The type of choir is determined depending on which parties make up it. A choir consisting of female voices is called a homogeneous female choir. Similarly, a male choir is called a homogeneous male choir, and a choir consisting of boys and girls is called a children's choir. There is a tradition of performing works written for a children's choir by female members and vice versa. It is possible to determine what type of choir the author assumes in this case, if he does not indicate specific types of voices, based on the figurative content of the work.

A choir consisting of male and female voices is called a mixed choir. A variation of it is the choir, in which the parts of female voices are performed by boys, it is often called the boys' choir. As a rule, all Orthodox spiritual chants written before the beginning of the 20th century were intended to be performed by such a mixed choir.

The type of mixed choirs also includes incomplete mixed choirs. Incomplete mixed choirs are choirs where any one of the parts is missing. Most often these are basses or tenors, less often - any of the female voices.

Each type of choir corresponds to certain types of choirs. The type of choir indicates the number of choral parties included in its composition; choirs are one-voice, two-voice, three-voice, four-voice, etc.

Homogeneous choirs, as a rule, have two main parts (soprano + alto or tenor + bass), therefore, the main type of homogeneous choir is two-part. The mixed choir consists of four main parts, and its most characteristic form is four-part.

Reduction and increase in the number of real-sounding parts by duplication or, conversely, division can give new types of choir. For example: homogeneous one-part choir, homogeneous four-part choir, mixed eight-part choir, mixed one-part choir, etc.

Duplications and divisions can be either permanent or temporary. A choral score with an unstable change in the number of voices will have a form called episodic one-, two-, three-, eight-voices, with the obligatory indication of a stable number of voices (for example, a homogeneous two-voice female choir with episodic three-voices). With temporary divisions, sometimes denoted by the Italian word divisi, the emerging new voices have, as a rule, a subordinate meaning.

In addition to simple choirs, there are also multi-choir compositions, when several choirs with independent choral parts simultaneously participate in the performance of works. Such multi-choir scores are particularly common in operatic music. In Orthodox musical practice, there is also a tradition of composing the so-called antiphonal 6 works, in which two choirs sing, as if answering each other. Such compositions are called respectively: double, triple, etc.

2. Range and tessitura features of the product

After determining the type and type of the choir, it is necessary to find out the range and tessitura features of the choral parts. First of all, the general range of the choral score is determined. To do this, it is necessary to “measure” the distance between the extreme lower and upper sounds found in this score. For clarity, you can mark them on the musical staff as follows:

The concept of range is closely related to the concept of tessitura, the most used part of the range in this work. To assess the tessitura, it is necessary to carefully study the use of register possibilities of voices in all parts, throughout the entire composition. Tessitura, depending on the range and register features of a particular batch, can be medium, high or low. For example, the registers of the soprano part would look like this.

Example 20

Similarly, taking into account the peculiarities of the vocal ranges, registers will be distributed in other choral parts.

A tessitura can be called comfortable if the height position of the choral part corresponds to the free sound of the voice. If, during the performance, the voice sounds in an uncomfortable register for a long time, tensely, the tessitura is considered uncomfortable. It is difficult to sing for a long time in the upper register. In a low register, the technical and dynamic capabilities of the voice are significantly limited. In most cases, significant parts of the choral parts are placed in the middle, most convenient for singing, tessitura.

However, the above does not mean that the use of extreme registers is undesirable and wrong. Very often it is in this way that the composer achieves the necessary timbre selection of a particular part, the creation of a certain color.

c h a p t o r e

COMPOSITION OF THE CHOIR

According to the composition of the choir, the most common are three main types: 1. Chorus of female or children's voices (or both), 2. Choir of male voices, 3. Choir of mixed voices. *

The choir of the first type, consisting of sopranos and altos, and the choir of the second type, consisting of tenors and basses, are called homogeneous choirs. From the combination of these two homogeneous choral groups (upper and lower), one mixed group is obtained, so that the choirs of the first and second types can be considered as two halves of the third type of choir. This by no means negates their independent significance, but both together they form the most perfect type of choir - a mixed choir.

The choir of the first type consists of: 1st soprano, 2nd soprano (or mezzo-soprano), 1st altos and 2nd altos (or contralto).

If we illustrate this composition with the simplest choral chord, then the voices of the choir are arranged as follows:

The choir of the second type consists of: 1st tenors, 2nd tenors, baritones, basses and octavists.

The same chord for the choir of this composition should be arranged as follows:

By combining homogeneous choral groups of the 1st and 2nd types, we get a complete mixed choir, the most perfect type of choir, which should consist of nine parts: 1) 1st soprano, 2) 2nd soprano, 3) 1st altos, 4) 2nd altos, 5) 1st tenors, 6) 2nd tenors, 7) baritones, 8) basses and 9) octavists.

The chord arrangement for a full mixed choir would be:

When comparing the ranges and registers of choral parts, we will see (in detail in Chapter III, Part I) that a complete mixed choir is divided into four groups of related voices:

1) 1st soprano and 1st tenor, 2) 2nd soprano and 2nd tenor, 3) altos and baritones, 4) basses and octavists.

Graphically, this can be represented as follows:

At the same time, according to the registers, the choir is subdivided (we attach special importance to this division) into three layers, respectively, according to the sonority of the chord (when doubling): 1) a layer of upper voices, 2) a layer of middle voices and 3) a layer of lower voices, as can be seen from the tablet and note example:

1. Layer of upper goals. - 1st conp. + 1st ten.

2. Layer of medium goals. - 2nd conp. + 2nd ten. + alt. + barite.

3. Layer of lower goals. - basses + octavists

Insufficiently good choral sonority is often due, among other things, to the fact that these three layers of voices sound unevenly in the choir, unbalanced in sound strength: the upper layer is strong, the lower is weaker, the middle is even weaker. (We will talk more about this in the chapter on the ensemble.)

