When working with the choir, it is necessary to ensure that the posture of those singing in the choir is natural. When singing while sitting, it is necessary to ensure that the back remains straight and the lower back is arched. In this case, you should not touch the back of the chair, since leaning on the back of the chair leads to a change in this position and constriction of the diaphragm.

Choir singing, as a rule, begins with an exercise on one note.

Such an exercise makes it possible to even out intonation, create a system and unison sound. Different vowels are performed as syllables with the same consonant. The choice of vowels depends on the general background of the sound of the choir. If the sound of the choir is deaf, voiced vowels are taken (di, de, yes; mi, me, ma). If the choir sounds motley, the exercise begins with vowels that contribute to rounding and evenness of sound (lu, le, la). If it is necessary to round off any specific vowel, it is placed between the vowels “o”, “y”, “a”, contributing rounded (ma-mi-ma, mo-me-ma). For the formation of syllables, the following are usually used: “l” (collects sound, contributes to the formation of a soft attack), “m” (adjusts to a high head sound), “d” (activates the attack, brings the sound closer).

In chanting in one lesson, you do not need to use many chants or ordinary exercises.
Two or three tunes are enough, but you need to work on them very carefully. They should be diverse in terms of vocal and technical tasks, in such a combination as to ensure the formation of the main, necessary vocal ones, influence various aspects: breathing, the work of the vocal folds and

An example of the selection of chants for singing in the first grade:
1. on one note - "doo, du, du, blow into the pipe." Organizes choral sounding (creates a system and unison), brings up the skill of chain breathing;
2. melodious chants for the development of breathing, evenness of sound, organization of sound attack and support.
3. tongue twister to activate the articulatory apparatus and develop clear diction.

Chanting should begin with the primary tones of the child's voice.

Often excerpts from vocal and instrumental works are used in the form of exercises when singing. Excerpts taken from vocal works are simply turned into chants, excerpts from instrumental works are performed with the name of the notes or in various syllables. This practice is legitimate, but only if these passages do not interfere with solving vocal and technical problems when singing.

You should not take fragments that are intonationally and rhythmically difficult for students. When they are performed, the attention of the children will be focused on the difficulties of reproducing the melody, the vocal side will recede into the background, and therefore chanting, as part of the lesson in which vocal skills are formed, will lose its meaning.

All exercises are aimed at the correct organization and improvement of the vocal function in general. But in the process of classes, depending on the stage of development of the vocal apparatus and on the individual characteristics of students, separate specific vocal and technical tasks are distinguished. At the beginning of training, this is the organization of inhalation, attack, individual qualities of sound, smooth exhalation and support. Then this is the equalization of sound, registers, expansion of the singing range, etc.

The teacher needs to know the methodological value of individual exercises in order to be able to choose the most useful ones for each specific vocal and technical task.

The same exercise can contribute to the implementation of not one, but several of these tasks.

So, singing on a sustained note contributes not only to the formation of a uniform exhalation and support, the alignment of vowels, but also to the development of sound dynamics.

Depending on the set methodological goal, the teacher, when applying any exercise, focuses on its positive influence, which coincides with the vocal and technical task at this stage of training. Sometimes the teacher modifies the exercise so that it further contributes to the completion of the task.

Let's take the example of the sustained note exercise. If this exercise is used for the purpose of developing a uniform economical exhalation, then at the beginning of training it is enough to perform it on one or two long-lasting syllables. But if the goal of vowel alignment is brought to the fore, then all the main vowels should be gradually introduced into this exercise, which it is rational to sing without consonants (mi-e-a-o-u), and not in the form of repeating syllables (mi, me, ma , mo, mu), because then they will be connected through consonants, which to some extent interferes with the alignment of vowels.

Another example is the downward gamma exercise. This exercise, performed at a slow pace on one vowel, serves the purpose of developing the support of breathing and maintaining a high position, and when naming notes, also aligning vowels. The same scale, in a downward movement at a fast pace, sung on one vowel, is means of developing mobility and fluency.

Exercises must be varied depending on the individual characteristics of the students' voice formation.

This can manifest itself in the choice of and . They are specially selected in each individual case so that they contribute to the identification of the necessary qualities of the singing sound and eradicate the negative individual characteristics of voice formation.

The application of the exercises must comply with the principles of vocal training. Exercises should be selected from easy to more difficult. The first exercises usually consist of several or even one tone, sung in equal strength of sound, and gradually become more difficult as skills are mastered. Their range expands, the construction of the melody by intervals becomes more diverse, the dynamics of sound develops, the tempo accelerates, they lengthen in time.

Exercises must be applied strictly sequentially. It is not necessary, for example, give the student to connect the interval and the octave if he has not yet mastered the connection of narrower intervals (thirds, quarts, fifths), or sing the scale if the voice leading on its elements (on the tetrachord or five step sounds) has not yet been mastered.

Exercises should be arranged in such an order that each subsequent one improves already acquired skills and gradually develops new ones.

