In this lesson, we will talk about another means of conveying emotions - dynamics (loudness) of music.
We have already said that musical speech is very similar to speech in our traditional sense. And one of the ways to express our emotions (besides the tempo of reproducing words) is another, no less powerful one - this is the volume with which we pronounce the words. Gentle, affectionate words are spoken quietly, commands, indignation, threats and appeals are loud. Like the human voice, music can also "shout" and "whisper".
What do you think unites the explosive called "dynamite", the sports team "Dynamo" and the tape "speakers"? They all come from one word - δύναμις [dynamis], translated from Greek as "strength". That's where the word "dynamics" comes from. The shades of sound (or, in French, nuances) are called dynamic hues, and the strength of a musical sound is called dynamics.
The most common dynamic nuances, from softest to loudest, are listed below:
- pp - pianissimo - pianissimo - very quiet
- p - Piano - piano - quiet
- mp - Mezzo piano - mezzo piano - moderately quiet
- mf - Mezzo forte - mezzo forte - moderately loud
- f - Forte - forte - loud
- ff -Fortissimo - fortissimo - very loud
To indicate even more extreme degrees of volume, additional letters f and p are used. For example, the designations fff and ppp. They do not have standard names, usually they say "forte-fortissimo" and "piano-pianissimo", or "three fortes" and "three pianos".
The designation of dynamics is relative, not absolute. For example, mp does not indicate the exact volume level, but that the passage should be played somewhat louder than p and somewhat quieter than mf.
Sometimes the music itself tells you how to play. For example, how would you play a lullaby?
That's right - quiet. How to play an alarm?
Yes, loud.
But there are cases when it is not clear from the musical notation what character the composer put into the piece of music. That's why the author writes hints in the form of dynamics icons under the musical text. Like that:
Dynamic nuances can be indicated both at the beginning and in any other place in a musical work.
There are two more signs of dynamics that you will encounter quite often. In my opinion, they look a bit like bird beaks:
These icons indicate a gradual increase or decrease in the sound volume. So in order to sing louder - the bird opens its beak wider (<), а чтобы спеть потише – прикрывает клюв (>). These so-called "forks" appear under the musical text, as well as above it (especially over the vocal part).
In this example, a long dynamic fork (<),означает, что фрагмент нужно играть все громче и громче, пока не закончится знак крещендо.
And here, the tapering “fork” (>) under the musical phrase means that the fragment needs to be played quieter and quieter until the diminuendo sign ends, and the initial volume level in this example is mf (mezzo forte), and the final volume is p (piano).
For the same purposes, the verbal method is also often used. The term "" (Italian crescendo, abbreviated cresc.) denotes a gradual increase in sound, and " Diminuendo"(Italian diminuendo, abbreviated dim.), or decrescendo(decrescendo, abbreviated decresc.) - gradual weakening.
cresc designations. and dim. may be accompanied by additional instructions:
- poco - poco - a little
- poco a poco - poco a poco - little by little
- subito or sub. - subito - suddenly
- più - I drink - more
Here are some more terms related to dynamics:
- al niente - al ninte - literally "to nothing", to silence
- calando - kalando - "going down"; slow down and turn down the volume
- marcato - marcato - emphasizing each note
- morendo - morendo - fading (calming down and slowing down the pace)
- perdendo or perdendosi - perdendo - losing strength, drooping
- sotto voce - sotto voce - in an undertone
Well, in conclusion, I would like to draw your attention to one more dynamic nuance - this accent. In musical speech, it is perceived as a separate sharp cry.
In the notes, it is indicated:
- sforzando or sforzato (sf or sfz) - sforzando or sforzato - sudden sharp accent
- forte piano (fp) - loudly, then immediately quietly
- sforzando piano (sfp) - indicates a sforzando followed by a piano
Another “accent” when writing is indicated by the > sign above or below the corresponding note (chord).
And finally, here are a couple of examples where you, I hope, will be able to put all the knowledge you have gained into practice:
additional teacher
Education: Lysenko Natalia Anatolievna
Group No. 4
Date of:
Plan-summary of the lesson.
Topic: Dynamics as a means of musical expression.
Purpose of the lesson: Expand and deepen already receivedknowledge of the dynamics of musical sound as a means of expression. Familiarize yourself with dynamic shades and their designations.
Tasks
Educational: define the concept of dynamics, dynamic shades. Learn to distinguish the dynamics of voice, musical instruments. Learn to hear dynamic shades in musical works. Perception of means of musical expressiveness through the system of creative tasks.
Developing: Develop a conscious, holistic perception of music. Develop creative thinking and imagination. To develop interest in classical music, the ability to listen, analyze and talk about a piece of music. Development of singing skills, phrasing skills of a vocal work, using the acquired knowledge.
Educational: to involve students in active activities, to promote free communication in a team with the help of musical games. Cultivate a love for music, a desire to listen and perform it. To improve the emotional sphere, aesthetic taste, to attach to musical values on the example of the music of Antonio Vivaldi.
Course progress.
Teacher: Music can influence a person’s feelings, evoke a feeling of joy in us, or vice versa, sadness, anxiety or delight. We have already talked about musical intonation as the language of music in which the author speaks to us. And today we will talk about another means of musical expression, which helps and enhances the impact on our perception. And that's musical dynamics. Who can say what dynamics is?
(Student answers.)
Dynamics is a change in the strength of sound, the loudness of the sound of a piece of music.