Of no small importance is the question of the smallest number of singers in each choral part. Its correct resolution will make it possible to substantiate further conclusions.

If we take one singer for a part, then, of course, the choral part will not work, since one singer is a soloist.

Will two singers make up the choral part? No, they won't: at the moment when one singer takes a breath, the other will be in the position of a soloist.

If we take three singers for the party, then the party will be formed: when one of the three takes a breath, then there are still two singing. Consequently, with three skillful singers, it is possible to form a choral part that is minimal in composition. The smallest number of singers for each choral part is three.

If we compose each part from the smallest number of singers, then we get:

Therefore, to form a properly organized mixed choir, at least 12 singers are required, distributed in three for each part. We will call such a choir a small mixed choir. The small choir is at the same time an incomplete choir**, it is forced to confine itself, as it is customary to put it, to "pure four-parts."

By uniformly increasing each part of the small choir, we will approach the smallest amount of the average (but already full) mixed choir. When the number of singers in each part of the small choir doubles (and triples in the bass part), it will turn into an average mixed choir with the least number of singers, namely:

In the bass part, as can be seen from the tablet, a regrouping has been made: at the expense of the octavists, one singer has been added to the bass part. This is recommended because the bass part, as the main one, needs to be amplified a little. In relation to the octavists, one can allow a deviation from the basic principle - "the least number of singers for a part is three"; the octavist part, in essence, is not an isolated part - this part, beautiful in sound, is to some extent already a luxury in the choir (almost necessary, by the way). This part should be used very carefully, avoiding abuse, otherwise the brilliance of its sound will be depreciated and even become annoying.

The average mixed choir of the smallest composition (27 people) can perform, with very few exceptions, almost all choral literature, since it is a complete choir, that is, composed of 9 choral parts.

By uniformly increasing all his parts, we will approach the smallest composition of a large mixed choir. When the number of singers of an average mixed choir doubles, it will become a large mixed choir with the least number of singers:

All choral literature is available to this powerful choir, since each part of it can form four correct groups of 3 singers each.

The above calculations may seem somewhat abstract. We do not categorically insist on them, but we consider it necessary to point out that they are the result of many years of observation and experience. Indicating the initial smallest number of singers of a large mixed choir, we do not undertake to determine its maximum maximum number, but we consider it necessary to stipulate that there is a limit beyond which the musical sonority of a large choir already develops into noise sonority.

As for the arrangement of the choir, this question is interpreted in different ways. Let's try to find objective justifications for its resolution.

The choir, as mentioned above, is divided into four groups of related voices. Let's put the parties of the first group at opposite ends of the stage. Will they be comfortable singing? Of course not: they, as having uniform ranges and registers and singing at doublings in octaves, always strive to be closer to each other. Try to put the octavists away from the basses, and you will hear the murmur of the first: "It's inconvenient, you can't hear the basses, there's no one to lean on." Therefore, related parties must be in the same group. At the same time, the parts that make up the layer of upper voices and take on most of the melodic material should be on the right side of the conductor. Parts of the middle layer, filling the space between the upper and lower layers with harmonic material, are placed throughout the choir. Finally, the parties of the lower layer, as fundamental parties, as the basis on which the whole weight of the choral chord rests, must gravitate towards the center.

The proposed arrangement of the choir has been verified by experience and observations. But this is not something unconditionally obligatory; sometimes the room and acoustic conditions may require some changes in the arrangement of the choir***.

Having considered the various types of choir and the order of its placement, let us dwell on some organizational issues.

The conductor of the choir must have assistants both in the musical and artistic, and in the organizational part. The assistant conductor for the musical part conducts preparatory work with the choir and replaces the conductor in case of his absence for any reason.

The assistant conductor for the musical part is a member of the choir, participates in the entire work of the conductor, assimilating his requirements so that in cases of replacement he does not introduce any new interpretations of himself. There should not be two influences on the choir and different directions in the work. It goes without saying that an assistant conductor must have an appropriate musical education.

The assistant conductor for the organizational part should be the head of the choir.

The main task of the head of the choir is to ensure that order, that organization, which is necessary for artistic work.

In addition, each of the four choral parts must have a head of the choral part, who is responsible for it both from the organizational and musical side. The head of the choir should be an excellent experienced singer, musically educated enough. The warden of the choral pariah is her representative, her living connection with the conductor. He must know every singer of his part comprehensively. Noticing the shortcomings of the singers of his part, he can and must point them out, thus achieving the improvement of each singer individually and of the whole part as a whole. An inexperienced, technically poorly trained singer, the headman should give under the leadership of an experienced singer, who leads him until he gains experience and improves his technique. This guide is of great practical value. No matter how good a singer who has joined the choir, he meets with the manner of singing, with the methods of the conductor, which he is not yet familiar with, and therefore it is irrational to immediately put him in the position of a completely independent singer. The warden of the choir part is in this case an indispensable assistant to the conductor. Without fail being present at the test of the voice, hearing, knowledge and skills of a singer who is newly entering the choir, the headman must immediately single out an experienced singer in his choral part and give the newcomer under his leadership.