Although exercises are a necessary condition for the development of vocal and technical skills, it is impossible to achieve a high technical level without singing, gradually becoming more difficult in terms of difficulty. Just as it is impossible to achieve this with vocal education on some works of art. Vocal and technical skills together are a means of artistic expression. They are developed in exercises, and are fixed, enriched and improved when working on works of art.

Properly selected exercises, in order of gradually increasing the difficulty of a work of art, are, as it were, also exercises for improving vocal skills.

Municipal Autonomous Educational Institution of Additional Education "Children's School of Arts of Egvekinot City District"

Methodical work:"Methods of working on collectivity with the senior choir of the Children's Music School"

Performed by the teacher of the vocal department

Sorokina Marina Gennadievna

1. The method of psychophysical attunement of the choir to the performance

This method implies a single understanding of the artistic image, a single understanding of the means of its implementation, a single manner of intonation.

collective principlechoral singing permeates all aspects of the educational and pedagogical process of working with the choir and concert choral performance. The success of this process depends both on each individual participant and on the team as a whole. It is in the relationship between the singer and the team that the essence of ensemble performance lies. The head of the choir is faced with a difficult vocal and choral task: he needs to teach everyone to sing individually and in an ensemble.

The choir group consists of different people, individually unique, of different character and temperament, different culture, upbringing, students of different ages sometimes gather in the team, not to mention different vocal abilities and musical abilities. The team develops gradually, sometimes over the years.

In a creative team, all participants are united by common goals and objectives. Choral performance is distinguished, first of all, by the fact that interpretation is the fruit of the creative imagination of not one, but a whole group of performers, and they are realized through their joint efforts. In the process of working together, choral singers become partners for each other. “It is the art of listening to a partner, the ability to subordinate one's performing “I” with the artistic individuality of another, which distinguishes, first of all, an ensemble player from a soloist,” writes V. L. Zhivov. When implementing the interpretation, the concept of "creative empathy of performers" arises only as a result of continuous and comprehensive contact of partners, their flexible interaction and communication in the process of performance.

The richer the vocal and technical skills, the higher the level of general and musical culture, the extent to which the artistic taste of each chorister is developed, the more opportunities for achieving high artistic results open up for the choir as a whole. All these criteria determine the pliability, flexibility, emotional responsiveness of each chorister to the artistic and performing requirements of the conductor.

The principle of collectivity has an impact both on the interpretation as a whole and on each of the performing expressive means used in choral practice. As an example of a psychophysical mood, let's take the area of ​​dynamics. If we consider the choral part separately, then each participant, due to the specific conditions of collective work, is somehow limited in revealing his vocal abilities to the full extent, he must subordinate the sonority of his voice to the sonority of the choral part and the general sound of the choir.

Consider the following example, vowel formation. For all participants in the choral part, the formation of vowels must be of the same timbre. In this case, it is necessary that each singer in the choir party to some extent give up his individual manner of forming vowels and, in accordance with the instructions of the conductor, find and master those methods of rounding and covering them, darkening and brightening them, which will ensure maximum generality and the unity of the ensemble.

V. L. Zhivov also highlights the synchronicity of sound. “The collective principle is very clearly manifested in such an important ensemble quality as the synchronicity of sound, which is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of a common understanding and feeling by the partners of the tempo and rhythmic pulse of the performance. A slight change in tempo or deviation from the rhythm of one of the singers can drastically break the synchrony if, performing this nuance, he is ahead or behind his partners. Sometimes singers follow a leader who does not have a sufficiently developed sense of tempo and rhythm. In this case, the synchronicity of the sounding of the part will inevitably come into conflict with the tempo and rhythm of other parts, and the tempo and rhythmic ensemble of the entire choir will be disturbed. Not every choral singer knows how to keep the set tempo, if necessary, easily switch to a new one, has a “tempo memory”. However, these qualities are necessary for ensemble players.

Of particular importance in choral work is the all-round development of stability and flexibility of individual rhythm, sensitivity of "rhythmic ear", necessary for solving the rhythmic problems of collective performance, among ensemble players. On this occasion, V. L. Zhivov writes: “The principle of collectivity makes its own adjustments to almost all performing skills and elements of musical and expressive technique. There is no need to prove that competent musical performance also implies the consistency of the strokes of all performers (choral parts), and, consequently, the possession of stroke technique, the consistency of phrasing, articulation skills, diction, and intonation. All of these skills are formed in the process of choral work, which is based on collective activities that bring up a "sense of elbow", responsibility for performance. In this case, it depends on the conductor how much more fully each member of the choir will manifest himself in the creative work of the team, on the ability to cultivate the desire to create together.

One of the most acute problems in the choir is intonation. As already noted, a specific feature of choral art is its collective character; the system, in turn, is impossible without the pure unison of each choral part, which arises due to the conscious intonation of musical sounds by the voice of each of the singers.

