a person spiritually richer, develops him as a person, and this was known even in antiquity.

Distinctive feature

The innovativeness of this program lies in the fact that it is based on age-related features of the physiology of the vocal apparatus and higher nervous activity children and teenagers.

Many organs directly or indirectly participate in singing voice formation, depending on the growth and development of which the vocal apparatus works differently. These are not only the direct "voice generators" - the extension tube, larynx and breathing, but also the child's musculoskeletal system, and his heart, and the endocrine system, and much more. The ability to develop a complex set of musical and vocal skills is determined not only by the characteristics of the concept of the child, but also by the characteristics nervous system and the level of development of its GNI. The complexity of the vocal education of children lies, first of all, in the fact that it occurs with the continuous growth and development of the child, and this process is not progressive and synchronous in the day of all organs. At some stages of growth, this may be a smooth evolution, at others - a sudden leap in development.

Therefore, the singing teacher must know the physiology of the child's body in different age periods and take them into account in the learning process. He must know to what extent the child, at one stage or another of his development, is able to perceive conscious attitudes and develop the necessary interconnections.

Different degrees of formation of certain organs and systems of the child's body at a particular age, a certain stage of development of his GNI determine all work with children, both its methodology and the specifics of the presentation of the material. Having in the future the assimilation of the basic skills of the classical vocal school, which develops and improves the vocal apparatus and contributes to the protection of the voice, it is necessary for a long time to form the child's body gradually prepare him for this, complicating the tasks depending on the capabilities of the organism.

As a result of proper training based on the modern academic manner of singing, the timbre of the student's voice becomes soft, rounded, sonorous, even throughout the entire range. This ideal can only be achieved in the last stages of development, which takes much more time for children than for adults, but one must always strive for this.

The author of the program understands the vocal education of children as the moral and aesthetic education of a singer-musician, a harmoniously developed personality who has the skills of a particular vocal and technical school.

Target : development of musical and creative abilities of children and adolescents through the formation of academic solo skills in students.

Tasks:

educational:

• formation and development of vocal skills: mastering the basics of singing breathing, developing cantilena sound science;
• study of the structure of the vocal apparatus, the nature of the voice, its physiology;
• acquaintance with history vocal art(performers, vocal schools, composers);

developing:

• development of students' horizons (visiting concerts, theaters, museums, listening to music);
• development of musical abilities;
• development of the range of voice, vocal hearing, identification of timbre, musical memory, artistry, musical expressiveness.

educational:

• formation of the general culture of the vocalist;
• formation of communicative abilities of students;
• formation of respect for the traditions of different peoples.

Age of children: 7-18 years old

Implementation period: 6 years

The program is designed for 2 age periods:

• the first period - the second childhood (7-12 years);
• the second period is adolescence: girls 12-18 years old, boys 12-18 years old.

Between these age periods there is a distinct line in the improvement of physiology. These two periods should be different from the point of view of vocal education.

The first period is preparatory to mastering a certain manner of singing; the second is to work on developing singing skills in this manner.

Forms and mode of classes:

classes are held individually. In the process of classes, the teacher has a differentiated approach to teaching children, depending on their individual capabilities: musical data, characteristics of GNA, physical condition. Classes are held 2 times a week for 30 minutes, 1 hour per week, 36 hours per year. All work with children is carried out by a teacher in an ensemble with a professional accompanist who has high performing skills and a vocal repertoire of varying complexity.

Structure of a solo singing lesson

Predicted results

Professional:

The child accumulates vocal and technical skills of the academic manner of singing, gains experience in maintaining the inhalation setting, as a result of which the voice becomes more voluminous, soft, sonorous, and even throughout the entire range.

Students with very good vocal and musical abilities, emotional, strong-willed and collected can learn professional singing. They will have the preconditions for a successful creative career. Experience vocal development will be an invaluable tool for them in professional musical art.

Are common:

Children develop discipline, emotionality, responsiveness, love for music, for folk culture.

Educational and leisure work

• concerts: reporting, thematic, dedicated significant dates, for parents;
• participation in festivals and competitions;
• musical drawing rooms - conversations about music, outstanding singers and artists;
• visiting concerts, theaters, museums, exhibitions with their further discussion.