From this it is clear that only as many singers can be accepted back into the choral part as there are experienced singers in it who can lead beginners. Subject to this order, the newcomer cannot be a brake on his party, interfere with it: at the first mistake, he will be stopped by the senior singer-leader. Over time, when such a beginner gradually gains experience, masters the techniques of a conductor, learns to maintain both a private and a general choir ensemble, system, etc., he becomes an independent singer. It is useful for such a singer who has completed his training experience to give some of the inexperienced some time to learn: observing the mistakes of his student, he will clearly understand that he himself had to pass this “course”.

The warden of the choral party must choose from its composition one singer who would be in charge of the notes of his party. At the same time, it is recommended to keep five good, durable folders - four for the choir (one per part) and one for the conductor. The librarian, having received from the conductor an indication of which compositions and in what order will be worked out at the rehearsal, in accordance with this, arranges the notes into folders and passes them on to the singers selected in each part. The conductor announces the thing to be worked out. Those in charge of music folders hand out notes and, upon completion of work on this piece, immediately collect them back into folders; even the headman should not, in addition to those in charge of the folders, dispose of the notes - subject to this rule, the folders with notes will arrive at the end of the rehearsal to the librarian in the same order in which he issued them. The librarian is in charge of the conductor's folder.

All of these organizational measures are of great practical importance. In the choir, everything should be connected, fastened, soldered. With a clear organization, no violation of the musical or social side of the matter should take place: organizational functions are accurately distributed, each section of organizational work is given into the proper hands. Each link intelligently coordinates its work with the other in the name of the interests of the common cause, the organization and discipline necessary for fruitful artistic activity are firmly introduced into the choir.

Quite often, a conductor who demands discipline is criticized for being too strict and demanding too much. Of course, all unreasonable demands are to be condemned.

Let's try to delve deeper into this issue.

We know from experience what disappointing results such "demands" sometimes lead to. How can one demand, for example, personal affection or sincere and cordial participation in a common artistic work? This can only be desired, and this is achieved not by requirements, but by other means. First of all, one must be demanding of oneself and know that any work of a conductor with a choir must be a creative act, that an upsurge, controlled by a sense of artistic proportion, must be a constant companion of the conductor both in preparatory work and in public performance.

The conductor must always be outwardly neat, affable, never allow rudeness: he must firmly grasp that rudeness and fine artistic work exclude each other.

We divide the discipline of the choir into external and internal. External discipline is order, an indispensable condition for carrying out any collective work. This external discipline is necessary as a means for cultivating and establishing the internal discipline necessary for artistic work. Caring for the maintenance of external discipline is the direct business of the head of the choir and the head of the choral parties, they calmly and reasonably establish the external order necessary for work. But if only the elders always take care of maintaining external discipline, then this is not lasting. The conductor himself must gradually and patiently instill in the choir a reasonable and conscious external discipline. It is necessary that the singer, under the influence of the conductor's soft, persistent influence, discipline himself, clearly understand that external discipline depends on him, that it is necessary, and that only if it is present, the choir is capable of creative artistic work.

External discipline creates in the choir an atmosphere of seriousness, deep respect for art, that external order and that concentration, which introduce the choir into the realm of internal artistic discipline. Thus, the discipline of the internal order is closely connected with the discipline of the external. Without it, it will be difficult for the conductor, together with the choir, to make their studies creatively meaningful. Creative work, and especially artistic performance, is a delicate and complex process. It requires extraordinary concentration, thoughtfulness, mood, depth. The creative upsurge that determines true artistic performance cannot be artificially and hastily evoked. But we can prepare the way for it. These ways are the strengthening of external discipline and the overcoming of the technical difficulties of the material being worked through. When a disciplined choir overcomes these difficulties, then the paths leading to the area of ​​discipline of the internal artistic order are cleared, in the presence of which alone can uplift and inspiration appear.

Only with careful observance of all the requirements of external and internal discipline, the choir becomes capable of inspired and artistic performance, and the work of the choir becomes a true work of art.

For the successful work of the choir, the musical talent of each singer is of great importance. Therefore, when accepting a new singer, the conductor must pay sufficient attention to his musical talent. The musically gifted singer has an idea of ​​the beauty of sound, and therefore the desire to find such a sound; it will take very little guidance and advice to find the right sound. With the assimilation of elementary information about breathing and the formation of sound, a musically gifted singer, with the help of very few exercises, quickly achieves good results. The more musically gifted singers there are in the choir, the easier the choir understands and perceives the requirements of the conductor, the more he succeeds in his work.

Two words about the number and duration of rehearsals. From the practice of many years, we come to the conclusion that the least number of rehearsals for amateur choirs is two per week. With one rehearsal a week, the results of the work done are almost completely dissipated by the next, the acquired skills are smoothed out. Under these conditions, the results are not felt, the singers lose interest in work.

Professional choirs must practice daily (except weekends). The duration of rehearsals should not exceed 2½ hours: the first part is 1¼ hours, the rest is ¼ hours and the second is 1 hour.

__________________

* Considering the issue of the composition of the choir, P. G. Chesnokov does not characterize the artistic and performing capabilities of a particular type of choir. (Note by S. Popov).

* We draw attention to the peculiar use of the terms: “full choir” and “incomplete choir”. By “incomplete” - P. G. Chesnokov means a small choir, while “full” choir is a choir in which choral parts can be divided into groups. This is contrary to the currently accepted understanding of the above terms. "Incomplete" refers to a choir that lacks any choral part, such as a choir consisting of soprano, alto and tenor parts. “Complete” is considered a choir, in which there are all choral parts (soprano, alto, tenor and bass), regardless of their numerical composition. (Note by S. Popov).