The fundamental principle of the ensemble in monophonic presentation is the unison of the choral part. N. A. Garbuzov defines unison as a zone that sounds in simultaneity. Since several people perform unison in a choral part, their ideas about pitch interact with each other. Thus, unison in choral singing manifests itself as a kind of "collective" zone. Each singer of the choir in his own way understands the modal, rhythmic, intonational and other connections between the sounds in the work. “The singers of the choir sing the first sound according to the standard, while singing the subsequent ones, although they take into account all the connections, they take them into account in different ways, immediately correcting the sound of their voice according to the sound of other voices. The zone in choral unison is the result of the interaction of at least two opposing tendencies in intonation. The first trend is that each choir singer's ideas about the height of the steps differ to some extent from the ideas of other choristers, which leads to an expansion of the collective zone. The second trend: musicians tend to sing in harmony, together, cleanly, unanimously, which leads to a narrowing of the zone.

The essence of achieving unison lies in the "pronunciation" of the musical text. Questions related to the intonation of a melody play a primary role in the theory and practice of choral performance. The studies of N. A. Garbuzov and his followers: Yu. N. Rags, S. G. Korsunsky, O. E. Sakhaltuyeva, O. M. Agarkov, S. N. Rzhevkin, D. D. Yurchenko and others confirm that practicing musicians in their performance of the melody constantly vary the height of the steps of the scale and the size of the intervals. According to their observations, the intonation of a melody is affected by the degree of emotional perception of music by the performer, the nature of musical images, the pitch pattern of the melody, its harmonic and metro-rhythmic structure, thematic development of the work, the tonal plan, dynamic shades, tempo, rhythm, as well as the syntactic elements of the musical form.

To build an intonational ensemble, a technique is used in which the choir sings at a slow pace with fermata on those chords that sound out of tune. In the course of execution, inaccuracies must be corrected. At this stage, it is extremely useful to use the technique of singing either aloud or silently. Let's say we perform the chorus at a moderate pace, but we sing out loud only tonic chords, and all the rest - to ourselves. Then we do everything the other way around - tonic chords to ourselves, and all the rest out loud.

S. A. Kazachkov deduces ways to achieve and improve the intonational-high-pitched ensemble: trimming to the leading, most experienced singers; to the tone set by the conductor; to the escort string; the ability to choose the most correct tone in the sound stream, to which one should adapt.

2. The method of balancing choral sonority

Art has a temporary character, and therefore, in order to achieve harmony in the sound of a choir, we need such types of ensembles as dynamic, rhythmic, tempo, ensemble of textures, choir and piano. To achieve a highly artistic ensemble, it is necessary to constantly improve each particular type of ensemble separately.

Ensemble of textures presentation . There are three main styles of ensembles: polyphonic, homophonic - harmonic, mixed. When working on a polyphonic ensemble, the difficulty is not to lose the ensemble unity, not to let the voices scatter, to combine the originality of each line with a single compositional plan.

The principle of the polyphonic ensemble is most characteristically expressed in the statement attributed to Bach: “Each work is a conversation of different voices that represent different personalities. If one of the voices has nothing to say, it must be silent for a while, until it is quite naturally drawn into the conversation. But no one should ... speak without meaning and need.

In works of a polyphonic warehouse, it is often necessary to prefer one or another voice that conveys the main thematic material; it must be dynamically distinguished. This rule especially applies to such polyphonic imitation forms as canon, fugetta, fugato, fugue. It is necessary to achieve a relief sounding of the main or several main themes, while other voices should sound clear and definite.

When working on a homophonic-harmonic ensemble, it is necessary to avoid flat sounding, to give each part an individual shade and relief as much as the specificity of the homophonic ensemble allows, to highlight the main melodic line, while it is necessary to confidently perform the entire harmonic basis.

S. A. Kazachkov divides the homophonic-harmonic ensemble into two subspecies: homophonic and choral. In a homophonic ensemble, the party leading the melody has an individual characteristic. N. M. Danilin said: “Never close the melody. Melody is the queen, and everything else is just a retinue, no matter how brilliant it may be.

When working on a choral ensemble, it is necessary to identify the characteristic intonations in each part. Give them relief, strictly observing the harmonic vertical. The sensitivity of performers to precise intonation should be constantly brought up, this is what will lead the team to performing skills. The modal feeling helps to overcome many intonation difficulties.

Metro - rhythmic ensemble . In achieving a rhythmic ensemble in the choir, the most important thing is to educate in each singer a constant feeling of the main metrical, “pulsating” beat. In a beginner choir, you can teach singers by slapping or tapping out the main metric share L. V. Shamina suggests: “In order to preserve the rhythmic ensemble, it is useful to use the method of splitting the shares taken as a unit of meter ... The method of splitting the shares into smaller ones (quarters - into eighths , eighths to sixteenths). This will help to feel the inner pulse, the movement of music, to overcome static, vagueness in performance.

The training of choristers in the skills of simultaneously taking a breath, starting to sing (introduction) and removing sound (ending) is closely related to work on a rhythmic ensemble.

