Sometimes the choir director honestly warns his choristers in advance: you can’t take a breath between this and that phrase. Sing on the chain. Sometimes such a warning is duplicated by some kind of cheironomic symbol, such as clasped fingers (I often observed honestly). Does not help. Half the choristers don't care specified place takes a breath, causing the righteous wrath of his leader.

The above methods are useless. The regent's communication with his "subordinates" should not be expressed only in intellectual cooperation - "I said, but you understood." The impact of the regent's gesture on the singer's body occurs on a subconscious level, when the hands control breathing, ligaments, resonators and other parts of the body without any verbal substitutes.

In relation to chain breathing, this means the following.

Any choral practitioner knows that chain breathing is a physiological effort. It's overcoming natural desire to take in air where it does not entail a violation of singing - in the intervals between words, even in short ones. And since this technique is an effort, then in its show the regent is obliged to convey this effort with his own hands.

The academic method is quite sufficient and simple. However, since the printed edition does not allow me to show it with my own hands, I will try to do it figuratively:

You are holding in your hands the last sound of the phrase you have just sung.
Imagine (and show your chanters) that this sound is bricks that you have grabbed from above.
At the junction of musical phrases, with appropriate effort, slowly transfer these bricks over the barrier (height from 5 to 10 cm) that stands in front of you.
Drop them to the first beat of the next phrase.

That's all. There is no need to inform the singers about the coming chain breathing, it is necessary to "live" it in the hands. The main thing in working it out is not to imitate the effort of transfer, but to really, muscularly live it. The singer who has entrusted his body to your hands will not believe the imitation.

sound attack

An attack is the beginning of a sound, it affects the nature of the closing of the ligaments, the quality of singing breathing, and the formation of sound.

Wrong attack - wrong intonation.
Attack is divided into three types:
* soft - the closure of the ligaments is not tight, occurs at the time of the formation of sound along with exhalation
* hard - the ligaments are tightly closed, the formation of sound is a “breakthrough” of the subglottic air through the closed ligaments
* aspiratory - closure of the vocal cords after the start of exhalation, as a result, a short inhalation is formed in the form of a consonant "x"

The following conditions must be observed:
* a group of incoming choir voices must use the same type of sound attack
* before attacking a sound, you need to mentally imagine the height, strength of the sound, the nature of the sound, the shape of the vowel, and then take the sound easily and freely
* when attacking sound, there should be no entrances and noise overtones.

If a sluggish, relaxed sound is formed, a hard attack is used.

To release the clamped sound, exercises with aspirated breathing are used.

Tip - sing the Choir in advance!

high notes

The note preceding the high or awkward note should be a springboard, taken in the same manner as the next difficult note. It is necessary to prepare both the place of sounding and the position of the mouth. Well prepared - the note will appear as if by itself (although the same difficult note in another case can be taken differently, easier).

It greatly helps to take an uncomfortable note by clearly pronouncing the consonant that precedes it, especially if it is sonorous or helps to resonate well.

Do not get carried away singing on high notes, take them in fast passages, and most importantly - do not shout them out - harm.

If a high note comes after a pause and you have to take it with a special attack, you should try to keep the position of the larynx of the previous note and, when breathing resumes, do not forget it, do not lose it.

Lvov figuratively said that each singer was allotted only a strictly limited number of extreme upper sounds, and therefore they must be “spent” extremely economically.

The pitch of the sound is directly proportional to the voltage, but it is necessary that the listener does not feel this.

The young singer's mistake is carelessly, inattentively sung previous sounds and the desire to "take" the top sound. A carelessly sung end of one phrase inevitably leads to a convulsive restructuring of the vocal apparatus for the upper beginning of the next one. This deprives the singing of smoothness and sound evenness.

It is necessary to have the habit of tirelessly monitoring the preservation of the unity of the sound position. This will make it easier to develop a lead to the upper sounds.

“... to remove the clamp on a high note, you need to put the larynx and pharynx in exactly the same way as it is done during yawning.”

If necessary, the execution of extreme high sounds with a high position of the voice, very concentrated breathing with a retracted stomach and an extremely open pharynx is required.

The sound should produce a "piercing" impression

Education of the upper sounds is not only not required to start with the lower notes, but on the contrary, it is very dangerous. At the same time, we run the risk of including muscle elements in the sound extraction when the voice moves to the upper notes, which can create a picture of functional inhibition and delay further development high tones, because the muscles are included in the work with their entire mass, and when the sound moves up, they try to fully participate in the formation of upper sounds. This is a hindrance to work, and therefore, the participation of muscle elements in the formation of high notes should be individually limited.

Covered sound. White sound. Belcanto

The essence of the manner of singing with a covered sound is expressed in the fact that some vowels, for example, "I", "E", "A", are sung, approaching "Y", "E", "O", that is, they are rounded. To a greater extent, this applies to unstressed vowels.