What dynamic shades do you already know? (student answers)
That's right, we already know that a loud sound is called forte, and a quiet one is called piano. But there are a lot of shades of volume, as well as shades of the same color in painting. And listening to music, we will learn to distinguish between them. Before you (on the slide) is a table of dynamic shades. As you can see, musicians also use other volume designations, such as: not very quiet or, on the contrary, very loud, and others.
Dynamics helps the composer or performer to correctly convey the desired feelings and moods to the listener. So the lullaby sounds especially gentle thanks to the nuance of the piano (quietly). The solemnity of the march is given by Forte (loud sound), etc.
Now I invite you to listen to excerpts from musical works, analyze and explain how the dynamics help to convey the mood of the music. (Students are divided into groups, listen to passages, discuss them in a group and give answers)
The next task is also performed in groups.
Here are 4 schemes for the dynamic development of a piece of music. You will listen to 4 excerpts from A. Vivaldi's violin concertos "The Seasons". Your task is to determine which scheme fits which of the sounded fragments. (Students complete tasks and explain their answers)
I think you have already well understood dynamic shades and now we will practice with you to perform vocal examples with dynamics.
On the example of already studied chanting material and songs, students perform tasks. Sing on the Fort; on the piano; start on the piano and perform a crescendo; start on the piano and do a diminuendo. Tasks are performed first by the whole choir, then individually by each student. Students, together with the teacher, select the most logical variant of phrasing and dynamics in the song being studied and work out the correct performance.
Summary of the lesson:
The teacher asks students what new things they have learned and learned in the lesson.
Today we not only got an idea about musical dynamics, how it helps to realize the author's intention in a piece of music, but also applied this knowledge in practice, performing vocal exercises and songs. Thanks everyone for the lesson!
Summary of the lesson on the subject of musical literacy and listening to music on the topic "Dynamic shades, their role and significance in music. "King" of ballroom dancing (the history of the emergence and spread of the waltz)"
Author: Lyudmila Ivanovna Atamanova, teacher, MBOU DOD DShI, Usman, Lipetsk region.
Short description: I offer you a summary of the lesson on the subject of musical literacy and listening to music for grade 1. This material will be useful for teachers of the Children's and Children's School of Arts working in the Department of General Aesthetic Education. In the proposed development of the lesson, a student-centered approach was used. This work contains a presentation for clarity of the studied material. The lesson is aimed at developing the musical abilities of students, expanding knowledge in the field of analyzing a musical work, and educating musical culture.
Target: To acquaint students with the concept of "dynamics", to help understand the designation, the role of dynamic shades in music, and also to talk about the emergence and spread of the waltz, its place in the rich and diverse world of music, involving children in the lesson.
Tasks:
1. Educational: to cultivate a sense of careful and respectful attitude to cultural heritage, to accept dance as part of the spiritual and national culture.
2. Educational: develop musical abilities: hearing, speech, memory, include creative imagination in the lesson, be as active as possible.
3. Educational: to form the ability to memorize, navigate in dynamic shades, apply them in practice. Learn waltz among other musical genres.
Equipment: musical instrument, musical, literary and educational material, technical means.
During the classes
(Slide)
Teacher: Guys, in our very first lesson we got acquainted with the concept of "sound". What is this?
Students: Sound is the result of vibrations of an elastic body (for example, a string, a column of air). Sounds are divided into musical and noise.
Teacher: And by their nature, sounds are quiet and loud, and no one will ever confuse them. You have two boxes in front of you. (Slide)
Teacher: Guess what sounds are hidden in them? First, enter the missing letters in the cells horizontally, then indicate in the frames what sounds they are: loud or quiet.
Teacher: And yet the concept of "loud" or "quiet" is very relative. For example, when you are in a good mood, you turn on the player at full volume, and the neighbor is in a bad mood that day, so he is indignant. For him, this sound seems too loud. The same sound is perceived differently by us. But it can also sound different. For example, sounds that are quiet for a trumpet turn out to be too loud for, say, a harp or guitar. Let's knock on the table: softly - a little louder - even louder - loudly - very loudly! Please note: the louder we knock, the more force we have to apply. (Slide)
Teacher: The power of sound is called volume and is a very important property of musical sounds.
Write the definition in your notebook.
Music can be loud or quiet, it can abruptly or smoothly move from one volume to another. (Slide)
Teacher: Changing the volume of sounds in music is called dynamics.
Write the definition in your notebook
Dynamics (the Greek word dinamikos means "strong") is the power of sound. Music, like human speech, is filled with many sound shades. The more such shades, the more expressive it is. These sound shades are called dynamic. You never speak only loudly or only quietly. The strength of the sound depends on what and how you want to say. To speak, sing or play with force means with feeling, with great spiritual uplift. If you hit the keys hard, you get ...
Students: Loud!
Teacher: What if it's weak?
Students: Quiet!
Teacher: Italian words forte (loudly), piano (quietly). The name of what instrument will come from these words?
Students: piano.
Teacher: Remember these notations and write them down. (Slide)
Teacher: Now let's play. Solve the charade and fill in the cells. The answer is written on the board
Let's add a preposition to two known notes,
You will get a long and loud beep.
SIREN)
Teacher: Depict a siren with your voice. Start quietly, gradually increase the volume - the siren is approaching, passing by, moving away ... The closer, the louder, the farther, the quieter. (Slide) Let's write down the definitions:
(crescendo) crescendo - gradually increasing, (diminuendo) diminuendo - gradually weakening.