Tempo Ensemble . S. A. Kazachkov singles out the tempo-rhythmic ensemble. Achieving this type of ensemble becomes more difficult with the necessary modifications of the tempo (rubato), as well as in conditions of frequent changes in meter and rhythm. An important role in the work on this ensemble is the leader's conducting technique. But the choir, accustomed to the precise hand of the conductor, may lose its own auditory-motor sense of tempo-rhythm. Receiving an accurate attack helps to achieve a tempo-rhythmic ensemble. “In striving for an accurate attack of sound, all singers of the choir must hit the same point, equally pre-audible and maximally corrected by the conductor’s gesture.”

So, the tempo-rhythmic ensemble largely depends on the choir's breathing technique and conducting. Inaccurately shown, not taken in time breath breaks the ensemble. An inaccurate entry (hurried or, conversely, belated) is often the result of an incorrect inspiratory rate.

dynamic ensemble. To improve the dynamic ensemble, it is important to educate in the skill of controlling your own singing and the singing of your comrades. Such control will help each performer simultaneously move on to increase or decrease sonority, to achieve a complete balance in tone strength, and so on. In this regard, it is useful, albeit limited, to use closed-mouthed singing. Evaluation of the performance by the choristers themselves and the leader will help fruitful and successful work on the ensemble. For this purpose, the choir is divided into two equal parts, and this or that work or its fragment is alternately performed. “But the greatest benefit in the development of a dynamic scale in the choir will be the work on works that have a vivid figurative content,” writes P. V. Khalabuzar. “For example, it is incomparably easier to achieve gentle and soft dynamics in any lullaby than in a dance or heroic song.”

Using dynamic nuances that match the natural nature of parts at a given pitch creates favorable conditions for an ensemble sound. The most convenient, so-called working, range of choral voices is the middle part of the scale. To achieve a natural ensemble on the piano in a high tessitura is undoubtedly more difficult than with the same nuance, but in a comfortable tessitura. In such cases, the leader in rehearsal work can take advantage of a sharp change in tone. When the team has achieved the nuance of piano and a good ensemble in a comfortable tessitura, it is necessary to gradually increase the tonality, while it is necessary to transfer the accumulated sound to the main tonality.

An ensemble that is in natural conditions for a part, when singers can perform the required nuances without much tension, is called natural.

With the help of an artificial ensemble, conductors try to smooth out the "roughness" of the score, often in conflict with the features of modern music. The conductor - "classic" explains such "irregularities" by miscalculations of the composer's choral writing.

V. L. Zhivov, in turn, writes that work on the dynamic balance of voices in the extreme registers that go beyond the working range causes great difficulty. If the choral parts are in different tessitura (for example, the soprano part is in a high tessitura, and all the rest are in the middle), then the balance of their sound can only be created artificially, which requires the choirmaster to have a developed timbre-dynamic ear and a true sense of sound balance .

Piano ensemble - choir . Independent accompaniment voices must be placed in the conditions of the most prominent sound. The most effective is the timbre and phrasing solution of the problem with the preservation of the characteristics of each voice. Careful work on two parts (both separately and together) is an indispensable condition for a good ensemble. Undoubtedly, when singing with piano accompaniment, temperament will also have an impact on the choral structure, which will be organized according to the laws of temperament.

3. Method of manual implementation of ensemble sounding

In this method lies the role of the conductor in the choir. The activity of a conductor is similar to that of a director and a teacher; he explains to the team the creative task facing him, coordinates the actions of individual performers, and indicates the technological methods of the game. The conductor must be an excellent analyst, notice inaccuracies in the performance, be able to recognize their cause and indicate a way to eliminate them.

I. A. Musin believes that “this concerns not only technical inaccuracies, but also artistic and interpretive ones. He explains the structural features of the work, the nature of melos, textures, analyzes incomprehensible places, evokes the necessary musical representations from the performers, makes figurative comparisons for this, etc.”

The conductor must have deep and versatile knowledge of various theoretical subjects, be fluent in the analysis of the form and texture of the work; read scores well, have a developed ear. It also requires many different abilities from him: performing, pedagogical, organizational, the presence of will and the ability to subjugate the choir.

Through the conductor's gesture, the choir is informed of the conductor's will, which organizes the ensemble process. The technical features of conducting allow the choirmaster to organize work on the ensemble in the choir. Conducting the leader must precede the performance of the work by the team for a certain period of time. “The conductor, expressing his demands by conducting methods, goes ahead of the choir for this certain period of time. The gestures of the previous moment express the content of the subsequent performance by the choir. The calculation of time should be such that in a preliminary movement or a complex of movements - a gesture - the performing team is able to clearly perceive all the requirements of the conductor and be able to implement them in their performance,” writes K. B. Ptitsa. They say that "conducting is a strictly thought-out and well-organized system of auf-bars - preliminary movements." A conductor who does not master this technique cannot control the performance of the choir. Indeed, an important part of conducting is the beginning of the performance. From the moment the conductor appears on the stage, the attention of the choir rushes to him. The conductor needs to carefully consider his actions so that from the first steps of his appearance on the stage, everything contributes to focusing the attention of the choir. He must organize the readiness of the team for a strictly disciplined perception and fulfillment of the requirements of the leader, create in the team a clear idea of ​​the main character of the work being performed, and with the help of a conductor's gesture, give an introduction.