The mouth should not be opened too wide - this can lead to a "white" sound.

The articulatory apparatus of all singers must take the form corresponding to the given vowel (mouth, lips, tongue, teeth, soft and hard palate).

The sounds of the upper, head register require especially careful rounding. The oral cavity plays an important role in rounding.

Rounding is achieved by the maximum elevation of the upper palate, due to which the resonator cavity of the mouth expands and takes on a domed shape.

Degree of "cover" in practice academic singing can be extremely different.

In order to avoid changing the timbre on the medium, according to some singers, it is necessary to soften the previous notes and strengthen the subsequent ones, which is quite amenable to the efforts of the will.

Cheerful things should be sung with a lighter sound, without turning into “white”, which is unpleasant, vulgar and tires the throat.

White sound, open - due to the enhanced sound of the upper harmonics and insufficient - the lower formant, which gives the sound depth, roundness.

Requirement: “Do not stretch the mouth horizontally”, freely open it downwards, pronounce words significantly, rounding the vowels “A”, “E”, “I”, helps to master the correct, covered sound.

Bel canto - beautiful singing - is characterized by melodiousness, fullness, nobility of sound (singing on a support), mobility to perform virtuoso passages.

Italian bel canto is closer to Russian chant.

___________________________________________

___________________________________

"CHOIR AND MANAGEMENT THEM" - P. G. CHESNOKOV

1. Technique helps inspiration, and therefore learn the composition with the choir, first of all, technically perfectly.
2. Do not take on work on an essay that you do not fully perceive with your consciousness and feeling.
3. If, while working on a composition, you notice that the choir does not accept it because it is below the capabilities of the choir, remove this composition from work. If composing for the choir is difficult, develop and improve the choir by working on more light essays, and in the future return to the temporarily abandoned difficult essay.
4. Remember that you are the leader in your business; the consciousness of responsibility will help you in overcoming many difficulties.
5. Do not come to the choir with a composition that you have not previously studied, not analyzed comprehensively.
6. If the choir sings badly, blame it not on him, but on yourself.
7. When directing the choir, always be at least partly on the rise; lack of lift weakens performance.
8. Do not devalue compositions by overly frequent performance. If you notice a deterioration in the quality of performance and the appearance of errors, remove the composition from the repertoire for two months, and then work on it additionally.
9. Do not introduce into the choir's repertoire works that are ideologically and artistically insignificant and weak.
10. Don't be rude in choir practice; it will humiliate you in the eyes of the choir, and will only harm the cause. Be lively, inventive, witty; win prestige with the choir by interesting activities and artistic performance of learned compositions.
11. Do not get carried away by any one author; this will create uniformity. Take from each author the best and valuable.
12. Do not tire the choir excessively in class: if you are tired, there will be no productive work.
13. When you first come to a new choir for you, do not forget that he lived his life before you, his habits and traditions. Beware of destroying them too hastily: take a closer look, leave all the good, and gradually replace the bad with the best.
14. Do not be verbose with the choir: say only what is necessary and brings practical benefit. Remember that verbosity tires the choir: be restrained both in gestures and in words.
15. In class, do not force the choir to aimlessly repeat the same thing; at each repetition, first explain why you are doing this, otherwise the choir's confidence in you will gradually fall.
16. Always remain strict in the requirements for yourself, as a conductor and as a person; this will ensure a normal relationship with the choir.
17. Maintain an atmosphere of creative community and unanimity in the choir.
18. Be a senior comrade for a choral singer in the very best sense this word; at the same time, be demanding in your work.
19. Studying the composition with the choir, point out to the singers the parts and details of it that are best in design and in music; this way you will bring up in them an aesthetic feeling.
20. If you fail to arouse in the singers a sense of admiration for the artistic merits of the composition being performed, your work with the choir will not achieve the desired goal.
21. If you yourself do not feel satisfaction and do not find joy in your studies, then you will not give anything to the singers. Consider such activities unsuccessful.
22. Anything technically dry occupation try to bring inspiration and interest.
23. Study each singer as a person, delve into him psychological features and approach him accordingly.
24. Appreciate and respect the choral singer, if you want to be appreciated and respected in the choir; mutual respect and goodwill the necessary conditions for art work.
25. Remember that choral art is one of the manifestations of human culture.

P.S. Although these tips are taken from a book addressed to secular musicians - choir conductors, however, in our opinion, with a few exceptions, almost all of them are not only applicable, but also extremely useful for any choir director.

SINGING IN THE TEMPLE SHOULD BE ENJOYED.

Church singing - if it is good and beautiful - rarely leaves anyone indifferent. Sometimes people come to the temple just to listen...and stay. This is how their path of churching begins.