Homework
draw dynamic forks for these symbols:
P_________f ; f_________p
Teacher: We've only looked at the basic dynamic tones today, but if you look at the dynamic forks, you can see that the sound will change at different points on the forks. We will talk about this in the next lesson, but now listening to music and you will surely pay attention to the dynamic shades that will sound in it, as one of the most important means of musical expression. But before the music starts, I have to tell you about it. Of course, you have been convinced many times that music is closely connected with all the arts: literature, theater, cinema, and even with the visual arts: painting, architecture, sculpture. But all these arts exist even without music, having a completely independent meaning. But there is such a field of art that does not exist without music. What is this art?
Students: Dance.
Teacher: Of course, dance. And therefore, when we pronounce the word “dance”, not only dance figures of the dance itself always appear in our minds, but also the music characteristic of it, the musical image of this dance. Dance, choreography is a huge and very diverse area of art. There are dances born by one nation, but which have become the property of many. Some were only danced by common people in villages and cities, others only in aristocratic salons, and there were those who enjoyed the same success both among common people and in court circles.
Today we will talk about only one dance, an amazing dance! It arose on a certain national basis, but gradually became the dance of almost all the peoples of the world, appeared in a broad democratic environment, one might say, in the city and village squares, and became an absolutely universal dance. At first it was only meant to be danced. And very soon he literally permeated all areas of music without exception. This dance has existed for more than three centuries and shows no signs of aging. I think you guessed what this dance is. Well, to make your answer more convincing, guess the riddle:
The whole hall lit up brightly,
Everyone is invited to the ball
I ask you to answer
What is this dance?
Waltz!
Well, of course, a waltz, a dance that has a triple meter (one, two, three). It is emphasized by the presentation of the accompaniment, which is typical for the waltz: on the first quarter there is a bass sound, and on the second and third quarters there are two chords that form a harmonious sounding harmony with the bass. (show music notation)
And now listen to how this waltz will sound in performance.
Performed by student R. Bazhilin "Waltz"
For homework, distribute notes with "Waltz", where children must arrange dynamic shades.
Teacher: Do you know how the waltz originated?
A long time ago, the inhabitants of small Austrian towns and villages after work gathered on the lawns to relax. They sang, danced, smartly stamping their wooden shoes, spinning and bouncing: one, two, three. A violinist played a simple melody merrily, the guys picked up the girls and lightly tossed them in the dance. And so this dance reached the main city of Austria, its capital - Vienna. And the inhabitants of Vienna were all inveterate dancers. They danced at home, and at a party, and in dance halls, and just on the streets of the city. When the village dance "one-two-three" came to Vienna, the inhabitants of the Austrian capital looked down on him and said dismissively: "Landl", which meant provincial, redneck. Well, what a dance! Shoes knock, men toss women, they scream in unison; try to dance such a dance on a smooth parquet - you will immediately slap! Is it a joke to try? Of course, not so famously ... hush, hush! You don't have to jump like that! The movements are softer, smoother. And he's nothing, this "landler", this provincial! And the dance "Lendler" became a regular guest of all dance halls. (Slide)
Performed by F. Schubert "Lendler"
Discussion related to character and dynamics
Teacher: And then this dance turned into another, which they began to call the waltz. But where did this name come from? Maybe it is nobler than the previous one? Not at all! There is such a device - rollers, between which metal plates are flattened and rolled. These two rollers are spinning all the time and retract the metal tape with their rotation. Isn't it the music of dance that draws you in, draws you into whirling? So they called the new dance the word "walzen" - spinning, rotating. (Slide)
This is how the character of the waltz is described in his novel "Eugene Onegin" by A.S. Pushkin:
Monotonous and insane
Like a whirlwind of young life,
The waltz whirlwind is spinning noisy,
The couple flashes by the couple.
But the real waltz became famous when composers paid attention to it. Do you know who was the first to compose waltzes? No? Then I'll tell you now. But for this, let's remember Andersen's fairy tales.
Students: Flint, Wild swans, Thumbelina.
Teacher: Well, in which fairy tale does music play a major role?
Let me remind you that in this fairy tale, the princess refused to accept gifts from the prince - a real rose and a nightingale - and marry him. Then the prince smeared his face with soot and went to work for the king-father of the princess. By evening, the prince made a magic pot, all hung with bells: when something was boiled in this pot, the bells evoked an old song.
Sounds like "Oh, my dear Augustine"
Student: The story is called "The Swineherd". (Slide)
Teacher: So who is Augustine?
Augustine is the name of a singer. He lived in Vienna almost four hundred years ago. He walked around the city and sang songs. Everyone loved Augustine very much, because in his company life became brighter and more fun. The singer became especially popular in the year of the plague. The Black Sea mercilessly mowed down people. But Augustine walked around the city and sang his songs. People listened to his songs and believed that the plague would soon pass. One day, returning home late in March after a feast with friends, Augustine found himself in a cemetery and fell into a pit where the poor who died of the plague were buried. Waking up in the morning, Augustine, as if nothing had happened, got up and went to the city, telling his friends about his unusual lodging for the night. After that, the singer's fame increased even more, and people believed that his music, his songs were stronger than the plague.
The song plays again.
Teacher: It's a waltz! It is possible that Augustine is one of the first musicians in the world who began composing waltzes! And how many beautiful waltzes were written by composers in different countries! These are Russian composers, and French, and German. (Slide)
And now we will listen to the waltz of the German composer K.-M. Weber from the opera "Magic Shooter".