IV. Methodological support of the program

The history of vocal art and vocal education goes back to BC. Egypt, Asia Minor, Ancient Greece already then there was artistic singing. In the Gymnasiums of Hellas, the humanitarian education was based on: music, singing, Ghanaians. All this was mixed with athletics, and was aimed at the humanitarian development of the individual. Philosophers of the 13th century believed that not being able to sing is as shameful as not being able to read (Thomas Aquinas). The passion for singing has always existed in all countries, although the traditions of various peoples were, of course, different

A great place in the spiritual life of many countries was occupied by baby singing. "Angelic" sounding of the children's choir in churches, solo performances gifted children in concerts and even in opera performances, the widespread practice of today choral singing- all this gives people great joy.

Scroll famous singers and singers and the most difficult opera parts that they performed at a young age, indicates that this performance was preceded by a serious and rather long preparation, both vocal and musical.

When we look for the secrets of the Great Bologna School, whose art of singers is still at an unattainable height, we cannot help but see that these secrets lay primarily in the vocal education of children. They were taught to sing from the age of 6-7 until about 15-16 years old, and by this time they became virtuoso singers.

The legendary M. Malibran, with a voice range from contralto to soprano, studied singing in early age, and at the age of 16 she made her debut as Rosina in The Barber of Seville by G. Rossini and P. Viardot and A. Patti made their debuts at the same age. G. Sontag at the age of 8 sang the incredibly difficult aria "Queen of the Night" by Mozart. The famous Russian singer E. Uranova-Sandunova sang this entire part at the age of 14.

On March 2, 1755, the performance of the first Russian opera "Cefal and Prokris" by F. Araya took place. The libretto of the opera was written by Sumarokov based on the plot of Ovid. In fact, the opera was performed by children. The oldest performer of the part of Prokris, Elizaveta Belogradskaya, was 15 years old. To sing such an opera, the singers had to master the voice perfectly, because. the parts in these operas were quite complex and required certain skills and endurance.

In Russia, already in the 16th century, there were various recommendations for singers about the performance of church choral music. Reading these recommendations, we see what a great vocal experience of many generations lies behind them. There are also indications of the dynamics of sound, and the need for long and calm, smooth singing, the ability to withstand sounds in a single timbre, the requirements for clear pronunciation, the ability to vocalize in different kind chants, etc.

In 1740, it was decided by decree to establish in Glukhov (former Chernihiv province) a school of court singing children who were taught spiritual and "mannered" singing, i.e. Italian coloratura singing, as V.Bagadurov deciphers it. Remarkable singers and teachers, such as D. Borshyansky and A. Varlamov, who received vocal education in the chapel as a boy, were engaged in vocal education in the Court Chapel.

Here was A. Varlamov's point of view regarding the vocal education of children: “Some teachers unfairly asserted that teaching singing, begun before adulthood, is disastrous for the voice and harmful to health. Experience has proven otherwise. A student can practice vocalization from a very young age, through this he gains more strength and flexibility; it is only necessary that the teacher act prudently and observe the precautions required by the body, which has not yet been established. (Nazarenko I. The art of singing. 1963 p. 76.)

How to properly teach a child whose body is in constant development, and the organs of voice formation in different age periods either develop on the basis of a calmly flowing evolution, or explosively with a violation of the proportions of growth between them?

Frequent failures awaiting teachers teaching children to sing, insufficient knowledge of the physiology of child development,a bunch of various techniques containing sometimes evasive recommendations regarding key parties voice formation in children, in particular, breathing, gave rise to doubts among some teachers about the advisability of teaching children to sing.

Back in 1803, in the famous work “Method of Singing at the Paris Conservatory”, a joint work of a large team of French vocalists and composers, it was indicated that it would be expedient to engage in singing further in the transition period. The only question is that there are many inexperienced and inept teachers who ruin the voices of students. Hence, as they believe, the point of view about the need to stop singing during the period of mutation appeared.

Moreover, in our time, the usefulness of 15-16-year-old boys to sing in the choir has been proven by objective methods, and with a skilled singing leader, the mutation passes faster.

