Types of vocals and singing voices. Where to learn to sing? academic vocalists usually perform works accompanied by a piano or a symphony orchestra, pop vocalists often use a phonogram in their performances

In this article I will try to highlight the worst mistakes of all or most beginner vocalists

1. Lack of correct. It is impossible to pay the support of breathing, little attention, it is important to understand that the correct retention of air in the lungs contributes to free, flying, voluminous, beautiful singing;
2. Following a note. An erroneous opinion, unfortunately so common among pop singers, that you need to change the position of the larynx to take high notes. It is important to know that the vocal position of the vocal apparatus should not change depending on the intoned note, and in general, while singing, the larynx should remain motionless, do not reach for the note.
3. You should not pass excess air through the cords, this will not make the voice more powerful, it is better to send it to the resonators while singing, you should not spew out a large volume of air, no matter what note you sing. The flame of a candle brought to the mouth during singing should not fluctuate, the air must be kept in oneself and only a small part of it should be carefully sent to the resonators, this will be enough for powerful sonorous singing.
4. White sound. This is the name for singing not into resonators, such singing can be heard from pop singers who rely on a microphone and do not want to sound with their bodies. Resonators should sound, then the throat will not be clamped, the sound will be rich and interesting, not like anyone else;
5. Hope for instincts. You should not think while singing that the body itself will sing as you wish, of course. We learn to sing so that the voice sounds automatically and the mind remains free for feelings and processing artistic image. But at the stage of learning, you should control your attention as much as possible on each action, if possible, do not be distracted from singing, remember all the teacher's advice and put them into practice.
6. Imitation. Do not imitate your idols, no matter how great you think they sang, remember that there is always the possibility that you naturally sing much better, sing with your voice, listen to your body, look for a vocal position, cultivate your best qualities votes and then you can do everything, and the first development option is detrimental;
7. All at once. Do not sing your favorite songs and arias that your idol sounds great at the beginning of the training if you are not able to do it. Assess your strength realistically, if you start to sing, then first sing at least one note, but so that it sounds perfect or at least so that if you face the truth, you could say that it is really good, and only then think about light works. A trained voice is the result of many years of training, and your idols may have changed many development paths and vocal schools in order to sing like that.
8. Do not be afraid to sing, do not enslave yourself, always maintain self-confidence, learn to enjoy small but significant successes in singing, then you will gain and take leaps and bounds into the world of vocals, and trying to learn everything at once, to prove something to others, to fight your complexes is unnecessary presumptuous manners, you will only aggravate the situation.
9. You don’t need to sing often 2-3 times a week, but to sing, and not to count on the next life, if you want to sing beautifully, you will always have to keep the body in a vocal tone! The fact is that the neurons of the brain responsible for memory tend to die out as unnecessary, if you sing very rarely, you will learn anew each time instead of improving what has been achieved;
10. Do not try to achieve the beauty of your own sound at the beginning of singing. The point is again in stereotypes about a beautiful sound and about imitation of other singers. Every time you start to sing, trying to correct the mistakes of your awkward practices acquired in the process of imitation, you should remember that you still cannot sing and this is your plus. Throw away everything superfluous from yourself, imagine yourself clean slate paper and try to sing with the most organic sound for you, then try to sing a simple piece with it, let it be a test for you, or rather, for your nervous system, can you ... ?? Cultivate your sound, forget about beauty, open your "mouth" and feel free to sing with your natural sound, without any antics. And after that, you can think about support, resonators, etc., but then, you will see for yourself that beauty itself appeared along with freedom in the body.

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

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

Lead vocalist - a member of a musical group, performing mainly the main vocal parts.

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

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

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

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

Where to learn to sing?

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

Classification of vocals according to the manner of performance

Academic (classical, opera),
pop,
jazz,
folk

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

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

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

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

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

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

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

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

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

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

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

One will tell you in detail about the structure of the larynx (with drawings and diagrams) and how it should stand up so that the sound is correct. Another will say something about the dome in the mouth, and the third will simply offer to take a cucumber in his mouth.

There are also originals that make you sing various obscene words: and this, it turns out, works very effectively.