This is one of the earliest waltzes, the opera was created in 1821. Here you can still feel the connection with the landler, especially since in the opera it is danced by peasants to the uncomplicated accompaniment of village musicians right on the square.
The traditional hunting competition in shooting ends with a merry holiday. The peasants, in their simple, uncomplicated clothes and rustic shoes, dance slowly, smoothly describing circles. And the melody is simple and artless, has a uniform rotational movement.
Waltz K.-M. Weber from the opera "Magic Shooter"
There is only one theme in the waltz, it sounds several times throughout the play. Each waltz formation has 8 measures - this structure is typical for dance music. Well, we will finish our lesson with one of the most beautiful waltzes in the world. It was composed by a man who at the beginning of the 20th century lived in the capital of waltzes, the city of Vienna, and received the title "King of Waltzes" there. This is the famous Johann Strauss (there were two of them - father and son, both were famous and both famous, but the son significantly surpassed his father). (Slide)
Musical dynamics is one of the most important tools in the hands of a performing musician. The impact of dynamics is most immediate and powerful. Any listener is clearly aware of the difference between loud and soft sounds; without hesitation, he can state an increase or decrease in sonority. This is due to the fact that all sorts of increases and decreases in the strength of sound, sounds of different strengths are very often found in the reality surrounding a person. Therefore, for the perception of musical dynamics, for understanding its meaning and meaning, almost no prior artistic experience is required.
Each person is able to hear and perceive rather subtle relative differences in loudness. Judgments about the absolute magnitude of loudness are much less definite and accurate. A subjective assessment of loudness may depend on the timbre, the physical capabilities of the voice or choral part, the interaction of adjacent nuances being compared, the duration of the nuance, etc. Thus, a sound dominated by high overtones, the frequency of which will correspond to the maximum hearing sensitivity (approximately Hz), even at the same strength with a sound dominated by low overtones, will be perceived as louder; even a weak voice with a bright characteristic timbre coloration can cut through the sound of a powerful choir and be perceived as very loud; the perception of pianissimo after piano is completely different than after forte; with prolonged forte or fortissimo, the force of these nuances is gradually lost, and vice versa, even sounds of medium strength seem loud after prolonged listening to quiet sounds. It should also be taken into account that the nuances indicated by the composer do not have the same meaning everywhere and can change depending on the form , genre, character, style of the work. Finally, the existing system of musical notation cannot reflect all shades of loudness to the same extent as, for example, a metronome determines local speed.
From what has been said, it is clear that the loudness gradations used in musical practice are relative. The most correct and clear is only the judgment about the loudness of the sound and the boundaries of the three qualities: “quiet”, “moderately” and “loud”. There are no clear boundaries between these "steps". Therefore, when performing music, the exact observance of one or another shade does not play a special role. Much more important are relative differences, ratios that do not depend on the physical strength of the voice or instrument. Such relativity, conventionality of dynamic designations naturally gives the performer a lot of scope for the manifestation of his creative initiative. Very often the performer has to “overestimate” the meaning of this or that dynamic indication, introduce additional shades not indicated by the author, and sometimes deviate from the nuances indicated in the text. The reason for this may be the acoustic conditions of the hall, quantitative and qualitative. the qualitative composition of the choir, register, timbre, different composition of vowels, the role of the voice in the ensemble.
Thus, for example, experienced choir directors, whose members do not have strong voices, try to use the most subtle gradations of the piano as the main nuance, so that even the mezzo forte gives the impression of the fortissimo required by the composer. Sometimes the conductor, taking into account the specific bright timbre coloring of a choral part, changes the nuance indicated in the notes to muffle its brightness. The same happens in cases when a part is written out by a composer in an inconvenient register for it (either too high - and then it sounds tense, or too low - then the sound is quiet). In such cases, in order to create a choral ensemble, the leader is forced to either reduce or increase the volume of its sound.
The choirs unite singers with different vocal abilities. The singers of each individual choral part, as a rule, do not have the same overall range of sound strength and sound intensity in different tessitura. In the process of rehearsal, it turns out that with the forte nuance, weaker voices disappear under the pressure of more powerful ones, and important elements of the musical fabric are lost for the listener in the overall sound.
Therefore, in the choir there is a need to correct the usual ideas. Here we can talk about the concept of loudness in four meanings: 1) the loudness of each voice separately; 2) loudness, voices in the ensemble; 3) the volume of the party; 4) the volume of the entire ensemble. On the basis of experience, it can be said that the volume level of the voice in the ensemble (in the part) is determined by the dynamic capabilities of the weakest singer. For the other members of the party, the forte of the weakest should serve as a standard by which they measure the strength of the sound of their voice accordingly. The strength of the sound of a separate part in the general ensemble depends on the characteristics of presentation, texture. The forte of the leading part should be more intense than the forte of the accompaniment; forte in brighter registers should be consistent with the sound in duller ones; with a transparent, light texture, forte will be different than with a dense and massive one.
Similar remarks apply to the execution of the piano nuance. The standard piano when performed together depends on the specifics of high and low male and female voices and on the skill of their owners. So, for example, pianissimo in the upper registers is easily performed by sopranos and tenors, and requires considerable skill from basses and altos. Therefore, in some cases, for the sake of general balance, the piano nuance is performed somewhat louder than the “ideal”, which, of course, should not lead to coarsening of the overall piano ensemble.