For centuries, the practice of vocal education for children has been based on empirical evidence. There were few methodological works addressed to vocal teachers who worked with children in the past. In the second half of the 18th century, translated methodological works appeared in Russia. In one of these works “Harmonic and melodic rules for teaching all music”, the author V. Manfrendi writes: when singing, dissolve the mouth moderately, naturally, since the clarity of the voice and the pure pronunciation of words depend on this; you need to sing in a comfortable tessitura, without forcing the voice; sing in a melody and hold the note to the end, confidently, firmly, and not in half spirit or between teeth"; to sing consciously and emotionally, it is recommended to sing unaccompanied.

As we can see, these recommendations come from the attitudes of the old Italian school of adult singing in their entirety. We do not see any child specificity here. An analogue can also be called the “Guide to teachers of grades 1 and 2 of public schools and the Russian Empire” by F. Yankovich (St. Petersburg, 1783), which emphasizes the clarity and clarity of the pronunciation of sounds and the combination of the nature of the sound with the necessary emotional and semantic coloring of the text. tsarist Russia not given special significance, they were optional, and were not carried out in all schools.

Only in our time, the vocal education of children began to be given great importance. At present, many famous figures vocal pedagogy both in the West and in Russia began to raise the question of the need to return to the previous practice of vocal education of children.

In the second half of the 19th century, a student of E. Garcia J.B. Faure, a brilliant baritone of France, speaking in his work "Voice and Singing", about the need to learn to sing from childhood, advocated the discovery vocal studios at the conservatories. ("Children's voice" M. Pedagogy 1970).

The famous vocal methodologist V.A. Bagadurov was a supporter of the vocal teaching of children to sing in the modern opera and concert style of singing and argued that only excessive tension in the muscles of the vocal apparatus, abuse of singing duration and range can be harmful to children. The right activities for children are useful.

At the same time, a phoniatrist, one of the most authoritative researchers in the physiology of the child's voice and the practice of teaching children, Dr. I.I. Levidov, believed that no conscious vocal attitudes could be instilled in children up to a certain age. They should not be taught the techniques of singing breathing, support and “direction” of sound, as is done when teaching adult singers. Work on breathing should aim to correct undesirable features of voice formation, such as, for example, raising the shoulders during breathing, etc.

Unfortunately, for a long time, vocal pedagogy has not been able to unconditionally accept this or that point of view and substantiate it on objective scientific and practical basis certain settings for the day of teaching children professional singing. Despite extensive research by phoniatrists, physiologists and psychologists, APN, we cannot answer many questions about the methods of teaching children the way it is in adult vocal pedagogy. Only a few practical works help numerous teachers working with children to teach them to sing. First of all, these are the works of I.I. Levidova, V.A. Bachadurova, E.M. Malinina. In 1970, under the editorship of a full member of the APN of the USSR V.N. Shatskaya published the collection "Children's voice", which reflects the state of experimental research of the child's voice. Prominent scientists took part in compiling the collection: N.D. Orlova, M.S. Gracheva, V.P. Morozov, N.D. Lebedeva, V.G. Ermolaev, E.I. Almazov, T.E. Shamshieva, N.T. Ovchinnikov. This materialis children's voice comprehensively from the position of modern scientific data and contains a number of methodological recommendations.

The practice of today's work with children indicates that a unified method of working with children has not been created, although the studychildren's voice over the past century has created quite serious prerequisites for its creation.

The question remains unanswered: what manner of singing should be taught to children of students of choral studios and music-choir schools?

V.A. Bagadurov argues, as already mentioned, that children should be taught the same way as adults, i.e. modern opera and concert style of singing. It is difficult to doubt that he is right, because this style, for almost 400 years of its existence, not only gave the singer great opportunities and protected his voice throughout his life, but also taught children professional singing.

However, it is quite obvious that I.I. Levidov is that children's body for quite a long time he will not be able to realize most of the settings of this manner of singing, being unprepared for this both from the point of view of physiology and from the point of view of: improving his higher nervous activity.

Forms for assessing student progress:student developmental progress is analyzed on the basis of student performance in open classes, auditions, concerts, competitions and festivals. Assessment undifferentiated - verbal description, shortcomings, successes are noted.

Conditions for the implementation of the program:

1. Logistics:

Light class, the presence of an instrument (piano), a sound reproducing device, visual aids.

1. Staffing:

The teacher must have a special musical education, the presence of an accompanist.

1. Information Support:

Musical literature for students and teachers, audio and video materials, educational materials.