With the help of his artistry, the conductor who appears in front of the choir should help create a creative atmosphere in the team, confidence, and a desire to create.

Thus, with the help of such a variety of techniques and methods of choral ensemble, the choirmaster must be able to properly organize the educational process, be able to convey the creative task to the consciousness of the singers.

A. Study of the score by the conductor
1) Analysis of the content of the literary text on which the music of the choral work is written. Historical information about the authors of music and text.
2) Analysis of music and musical-theoretical analysis of the work.
Musical form, musical themes, tonal plan, meter, rhythm, tempos (agogics), dynamics, intervals, harmony, voice leading, musical phrase in connection with the phrase of a literary text, etc.
3) Vocal-choral analysis. The type and type of the choir is homogeneous, mixed, for how many voices. Ensemble.
The system (intonation), the range of each part, the degree of use of each part and the tessitura, the features of breathing, the nature of the sound, the vocality of the text and the features of diction, etc.
4) Plan of artistic performance. Musical phrasing and connection of text with music. Conducting techniques.
5) Drawing up a plan for choral rehearsals and a method for conducting them.

B. Learning a piece of music with a choir
1) Introductory conversation about the composer, about his life, work and this piece of music.
A short message about the author of the literary text.
2) Technical analysis of the work:
a) separately according to the votes of each party (if classes can be organized in different rooms at the same time, or by studying with each party at a specially allotted time);
b) groups: male and female or soprano with tenors in one group, altos with basses in another (such a division depends on the texture of the work); c) in the common choir according to separate smoky musical constructions (the order in which the parts pass in the common choir also depends on the texture of the musical work).
3) Work on the system and ensemble.
4) Work on diction. Reading the text with good articulation in the rhythm of the music while conducting. Elaboration of individual constructions, syllables and words in order to develop clear diction. The connection of the worked with singing.
During all classes, it is necessary to monitor the quality of the sound of the singing and avoid loud singing. The rule—to save vocal resources—should always be kept in mind when working with a choir, especially during the technical analysis of a work.

B. Artistic work with the choir
1) Artistic processing of the work. Analysis of the content of a literary text with the choir in order to understand the artistic tasks in performance.
2) Establishment of an artistic performance plan based on the synthesis of the content of literary and musical texts: dynamic shades, tempo (tempos), the nature of the sound, the nuance of individual parts, sound balance, musical phrasing as a whole.
3) General rehearsals (at least two) and the performance of the learned piece on
stage.

Task 1. Analyze the scores of the two choral works that you have planned to learn with the choir, and describe the process of your personal preliminary preparation as a conductor. The description should contain: a) analysis of the literary text; b) musical and theoretical analysis of scores; c) vocal and choral analysis of scores; d) a plan for the artistic performance of the work.
Task 2. Make a plan of rehearsal sessions for learning the choral works you have planned for performance (see task 1) with a detailed indication of the content of each of the rehearsals.
Task 3. Keep a diary of choral lessons for learning the works planned for task 1, enter in it the entire process of fulfilling the planned plan. When the works are ready to be performed on the stage, compare the data of the preliminary plan and the diary. Identify discrepancies in them and explain their reason.

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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. The great power of influence on a wide range of listeners determines its significant role in the life of society. The educational and organizational possibilities of choral music are enormous.

Choral singing is the most widespread form of active familiarization of children with music. Every healthy child can sing, and singing is a natural and accessible way for him to express artistic needs, feelings, moods, although sometimes he is not aware of it. 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 of development of voice and auditory data in the performing process.

Singing is one of the effective means of 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 the general 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 it relies on the traditions of the opera and chamber genre. They have a single condition for vocal work - an academic manner 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 diversity of composition 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. For example, trying to sing a high note or singing for 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. The vocal hearing of the teacher and their own understanding of the problems of voice leading will help to correctly identify the cause of the defect and find the right 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 certainty of intonation become not only necessary for expressive performance, but also a means of strengthening and leveling the choral structure and therefore one of the most important qualities of 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 inner 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. A poem about the human voice . - M.: Composer, 2005.

2. Samarin V.A. Choir studies 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

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(IMPLEMENTATION OF THE EXECUTIVE INTENT)

Technical development

Artworks

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The first acquaintance with the composition is a very important moment, on which the interest of the participants in the forthcoming work and the success of subsequent rehearsals depend. The conductor must perform the work in such a way that it captivates the choir, so that the singers have a desire to blunt their learning as soon as possible. If he is not able to show the composition on the piano perfectly enough, then you need to expressively sing at least its melodic line, the main themes, enhancing the artistic and emotional impact with the help of the conductor's plastique and facial expressions.