About church singing - our conversation with Marina Pavlovna Rakhmanova, guest and participant of the Pimenov readings, doctor of art history, leading researcher at the State Institute of Art Studies, scientific secretary of the State central museum musical culture named after M.I. Glinka.

Does an Orthodox person, if he is not a chorister and not a choir director, need to understand sacred music, know styles, authors - or is it enough just to stand in church and listen?

If a person goes to the temple for a long time, loves it, loves the service, then he becomes interested in who the author of the paintings is, what time the icons are that they sing in the service. In Moscow (and in Saratov, probably, too), parishioners of the older generation who went to church back in Soviet time, knew all the names of composers and regents; They knew when this or that chant was sung. Today this is not the case. I think it's also because there used to be a more unified style of singing. Now in Moscow churches, for example, they sing differently everywhere, there is no single style. And it's impossible to know everything.

What gives an understanding of liturgical singing?

The main thing is not singing, but the word. If we are talking about monophonic styles, such as Znamenny, Greek and other chants, then it is obvious there: the sound is the shell of the word. If the music is polyphonic, author's, then everything is much more complicated. To understand what the composer wanted to say, how he voices the liturgical word, one must understand the language of this style, get used to it. Today, the choir of the Holy Trinity Cathedral performed Veleumov's Great Doxology at the Vespers. This is the author of the very beginning of the XIX century, there is no information about him. It is clear from his last name that he was from a clergy or from a family of a priest. In Moscow they love him, and in Saratov they sing him. But in order to sing Veleumov properly, in a church way, the regent needs to understand the language of that era, and the cathedral regent Svetlana Khakhalina showed a rare sensitivity here. Veleumov sounded great after the Vespers!

I think everyone will agree that church singing should be professional. However, watching the choristers on the kliros, who have a conservatory education and sing very beautifully, you can see, for example, that they chew gum during the service, come to the kliros in trousers, tying scarves over them, and talk during the service ... Which is better: professionals who sing just to make money, or a choir of sincere grandmothers?
- Such behavior is unacceptable. Than indifferent singers - the choir of grandmothers is better!

Metropolitan Filaret (Drozdov), who loved and appreciated good, artistic singing, has a wonderful statement on this score.

In a letter to his close friend and to the confessor, abbot of the Trinity-Sergius Lavra, Archimandrite Anthony (Medvedev), who once lamented that the singing in the Lavra skete was “not very good” and that more monks should be admitted to the skete in order to strengthen the singing, St. Philaret answers: “No. It is necessary to take people to the skete according to their spiritual structure, and not according to their voices. And he goes on to tell how once he himself served a liturgy with a deacon who sang alone - and "discorded with himself" - but the service was good.

It turns out that the most important criterion in the evaluation church singing for an ordinary parishioner of the temple - this is the criterion "like - do not like." Does it create a prayerful mood or hinder it?

The feeling of prayer comes from different things: both from the “spontaneous” singing of the village parishioners, and from the refined singing that we heard today. There are many gradations here. In small temples, in villages - where can a choir come from? - there is one priest who sings the entire service himself, or his mother helps him. And it can be absolutely wonderful.

Today spiritual music can be heard not only within the walls of temples. Many church groups are actively concert activity, burn discs. What do you think about it?

I'm fine only if it's very good teams. It makes no sense to go into concert life with average singing - you need to show a high class on the professional field. And it is necessary to evaluate concert choirs from a professional point of view.

As early as the beginning of the 20th century, smart critics, including those from the clergy, said two things: firstly, that good concert spiritual singing (they called it “virginal”) is the way to the temple, and secondly, that for spiritual concerts it may be necessary to draw up special programs that may or may not coincide in some way with what the choir sings on the kliros. On the eve of the First World War, the Holy Synod even tried to ban the singing of the chants of the Eucharistic Canon in concerts. But the ban practically did not lead to anything, because each choir wanted to sing exactly “Cherubic”, “It is worthy to eat”, “Grace of the World” - the central chants of the liturgy, which exist in a variety of singing options. It seems that the performers, guided by common sense, can still organize their program in such a way that it does not offend anyone.

Applause after "Cherubim" does not cut the ear?

In Moscow, they seem to have taught the public not to applaud at spiritual concerts (only at the end of the program). But this doesn't always work out. If a concert takes place in the Great Hall of the Conservatory, where a lot of intelligent people gather, they most likely will not applaud there. At one time, at the first festivals of Orthodox singing, the hall amicably stood up during the performance of some hymns - for example, during the performance of "I Believe", "Our Father". Now, unfortunately, they no longer stand up ...

Is it necessary to perform only spiritual works, or can secular music be included in your repertoire?