Some composers, being well aware of the uniqueness of ensemble dynamics and the difference between the nuance "in general" and the nuance "in the ensemble", set refined, differentiated indications. But this happens quite rarely. As a rule, the performer himself needs to adjust the nuance to achieve the desired balance of sonority.
A common drawback is the overload of sonority of the second plan, associated with the loss of sound perspective, that is, the relationship between the leading and accompanying voices, between the main thematic material and the background. Sometimes conductors try to restore this relationship by increasing the volume of the thematic voice. However, this technique, at first glance, absolutely logical and natural, does not always give the desired effect. It is much better to highlight the foreground not with the help of its emphasized amplification, but by reducing the sonority of the second plan. Such a technique, undoubtedly more subtle, is especially appropriate in lyrical, discreet, quiet works, where the thematic voice should sound piano (examples of this are “Winter Road”, “Birch”, “The Lark” by V. Shebalin, “The Dawn is Warming”, “ The Alps" by P. Chesnokov, "The Nightingale" by P. Tchaikovsky, "On the Old Mound", "The Lark" by Vik. Kalinnikov, etc.).
The performance of a nuance in each part is inextricably linked with the peculiarities of choral instrumentation, with the tessitura of other parts, with the semantic meaning of individual voices and their role in the overall musical development.
The loudness of the ensemble is based on the premise that the joint sound of all choral parts will be stronger than each separately. Therefore, the overall sonority depends on the number of simultaneously sounding choral voices and can, as a result of a simple connection or disconnection of parts, change in one direction or another.
In addition, it must be taken into account that not all dynamic shades are indicated in the notes and that the appearance of one or another nuance in the text does not always mean that it must be performed from the very beginning to the end with the same force. On the contrary, some deviations from the main nuance often contribute to greater expressiveness of the performance. So, for example, in order to emphasize the culminating sound of a phrase, to make the phrasing convex, you need to highlight an important note with the help of “pressing”, a slight increase in volume, and vice versa, “remove” the sonority after the culmination. Often, expressiveness is achieved not so much by emphasizing the culminating note, but by easing, attenuating the end of the phrase.
Hans Schmidt, professor at the Vienna Conservatory, in his book "On the Natural Laws of Musical Performance" formulated the rules according to which each longer note should be played louder than the shorter one. In the case when a longer note follows several short notes, he advised to make a small intermediate crescendo to it so that the long note gets the necessary sound strength. After a long note, Schmidt advised "to play as weakly as the long sound sounded at half its duration", otherwise the next sound would not closely adjoin the long one ("poured out" of it). Formulating his rules in relation to piano performance, Schmidt at the same time emphasized that “even in singing, a longer note receives a strong accent, with the only difference being that the singer in most cases transfers this accent to the middle of a long note” 0 .
A certain interdependence between the duration of a sound and its strength was also noted by well-known modern musicians and teachers. So, A. Goldenweiser wrote in this regard: “If I play, say, forte without crescendo and diminuendo, with the same strength a melodic line that goes in quarters, and then for some quarter I play four sixteenths, with the same strength each , then the listener gets the impression that I played louder, since in the same unit of time he will perceive not one, but four sounds. Of course, this cannot be understood arithmetically, that is, that we must play these four notes exactly four times quieter than the previous quarter notes, but in any case, if we do not want these sixteenth notes to sound much louder than the rest, we must play each one is easier."
The researchers also noted a certain dependence of the strength of sound on the rhythmic pattern: the more energetic the rhythm, the more actively it should be performed^
how 
^ Syncopation, sung weaker than the note that is -
before it, after it, or simultaneously with it, but in a different voice, it ceases to be a syncopation, that is, it loses its rhythmic and dynamic characteristics.
Performing nuances are largely associated with harmonic movement, with the alternation of musical stability and instability, with the functional role of chords in the mode. For example, if a dissonant chord is followed by a resolution, then it should be played softer than the chord.
Of considerable importance for the nuance is the direction of the melody. Quite often in performing practice, we are faced with an increase in the strength of the sound when the melody moves up and with a fading when moving down. The expressiveness of this technique is due to the perception of the upward movement and upward dynamics as an increase in expression, emotional upsurge, and the decrease in dynamics and downward movement as an emotional decline. However, such an association is not always justified. No less often, the downward movement of the melody should be accompanied by crescendo, and the upward movement - diminuendo, associated in the first case with an increase in massiveness, heaviness, and in the second - with relief, melting.
Finally, live performing practice constantly reminds of the dependence of dynamics on tempo, and tempo on dynamics. Loud sound, as a rule, is hardly compatible with fast, virtuoso movement. The louder the sound, the heavier it is and, therefore, the more difficult it is to control it at a fast pace. Therefore, in works in which the composer demands forte or fortissimo along with lightness, grace, grace, sometimes one should sacrifice a little the power of sound in order to achieve the desired character of the music.
All this indicates that certain tempo, melodic, rhythmic, harmonic, textural features of the musical language often prompt the performer to correct the author's dynamic instructions. However, this should be done with great care. Too frequent, unjustified changes in the main nuances do not achieve the goal; they only tire and dull the perception of the listeners, introduce mannerisms into the performance, and can even produce a humorous impression. “Nothing can damage a work so much,” noted R. Wagner, “as an arbitrary nuance, since it opens up scope for the fantastic whims of any conceited beater counting only on effect” ,2.