In order to direct the perception of the work by the members of the choir in an appropriate way, the leader can say a few words about its character, mood, and main images; about the composer and the author of the text; about the era in which they lived; about specific events and facts connected to one degree or another with the creation of the work; about known interpretations. Conducting such a conversation, the conductor should not lose sight of its main goal - to arouse interest in the composition, which, accordingly, requires enthusiasm, emotionality, and artistry from him.

After a general acquaintance of the choir with the work, you can proceed to the analysis of its musical text. Literate,

thoughtful, musically meaningful analysis creates the basis for further productive work on the composition. The time allotted for analysis may vary. It depends on the quality of the choir, the general culture and musical literacy of its members. But in all cases, at the initial stage of work, there should be no carelessness, a careless attitude to the errors encountered.

The choral work is mostly polyphonic. Its overall sound depends on the quality of the performance of each voice. Therefore, when learning a piece, it is advisable to work separately with each part. However, if the general level of the choir members is high enough, if they know the basics of musical literacy and have solfegging skills, you can start by reading the musical text with the whole choir at once, turning to singing in parts in difficult places that require additional attention. After singing the piece in its entirety at a slow pace (with accuracy accessible to the first reading), careful work begins on the musical text.

It is necessary to disassemble the work in small parts, relatively complete constructions, but dwelling longer on more difficult ones. At the first stage of learning, special attention should be paid to intonational and metro-rhythmic accuracy of performance. At the same time, other points should not be overlooked from the very beginning. In particular, it is necessary that the members of the choir feel and realize the direction of musical speech, phrasing, reference points towards which the melodic movement rushes. Otherwise, singing will be a mechanical act, a formal reading of musical notation.

While working on individual parts, the conductor should not lose the sense of the whole throughout the entire learning process; otherwise, the end-to-end effect will be lost, the details will spread, they will become excessively “independent”. Having worked on some detail, some complex fragment, you should then include them in the general context. G.G. Neuhaus, who rightly considers the individual moments of the work under study not only as technical episodes, but also as its main elements (harmonic structure, polyphony, melodic line, etc.), wrote: “Only one thing is important: remember that after a temporary fragmentation, live music -

128

matter into "molecules and atoms" they, these particles, after appropriate processing, must again become living members of the musical organism " 1 .

The principle of dividing a choral work into educational "pieces" should be, first of all, musical logic, its natural division into parts, sections, periods, sentences, etc., up to a separate melodic turn or rhythmic figure, as well as the analysis and isolation of certain difficulties that require attention and time to overcome them. Unfortunately, in choral practice there is such, so to speak, method of work, when a work is mechanically sung many times from beginning to end, until it “sings in”. The result of this "singing" most often becomes the opposite effect: difficult episodes do not work out (because the attention of the conductor and singers was not focused on them), and easy episodes are so "erased" that they lose all artistic meaning for the performers. In the end, the work bores the choir even before he learns it. That is why, having become acquainted with the music and having identified the most difficult passages, one must specifically dwell on them, striving for the most perfect performance possible. However, it happens that a part is so difficult that even after several repetitions of it and the conductor's comments, the quality of the performance leaves much to be desired. In this case, you should move on to learning other fragments, and return to this episode a little later. The fact is that if you work too long on some poorly-received passage (even if it is necessary), the sharpness of perception of the choir participants weakens, their creative activity decreases, attention becomes dull, and fatigue sets in. As a result, singers may experience disbelief in their abilities, disappointment, and may lose interest in work. In such a situation, temporarily switching their attention to solving other creative problems is only useful, contributing to greater learning efficiency. This recommendation does not mean that the leader needs to reduce the demands on the quality of the technical and artistic performance of a particular fragment. But, in order to achieve the accuracy of fulfilling the author's intention, he should not miss

1 Neuhaus G.G. On the art of piano playing. - M., 1958, -S. 63.

Technical development of the work

mind and psychological moments, and the emotional factor that play a very significant role in working with the team.

What techniques and methods can be recommended for learning technically difficult episodes? It is impossible to answer this question unequivocally, since the choice of certain methods determines the essence of the task, the degree of difficulty, the level of literacy of a given choir, the auditory and musical development of its members, their musical memory, etc. Nevertheless, long-term musical practice has developed a number of techniques that are most often used in rehearsal work and, as a rule, give a good result. It's singing difficult passages in slow motion; arbitrary stops on individual sounds of one or another melodic turn or on individual chords; rhythmic fragmentation of durations into smaller ones; temporary increase in durations by half, three times, four times; change in vocal stroke; exaggerated, chanted pronunciation of the text; use of auxiliary technical material. Let's take a closer look at these methods.

Singing in slow motion. The prerequisite for the pedagogical expediency of this technique is that a slow tempo gives singers more time to listen to this or that sound, to control it and, to some extent, even to analyze it. Controlling your voice is extremely difficult. In essence, the whole process of sound extraction, intonation is carried out and regulated in singing with the help of the skill of listening and qualitative assessment of the sound by the singer himself. It is clear in this regard that singing in slow motion better contributes to the awareness of performing tasks and the free mastery of the necessary skills. All of the above applies mainly to compositions that are characterized by a lively or fast movement. It is hardly advisable to learn slow works or slow parts of them at a slow pace.