The cost of individual lessons with different teachers ranges from 80 UAH. up to $100 per academic hour.

But again, high price does not speak about the super professionalism of the teacher, you need to proceed more from your own capabilities: you need to study at least twice a week (the accompanist is paid separately).

An unprofessional teacher is a nightmare for all beginner vocalists, since it is quite difficult for a beginner to identify him. The hack is often opened only later ... for example, when moving to a more experienced specialist, when the voice is already damaged, you have to retrain.

If the lessons are not sung freely and there is no improvement for a long time (the first well-audible results, in principle, should appear after 8-10 lessons) or, even worse, there is a sore throat or hoarseness - you need to run away from such a teacher immediately. With such problems, you can contact a phoniatrist - he will surely determine that the work with the voice is going wrong.

It's never too late to learn

But you can start learning vocals at any time. Any voice released certain period, after which it is gradually “erased” with active use. It's about 30 years old. So, having started singing at the age of 40, you may not live to the end of your glory.

A glaring case: a grandfather of 70 years old came to study, he had a chic baritone, a timbre - like a young one. True, sclerosis took its toll, and the singer often forgot ... the words of his arias right during the performance.

As a rule, only children are taken to music schools. And in any music school that trains academics, you need to do it with ready-made, worked out works (song, romance, aria).

If there are no familiar teachers at all, you can search in music conservatories, or schools - many vocal teachers also earn extra money in private practice.

To avoid the lottery (alas, even a professor can ruin a student's voice), go to test concerts, which are often publicly available, and listen to how different students sing - this will be the best evidence of the teacher's professionalism.

In the end, go to the nearest House of Culture and find out if there is a pop-jazz, folk or opera vocal studio there.

In any case, do not be shy about your inability - almost any good teacher is happy to take on inexperienced students. Of course, the ability to play at least a simple scale does not hurt. But even those who do not know what stave, in the process of teaching vocals, they still learn at least some basics of musical literacy - firstly, there is nothing difficult in this, and secondly, there is simply no other way out.

QUESTIONS AND ANSWERS

At what age can you learn to sing?

You can join singing at any age. Preferably - in the young, even ... in the womb (scientists have shown that the fetus reacts to music by changing the rhythm of its heart!). Let the child "sleep at the piano" when the parents play music. It is desirable for a future singer to form musically even before "adult" classes. This will accelerate future vocal-technical development. Childhood impressions are strong and create the foundation for the upcoming profession. Many outstanding singers began to sing in a children's choir, observing a moderate voice load. If after a mutation (in boys, in the process of maturation, the voice may become lower), a professional voice is formed, then singing in childhood will be a significant contribution to the formation of a vocalist.

Initial period! Without laying the foundation, do not expect success. To put it aphoristically, teaching in youth is stone carving, in old age it is drafting in the sand. The first vocal steps outline and reinforce neuromuscular coordinations. If the initial coordinations are vicious, then with further straightening these connections do not disappear, but are only covered with new skills and recur under unfavorable conditions. Initial impressions often create shock associations, develop persistent sensations at the subconscious level. conditioned reflexes. Chaotic reflexes will cause vocal problems even in the distant future.

Main qualities: timbre, range and loudness. The most important thing is timbre. With a moderate range and low strength, the voice may be of interest if the timbre is beautiful. But with a bad timbre (even with a wide range and high volume), classical singing is devoid of appeal. The pitch of the sound depends on the frequency of vibrations of the vocal folds, the strength - on the intensity of exhalation and the amplitude of the vibrations of the folds, the timbre - on the composition of the overtones.

How fast can you learn to sing?

How are singing voices classified?

The type of singing voice is determined by the timbre, range, transitional sounds, the ability to comfortably withstand a certain tessitura. The nature of the vocal folds matters. The voice type is also determined by the sound quality of the registers. Sopranos often have more free-sounding high sounds. The basses have the center and bottoms, the mezzo-sopranos have the middle register.