A choir is a team that is sufficiently proficient in the technical and artistic-expressive means of choral performance necessary to convey those thoughts and feelings, the ideological content that is inherent in the work.

Choir types:

There are parts of voices in the choir. They are grouped according to the nature of the sound and the range of voices. High female voices - soprano; low female voices - violas; high male - tenor; low male - basses; high children's voices - soprano (treble).

Characteristics of the choral parts:

SOPRANO is characterized by a high, mobile light and light sound. Most often, this part is entrusted with the performance of the leading melody of the work. Range: up to the first octave - re of the second octave.

Altos are distinguished by a lower, denser, richer sound. In women's two-part choirs, the altos often take the lead, singing the melody on their own or with the soprano. Range: la small octave - re second octave.

TENORA: mobile, light, but at the same time firm, strong sound is inherent. In a mixed choir, this is the middle voice, but sometimes it plays the role of a leading part, singing a melody on its own or with a soprano. Range: up to a small octave - la of the second octave.

BASS: usually - the foundation, the basis of the choir. Characterized by strength, power. At the same time, the lightness of the sound is inherent. In the male two-voice choir - the role of the second voice, but sometimes they perform the main melody of the work. Range: fa, salt of a large octave - re of a small octave.

The number of members of the choir.

The number of singers in each part should be approximately the same. The smallest number of votes in a party is three. The minimum composition of a mixed choir is 12 people.

C.3 + A.3 + T.3+B.3=12; C.3 + A.3=6; T.3 + B.3=6

Vocal Ensembles

C.6 + A.6 + T.6 + B.6 = 24 - small choir.

Elements of choral performance:

Ensemble (rhythmic ensemble). The ability of all singers to sing, pronounce words, take a breath, start, end a song at the same time.

Build (pure intonation of each singer).

Nuances (different sounding of different parts of the work).

Diction (pronunciation by singers of the text clearly, clearly).

Choir arrangement

For the successful work of the choir, a certain arrangement of parties is of no small importance. There are various placement methods. It is more expedient to arrange the choir in the form of a semicircle, since this creates the most concentrated sound. (see annex 1)

In musical practice, there are other concepts that are close in meaning to the term "arrangement": transcription, processing, harmonization, orchestration or orchestral edition.

The choral arrangement has distinctive features. Before embarking on the arrangement of any work, the arranger must be sure that the work will sound good in the intended performing staff, that the main and essential thing regarding the artistic merits of the work will remain. Moreover, this requirement applies to the transfer of a vocal or instrumental work to the choral genre. For example, in romances, the poetic text is often given in the first person, and, therefore, is unacceptable for collective performance. We must not forget that the romance genre requires subtle agogic (tempo) and dynamic shades, which is achieved with great difficulty in choral performance.

Arrangement is, first of all, a creative process, which mainly requires talent and flair from the arranger in understanding the measure that should not be overstepped so as not to distort the author's intention. The main task in this regard is to preserve the main characteristics of the work, such as musical thematic material, modal structure, harmonic language, rhythm, tempo, literary text. It is known that the transposition of a work into a different key changes its coloring as a whole. In a higher volume, the work sounds lighter and lighter, and in a lower backwoods, it is not so expressive.

The main requirement for a choral arrangement is to follow the rules of comfortable tessitura. Singing voices should be in the zones of the working range and working notes. The working range differs from the full range in that it does not contain upper and lower sounds.

Consider common and typical ways of arranging. Sometimes the arrangement may be limited to minimal changes to the original. For example, individual melodic turns are transferred to other choir groups in order for the melodic line to be performed more vividly, expressively and without excessive load.

It should be said about the features of the arrangement of some interval harmonies. The specificity of the choral sound is such that all ingervals, in convenient registers, usually sound good and noble. This also applies to such intervals as fourth, fifth, octave, which seem to sound empty on the piano. In choral timbres, these consonances have a completely different color, so they can be freely used in two-voice scores.

Arrangement of two-part homogeneous choirs

If a homogeneous choir is represented by its usual composition, that is, a female choir - sopranos and altos, a male choir - tenors and basses, then the tonality of a homogeneous choir, as a rule, is preserved in the transcription.

If a homogeneous choir consists of two high voices (soprano I and II or tenor I and II), then when transcribed to a mixed choir, it is necessary to transpose down by a convenient interval, usually not exceeding a major third. If a homogeneous choir consists of two low voices, then an upward transposition will be required.

In two-voice homogeneous choirs, if they contain elements of three-voices, all three voices are doubled. If divisi into two parts is carried out in the upper voice, then soprano I is doubled by tenors I, soprano II by tenors II, alto basses. With divisi in the lower voice, the soprano is doubled by tenors, altos I by basses II. The transition to another key is not required here.

1. The score of a mixed choir is formed by doubling all three voices.
2. The score of a mixed choir is formed by doubling two of the three voices of a homogeneous choir.
3. The score of a mixed choir is formed by doubling one of the voices of a homogeneous choir.

II way:

In arrangements by the second method, the tonality of a homogeneous choir is usually preserved. However, if a homogeneous choir has a divisi in the top voice (soprano or tenor), then transposition down will be required, otherwise the altos in a mixed choir will be very high.