For example, there is a practice of performing Russian folk songs. Some people who come to the concert to listen church choir this is outrageous...
- It is not good if people were deceived. They need to know what program they are going to. But in principle, the church choir can sing folk music- this is a deep and very valuable layer traditional culture. In different departments or combined with spiritual chants - each choir decides this in its own way. Such a tradition existed, for example, in the Synodal Choir. Very rarely, but they were performed in concerts folk songs hymn "God Save the Tsar". There was also such a wonderful Choir of the Don Cossacks under the direction of Sergei Zharov. Now discs with records of this choir have been released, where, along with church hymns, folk songs in amazingly virtuoso choral arrangements make up a significant share, and many male choirs have begun to focus on this style. With regard to the perfection of choral sounding, a lot can be learned from Zharov. But his choir was primarily a concert group, and when he sang in a church (and he sang in any city where he came on tour and where there was an Orthodox church), I think he sang a little differently. And in general, it is useless to imitate Zharov - it will not work anyway. Recently, I happened to be present in Moscow at a wonderful concert, where Russian folk songs in Zharov's arrangements were sung by male group Petersburg Chapel under the direction of V.A. Chernushenko, and sang not “according to Zharov”, but in her own way: restrained, classically, with an exceptionally beautiful sound. And the audience did not want to leave for almost an hour after the end of the concert.

Returning to liturgical singing: there was no choir in the early Christian Church; the people praying in the church performed hymns during the divine service. So today, many people standing in the temple sang along with the choir. Is such popular singing possible during the service?

If so, as they sang today - perhaps. People sang with enthusiasm, sang correctly, entered where they needed to. I sang along myself. Another thing is nationwide singing as a principle: if the temple is small, and the parish is very close-knit, then this can work out. But in a large church where hierarchal services are held, this is hardly possible. This is also a very old discussion. Archimandrite Antonin (Kapustin) - great person, a remarkable figure in the Russian Church - based on the experience of the eastern countries where he lived, he wrote, back in the middle of the 19th century, that singing in the church should be nationwide, that all people should be involved in the service, and paying money to singers seems to be immoral. To which Metropolitan Philaret replied that according to this logic, priests, deacons, and everyone who does something in the church and for the church should not be paid. The essence of the issue is that bad, discordant singing violates the course and meaning of the service, and this should not be.

CHURCH SINGING AND READING STUDY GUIDE

Rehearsal is a process of gradual, more and more perfect expression of the artistic idea of ​​a work, accompanied by an enrichment of creative experience and an increase in the performing level of singers.

In rehearsal work, the activity of the choirmaster is multifunctional. He:

A performing musician who realizes his performing intentions in live sound (performing function);

A teacher who instills in singers the vocal and choral skills necessary for the successful solution of performing tasks (pedagogical function);

Organizer and leader of the rehearsal process (managerial function);

These functions are interrelated and closely intertwined. The leader of them is the performer. It correlates with the other two according to the type “goal - means” (performance - goal rehearsal work, training singers and a clear organization of the rehearsal process are the necessary means to achieve the goal).

Various components of the profession of a choirmaster are taught in classes in individual disciplines (conducting, voice production, piano, choral studies, musical and theoretical subjects, etc.). However, the ability to work with a choir is something other than the simple sum of the listed knowledge and skills. You can be good at conducting, singing, playing, knowing the technique, but at the same time it is bad (ineffective) to work with the choir.

The ability to rehearse effectively to some extent is based on the synthesis of a performing gift with pedagogical and organizational abilities and is formed mainly in the process of practical communication with a team of performers.

1. Rehearsal work planning

In order to avoid gravity, confusion, dispersion, each rehearsal is recommended to be carefully thought out and planned. The role of planning increases even more when it comes to a whole series of rehearsals for the preparation of a concert program. The presence of a clearly developed program of action helps in this case not to lose perspectives in work, to pay due attention to the main and secondary, to more rationally manage the available stock of rehearsal time. Distinguish planning perspective and rehearsal.

Long-term planning solves strategic problems. In the course of it, the choirmaster must:

Determine the amount of rehearsal time needed to prepare the choral program (total number of hours, concert date);

Outline the types of rehearsals depending on the stage of work (introductory, adjustable, consolidated, run-throughs, general rehearsal, testing the hall, etc.);

Decide how many hours will be allocated for the preparation of each of the compositions of the program (adequate to the level of complexity of the score);

Determine which compositions will be rehearsed in each lesson;

Outline a strategy for the technical and figurative-emotional development of singers, i.e. a plan of work on the performing skills required in the preparation of this program;

Pre-rehearsal planning is carried out by the choirmaster before each rehearsal based on a long-term plan. Its main points:

Outline the episodes of the score to be worked out, the sequence of work on them and the amount of rehearsal time for each of them;

Determine the goal of working on each episode at this rehearsal (the focus is to achieve pure intonation, expressive pronunciation, ensemble in the party, etc.)