The main criterion for the correct nuance is the content and form of the work, its warehouse and structure, the nature of the melody. In choral literature, there are many episodes written with a wide, juicy brushstroke, during the performance of which it is necessary to
fractional nuances should be avoided. And vice versa, in works rich in colorful, bright, contrasting details, psychological moments, monotonous, monotonous dynamics can significantly impoverish the content and figurative side of music. “In order not to lose the logic of the ratio of the strength of sonorities and create a sound palette rich in variety and colors,” A. Pazovsky wrote, “the conductor needs to feel and realize the“ through dynamics ** of the work he performs. Like a cross-cutting tempo-rhythm, the palette of musical dynamics is the ups and downs of sound tensions, these are continuous contrasts, changes of dynamic nuances, strokes, shades, heterogeneous in strength and character, harmoniously united into one big whole.
Through various use of dynamic nuances, the conductor can reveal one or another possibility for the development of musical and performing dramaturgy, creating a form that is most appropriate to the content of the work.
As already noted, a relatively stable volume level can contribute to the unification of the form, and sharp changes in volume can be a means of dividing it. Therefore, with the help of certain dynamic techniques, the performer can influence the form of the composition. A very common method of performing nuance is, for example, the dynamic opposition of repetitive motives, phrases, etc. (the first time is louder, the second time is quieter, or vice versa).
Of particular importance is the dynamics in songs and choirs of couplet structure, becoming almost the main performing means of musical development here. Changes in nuance in the various verses of the song bring contrast and variety to the repetitive musical material and bring the form to life. On the contrary, the method of gradually amplifying the sound from the first verse to the last, or a combination of smooth amplification with smooth decay, which is especially often used, for example, in soldiers' and burlatz songs, to a large extent unites the entire verse form into a single whole.
In principle, the long crescendo and diminuendo are a very important means of uniting form and a powerful means of development. But both nuances produce a truly convincing impression only if they are performed gradually and evenly. In order for the rise and fall of sonority to be carried out with great consistency, it is recommended to start the crescendo somewhat weaker than the main nuance, and the diminuendo somewhat louder. G. Bülow recommended a wise rule: "Crescendo means piano, diminuendo means forte." That is, support for a long crescendo must be sought in a deep piano, and for an equally long diminuendo - in a rich and full forte. It is very useful in a gradual dynamic transition to conditionally divide the melodic line into a number of motives, each of which should be performed somewhat louder or quieter than the previous one. Moreover, even in episodes that require great sound power, you need not give it all.
Perhaps even more difficult than the gradual execution of crescendo and diminuendo is the sudden change of nuances for the performer. The performer must be able to convey bright sound contrasts without any softening. This requires great skill. Very often, singers cannot immediately change from one nuance to another, which distorts the author's dynamic plan and the artistic intent of the work. The particular difficulty of such an instantaneous restructuring in singers is associated with the specifics of the singing mechanism of breathing, which allows for some inertia. To achieve distinctness of sound contrasts, caesura (short breathing) is usually used before changing nuances. Such a caesura, in addition, helps to avoid the "absorption" of the future nuance by the previous sonority.
The dynamics techniques described above can be used by all performing musicians, regardless of the instrument they play. At the same time, the implementation of dynamic shades in choral performance has a number of features due to the specifics of singing in general and choral singing in particular. It is known, for example, that the main reflex connection regulating the dynamic modulations of the voice is the connection between the breath and the larynx. The change in the volume of the voice occurs mainly as a result of modulations of the subglottic pressure, which change the vibrations of the vocal cords: the greater the air pressure, the greater the strength of the sound. It can be said without exaggeration that the volume control in singing is breathing. Therefore, the conductor of the choir should pay special attention to the development of proper breathing in the singers. Another important regularity of the singing voice is the increase in the strength of the voice with pitch. Acoustic studies have shown that for masters of singing, the volume of sound gradually increases from the lower tones of the range to the upper ones up to the extreme limits of the range; on the contrary, when moving from the upper tones to the lower, the sound strength decreases. These natural volume changes in the ascending and descending movement of the melody must be taken into account by the conductor when working on dynamic shades. Otherwise, dynamic colors may turn out to be either exaggerated or not bright enough. At the same time, it should be noted that a smooth increase in the volume of sound, which is natural for masters, requires a great sense of proportion and significant muscle fitness. Most singers fail to match the volume of the sound across the entire range.
A particularly common disadvantage is forcing the sound in the upper tones. As a method of combating the forcing of high sounds, the weakening of their volume, milling is used. The technique of filleting is very widely used in choral practice, where each singer, due to the specific conditions of collective work, is limited in the full manifestation of his voice data: he must moderate and limit the power of his voice, giving only as much as is required to create a general collective sonority, to create choral ensemble. The dynamics of this sonority is established and regulated by the conductor in accordance with the nature of the work being studied and its performance plan.
There is one more specific point to be taken into account. Researchers have found that different voices of an inexperienced singer have different strengths. The strongest are the vowels a, e, o and vowels And And at- are weaker and. Only as a result of the work of the conductor with the singer can the difference in loudness between vowels be eliminated. The strength of sound is also related to its formation. Along with the increase in volume comes the expansion of sound, along with melting - narrowing. The entire choral sound, according to the principles of one of the best Soviet choir schools - the choir school of A. Sveshnikov, should go through a narrow one: first narrow - then wide. A very common mistake is for singers to sing loudly immediately after taking their breath. This is due to the fact that the singer involuntarily strives to “widely” and “freely” use up the large supply of air that he now has at his disposal. The conductor should constantly warn singers against such a habit, which has a disastrous effect on phrasing, on the direction of the musical line. It is necessary to ensure that the sound after taking the breath is not louder than what it was before (of course, except when the change of nuances is indicated in the notes). In other cases, the main rule should be the following: when you start singing, always sing lower than the tone that, in all likelihood, will be at the climax! Following this rule facilitates phrasing, makes it comfortable and natural.