III way:

when transcribed from the women's choir

when transcribed from the male choir

The main method of such arrangements involves changing the arrangement of voices in a homogeneous choir while maintaining the tonality of the work. In choral practice, it has received the greatest distribution, since when applied it does not require any restrictions on the ranges in the voices of a homogeneous choir.

This method is most convenient in cases where the voices of a homogeneous choir are closely spaced. Arrangement for a mixed choir in this case gives an even distribution of voices in the chord and, thus, its full-fledged, unified sound.

With a wide or mixed arrangement of the voices of a homogeneous choir, undesirable gaps between the choral parts may form in the transcription, deteriorating the sound quality of the score. In order to prevent such breaks, it is necessary (if it is possible under the conditions of voicing and tessitura) to preserve the interval relationships that were in the chords of a homogeneous choir, or to rearrange the middle voices in the chord so that a break does not occur, or to introduce a fifth voice at the break point.

When transcribed in this way, the crossing of voices in chords of a homogeneous choir can also lead to gaps between voices. In such cases, the middle voices do not need to be interchanged to avoid breaks. It is necessary to maintain the same arrangement that was in the homogeneous choir.

It must be remembered that this method of arrangement is more appropriate in relation to works of a calm, unhurried nature. Expanding the choral range by an octave and changing the arrangement of voices in this case will not adversely affect the character of the sound.

A different result, directly opposite, can be obtained if the work is performed at a fast pace and small durations predominate in it. In the performance, awkwardness and heaviness, alien to the mobile tempo, may appear. Therefore, for such arrangements, it is not necessary to take works in which a change in texture will adversely affect the artistic merits of the arrangement.

There is another way, but in practice it is rare, since it requires limiting the ranges of the two lower parties of a homogeneous choir.

Arrangement of three-part homogeneous choirs of a homophonic-harmonic warehouse for four-part mixed

Unlike the previous type of arrangement, where a mixed choir was formed by doubling the voices of a homogeneous choir by octave, this type of processing involves the creation of a four-part score in which each of the voices will have its own independent melodic line. This method can be applied when the three-part choir or its individual constructions are presented in a homophonic-harmonic warehouse. Choirs with subvocal development should not be taken for such arrangements, since the four-voice harmonic texture can distort the characteristic coloring inherent in the subvocal warehouse.

If the female choir is transcribed, then the lower voice transmitted to the basses will sound an octave lower; if you make an arrangement for the male choir, then the upper one, transferred to the soprano part, rises an octave higher.

The middle voices of a mixed choir (altos and tenors) are formed in compliance with the norms of voice leading on the basis of filling the harmony of a four-part chord with missing sounds. In this case, the middle voice of a homogeneous choir does not necessarily have to go unchanged to one of the middle voices of a mixed choir.

Neither the melodic position of the chord, nor its form, nor the harmonic function can be changed. Only the fullness of the harmonic sound and the arrangement of voices in the chord can change. Often in three-voice works, the tonic is represented by a sixth chord. In a four-voice mixed score, this sixth chord is replaced by the main type of chord.

Arrangements of homogeneous choirs with a variable number of voices for mixed choirs

Such arrangements are made on the basis of a combination of various methods discussed earlier. Single-voice formations, two-voices, and also two-voices with elements of three-voices will require an octave doubling of the voices of a homogeneous choir. In three-voice episodes, two possibilities of arrangement may arise: an octave doubling of choral parts or the replacement of three-voice chords by a four-voice presentation, in which each of the voices of the mixed choir will have an independent melodic line.

The choice of one or another method will depend on the features of this construction.

Arrangements of four-part mixed choirs into four-part homogeneous

A characteristic feature of the arrangement of four-part mixed choirs for four-part homogeneous choirs is that from a composition richer in register and timbre-expressive terms, the work is transferred to a choral composition with more modest means and possibilities. Therefore, not every work written for a mixed choir can be arranged for homogeneous compositions without prejudice to its artistic content.

1. The chorus is set out in a close arrangement.
2. The chorus is set out in a wide arrangement.
3. The chorus is set out in a variable arrangement.
4. The choir, regardless of location, is written in a complex developed form.

In choral literature, there are works for a mixed choir with a close arrangement sustained from beginning to end. More often these are small constructions in the form of a period. In order to arrange such a mixed choir for a women's choir, you need to raise the key by a second or a third and transfer the voices according to the following scheme:

With such a gear change, the inversion of the chord is sometimes changed. When arranging works written for a mixed choir of the named type for a male choir, the key of the work usually needs to be lowered by a fifth-sixth (for a professional male choir), and for an amateur choir up to an octave inclusive.

Such compositions are rare in choral literature. Just like works with a constant close arrangement, choirs with a constant wide arrangement of voices are usually presented in the form of choral miniatures. Their arrangement for a homogeneous composition is made by turning a wide arrangement into a close one without changing the tonality.

An exception is the arrangement for a professional male choir, for which the tonality of the work may be slightly increased. The tonality of the amateur depends on the upper sound of the soprano part. It should not be higher than the "fa" of the first octave.

Works for a mixed choir with a variable arrangement of voices are most often found in choral literature. When arranging this kind of scores into homogeneous compositions, the question arises of choosing the key for the male and female choirs.

The fact is that in works that include both wide and close arrangement and, therefore, are no longer choral miniatures, but works of a larger form, the entire range of the choir can be used, including the extreme registers of the choir or its individual parties, which are often impossible to change either upwards or downwards.