Select the appropriate methods of work to achieve the goal;

Try to predict the technical and figurative-emotional difficulties that the singers will encounter in the planned episodes, and find ways to overcome them;

Think over the issues of organizing rehearsal work and instrumentation of pedagogical influence on the team (showing the quality of performance, figurative and emotional characteristics of music, the form of presenting artistic, technical, disciplinary requirements for singers, assessing the quality of performance, etc.).

For effective implementation of planning, the conductor needs to:

By the time of planning, have well-defined performing intentions, know in detail what artistic result will be achieved in work on this work;

To imagine by what means the goal should be achieved;

It is good to know the performance capabilities of this choir;

It is desirable to have experience in rehearsal planning.

The rehearsal plan can be detailed to varying degrees. It may be enough for an experienced choirmaster to think over only the main milestones, while he can improvise the details. An inexperienced leader should know that successful improvisation is not groundless, it is born, as a rule, on the foundation of long practice and preliminary painstaking work. The way to it lies through detailed planning of rehearsals.

The outlined plan in the course of work may turn out to be more or less unrealistic. However, this should not be a reason for not planning rehearsals. The value of planning is that the choirmaster carefully thinks through the work ahead, and this directly or indirectly affects the effectiveness of the rehearsal process.

It is useful to analyze each rehearsal in order to improve rehearsal skills and planning experience. Based on the analysis of the rehearsal by the choirmaster, if necessary, adjustments can be made both to the long-term plan and to the planning of the next rehearsal.

Report

LEARNING TO SING IN THE CHOIR

CONCLUSION

LITERATURE

Shutova E. S., 2012,
Karaganda

Section the process of learning a choral work with a choir

It should be noted that the rehearsal process is quite lengthy and complex, covering various aspects of the study of musical material. The rehearsal mode, forms and methods of rehearsal work with the choir can be very diverse and are selected depending on the characteristics of the studied repertoire, on the personality and qualifications of the conductor, on working conditions choir, on the level of preparation of the given choir and other circumstances.

To organize systematic rehearsal work on choral works, a student-choirmaster needs to know the following classification of choral rehearsals:

A) by composition of performers:

Rehearsals for the voices of choral parts (sopranos, altos, tenors, basses);
- group rehearsals female composition, male composition or first voices, second voices);
- consolidated rehearsals (general choral, with an accompanist, with an orchestra or other ensembles of performers);

b) stages of work on the repertoire:

Rehearsals of preliminary analysis (acquaintance with the work, sight reading, primary analysis);
- rehearsals of detailed work on choral work;
- rehearsals for "singing" a choral work;

V) by nature of activity:

workers;
- running;
-general.

It should be noted that the rehearsal work is based on the results of the conductor's preliminary work on the choral score. The entire multilateral and diverse rehearsal process is conditionally divided into the following main phases of rehearsal work:

1 - sketch or initial;
2- technological or preparatory;
3- artistic or final.

Let's consider each of the proposed phases in detail.

The purpose of the sketch or initial phase is the general familiarization of the choir with the work. The conductor precedes the beginning of music-making with an introductory brief and informative conversation, in which he informs the content of the work, the main artistic image, musical and textual features. this work etc.

The next step is the performance of the choral score on the piano by the conductor himself or an audio demonstration. The performance of the score on the piano must comply with performance interpretation, created as a result of the preliminary work of the conductor. After that, the work is “read from a sheet” by the entire choir 1-2 times. In this way, the choir receives a primary idea of ​​the work.

The second technological phase provides for painstaking, detailed, time-consuming work on the study of choral texture. First, solfegging by choral parts is recommended (if there is a divisi in the score, each part is solfegged separately). The conductor draws his attention and the attention of the performers to the correct and precise intonation, rhythmic clarity. Further, general choral solfegging of a choral work is recommended, however, with joint solfegging, “phonetic dissonance” occurs, which does not allow the singers to hear each other. In this case, this essential side of the rehearsal work can be completed by singing each part of a single syllable, for example, “lu”, “le”, “ta”, “di” and similar syllables that contribute to the correct attack of the sound.

Having finished this side of the study of the choral part, one should proceed to its study in conjunction with the poetic text. At this stage, the conductor needs to pay attention to the correct uniform sound formation, to the timbre continuity of each choral part, to monitor the clarity of pronunciation, both of individual consonant sounds, and of syllables, and of entire text phrases. In parallel with this work, work is being carried out to equalize the overall sonority, smooth out the registers, work out the moments of the singing attack and strokes, dynamics, musical phrasing, work to regulate the singing breath of each part.

After spending detailed work by parts, the choirmaster proceeds to "gluing" all the elements into a single general choral sonority, adjusting it in relation to the performance plan, moving on to the artistic phase of learning the piece. At this stage of work, the conductor conducts careful work on the melodic and harmonic structure, works on all types of choral ensemble (metro-rhythmic, tempo and agogic, dynamic, dashed, timbre, choir and accompaniment ensemble, choir and soloist ensemble). At the same time, work is underway to establish relationships between the content of the choral work and the form of its performance. It is this creative process to create an artistic image is the most interesting and crucial moment, where the "mind and soul" of the conductor is revealed. According to the authoritative choral conductor A.A. Egorova, at this stage, the conductor is like “a painter-artist, choosing any choral and freely disposing of them, creates long-lasting artistic images.”