Annex 1

Annex 2

Individual card

taking into account the results of the child's learning

according to the educational program of additional education for children

Surname, name of the child ________________________________________________ Age __________

Subject ________________________________ Teacher ____________________________________________

Name of the educational program

____________________________________________________________________________________

1 point - weakly manifested ( low level- H);

2 points - manifests itself at an average level (C);

3 points - high level of manifestation (B).

Teacher of additional education __________________________________/___________

Amazing Nearby:

Pop vocals can be considered a kind of folk vocals: how it came out of the throat ... and it happened. This is a strong simplification, because any performer needs to work on himself, but the main reliance is still on nature, and not well-trained skill.

I would not say that the difference is in who got up earlier - that and opera and vocal slippers. At a music school, they can give the beginnings of a general culture of vocals, but they really begin to teach already at the conservatory, because young men need to go through breaking their voices, and in girls, vocal abilities can not really be seen until puberty sets in.

First of all, breathing is different. When teaching academic vocals on the ability to hold it and release it in strictly measured portions, it takes quite a lot of time. Exercises in which you need to perform each sound gradually increasing / decreasing power or abruptly cutting it off are a routine, daily matter, like a sports warm-up. You have to breathe with your stomach and slowly pump the press (this is not a joke), holding the air flow with your abdominal muscles, and only then dispose of the throat with the air that has reached it.

In pop singing, the entire load goes to the throat, the abdominal muscles work only by pure chance. Because the airflow takes a different path, the vibrations of the vocal cords resonate differently. The voice not only loses its range, but this is not a fact, but it becomes different, often very flat compared to how it would sound in operatic vocals.

For example, I propose to compare the singing of Marcela Detroit in her famous hit and in the program "Pop Star - to Opera Star", where she took a short course in opera vocals and, on the instructions of the mentor, "swung" at "Casta Diva". I will say right away that one cannot “look through a magnifying glass” at the singing of an amateur and compare it with the work of a professional who has at least graduated from the conservatory, and even more so with the magnificent Maria Callas. Let's note the main thing: the voice became different, sometimes unrecognizable.

Academic singers learn to smoothly transition between registers. This problem exists recent years two hundred - with the arrival of performers at the opera. Most often, there is no need to go anywhere in pop music, there are no uncomfortable notes or jumps, craftsmen like Agneta Fältskog are an exception. One of the secrets of ABBA's unfading fame lies precisely in the fact that many melodies only seem unpretentious, but no one deliberately simplified them, for the sake of the convenience of vocals, they did not fit the muse into Procrustean bed one register or convenient intervals. There are many more of those who wanted to sing cover versions of ABBA songs among their colleagues in the variety workshop than those who managed to realize their dreams. However, even such an uncompromising stage is far from physical activity that academic vocalists have to overcome.

ZUBR1961:

Academic and pop vocals have different vocal techniques, different breathing and different work with a resonator, a sounding body.

In classical vocals, a high vocal position, the work of the nasopharynx, diaphragm, support - in the first place, and in pop vocals, the chest resonator and ligaments (open "throat" sound) work.

Lyaksander:

Academic vocal is more early form learning to sing. Then there were no microphones, different sound amplifiers, I'm not talking about plywood. The singers wanted their voice to sound clear, powerful, even, strong and loud. So that it can be heard well and clearly at the farthest ends auditorium. Breathing techniques, various exercises, everything was done for this. This is certainly good for a pop vocalist, but this is not the main thing in the stage. If in the first case, the singer seems to be trying to "fit" to certain limits, then in the case of pop vocals, the performer seeks to open these very limits. Therefore, he seeks to reveal his individuality, to show in singing something of his own, inherent in him. Artistry performance, manner, this is the main thing here. We can say that this is something more creative. Here the main thing is to reveal the individuality of the artist to find his own style of performance. Show your vocals strengths. And even if he does not have a singing voice, but due to his individuality of its disclosure, he can convey to the listener the idea of ​​the song. Coloring it with your strokes and intonations. It doesn't have to be a singing voice. One can recall, for example, such artists as Leonid Utyosov or Mark Bernes, who, precisely due to their individuality and its disclosure, achieved success in performing pop songs and popularity among listeners. Or, for example, Yuri Antonov, a famous composer, melodist and singer, beloved by many. I remember he said something like this: I did not learn to sing academically, so as not to "kill individuality", I am writing as a keepsake. Maybe the words were slightly different, but the meaning is the same. And indeed, Yuri does not have some super strong and powerful voice ... But! He sings his songs the best! Feels the song, its melody. In this case, because he is its creator, the author. And conveys to the listener its idea and its beauty. In general, academically, it is clean, smooth, powerful ... in terms of technique, "as expected", let's say, without any decorations. Pop vocals, this is when there is more creativity and freedom in performance and less "frames". Individuality: your moves, strokes, colors, decorations and other "chips". You can even add that composers, for example, even know which song to offer to which artist. So that the "CHIP" of the performer sounds and plays in it.