It follows from this that it is preferable to preserve the tone of the original. However, the preserved tonality constantly leads to a discrepancy between the registers of one composition of the choir to another. Therefore, when arranging a mixed choir with a variable arrangement of voices for homogeneous compositions in the latter, it is often necessary to reduce the number of voices in chords, reducing them to three-voices, two-voices, and sometimes to one-voices, making sure that the filling chord sounds are not located above the upper voice and would not form arbitrary quarter-sext chords.

It is necessary to carefully monitor the smoothness of voice leading, the observance of which is associated with additional difficulties arising from the constant change of close and wide arrangement in the original, each of which requires a restructuring of the arrangement of voices within homogeneous choirs. We constantly have to deviate from the author's conduct of voices, then return to it again.

If a work for a mixed choir has the character of an extended, large-scale canvas, as a rule, it is not possible to arrange such a work for both female and male compositions due to the discrepancy between the capabilities of the indicated performing groups.

Arrangements of four-part mixed choirs for three-part homogeneous

Such transfers are carried out as follows. The melodic line of the upper voice of the mixed choir is completely preserved and transferred to the upper voice of the homogeneous choir. Only the octave of its sound can change, if this is an arrangement for a male choir. The other two voices in the homogeneous choir are formed on the basis of the harmonic sounding of the other three voices of the mixed choir, taking into account their new location in the chord.

It is impossible to set ourselves the task of accurately transferring any of the three lower voices of a mixed choir to the score of a homogeneous choir. The desire to keep these voices intact can lead to inferior sounding of chords in a homogeneous choir. In a three-voice score, it is also not necessary to preserve the form of the chord in comparison with its four-voice presentation. More important in this case is the correct arrangement of the voices in the chord. The cadence turns in the three-voice version allow for a freer approach in terms of arrangement. For example, the final tonic and the dominant that precedes it can be represented by their inversions: a tonic sixth chord and a dominant second chord (incomplete). Replacing four-part chords with three-part ones, when the completeness of harmonic sounding is lost to some extent, therefore it is desirable to preserve in these chords the introductory tone, seventh, none, altered tones, on which the coloring of harmony, its specific coloring directly depends.

One of the most important tasks in the arrangement of this type is the correct choice of the interval between the melodic line and the newly formed lower voice. This interval should reproduce as accurately as possible the harmonic color of the corresponding four-part chord. For example, a dominant seventh chord (in the position of a third) with a resolution of a tonic triad, when replaced by a two-voice, an enlarged quart with a resolution of a tonic sixth will sound best:

It should be noted that replacing the dominant seventh chord and its inversions with a two-voice sound, it is desirable to preserve the most characteristic sound of this chord - the seventh.

The choice of the required interval when transcribed to a two-voice choral composition largely depends on the melodic position of the four-voice chord of the mixed choir. For example, if there is a dominant second chord in the melodic position of the opening tone, this chord is best replaced with an augmented fourth:

If you take the dominant second chord in the position of a fifth or fundamental tone, then instead of an increased fourth, a big sixth (1) or a big second (2) will sound:

When transcribing four-part mixed choirs for two-part homogeneous ones, the harmonic coloring of triads and their inversions is best conveyed by full-sounding intervals: thirds, sixths, less often decimals. When replacing seventh chords of the dominant group with a two-voice sound, a major second, a minor seventh, tritones, less often a sixth and a third are widely used.

Empty-sounding intervals (fourth and fifth) in works of a harmonic warehouse are best used on weak beats of the measure. On a strong beat in the middle of musical constructions, a quart is more often used in the form of a delay. In the final revolutions, fourth and fifth are used in their immediate sound. The quart usually reproduces the harmony of the cadence quarter-sext chord, and the quint - the cadence dominant, resolved into the final tonic.

Quarts and fifths, in combination with other intervals, are used in a variety of ways in two-voice performances of Russian folk songs. Here the scope of their use is greatly expanded. The characteristic coloring of these intervals gives the sound that special, inimitable coloring that is inherent in the subvocal warehouse of Russian folk music.

State educational institution of the Russian Federation

Rostov Pedagogical College named after K.D.Ushinsky

ANNOTATION

for choral work for mixed choir acappella

R. Schumann "Night Silence"

Completed: student of group 41

Sapunkova Vera

Lecturer: Pyasetskaya T.I.

Rostov, 2008

Robert Alexander Schumann (1810-1856) was a German composer, pianist and music critic. Born in the family of a book publisher. In 1828 he entered the Leipzig University at the Faculty of Law. In addition, he studied piano with Friedrich Wieck (1830). In 1829, Schumann transferred to the University of Heidelberg, which he left in 1830. While studying at the university, he traveled to Munich, where he met Heine, and also to Italy. He began to study composition and arrangements with Dorn. In 1834 he founded the New Musical Newspaper. In 1840, Schumann married Clara Wieck (during this period he wrote many songs and cycles: Myrtle, Love and Life of a Woman, Love of a Poet). In 1850 he acted as a choral and symphony conductor. In 1856, after two years of unsuccessful treatment in a psychiatric hospital, Schumann died.

An exponent of the aesthetics of German romanticism. Creator of software piano cycles (Butterflies, 1831; Carnival, 1835; Fantastic Pieces, 1837; Kreisleriana, 1838), lyrical and dramatic vocal cycles (Poet's Love, Song Circle, Love and the life of a woman", all 1840); contributed to the development of the romantic piano sonata and variations ("Symphonic etudes", 2nd edition 1852). Opera "Genoveva" (1848), oratorio "Paradise and Peri" (1843), 4 symphonies, concerto for piano and orchestra (1845), chamber and choral compositions, music for the dramatic poem "Manfred" by J. Byron (1849). Wrote "Life Rules for Musicians".