Errors in determining the type of voice are common, and the consequences of this are negative. The beginner's voice is not developed, cannot be fully expressed. In addition, imitating someone, a novice singer "adjusts" his voice to some standard. The assessment of the type of voice should be refined in the process of developing the singer. There are also many "intermediate" voices. For example, neither bass nor baritone, but bass-baritone. Sometimes they try to lead such a singer as a bass or a baritone, partially distorting nature. Exaggerating one of the registers helps to simulate a lower or higher; voice type. But the thickening, for example, of the chest timbre leads to the difficulty of the "top". In all individual shades, it is very important to determine the type of voice. When years sing in "not their own" voice, it is destructive for him. The voice apparatus, to its detriment, is able to adapt and imitate the sound that you want to match.

Is it easy to master the basics of vocal technique?

If the voice is "set" by nature, then it's easy. But this is a rarity. There are lucky people whose larynx is anatomically well built and organized for singing. They do not require special adaptations for the transition from speech to singing. For the majority, such a transition is associated with the search for adaptations of the larynx. Usually they master the voice for a long time, partly blindly. And it happens that an unsuccessful sound is corrected by a small detail. For example, the performer forced the voice, but changed its type or realized the benefit of an aspiratory attack for it - and the tone became soft, melodious. It is necessary to correct the voice "respectfully" in relation to its nature.

Why does it take so long to learn to sing?

Not always long, although in most cases. It usually takes a long time to achieve and consolidate the culture of vocal sound. The vocalist does not see his own "keys" and in search of technical development he often makes mistakes, correcting himself blindly for a long time. Capricious vocal technique, but it is only a means. The singer must be a competent musician, an expressive artist. It also takes a long time to learn.

Can you learn to sing from books?

Practice teaches to sing. Learning to sing from books is learning to swim on the shore. But competent books convey experience, help to understand voice problems, promote independent work of the singer, and reduce training time. If a student does not know how to work independently, or even a trained vocalist is not aware of his technique, then they, having met new singing difficulties, easily lose their vocal form.

Are there secrets to learning to sing?

There is no mystical, there is the unknown. Students need vocal data, performance, talent. Even luck. Sing according to the nature of the voice! If the individual properties of the voice and the nervous system are called "secrets", then they exist.

What is called vocal hearing?

Vocal hearing is the ability to determine the quality of a singing sound, the ability to recognize voice flaws. Vocalists perceive the singing sound not only by hearing, but also by the muscles of the vocal apparatus, vibrational sensations, vision, that is, the interaction of different sense organs, experience, and intelligence of the listener. The main tool of vocal pedagogy - hearing, associated with subjective singing sensations, is also partly subjective, especially for inexperienced performers. He needs insurance. The singer hears in the refraction of the sensations of his voice. Auditory information is processed by consciousness, is associated with analytical skills in need of development and experience.

What is a sound attack?

The attack of sound is called its beginning, origin. The martial sense of the word has nothing to do with singing. Conventionally, three types of attack are distinguished: hard (first the vocal folds close, then air pressure opens them); soft (breathing and closing of the folds occur simultaneously); aspiratory (first, breath is plentifully supplied through the glottis, then the folds are included in the work). The further sounding of the voice depends on how the vocal folds are included in the work. Singing is usually based on a soft attack of sound. Others are used when technical and artistic tasks require it. With a tense sounding of the voice, the inspiratory attack is most useful.

What kind of breathing is appropriate in singing?

The most acceptable is mixed breathing, or, what is the same thing, chest-abdominal, costal-diaphragmatic, costo-abdominal. It is accompanied by movement of the diaphragm, lower and middle ribs, and the abdominal wall. The chest type of breathing is less applicable. Everyone denies clavicular breathing. Breathe hygienically through the nose: the outside air is cleaned of dust, moistened, warmed. This protects the airways from irritation.

Should I work on breathing outside of singing?

As a rule, it is not recommended to train singing breathing outside of singing. All parts of the voice-forming system closely interact. They rarely work on breathing in isolation and by the decision of the teacher.

What are the best times to sing?

It is not always possible to choose the time. But the chronotypes of people are different (chrono - from Greek: time). It is better for "larks" to sing in the morning (10 - 12 o'clock), for "owls" - in the evening (15 - 18). Experts in biorhythms even argue that by losing contact with our body, people acquire pathology in decades.

Is it possible to do without vocal exercises?