__________________________________________________________________________

To the question: what are the main differences between academic and pop vocals, the director of the "Music School for Adults" Ekaterina Zaboronok answers:

- academic vocal is designed for acoustic propagation of vocal sound, pop vocal is designed for vocal sound propagation with the help of musical technical equipment

- in academic vocals, it is not permissible to extract sound in a speech vocal position, in the stage this is a common technique

- the final sound formation in the front part is radically different

- in academic vocals, the larynx is predominantly in a low position (a yawn in the neck), in pop vocals, a high position of the larynx is acceptable

- strobas is practically not used in academic vocals

- clothing aesthetics are different

- in academic vocals, the performer perceives his sound in reflection from the resonators, in pop vocals, the vocalist perceives his sound coming out of the speakers.

- in academic vocals, unlike pop vocals, singing on

- academic vocalists usually perform works accompanied by a piano or a symphony orchestra, pop vocalists often use a phonogram in their performances.

- academic vocalists often sing from notes, pop singers learn songs by heart

- academic singing cannot sound on a raised sound, pop singing allows this technique

Academic or classical vocals differ markedly from jazz or pop performance techniques. It is based on musical traditions that developed in the 16th century. Today, classical vocals are performed in the opera, chapel, and academic choir. However, some pop singers also work in an academic manner.

Distinctive features of academic vocals

• Academic vocals do not involve the use of a microphone and other amplifying equipment. The vocalist, thanks to complete control over his voice, is able to sound the hall without merging and without entering into confrontation with the orchestra.
• Competent academic vocalist distinguishes the ability to sing in a wide voice range and the ability to reproduce the most complex material in the musical and technical sense. At the same time, the slightest superfluous overtones are not allowed: tremolations, sips, wheezing and other sound defects. Academic vocals - the desire for an ideal singing style: the singer achieves a volumetric clear sound of the voice.
• A musician working in classical technique masters the widest palette of means of musical, vocal, artistic expression. The singer is able to reproduce both the most subtle and transparent tones, and produce extremely bright expressive compositions. At the same time, regardless of the range of feelings invested in the song, it turns out to be harmonious, beautiful and aesthetically perfect.

Why study classical vocals?

Just as a building needs a strong foundation, so professional musician you can not do without a quality vocal base. Regardless of the genre in which the singer plans to work, academic vocals can become an excellent basis for his future career. creative development. It allows you to develop natural abilities to the maximum extent, master the basic vocal techniques, study and learn how to effectively apply voice control mechanisms.

How is academic vocal training going?

At the lessons of academic vocals for beginners under control professional educators you will be able to develop and develop the following important skills:

• Proper singing breathing.
• Clear articulation and diction;
• Ability to place the right accents;
• The ability to competently use singing techniques, which include the use of resonators, singing on a support and other vocal abilities.

In addition, academic vocal lessons will help you prepare for performing on a professional stage. For example, teachers of the music school site help their students to choose a repertoire that best suits the vocal data, and also contribute to the development of artistry and emotional expressiveness of the singer.

Vocalist(from the Latin words vox - "voice" and vocalis - "sounding") - a musical profession, a role in a musical group, involves the performance of various vocal parts.

Now, the term vocalist almost coincides with the term singer, but in modern pop music it is interpreted somewhat more broadly, in particular, implying the possibility of recitation, recitative, etc.

A singer is someone who sings. Executor vocal music: songs, romances, arias, choirs, singles, etc. A musician performing music on musical instrument, which is his own voice. The singer is the most common type of vocalist.