Stops on sounds or chords. If singing in slow motion does not give the desired effect, you can resort to a complete stop of movement on sounds or chords that make up a complex intonation or harmonic turn, that is, to introduce a fermata. The premise of this technique is the same as when singing

130 Chapter 6. Rehearsal work with the choir

in slow motion. However, due to the fact that it makes it possible to focus on a single intonation, chord, its effectiveness is much higher.

Rhythmic crushing. A necessary condition for any full-fledged performance is its rhythm. This quality is especially important in collective performance, where a clear simultaneity in the reproduction of the musical text by all its participants is required. The most characteristic rhythm disturbances are the undersinging of long durations when short ones appear and vice versa, their excessive tightening when short notes are replaced by long ones, underexposure of a note with a dot, acceleration of small durations and slowing down of large ones. To avoid these shortcomings, it is useful to use the method of conditional rhythmic splitting of large durations into smaller ones, requiring the participants in the choir to exaggerate the unit of splitting (quarters, eighths, sixteenths), which leads to a feeling of constant rhythmic pulsation. After the rhythm of the performance becomes more accurate with the help of this technique, you can gradually level the pulsation, internally preserving its sensation. An effective technique for overcoming such difficulties is to pronounce the literary text in one sound. In this case, the attention of the singers is focused on the rhythmic side of the performance, which contributes to the faster mastering of one or another complex turn. While the choir is speaking the text, you can play the score on the piano. With such training work, some exaggeration is quite acceptable and even desirable. In works with a dotted rhythm, odd durations (dotted notes) can be divided into smaller units (eighths, sixteenths), emphasizing the fragmentation by tapping an intra-partial pulsation.

Particular attention should be paid to achieving the correct ratio between various rhythmic patterns found in one musical phrase, for example, doules with triplets or dotted rhythm with triplets. Very often, a new pattern that replaces the previous one is executed inaccurately, which is primarily due to the inertia of perception. More great difficulty is the performance of duo and triplet figures, sounding simultaneously in different parts.

Technical development of the work 131

The grossest mistake in the process of working on a work is an inattentive attitude to pauses. Often, conductors ignore not only their expressive meaning, but also the simple need to maintain them accurately. It is useful for such conductors to heed the wise advice of G.G. Neugau-za: “... Silence, breaks, stops, pauses (!) must be heard, this is also music!... "Listening to music" should not stop for a second! Then everything will be convincing and true. It is also useful to mentally conduct these breaks” 1 .

Use of supporting material. When working on technically complex places, it is useful to turn to exercises, both built on the material of the work being studied, and not related to it. So, in cases of impure intonation, exercises are used that contribute to the modal-harmonic tuning of singers, to develop in them a sense of stable and unstable steps of the mode. For this purpose, any chants can be involved in singing, including a given melodic turn or a separate intonation. Particular attention should be paid to the purity of the singing of large seconds up and small seconds down.

If rhythmic difficulties arise, one can turn to the implementation of closed rhythmic motifs, typical constructions.

Sometimes additional exercises are used to work on diction. Most often, these are exercises on various syllables, the purpose of which is to promote the activation of the articulatory apparatus. For example, dy, well, ps, ta, ry, le- exercises to activate the language; ba, pa, wo, ma- to activate the lips. It is also useful to simply recite the text of the work, but if this is not enough, then tongue twisters can be used as exercises.

At first, individual fragments of the composition are learned at a slow pace, then they should be sung several times at the required (or close to the required) pace and, if necessary, changes should be made to the methodology for further work. With such a check, one cannot always expect absolute purity and clarity from the performers, but it is very important to give them the opportunity to imagine, at least in general terms, the future character of the sound of the composition. Too long singing.

x Neugauz G.G. Decree. op;- S. 50.

132 Chapter 6. Rehearsal work with the choir

in the "educational" version, there is a danger of getting used to a slow tempo, and when switching to a performance at a faster tempo, the conductor will need to expend a lot of effort to overcome the inertia of the choir. Therefore, checking from time to time the readiness to perform a piece (or episode) at the true tempo is methodologically justified, since it prevents the formation of established stereotypes among singers, activates their thinking and perception, and contributes to greater flexibility, mobility, and artistic sensitivity.

Let's note one important point. In choral practice, there are cases when, while working to overcome some technical difficulty, the conductor loses sight of the artistic meaning of this episode. As a result, the work acquires a formal, mechanical character, and the achievement of a technical result becomes an end in itself. Meanwhile, the understanding by the performers of the artistic significance of this or that fragment will undoubtedly help them find the appropriate technical device, because in musical performance the goal gives rise to the means to achieve it, and not vice versa. All techniques are born from the search for one or another sound image. The sonority that the performer wants to receive, which he internally hears, to a large extent suggests the technique necessary in this particular case.

Here we come to the complex the problem of the relationship between artistic and technical elements in choral performance. In the practice of working with the choir, it is common to divide rehearsals into two stages:

1) technical development of the work and its artistic comprehension;

2) disclosure of the inner content, emotional and figurative essence.