In everyday singing (barge haulers, peasants in the field, etc.), exercises were not sung at all. There are also exceptions in academic education, but professional training in general, it does not do without vocal exercises. They not only bring the voice to the best working condition, but train it purposefully, taking into account individual and situational tasks.

From the performers of opera parts - two octaves. From chamber singers - one and a half. Untrained singers are more likely to use seventh volume (the typical, medium range of folk songs). These limits are conditional.

What's stopping you from expanding your range? singing voices?

Untrained singers use the sound of predominantly one register. In men - more often chest. This is what is limited. The expansion of the range by mixing (artificial combination of the chest and head functions of the voice) is hindered primarily by the stabilization and overload of the chest sound. As well as tightness of the larynx, assertive breathing, distortion of nature, type of voice. Attempts to adjust the upper sounds to the chest timbre is a typical violation of the nature of the voice, ignoring the register mechanisms, they are undoubtedly fraught with consequences.

singing form, difficult to acquire, quite easily lost without training. She has to be constantly supported. There are also age-related changes that require finding new vocal coordinations. Voices delivered by nature are very rare. The absolute majority of votes requires processing.

What are the main sound defects in singers?

Typical disadvantages: forcing, "guttiness" of the voice, open or blocked sound. Variegated sound of vowels, narrowed and, e, unsupported sound, hoarse tremor or hard. Inaccurate hit on the sound (entrances). Clamped or open sound of "tops". Vibrato disturbance, tremor. The singers of the choir have a tendency to depersonalize the timbre.

What are the ways to correct vocal defects?

There are many ways: the correct definition of the type and nature of the voice; repertoire convenient for singing; removal of excess muscle tension; the use of a breath attack to soften the timbre; the use of moving exercises to facilitate sound; requirements of support, yawning, high position. The best way is to avoid defects. To correct the same defects, different vocal techniques can be used. Some singers are better helped by muscle sensations, others by vibration.

What are the features of teaching amateur singers?

Amateurs practice voluntarily and outside of strict norms vocational training; mean: age qualification, terms of study, professional prospects, technical requirements, coverage of musical styles, a clear correspondence to the academic or folk manner of singing. The repertoire of amateurs should be both educational and concert, so as not to reduce interest in classes, not to hope for success only in the distant future.

What is chamber singing?

Chamber singing - from the Latin "room" - means the performance of vocal music in the genres of romance, song, ensemble. Chamber singing requires from the performer a wealth of subtle nuances (each song is a performance). The power of the voice is not required.

Are performances appropriate in the preparation of a beginner?

Performances are useful at all stages of learning (with a feasible repertoire!). Performances tone singers, activate independent work, reveal collectively the shortcomings of classes, and also teach performers to realize themselves artistically, overcoming concert stress (sometimes performers take valerian, which, of course, is not healthy in itself).

Mutation translated from Latin - "change" - a change in voice in adolescents with the onset of puberty. It occurs at about 14-15 years of age. Southerners before. In girls, the voice changes smoothly, even imperceptibly. In boys, due to a sharp increase in the larynx, hoarseness and instability of phonation occur. The vocal folds turn red. There is an abundance of mucus. The new configuration of the enlarged larynx may be unfavorable for singing. During the mutation period (about two years), boys are not recommended to sing. And voice overload is unacceptable.

baby singing uses falsetto sound, which is characterized by lightness, transparency, sonority of timbre, limited range and strength of sound. Until the age of seven, singing retains a falsetto character. By the age of 12-13, the chest timbre is also partially revealed.

It is necessary to strictly select a feasible repertoire, to be limited to natural for given age range and moderate sound power. Sing without clips and forcing. You can sing systematically, but not for long. You should avoid everyday screaming, typical for children.

It is necessary to prevent defective and too long singing, after which the voice "sits down", that is, gets tired, fades, loses its ringing, hoarseness. This happens as a result of forcing the voice, straining the larynx, exaggerating the chest timbre at high sounds, singing in an uncomfortable tessitura.

What genre is convenient for the first steps of learning?