The same applies to the endings of musical phrases. Often at the end of phrases at the moment of "removal" conductors require an active "ejection" of breath. This active exhalation is usually accompanied by an increase in sonority, which often does not correspond to the necessary phrasing. I would like to note, by the way, that the end of a sound, like its origin, has an innumerable number of dynamic gradations. The sound can fade, melt, and then the dynamic effect of milling is applied, it can break off suddenly. Especially difficult in the choir is the rapid joint suppression of the end
sound, which is usually achieved by an instantaneous holding of the breath, go with the help of solid consonants b, p, t, stopping the sound with lightning speed.
The dynamic range of a choir depends, as already mentioned, on the breadth of the dynamic range of each singer. Practice shows that for inexperienced singers the difference in voice strength between forte and piano is very small. Most often, they perform everything at approximately the same dynamic level, usually corresponding to the sonority of mezzo forte. It is clear that the expressiveness of singing suffers from this, not to mention the dangers of constant vocal tension for the singer himself. Therefore, the conductor should pay special attention to the formation of piano and pianissimo skills in choral singers. Then the boundaries of their dynamic range will expand significantly.
Wagner R. About conducting. - Russian musical newspaper. 1899. JS & 38.
The summary of the music lesson “Dynamic Shades” was developed according to the VIII type program for the 5th grade by the author V.V. Voronkova. Author: Dubrovina Lyubov Anatolyevna - music teacher MBOU secondary school No. 17 (branch) of the urban district - the city of Kamyshin, Volgograd region Type of lesson: Learning new material and consolidating knowledge. The purpose of the lesson: To form in students a conscious idea of \u200b\u200brhythm as a means of musical expression. Purpose: to expand the knowledge already gained about the dynamics of sound as a means of expression. Introduce dynamic shades.
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Music lesson summary« Dynamic Shades »developed according to the program of the VIII type for the 5th grade by the author V.V. Voronkova.
Lesson type: Learning new material and consolidating knowledge.
The purpose of the lesson : To form in students a conscious idea of \u200b\u200brhythm as a means of musical expression.
Target: expand the knowledge already gained about the dynamics of sound as a means of expression. Introduce dynamic shades.
Tasks:
Tutorial: introduce students to the concept of "dynamic shades";
to teach to distinguish the dynamics of a person's voice; musical instruments; objects around us. Show children the meaning of dynamic shades in a piece of music. Perception of means of musical expressiveness through the system of creative tasks.
Correction - developing:develop creative thinking and imagination; develop an interest in classical music; develop a cognitive interest in the surrounding life, be able to talk about music using musical terms; replenish vocabulary; involve students in active activities; develop singing skills.
Educational: to cultivate interest in classical music through listening, to cultivate self-control skills in the process of developing the ability to evaluate one's work,to encourage students to adequate self-assessment in the classroom.
Equipment: multimedia, presentation, phonograms "Songs of Friends" by G. Gladkov; “Waltz” by E.Dogi from the film “My sweet and gentle beast”; V. Shainsky "Blue Wagon"
Lesson Plan
1.Org. moment. Greetings
3. Work on the topic of the lesson
Flower station.
Forte and Piano Station
4. Consolidation of the studied material.
Station "Mountain pass".
Station "Mysterious".
5. Summary of the lesson.
6. check yourself . Dynamics. Terminal Station.