Many choirmasters believe that the artistic period in the work should begin after technical difficulties have been overcome: first one should learn the notes, and then work on their artistic finishing.

Such a view is very erroneous. It is impossible to work with the choir for a month without thinking about expressiveness, and only then explain what the character of the performance should be, where the musical phrase should strive, what are the main features of the style of this work. On the other hand, it would be wrong at the very beginning of learning to require

Technical development of the work 133

complete artistic performance. Apparently, the most correct and effective way of working would be such a method of work, in which the conductor, learning, for example, the part with the violas, gradually brings it closer to a character close to the composer's intention. But at any stage of learning a work, the conductor must see the main goal in front of him - the masterful disclosure of the ideological and artistic essence of the work and to associate with this purpose the nearest technical tasks.

Describing mastery in musical performance, D.D. Shostakovich wrote: “The brilliant virtuosic technique of a pianist or violinist, which immediately makes you talk about yourself, is not yet mastery, but ... fluency in the technology of your professional skill. Mastery in performance begins where we listen only to music, admire the inspiration of the game and forget how, with the help of what technical means, the musician achieved this or that expressive effect” 1 . Performing technique, as we see, is considered by D.D. Shostakovich as a means of embodying an artistic goal, that is, a musical content.

Summarizing what has been said about the relationship between artistic and technical elements in musical and, in particular, choral performance, we can conclude: the technical is a means inextricably linked with the artistic and subordinate to it. It follows from this that the artistic moment must be present in the rehearsal work with the choir from its very beginning.

In addition, the conductor of both an amateur and a professional choir should not forget that learning a piece by the method of “training” does not in any way develop the aesthetic thinking of the singers. With this method, many subtleties of the content and form of the work remain incomprehensible to the singers and, as a result, do not have on them, and, accordingly, on the listeners, the impact that the composer was counting on. In this regard, the advice of the outstanding Russian choral figure P.G. Chesnokova: “Studying the work with the choir, point out to the singers the parts and details that are best in design and in music; this you boo-

134 Chapter 6. Rehearsal work with the choir

you want to cultivate an aesthetic sense in them. 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. 1 . Leading Russian choirmasters adhere to these principles in their work. In the introductory conversation, in the first performance of the work to the choir, or in short but well-aimed remarks during rehearsals, they reveal the basics of the content of the work being studied, the features of its form, forcing the singers to better understand and feel the music being performed. “The atmosphere of falling in love with a work while the conductor and choir are working on it is the surest condition, the most important incentive for achieving the best performance,” wrote K.B. Bird. - The desire for a goal, the desire to hear a work in live sound helps to create a clear idea of ​​​​its performing embodiment, contribute to the achievement of high performance results ... The performer's love for the work, the desire to hear it live as soon as possible contribute to the establishment of a tense pace in work. The hot pace in the meaningful and purposeful work of the conductor greatly increases the interest of the team and captivates the performers. This is one of the conditions for the quick and best fulfillment of the artistic requirements of the conductor by the choir, maintaining the sharpness of attention during rehearsals” 2 .

There is nothing more dreary for the members of the choir than singing difficult passages repeatedly without any specific instructions. Each repetition must be preceded by an explanation for what purpose it is carried out. Otherwise, the choir's trust in the conductor will gradually fall.

The conductor should pay attention to the accuracy, specificity and conciseness of his explanations. For a sensitive ensemble, sometimes just a hint said during the sounding of a work is enough, for example, “cold”, “in a haze”, “far away”, and the nature of the sound production, timbre, nuance will immediately change: the choir easily captures the conductor’s intention.

Note that such figurative characteristics, comparisons, associative representations help the technical development of the work. At the same time, at the stage of artistic

1 Chesnokov P.G. Chorus and management. - M., 1961. - S. 238.

2 Bird K.B. Preparatory work of the choir conductor // Work in
chorus. - M., 1977. - S. 10.

Artistic decoration of the work 135

When finishing a performance, purely technical techniques are inevitably included in the rehearsal work. The process of working on a choral work is impossible, according to the fair remark of V.G. Sokolov, “strictly limit the phases with a clearly defined range of technical or artistic tasks for each of the phases. Such a division can only be accepted as a scheme, following which the leader, to the best of his experience, skills and abilities, will apply certain methods of learning a choral work” 1.

However, at different times of work on a work, the role of elements of artistic and technical principles is ambiguous: at the stage of learning, naturally, technical aspects prevail, at the stage of artistic finishing, more attention is paid to expressive means of performance. As individual difficulties are mastered, the main attention of the conductor and the choir gradually shifts to issues related to the integrity of the performance, with the refinement of the overall performance plan (although at this stage the possibility of returning to work on the details with a view to their further improvement is not ruled out). During the period of work under consideration, such aspects of performance as sound quality, identification of the general line of development of music, tempo-rhythm, dynamic and timbre nuances, articulation, phrasing, that is, those components that are directly related to interpretation, come to the fore.