The entire rehearsal process ends with a final or dress rehearsal, where the results are summed up, the achieved results of technical training and the artistic maturity of the performance are checked. The purpose of the final rehearsal is to rehearse concert performance, the so-called "run", on which the timing of each work and the entire program is determined, the order of choral works in the concert program is approved, the exact location of the choir and other performers (soloists, accompanist, ensemble, orchestra) on the stage is determined, the entry and exit of performers is practiced .

Lecture 10. Part 3

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Hosted at http://www.allbest.ru/

choral rehearsal ensemble singing

Introduction

3. The concepts of ensemble and system

Conclusion

Bibliography

Introduction

Choral music belongs to the most democratic forms of art. Great impact force wide circle listeners determines its significant role in the life of society. Educational and organizational opportunities choral music are huge.

Choral singing most mass form active involvement of children in music. Every healthy child can sing, and singing is natural and affordable way expressions of artistic needs, feelings, moods, although sometimes they are not aware of them. Therefore, in the hands of a skilled choirmaster, choral singing is an effective means of musical and aesthetic education of students. Singing combines such multifaceted means of influencing a young person as words and music. With their help, the head of the children's choir educates children in emotional responsiveness to the beautiful in art, life, and nature.

In choral performance, it is customary to distinguish between the main directions - academic and folk, characterized by differences in the manner of performance. In this work, I point out the differences in these two manners of performance.

The process of learning songs and choral works requires constant training and the ability to listen to the melody, reproduce it correctly and memorize it. Singing brings up attention, observation, discipline in children. The joint performance of songs, the aesthetic experience of their content, embodied in artistic images, unites students into a single creative team.

One of the features of choral singing is the possibility of combining students with different levels development of voice and auditory data.

Singing is one of the effective means physical education and development of children. In the process of singing - solo and choral - the singing apparatus is strengthened, breathing develops; body position during singing (singing installation) contributes to the development of good posture. All this has a positive effect on general state health of schoolchildren.

Using choral singing as a means of musical education of students, the choirmaster sets himself the following tasks:

Development in children of interest and love for choral singing;

Cultivate emotional responsiveness to music;

Form artistic taste;

To instill vocal and choral skills as the basis for achieving expressive, competent and artistic performance;

Comprehensively develop an ear for music - melodic, rhythmic, harmonic, dynamic, timbre.

In this work, I propose to consider a set of chants and exercises for a mixed Russian folk choir, some performance defects and ways to eliminate them.

1. Differences between an academic choir and a folk choir

Academic Choir in its activities relies on the traditions of opera and chamber genre. They have the same condition. vocal work- an academic style of singing, which has a more covered sound, it requires a large yawn. The sound is directed to the dome, which creates the upper sky. It has the most developed head resonator. The academic choir also differs in range. For example, the range of the mixed academic choir according to P. Chesnokov is from the "sol" of the contra-octave to the "do" of the third octave.

Folk choir - a vocal group performing folk songs with their inherent features, such as choral texture, voice leading, vocal manner. Folk choirs build their work on the basis of local or regional singing traditions, which determines the variety of compositions and manner of performance.

Russian folk choral culture is close to the choral traditions of the Slavic peoples - Ukrainian, Belarusian, as well as some nationalities inhabiting Russia - Komi, Chuvash, Udmurts and so on. The singers' voices are distinguished by a sharp distinction between registers and a greater openness of sound.

The general range of the Russian folk choir according to V. Samarin is from "F" large to "B flat" of the second octave.

2. Defects in singing and their elimination

Every singer has their own strengths and weaknesses. Voice defects can be acquired from the school bench in the process of learning to sing from inexperienced teachers, as a result of an incorrectly defined type of voice, they can also depend on natural defects in the structure of the vocal apparatus.

The most common defects are: throat singing, low singing position, nasal overtones, clamping of the lower jaw, forcing. Throat singing perhaps one of the most common voice defects. When singing with the “throat”, the vocal cords experience something like a spasm, they lose the ability to freely vibrate, the phases of closing and opening of the vocal cords become almost the same in time, and even the closing phase can exceed the opening phase. IN female voices throaty sound in the chest part of the range leads to a hard, tense timbre. If there is a “throat” in the upper part of the range, then the tops sound without vibration, too straightforward, sharp, compressed, piercing. IN male voices this defect is more often associated with the use of open sound without cover. Singing with the "throat" is also associated with forcing the sound. It is very difficult to remove the throat sound. The main thing is to correctly determine its cause. It happens that this defect can be eliminated by working on breathing, strengthening and deepening the support. It is also possible to use soft or aspirated attacks.