Most vocal folk song. Born of a voice, she went through natural selection with the voices of many generations. In addition, it can sound accompanied different instruments(accordion, guitar, balalaika, tambourine, spoons, etc.) and without them, which is convenient for self-study. Pop songs are not all suitable for teaching an academic singer. Often they are written without taking into account vocal values: timbre, smoothness of voice leading, convenience of tessitura. Many of them are incompatible with bel canto singing, leading to the imitation of artists whispering or screaming in front of a microphone.

What is the most important thing in learning to sing?

Everyone will answer in their own way, based on personal experience. Perhaps the most important thing is the awareness of one's own vocal adaptations and performance capabilities. Knowing yourself is difficult. Everyone wants to be up to standard. And you need to realize your capabilities: what is beneficial for the voice, what performing styles are suitable nervous system. In technical terms, the main thing for the "academician" is to overcome the register fragmentation by mixing the sound. That is, the development of an alloy of chest and head sounds, the balance of which is individual and tessiturnally changeable: the sound above is the timbre of "smut", the sound below is the timbre of "chest". Sound is the interaction of the breath with the larynx. Defects in interaction: too tight closing of the vocal folds, their register, not mixed way of working, lethargy or assertiveness of breathing.

What vocal foundations are typical for academics?

Despite the variegation of methodological positions, in the literature and in practice the following general guidelines can be traced: to sing on a support, roundly, with a high position, mixed sound. Let's decipher these concepts. Opera-concert sound (not microphone) - lean, energetic, resilient. This applies to both sound and respiration, for sound is the vibration of air caused by respiration as it pulses through the glottis. To sing roundly means to sing in volume, with an extended throat (on a "yawn"), with a noble sound. To sing with a high position means to saturate the voice with ringing, silvery, flighty. The combination of the head and chest functions eliminates the different timbres of the registers and expands the range of academic singers. At the same time, transient sounds become problem-free.

Microphone - friend or foe of vocal culture?

The microphone and other electro-acoustic systems can greatly help vocal culture and the training of singers. But if mostly anti-vocal production sounds on all channels, then the singing culture is doomed to fall. Radio and television influence the hearing of the people and those who are learning to sing more than all the conservatories and opera houses. Microphone unsupported humming is incompatible with operatic sound.

What is the impact on singers of audio equipment, sound recording?

The use of audio technology has a multifaceted effect on vocal learning. Sound ether is a vocal general education. The dominance of meager voices on television and radio reduces the vocal taste of listeners and novice singers. And vice versa: propaganda on radio and television of vocal classics increases the vocal culture of society.

Sound recording is an effective tool of vocal pedagogy that allows singers to analyze their sound. Self-control is also effective at the moment of performance (listening to oneself through the speakers, using the "karaoke" function). At the same time, the muscular and vibrational sensations of the singer are complemented by effective auditory self-control. After all, a singer's perception of his voice through bone conduction, through muscle sensations, gives a somewhat distorted idea of ​​his sound. It is necessary to make fuller use of the possibilities of electroacoustic systems.

Which sound defect is more common?

Voice apparatus voltage, sound forcing. The stiffness of the larynx worsens the timbre and vibrato, all technical indicators suffer. A common cause of intense singing is the desire for loudness. Sonority depends not so much on physical effort, but on the rational work of the vocal organ.

Forcing the voice is a defect that leads to harshness of the sound, to the difficulty of the upper register, to the clogging of the timbre and tremolation of the voice (tremolo means "trembling"). It should be noted that tremolo is not vibrato.

Vibrato is basically a low frequency modulation of the frequency of a sound.

Tremolo - modulation of the amplitude of the sound.

Forcing occurs due to emotional overlap, due to the use of a difficult repertoire, due to the inability to form transitional sounds and tones of the upper register, due to singing "not in one's own voice". The regime of even the slightest, but prolonged forcing of sound is destructive. The force of breathing should be commensurate with the capacity of the larynx. The pressure of the breath on the vocal folds strains the larynx, worsens the sound, makes the voice hard, not flowing, squeezing out. Rocks it over the years. Paradoxically, the owners of large votes force more often. Initially surprising the listeners with the power of sound, they further strive to confirm the "vociferousness". This becomes a habit and is no longer noticed by performers.

What is the reason for the loss of vocal form more often?