Lead Vocalist - Member musical group, performing mainly the main vocal parts.

A backing vocalist is a member of a musical group who performs additional, harmonic vocal parts (a kind of backing vocals).

singing voices

There are various systems for classifying voices (and singers, respectively). Some of them take into account the power of the voice, that is, how loud the singer can sing. Others - how mobile, virtuoso, distinct the singer's voice is. Still others include non-musical characteristics, such as appearance, acting skills, etc.

Most often, a classification is used that takes into account the range of the voice and the gender of the singer. Even guided only by these two criteria, many varieties are obtained:

Female voices:

• soprano - high female voice
• mezzo-soprano - medium female voice
• contralto - a low female voice (in choral music it is customary to call it simply alto)

Male voices:

• tenor - high male voice
• baritone - medium male voice
• bass - low male voice

Other vocal varieties are coloratura soprano, dramatic tenor, bass-baritone, bass profundo. There is even a category of male singers who sing in the range female voice. This type of voice is rare, but still used today, mainly in opera. In baroque music, many roles were written for castrati, male singers who had been castrated as children to prevent mutation and to maintain a high, female-like voice. In modern vocal performance these roles can be performed by a singer who owns a developed falsetto singing technique. Singers of this type are called countertenors (aka male alto).

Where to learn to sing?

The question is undoubtedly quite general: the fact is that some are interested, for example, in jazz improvisation, while others are quite confident in karaoke, etc.

Classification of vocals according to the manner of performance

Academic vocal (classical, operatic)

Academic vocals - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the presentation of the sound.

pop vocal

pop vocal - pop singing combines many song directions, unites the entire palette of vocal art. Pop vocal, first of all, means singing from the stage, but the concept of pop vocal, as a rule, is associated with light and understandable music. In pop vocals, you can hear both folk motives and elements of jazz, this is also art song and elements of rock music. Pop vocals differ from academic vocals in a more open and more natural sound. However, singing skills, correct position and sound support are just as necessary in pop vocals as in academic ones.

jazz vocals

Jazz vocals - first of all, implies an ideal sense of rhythm and harmony, as well as the mobility of the voice and the ability to improvise. In jazz singing, it is necessary to feel the form of the work, to be able to present your understanding of the melodic theme, modifying it, but without leaving the necessary harmony. Just as important is the sensitive partnership of musicians, the ability to improvise on the go.

rock vocals

Rock vocals are usually the singing of a vocalist in a rock band. Rock vocals differ from jazz singing in a more emotional presentation. Rock vocals suggest more semantic load than vocal. However, a rock vocalist needs to have serious vocal training. A rock vocalist must also have courage and complete freedom in an emotional and musical sense.

Folk singing or ethnic singing

Folk singing, ethnic singing, as follows from the term itself, is singing that has existed since the appearance of man, and differs characteristic features characteristic of one or another nationality, ethnic group. Echoes of the folk tradition can also be found in the academic (classical) musical culture, and in pop (urban) musical culture. In general, folk singing is characterized by a flat sky, singing on ligaments.

The so-called throat singing- a kind of folk singing, in which the singer, while singing, uses not only the ligaments, but the throat itself, the resonating cavities of the mouth, larynx, due to which the overtones of the main tone become audible.

At the same time, the basis of everything is precisely the academic production of vocals: it gives freedom of voice control.

At the same time, the transition of the “jazz to academic” type can become a real break for the singer, which is why it is advisable to immediately decide what exactly you want to learn.

It is important to understand that it is impossible to teach professional singing in 2-3 months, even for people with a natural voice and perfect pitch.

In the case of academic vocals, the first year you will have to sing only exercises, vocalizations (singing without words - in “oh-oh-oh” or “ah-ah-ah”) and simple songs.

Then you can gradually move on to romances and simple arias. It's not that the science of singing is based on some technique available to the elite. In fact, you can tell how to sing correctly in half an hour, everything else is a matter of training.

In that sense, singing is like a sport. Depending on the natural abilities, it will turn out a little faster or a little slower, but in any case, hard training is needed. Vocal lessons are history for several years.

The most common and most correct form of vocal training is individual sessions with a teacher (here we do not touch on the ensemble-choir school - this is a whole separate world).