There are also cases when the throaty sound acquires an overly covered voice, then you need to abandon this technique and adjust the voice leading to a more open sound, and then move on to a more correct cover technique. Jaw clamp and language affects voice. With this defect, a sound is heard tense, dull, littered back, the upward movement is carried out by "giving" the air stream under the ligaments. The clamping of the jaw is eliminated both by a verbal explanation about its work, and by showing the teacher, by singing exercises for the letter "a", as well as by singing exercises with alternating vowels. The tightness (in other words, the same "throat overtone") of the sound depends on the incorrect operation of the glottis, the closure of which takes too long. In this case, you should switch to a breath attack and begin a gradual transition to a soft attack. To remove this clamping, it is also recommended to master the technique of covering the sound, singing to the vowels "u" and "o".

In men, falsetto singing also leads to the correction of the work of the glottis, since with such singing the ligaments do not completely close. Tone defects: nasal sound, deep sound, "white" sound. In the review of the acoustic properties of the voice, the cause of the first type of the above-mentioned timbre defects was named. In the nasopharynx, with a slightly elevated palate, a channel is formed, the length of which is such that frequencies of about 2000 Hz are absorbed in it; their absence is perceived by our ear as a nasal overtone. To eliminate this defect, it is necessary to activate the work of the soft palate. A similar technique can be used when singing with a "white", that is, close, sound. Useful in this case will be exercises with the vowels "y" and "o" with the addition of the consonants "k" and "g", which are formed in the pharyngeal cavity.

The problem of deep sound can be corrected by offering the student exercises containing combinations of closely pronounced consonants and vowels.

forcing. The forced voice sounds tense, hoarse and deliberately loud. For people with a large volume of voice, its loud sound is a natural process in which the voice does not lose the beauty of vibrato. "Once the lost tenderness of the voice never returns," wrote teacher M. Garcia. Forcing leads to detonation, distorts the timbre. With such singing, the flight of sound is lost, and with it the ability to "pierce" the hall, although it seems to the singer that his voice sounds unusually strong and, according to inexperienced singers, should be well heard against the background of the orchestra and in the hall. In the case of such a defect, it can be recommended to switch to a more lyrical repertoire that would not provoke singing in a "big" voice on an emotional upsurge. Very often a situation arises when a vocalist finds himself in acoustically uncomfortable conditions: singing in a muffled room, where there is a lot of upholstered furniture that absorbs sound. The singer starts screaming, forcing the sound. As a result, the vocal folds are overstressed, and the voice ceases to obey the vocalist. At best, you will have to be silent for several days. When the upper resonators are connected, the voice will not only sound louder, but the sensations that arise during its operation will create additional sources of control over the voice. The first kind of forcing occurs when the singer tries to shift the responsibility for loudness from the upper resonator to the breath.

The second type of forcing occurs when a person who has recently taken up singing takes on unbearably large loads. Like trying to sing high note or sings too long. As a piece of advice: until the vocal apparatus gets stronger, do not force things - sing in the middle of your range and no more than 30-40 minutes a day, preferably with rest breaks. If after your classes your voice has sat down, and it is difficult for you to speak, shorten the lesson by 10 minutes. If this does not help, continue to reduce your sessions until you find the optimal time. At the beginning of training, the need to sing exercises, as a rule, is not questioned. Indeed, during the exercises you can easily master the basic techniques of singing. They are usually chosen so that, while causing the least difficulty in performance, they develop the correct singing skills. Exercises gradually lead us from simple to complex. When the first successes appear, the novice singer often ceases to pay enough attention to the exercises, and as a result, he is thrown back for some time. The still fragile vocal apparatus quickly parted with the right singing skills as soon as the singer loses his vigilance. Most likely, proper coordination would return to him if he were able to "sit on a vocal diet", that is, to sing nothing but exercises for a while, and then slowly add the learned old repertoire, and then learn a new one.

In my work, I considered only some of the defects in singing and how to eliminate them. It should be noted that each defect does not occur alone, and therefore the causes of its occurrence are rather difficult to determine. Summarizing the above, we emphasize that the uncoordinated work of all parts of the body involved in the process of voice formation leads to deviations from the ideal voice that the student strives for. Vocal hearing of the teacher and own understanding voice leading problems will help to correctly identify the cause of the defect and find the correct way to eliminate them.

3. The concepts of ensemble and system

Ensemble- this is a balanced and one-timbre sound of singers in each part and a balanced sound of all parts in the choir.

To achieve an ensemble in the choir, it is required: the same number of singers in the part, the professional qualities of the singers, and the same timbre. It is necessary that the timbres of the voices complement each other and thus merge, provided that there is a balance in the strength of the sound.