Usually the vocal form is lost due to the irrational work of the larynx, although this is rarely realized. The larynx is invisible. As a rule, it functions in different registers; tenses, closing the glottis. At the same time, coordination with breathing and resonators is also disturbed. Most of the time it needs to be improved.

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STATE INSTITUTION "MUSICAL SCHOOL OF AESTHETIC EDUCATION №1, ​​LUHANSK"

Outline of an open lesson in the class of academic vocals on the topic:

"Methodsworkabovesmoothvoice leadingonlessonacademicvocals"

Luhansk 2016

Form organizations - individual lesson.

Target lesson: individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals.

Tasks lesson: vocal academic development hearing

1. Development of singing breathing skills (development of a feeling of diaphragmatic "support"; work on breathing as the most important factor correct voice).

2. Development of the articulation apparatus (activation of the articulation apparatus; diction clarity of pronunciation of consonants; formation of a unified manner of singing vowels).

3. Development of hearing, musical memory, feelings of metro rhythm.

4. Development of the muscles of the lips, tongue, cheeks.

5. Development of the skill of analyzing a verbal text and its content.

6. Formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

Plan lesson:

1. Introduction.

2. Main body:

chanting;

Work on works.

3. Final part.

4. Summing up.

Equipment: piano, notes.

Volume behindconceptions 45 minutes.

move occupyI

1. introductory Part.

Teacher: Good afternoon, dear attendees. I, Anastasia Valerievna Sokolova, an academic vocal teacher, am glad to welcome you to an open lesson with Sergey Mezhensky, a student of the 1st year of study. The topic of our today's lesson: "Methods of working on smooth voice leading in the lesson of academic vocals."

The reason for choosing this topic is that the first stages of work on voice formation in a student are associated with the development of the skill cantilenas, i.e., smooth, coherent singing, a smooth transition from sound to sound. L. B. Dmitriev points out that cantilena is “This is the basis of vocal music” [Dmitriev L. B. “Fundamentals of vocal technique” - P. 342]. However, he also emphasizes that cantilena singing is not possible without a freely flowing sound. It (sound), in turn, includes such factors as correct sound formation, close word formation based on breathing, and the absence of muscle clamps.

During the lesson, I will use such basic methods of working with students as showing by voice, auditory analysis of voice formation, muscle-muscle association, connecting the student's imagination. In my work, I will focus on the phonetic method of educating the singer's voice.

2. Main Part.

Chanting: 1) before starting work, one should remind about the singing installation of the performer-vocalist, and also check the staging of the student's body; 2) remind about the correct, calm breath before singing;

1 exercise - "mormorando" (mooing). Singing with a closed mouth, its task is to warm up the ligaments, as well as focusing the student's attention on resonant sensations. Requirements for performance: lips are closed, teeth are open, a calm smooth breath and a relaxed sound of performance. Execution range c№ - a№.

Exercise 2 - terts singing up and down on the syllables "mi-ya". Its task is to continue strengthening the resonator sensations during performance, as well as actively closing the lips when pronouncing the consonant "m". Execution range c№ - a№.

Exercise 3 - quint singing up and down "do-re-mi-fa-sol-fa-mi-re-do". The tasks during the performance are the precise work of the articulatory apparatus, the economical consumption of breathing for the entire exercise, the monitoring of a single singing position during the performance of the exercise. Execution range h - h№.

Exercise 4 - singing up the major pentachord and down the major triad to the syllable "la-a". Tasks of the exercise: activation of breathing, close formation of a consonant, expansion of the student's range. Range of exercise - h - dІ.

Exercise 5 - singing "do-mi-sol-mi-do" up and down the major triad. The main tasks of the exercise: singing on legato, monitoring the close formation of consonants in a single singing position, monitoring the unforced performance of the exercise in the upper part of the range. Range of exercise - h - cІ.

Exercise 6 - octave singing along the main steps major scale, the syllable "la-a" or "do". Objectives of the exercise: singing on staccato, with a light sound, but leaning on the breath; expanding the student's range. Range of exercise - l - fІ.

Jobaboveworks:

- O.VoroninAndR.VoroninVocalise№ 6. From the collection "30 vocalizations based on Ukrainian folk songs". The key is c-moll.