Finding your own teacher is quite difficult, and even recommendations do not guarantee anything: it is also important to get along purely humanly, because you will have to spend a lot of time together. The manner of teaching is even more than the varieties of vocals, it can be said that each teacher has his own manner.

There is the old academic school, there are former rockers, etc. Of course, one thing unites them: there are no non-singing singing teachers

The past and/or present success of a vocalist on stage is no guarantee that he will teach you how to sing well.

The quality of the singing of the teacher himself does not directly affect the quality of teaching - moreover, the principle of "do as I do" does not work here, because the vocal apparatus is different for everyone (someone has a longer neck, someone has a shorter one).

Sometimes it seems to people that they cannot sing beautifully, that they have no voice. We know for sure that if you can speak, then you can learn to sing, you need desire and patience, we will take care of the rest. Thanks to our modern teaching methods, we have taught more than 100 students to sing beautifully and this is just the beginning. Join and you.

Principle of our work:

individual approach to each student
use of the most effective methods teaching music, both classical and contemporary
organization of a personal schedule of classes for each student
studying in the studio.only the best music teachers
Our private School of Music offers music education for children and adults, your age and musical background does not matter. The course of classes is selected individually, after a free test of your musical abilities.
Our school offers a flexible payment system for music lessons and the most best prices! We care about our students, so we regularly organize concerts and demonstrations
Come to learn music for children and adults and choose courses for yourself and your children at the most attractive prices!

Vocal courses for beginners is an express course for teaching vocals from the zero level according to a specially designed program. You will master the most important vocal principles and techniques of singing in just 2 months of classes!

Below is detailed information on vocal courses for beginners:

Who are our vocal courses for beginners suitable for?

- beginners who have never attended singing lessons before, that is, completely from scratch,
- singing vocalists who have not been able to liberate their voice and sound freely and beautifully.
We have no age restrictions, because we guarantee you results at any age!
Important: if you are not good at hitting notes yet (you cannot repeat a familiar melody accurately enough), then the Vocal Solfeggio Course is suitable for you, after graduating from which you can go to the Vocal Course for Beginners.
What you will learn by attending our vocal training courses from scratch
- correct breathing and voice,
- removing the clamps in singing, which do not allow the voice to sound free and beautiful,
— management of the possibilities of your voice and their development,
- basic singing techniques: sound extraction, resonation, conducting a single line with the voice (legato, staccato, glisando, cantilena), register alignment, voicing for the stage,
– work with the repertoire: the correct learning of new songs on your own, the embodiment of the content in sound
- the laws of public performance and the basics of stage movement.
At the end of the vocal course for beginners, you will feel the free and beautiful sound of your voice! For further development of voice and vocal technique, intermediate and advanced vocal courses are provided.
During the period of study, you have the opportunity to participate in our concerts in concert halls and clubs of Khabarovsk.
Detailed program of the Vocal Course for Beginners
How our vocal training course from scratch differs from other vocal courses in Khabarovsk
There are no analogues to our course: the vocal course for beginners is designed in such a way that you step by step master the basic basics of singing according to our unique methodology designed specifically for beginners.
Our vocal courses are:
— most experienced teachers
- guaranteed result
- high quality
- low price!

pop vocal

Pop vocals in their sound are between academic (classical) and folk. The main difference from academic and folk vocals lies in the goals and objectives of the vocalist. Academic and folk singers work within the framework of the canon, regulated sound, it is not customary for them to deviate from the norm. The task of a pop performer is to search for his own sound, his original, characteristic, easily recognizable manner of singing and stage image.

In pop vocals, unlike academic and folk vocals, intelligible diction is important, since words are one of the most important components of a good song. For the same reason, in pop songs, phrases that are difficult to sing and require a quick change of breath are much more common, while in academic and folk songs, often, the text is more adapted to the music.

Variety vocals combine the technique of academic vocals, folk singing, as well as a number of specific techniques characteristic of pop music.

The main feature of pop vocals is the search and formation of a unique, recognizable vocalist's voice, similar to how pop instrumentalists are looking for "their" original sound. Nowadays, in order to achieve competitiveness, mastery of a fairly wide range of techniques is required. Just like a modern electric guitarist needs to be able to do much more than his colleague of the 50s and 60s. Each "color" of the voice requires methodical training.