Choral works - "Good Night", "Silence of the Night", "Requiem" on Goethe's verses, "Scenes from Faust", "Wanderings of the Rose" for choir and orchestra, "Men's Choirs", "Black-Red-Gold". In addition, he wrote more than 130 songs, including poems by Heine and Goethe, music for the dramatic comedy by Manfred.

R. Schumann belongs to the romantics, and they were characterized by a desire for miniatures, such a miniature is “Night Silence”, where music expresses the feelings of the composer, his thoughts, experiences. (Music application)

At night, the stars in the velvet sky do not sleep,

Reflecting in the river, they burn.

Everything is calm, silent, every leaf fell asleep.

The air of the night is clear and pure.

The moon pours its silver light on the earth.

Early morning dawn is near

And the golden ray of the sun will shine,

Sun light over the earth.

Choral genre: acappella choir

Genre of the work: choral miniature.

musical form.

Musical form: one-part

Thematic analysis

Musical themes: 1st sentence (1-8 tons) - a contrasting theme in comparison with others, in accordance with the musical form there is no similarity of themes, a complex melodic language (complicated by jumps in melody), a beautiful, bright melody.

Writing style: writing style - mixed, with a predominance of homophonic-harmonic. From bars 1-11 - homophonic-harmonic warehouse of writing, from bars 12-14 - elements of polyphony (imitation), then to the end - homophonic-harmonic.

Ladotonal plan.

The main key is Es-dur.

Deviations in tonality - deviations in the subdominant sphere prevail. By structure, it consists of three sentences (1st -7 bars, 2nd -7 bars, 3rd -11 bars) with an addition (4 bars).

Metrorhythm

Rhythm: In general, the rhythmic pattern is quite complex. Characteristic rhythmic figures - dotted rhythm, triplets. The basis of the rhythmic movement for all parties is the dotted rhythm (Fig. 1) (the eighth with a dot and the sixteenth). At 22-23 m. there is a fragmentation of the rhythm in the sopranos, altos and tenors (trioli) to activate the movement when leading up to the climax. There is an episode (21 measures) where tenors, sopranos and altos have triplets.

Size: 3/4. In Schumann's elegiac choral miniature, one can hear, as it were, an echo of a waltz, a kind of waltz. Thus conveys the atmosphere of nature at night, pre-dawn nature. Throughout the entire miniature, the size is unchanged.

harmonic language. The colorful, rich harmonic language reflects the picture of the night nature, it is complex in its structure, bright and at the same time light, soft combinations of voices form a very rich harmonic language, combinations of tenors, altos and sopranos are especially beautiful and rich.

Voice leading. The gradual and smooth melodic development of the melodic pattern corresponds to the figurative sphere of peace or contemplation of this choral work. Although at the beginning of the work from bars 1-7 the melody is spasmodic, this somewhat emphasizes the text of the 1st sentence. The melody is expressive, this is emphasized by the first 2 sentences of figurative-emotional balance.

A soprano-jump-like melodic line almost throughout the entire work, jumps by a fourth and a fifth are characteristic, from bars 18 to 23 the division of the soprano into 1 and 2.

Altos are a smooth melodic line, but there are also jumps (per fourth).

Tenora is a jumping melodic line with elements of imitation, singing of a sound, singing on one sound.

Basses - a smooth melodic line, holding on one sound. In 28-29 tons, division into basses and octaves.

Tempo: Calm and peaceful Andante tempo. Agogic deviation - fermata in 23 volumes.

Dynamics: The almost complete dominance of the pp and pp dynamics really creates a feeling of night silence and complete peace. Pre-dawn sensations appear in the text (“The early morning dawn is near ...”), which are illuminated by solar colors in the climax (tt. 22-23) on the words “The sun is light over the earth.” All musical expressive means are aimed at achieving a culmination: fragmentation of the rhythm to activate the movement, crescendo to f, compaction of the texture by increasing the number of voices (A are divided into A1 and A2), an upward movement at S1, an introductory seventh chord with a fourth in the key of D on a strong beat (with fermata), and smooth resolution from diminuendo to ppp. (Ex. 1)

Vocal-choral analysis

Chorus type: mixed.

Lot range

Basses (si subcontroctaves), sopranos (la 2nd octave) have tessitura inconvenience. This creates vocal and choral difficulties for these parts, which require permission when working with the choir. The unevenness of the tessitura ratios of the voices of the choral score may entail the task of artificial dynamic "alignment" of non-ensembling harmonies.

Ensemble: natural ensemble (balanced in all parts).

Tuning: vertical (harmonic)