Build the choir - it is the purity of intonation in singing. The system is one of the main elements of choral technique. It requires constant painstaking work, unflagging attention of the performers at all moments of the sound of the choir. The structure of the choir without instrumental accompaniment is especially difficult, since here the singers intotone relying only on their own auditory sensations. In this regard, the sharpness, clarity and definiteness of intonation become not only necessary for expressive performance, but also a means of strengthening and leveling the choral structure and therefore one of essential qualities choral singers and conductors. The structure of the choir is divided into the melodic - horizontal, i.e., the system of the choral part, and the harmonic system - vertical, i.e., the general choral system. The melodic and harmonic systems are one organic whole and it is by no means possible to divide these two systems into two separate components. If a melody is performed by one choral part, then each sound of this melody is the sound of some kind of harmonic chord, although not reproduced, but mentally sounding. Consequently, each sound of the melody is intonationally associated with the reference sounds of harmony, which we feel with our inner ear for music. This ear is not equally developed for everyone, but the singer, and even more so the conductor, usually feels these harmonies. With such a more or less developed internal ear for music the intonation of the melody will always be pure. The same can be said about the vertical system. Separate harmonic chords that are not interconnected by a melodic line do not exist in the work. In some cases, the melody may be less revealed, or transferred to the soloist, but it always exists. Without melody, there can be no harmony. From all that has been said above, it follows that the structure of the choir is an organic unity of melodic-horizontal and harmonic-vertical intonation of musical sounds in singing.

Conclusion

The principles of working with the choir are built, first of all, on the comprehension and generalization of practice, advanced performing and pedagogical experience. In the field of view are the issues of the organization of the choir, the rehearsal process; work on the choral system, ensemble, diction; methods of learning a piece, vocal work, etc. Only incessant work and the search for new methods, solutions to certain problems can bring the desired result.

Bibliography

1. Barash A.B. poem about human voice. - M.: Composer, 2005.

2. Samarin V.A. Choir and choral arrangement: Proc. allowance for students. higher ped. textbook establishments. - M.: Publishing center "Academy", 2002. - 352 p.

3. Chesnokov P.G. Choir and management: A guide for choral conductors. - M., 1961

4. http://kuzenkovd.ru/

5. http://website

Hosted on Allbest.ru

Similar Documents

The space of the stage and the space of consciousness of the pianist-accompanist of the choir. The text of the choral work as reproduced by the accompanist of the choir. Types music text and methodological experiences of development. The language of the conductor as a component of the text of the work under study.

thesis, added 06/02/2011


The dictionary is dedicated to the most acute problems of vocal pedagogy and is intended for professional singers and all true lovers of classical singing. Issues of vocal pedagogy existing in the world standard school of vocal art.

scientific work, added 01/17/2008


The multi-activity nature of the conductor's activity. The technical professional aspect of the relationship between the conductor and the choir from the point of view of the technical and emotional-psychological component. Components of the creative atmosphere of the choir.

abstract, added 11/12/2015


General information about G. Svetlov's choral miniature "Snowstorm Sweeps the White Way". Musical-theoretical and vocal-choral analysis of the work - characteristics of the melody, tempo, tonal plan. The degree of vocal load of the choir, methods of choral presentation.

abstract, added 12/09/2014


Analysis of the life and work of A.E. Varlamov as a historical perspective of the formation and development of his vocal school. Complex effective methods voice staging, means and settings, the experience of Russian choral art in the "Complete School of Singing" composer.

term paper, added 11/11/2013


Stages of the performer's work on the opera: learning the vocal part, singing the musical material, practicing the ensemble with the part of the orchestra, the problem of metered load on the vocal apparatus. Concertmaster's exercises on the clavier and with the soloist.

training manual, added 01/29/2011


Historical and stylistic analysis of the works of choral conductor P. Chesnokov. Analysis poetic text"Beyond the river, behind the fast one" by A. Ostrovsky. Musical and expressive means of a choral work, ranges of parts. Analysis of conductor's means and techniques.

control work, added 01/18/2011


Stages of formation of the folk choir vykonavstvo in the context of the activities of the Okhmativsky folk choir under P. Demutsky's ceramics. Features of the organization and functioning of the Okhmativsky folk choir. Transition of singing bands to choral vikonavstvo.

article, added 04/24/2018


Life and creative way Gioacchino Rossini. The range of choral parts, the whole choir, tessitura conditions. Identification of intonational, rhythmic, vocal difficulties. Composition and qualification of the choir. Identification of private and general climaxes of the "Chorus of the Tyroleans".

abstract, added 01/17/2016


Singing and singers. Three styles of singing. Voice. The structure of the vocal apparatus. Singing technique. Music and vocal art. Work on vocal work. Diction in singing. About music, about composers, about styles in music. Performance before the public. Singer mode.