Techniques used in pop vocals

Split

A singing technique in which a certain proportion of another sound is mixed with a pure sound, often representing non-musical sound, that is noise. One respiratory stream, as it were, splits into two. Some of the methods of folk singing (for example, the "throat singing" of the peoples of Asia), as well as the well-known subtone and drive, can be attributed to splitting.

Drive

One of the most important in the arsenal of rock vocalists is the "drive" splitting technique (its subspecies: growling, roaring, hoarse voice, death vocals, etc.). Some ten years ago, it was believed that after using this technique, "the ligaments can simply be spit out - they will no longer be needed." Classical vocalists consider it almost the eighth deadly sin, and teachers of the old school are sure that it is impossible to teach singing like this - it either comes from nature or not.

subtone

Breathy singing. Examples of this technique can be heard in jazz and pop music, such as Tony Braxton, Cher or Tanita Tikaram.

overtone singing

Also known as "throat singing". Using splitting to play overtones to the root allows you to sing double sounds. Characteristic of Far Eastern music (Tibet, Tuva, Mongolia, etc.).

Glissando

Also known as "slide". Smooth transition from note to note.

Falsetto

Singing without support. Allows you to extend the range to the side high notes. Often found in jazz and pop music.

Yodel

Also known as "Tyrolean singing". It consists in a sharp transition from singing "on a support" to falsetto. In modern music, it is widely used by such performers as Dolores O "Riordan (Cranberries), Alanis Morissette, Billie Myers and many others.

For some time now, the so-called "reverse yodel" has become widespread, which, as you might guess, consists in a sharp transition from falsetto to "support". Examples of this technique can be found, for example, in the songs of Linda Perry (4 Non Blondes).

strobas

These are very low notes that cannot be sung with a normal voice. The sound is very specific, so it is rarely used in music. For example, at Britney Spears- in "Oops, I did it again".

From the point of view of the development and implementation of a person’s natural voice data, the optimal order is first to set up the voice (relevant for any type of vocal), then - to master the pop vocal techniques suitable for you, and most importantly - to form your unique, recognizable voice, characteristic manner of singing and stage image.

When done correctly, even a small voice can sound powerful...
Felia Lytvyn.

Everyone uses the colloquial style of singing. The folk style of singing is usually called "white sound", " open singing", as opposed to the rounded covered sound of the voice in an academic manner. Covering a sound that a person usually does not own by nature allows the singer to get an even (in timbre and sound strength) two-octave (or more) range of mixed sound with a smooth transition from the chest part of the range He who knows how to cover will also be able to open, but he who sings only with an open sound will never be able to cover.

On modern stage mostly singers and female singers sing in a semi-covered manner of vocals. With half-covered singing, the position of the lips is close to conversational, but with a raised soft palate. With such singing, the volume of the oropharyngeal cavity increases and a one and a half octave range of voice is achieved, no longer in a pure chest, but in a mixed sound. At the same time, the amplitude of the vibrato of the singer's voice noticeably increases, the voice ceases to be direct; the timbre becomes richer, more colorful and emotional. But in the upper register with a rich sound, a rattling timbre appears, a "lamb" - a signal of the tension of the vocal cords. Covering transitional sounds and the head register in academic voice setting leads to the creation of protective mechanisms of the vocal apparatus. Ignoring a closed sound deprives the upper notes of their beautiful timbre roundness, and can also lead to premature damage to the voice.

Often unwittingly, and sometimes consciously, many imitate their loved ones. variety performers, blindly copying their style of singing. Not everyone benefits from this. The birth of the beautiful singing voice for some - a happy surprise, and for others - a long and painstaking work.

The word vocal comes from the Italian "voche" - voice. But the voice serves only as an instrument, while the art of singing itself is much more complicated than sound science alone. It paints images for us, reflects emotional states. Singing involves not only sound, but also a meaningful word. Vocal is considered as a technological process of artistic singing. As any specialist is armed with knowledge and certain techniques, so the singer must master vocal technique, that is, freely control his voice.

Every person with a sufficiently good ear and developed musicality can be taught to sing. Another thing is that such a student may not become a professional suitable for the stage, but he will sing competently in every sense - both in terms of technique and performance.

academic vocals

Academic vocal - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, with a symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the presentation of the sound.