7. Reflection
Technological map of the lesson
Lesson stages | Stage organization. Equipped ing. | Before zi moat ka re me neither | Teacher activity | Student activities | Formed UUD |
1.Org. moment. Hello action. | slide 1 | Good afternoon, good afternoon We met again | Listen to music and sing We are ready. | Acceptance of the social role of the student. Development of motives for learning activities and the formation of the personal meaning of learning |
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2. Updating the basic knowledge of students on the topic of the lesson. | Sounds "Waltz" by E.Dogi from the movie "My affectionate and gentle beast" (On the board in the topic of the lesson I add:dynamic shades). | Guys! Let's analyze the sounded piece of music: What can we say about the melody that has now sounded? What happens in this piece? What is the means of musical expression? The melody emerges from silence, then gains maximum strength and instantly fades away, the sound gains strength and loses it. Please read the expressive poetic text of Agnia Barto "Our Tanya". (relatively loud and relatively quiet) The concepts of "loud" and "quiet" are very relative. For example, when you are in a good mood, you turn on the tape recorder at full volume, and your neighbor is in a bad mood that day. Therefore, he is outraged. For him, this sound seems too loud. So what conclusion can be drawn? But it can also sound different. For example: sounds that are quiet for a trumpet turn out to be too loud for a guitar. Let's do an experiment:Knock on the table. Quiet... a little louder... loud... very loud! Please note: the louder we knock, the more force we have to apply. It's the same in music. Music can be quiet or loud, it can abruptly or smoothly move from one volume to another. | (student answers) About the power of sound Guys read: Our Tanya is crying loudly: loudly The same sound is perceived differently by us. Tapping a pencil on the table | The ability to enter into a dialogue and participate in a collective discussion of the problem, to argue one's position Development of cooperation skills with the teacher and peers in different learning situations. Argumentation of one's opinion and position in communication. Expressing your thoughts with sufficient completeness and accuracy Arguing your opinion and positions in communication. Ability to organize educational cooperation and jointness with partners |
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3. Work on the topic of the lesson Station "Tsveto" chnaya» Station "Forte and Piano" | slide 2 "Song of Friends" from the cartoon "The Bremen Town Musicians". Slides 3 - 5 slide 6 Annex 1 Verse by E. Koroleva. The sound of the button accordion gradually from quiet to loud. Annex 2 Slides 7.8 | What is the power of sound called? Right! Today we will expand our knowledge of dynamics. We will get acquainted with dynamic shades. And so that you better remember the dynamic shades, and make it more interesting for you, we will travel on the Jolly Express. Guys, what fun song do we know? I invite you to perform the "Song of Friends" from the cartoon "The Bremen Town Musicians". Guys, we have arrived at the Tsvetochnaya station. Let's see what beautiful flowers are in front of us. Now we will sniff them. We take a short breath and a long slow exhalation with a count: 1,2,3,4.5, etc. And now let's look at this flower meadow, let's call our flowers Yegorka and try to count them. We remember the phrase: “As on a hill, on a hillock, 33 Egorkas lived, once Egorka, two Egorkas, three Egorkas ...”, etc. We continue our journey on the Jolly Express. We move to the next station with these words: “Knock, knock, knock, the wheels are knocking, the locomotive is going, the locomotive is going. Past the fir trees, past the pines - he brought us far. I'll tell you what residents live at this stop. What are the most common words? How are these words used in music? How are you. Guys, do you think who lives at this station? Attention! A dynamic train is approaching us. Write down and memorize dynamic shades: | Dynamics By express our fast Nobody can be bored. On the way, cheerful tourists, On the way, funny friends! And to make it even more interesting And it seemed easier to go Let's sing - and a cheerful song Help you on a long journey. (children answer) (perform 1 verse) Working on breathing Each time you repeat the exercise, the exhalation lengthens by increasing the number of numbers and gradually slowing down the pace. Working on breathing (the guys repeat the words, while stomping their feet loudly) (Loud quiet) f - FORTE (loudly) p - PIANO (softly) This means that Forte and Piano live at this stop. Students write down terms with explanations. | Ability to organize educational cooperation and joint activities with partners Willingness to receive the necessary information, defend one's point of view in a dialogue and in a speech, put forward a hypothesis and evidence Establish cause and effect relationships. put forward a hypothesis and evidence Give definitions to concepts. |
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4. Consolidation of the studied material Station "Mountain pass". Zaga station daughter". | (the game is offered by M.A. Mikhailo howl). Annex 3 Game material: toy. V. Shainsky "Blue Wagon" Slide 9 Appendix 4 | We are at the station Forte and Piano They invite us to play the game "Loudly - softly binge" What means of expression did we use in the game? What? Guys, we've been sitting too long at this station. Let's go further. Do you remember the chorus of V. Shainsky's song "Blue Wagon"? Let's sing part 1 of the chorus just f. Did the song sound beautiful in our performance when we shouted it? How can you change the sound of a song to make it more expressive? What dynamic nuances helped us create a joyful mood in this song? We arrived at the station, which is called"Mountain pass". Guys, do you know how the echo in the mountains answers. For example, if I shout high in the mountains: “What time is it now?” What will the echo answer me? (hour, hour). Could the echo say, “Two hours, forty minutes”? Let's now play a game called Echo. I will ask, and you repeat the last syllable and at the same time clap your hands. We repeat the last syllable twice and clap our hands twice, doing it at the same time. Begin! What helped us in the game? Solve the riddle: To two notes known add a suggestion get loud and a long beep | Are playing the game A leader is selected who leaves the class. The rest agree and hide the toy. The driver, having entered the class, must find it, guided by the sound of the song that the students of the class sing (for the purpose of fixing, the song that they have just learned is used) The main rule: the sound of the song intensifies as you approach the toy and, conversely, subsides as you move away from it. Dynamic shades (student answers) (guys sing chorus) (Guys perform). (children's answers) You need to change the sound of the song. The strength of the sound should change throughout the song. Let's focus on the option "the closer - the louder" in the first part and in the second part of the chorus "the farther - the quieter." crescendo and diminuendo. Well, of course not. dynamic shades (SIREN). | Express your thoughts with sufficient completeness and accuracy. Extracting the necessary information from a piece of music; The ability to independently plan ways to achieve goals, consciously choose the most effective ways to solve educational and cognitive problems. The ability to correlate their actions with the planned results Express your thoughts with sufficient completeness and accuracy. |
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5. The result of the lesson. Terminal station. | "Check yourself" Dynamics. Slides 10-17 | Our journey is coming to an end. Remember the most pleasant moments of our trip. - What did we do in class today? Let's check if you know dynamic shades? Test "Test yourself" | (children's answers) (children's answers) | The ability to correlate their actions with the planned results - argumentation of one's opinion and position in communication |
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6.Ref lecture. | Slide 18 | Teacher: Our trip went well. You have learned to distinguish between dynamic shades. | Possession of the basics of self-control and self-esteem, decision-making, the implementation of the main choice in educational and cognitive activities. |
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