Vocal difficulties: SOPRANO - in bars 1,2,4,5 large jumps to fifth, sixth B and M, in bar 19 of 2 octaves, positional unevenness in the performance of ascending and descending melodic jumps prevails, in bars 17,18,19 division into 1 and 2 sopranos, there are chromatic moves, in the 22nd measure of the triplet and in the 23rd measure of the fermata, in 26.27 measures - jumps to the sixth, fifth down. Vocal difficulties of this kind are overcome in the process of "singing" the work. Choral performance is impossible without active singing breathing, with the help of which not only vocal difficulties are overcome, but also the difficulties of the system. ALT - positional evenness throughout the entire work, with the exception of 4,5,18,25 bars, where there are jumps to fifth, sixth. In bars 17,20,21,22 and 23, the division into 1st and 2nd altos, in bar 23 of the fermata, chromatic moves occur. Vocal difficulties of this kind are overcome in the process of "singing" the work. Choral performance is impossible without active singing breathing, with the help of which not only vocal difficulties are overcome, but also the difficulties of the system. TENOR - positional evenness of the whole part, there are jumps in 4,14, 25 measures per sixth, fourth, there are chromatic moves (Ex. 2), accidentals, difficulty - sixteenths of duration, singing of individual sounds. Vocal difficulties of this kind are overcome in the process of "singing" the work. Choral performance is impossible without active singing breathing, with the help of which not only vocal difficulties are overcome, but also the difficulties of the system. BASS - positional evenness of the part, except for 24,25,28,29 measures. At 28.29 measures, B counteroctaves are low for bass! Dotted rhythm, no chromatic moves. Vocal difficulties of this kind are overcome in the process of "singing" the work. Choral performance is impossible without active singing breathing, with the help of which not only vocal difficulties are overcome, but also the difficulties of the system.

To overcome these difficulties, it must be remembered that a slow tempo does not contribute to maintaining the order, especially in a cappella performance, and a fast tempo complicates the performance of intonationally awkward moments. Therefore, in the process of rehearsal work, it is necessary to alternate different tempos, and to build up individual melodic moves or chord connections vertically out of rhythm along the conductor's hand. Alignment of the system is facilitated by the performance with a closed mouth, in which the auditory control of the performers becomes more close. The predominance of quiet sonority can lead to a weakening of the role of breathing and a loss of a sense of strong vocal support in the performance, so it is advisable to alternate singing a work or its fragments in different dynamics and using different vocal strokes.

Breathing: since long musical phrases at a slow tempo predominate, chain breathing is predominantly used. Breathing on pauses in bars 9,10,23, there is also a short breath associated with the rapid movement of music to the climax from bars 18 to 22, which creates difficulties in vocal and choral technique. Bass has free breathing, thanks to small phrases in the part and long pauses.

The nature of sound leading and the attack of sound: sound leading is smooth, soft, legato. The character of sound is light, soft, gentle, transparent, collected, covered, neat, conveying a feeling of night peace and silence, but towards the end is more saturated, bright, sunny, light, leading to the climax. Sound science and sound attack are inextricably linked with singing breathing. From bars 1-7, group-wide breathing for S, A, T; from 8-11 and from 14-18 tons. group-wide breathing for S, A, T, B. From 18-22 chain breathing for S and A.

The nature of singing breathing is calm, tenacious, light. A feature in bar 23 is a fermata for the entire choir.

Dictionary difficulties: diction plays an important role in revealing the image. The text should be pronounced softly, in a singsong voice, pronounce “r” in exaggerated words (example: velvet, reflecting, dawn, etc.), ending phrases with “t” (leaf, sleep, burn, clean, dawn, etc.), in measure 22 with triplets “and the golden ray of the sun will flash” fast pronunciation of the text, a clear singing of voiced consonants. In basses, in the last 2 measures, sounds are sung with a closed mouth. Since the work is slow and the phrases are long, the reduction of "e" and "a" is used, in order to avoid separation of words and, consequently, loss of character. Example: Night-yuzvez dynabar-hat-nomne-bene-sleep. Vowels are sung, consonants at the end of the word are pronounced deafeningly.

The timbres of voices and the infinite variety of their nuances depend on the nature of the pronunciation of the text, its figurative and semantic embodiment in singing. This ensemble task is one of the most important performing means, characterizing the choir as a unique "talking" musical instrument.

Conducting difficulties

To convey with a small and soft gesture on legato the image of night nature, its beauty, peace and silence. The main conductor's difficulties: small amplitude of the gesture, the brush works, dotted rhythm, sustained sounds on beat 3, the introduction of the bass part from bar 8, in bar 11 auftakt the sopranos and altos “air of the night” enter into the 3rd beat, in the 12th measure the exact showing of the tenors’ entry creates an element of polyphony, the accuracy of the entry along the hand in 8,9,10 measures after pauses, in the 22nd measure of the triplets, the demonstration with an active gesture increasing the amplitude, a change dynamics, and hence the gesture to a more active one with increasing amplitude when approaching the climax, fermata, ending in "p" and "t" - the exact removal and decrease of the gesture, softness, leaving the end on p. Releases and auxilaries are soft with a delay, the recoil is light and smooth.

Conclusion: in this choral work, the music is harmoniously combined with the literary text. Both words and sounds convey the beauty of the night nature, its peace and tranquility. The text and dynamic shades are very well combined. Passing from p to f, the composer depicts first the peace of the night, and then the arrival of the morning and the awakening of nature from a night's sleep. “The sun is a golden ray, the sun is light” these words are the culmination of the whole work, as it reflects the importance of the sun in our life, because sunlight is life, and every new day is a new life. This is also clearly emphasized by the composer’s means of musical expression: dynamic transitions, timbre, melody, rich harmony, moderate tempo, difficult rhythm. By learning and performing this work, the choir will acquire very important qualities: an accurate collected sound, soft and smooth sound leading, the ability to change dynamics from p to f, voice skills - singing on high and low sounds, singing complex jumps and harmonic combinations in parts. The conductor also acquires important qualities: the ability to keep the choir on p, the ability to show a change in dynamics with a gesture, the introduction of various parts, acquires softness, lightness, smoothness of the gesture, followed by activation towards the end. This work can teach control over the choir singing in pi and, most importantly, the correct expression and display of the idea of ​​the work, its character.