The melodic construction is based on tertian passages along the main steps of the minor scale, as well as the gradual singing of the melody along the pentachord. The same melodic constructions formed the basis of the chanting at the beginning of the lesson. As a result, the developed skills of singing are transferred to a work of art, which is already vocalization. The melody of vocalization, built on folk intonations, allows the student to quickly perceive, as well as reproduce understandable musical material.

Also necessary condition at the initial stages of vocal lessons, is the duplication of the vocal part by the accompanist, which is presented in the musical text of this work.

Tasks for execution:

3) use your breath sparingly due to the slow tempo of the piece;

4) logically build musical phrases.

When singing the vocalization, the student was asked to lead the melody with the help of his hand, as if drawing one smooth line brush. Attention has been shifted to physical action, which led to the removal of excessive tension from the vocal apparatus.

-L.IN.Beethoven,sl.G.burgher"Robin". Key - E-dur. The construction of the melody in this work is based on repetition, as well as singing the main tones of the major triad. Consolidation of the skills of singing the major triad up and down were also worked out in the exercises at the beginning of the lesson.

The reasons for choosing this work for vocal lessons in the first grade: the availability of poetic text; convenient product range (h - h№); duplication of a melody in a piano part.

Tasks for execution:

2) do not distort the pronunciation of consonants and vowels;

4) the transfer of the semantic load of the work;

The student was asked to retell the poetic text of the work in his own words, and analyze the image laid down by the author. Answer the question why, despite the sad act of the protagonist, the author uses the major key of the work.

When singing the piece for the first time, the student was also asked to use a legato stroke to connect the melody of the phrase into a single whole.

-Ukrainianfolksong"Yakdiwaitinglita." The key is F-dur.

The melody of the work of a dance character is built on a gradual ascent and descent to the main tones of the major mode. The form of the work is couplet. With repetitions in the piano part, the melody is not duplicated, which, in terms of intonation, makes it difficult for students to perform. However, the availability of the melody for playback, even without duplication by the accompanist, allows the student to cope with this task. The fast tempo of the work, as well as the relatively high tessitura of the performance, provokes the forcing of sound when singing. Therefore, more attention should be paid to the calm reproduction of the melody of the song, without unnecessary voice-forming efforts.

Tasks for execution:

1) monitor the free, unforced reproduction of the melody of the work;

2) do not distort the pronunciation of consonants and vowels;

3) use your breath sparingly for the entire length of the phrase;

4) transfer of the dance character of the work;

When the melody of the work was played for the first time, the student was asked to use the “brush” technique tested on previously completed works. As a result, the smoothness of voice leading was worked out, attention was paid to the presence of pauses in the melodic structure, unforced reproduction of musical material was worked out.

3. Final Part .

Homework task.

On this our public lesson finished. Thank you all for your attention.

4. P leading results.

At the lesson, an individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals was worked out. Such main tasks were worked out in the lesson as: development of singing breathing skills; development of the articulatory apparatus; development of hearing, musical memory, sense of metro-rhythm; development of the muscles of the lips, tongue, cheeks; developing the skill of analyzing a verbal text and its content; formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

methodical security: Dmitriev L. B. Fundamentals of vocal technique / L. B. Dmitriev. - M.: Music, 2007. - 386 p., notes, ill.

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

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

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

Lead vocalist - a member of a musical group, performing mainly the main vocal parts.

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

singing voices

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

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

Female voices:

• soprano - high female voice
• mezzo-soprano - medium female voice
• contralto - low female voice choral music commonly referred to as just alt)

Male voices:

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

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

Where to learn to sing?

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

Classification of vocals according to the manner of performance

Academic vocal (classical, operatic)

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

pop vocal

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

jazz vocals

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

rock vocals

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

Folk singing or ethnic singing

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

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

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

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

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

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

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

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

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

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

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

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

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

State budgetary institution of additional education for children of the city of Moscow "Children's Music School named after G.F. Gendel" Gendel ". Loginov 01" 09.2010 Educational program of additional education for children "Vocal" (academic) within the framework of the program "Choral singing" 5 - 7 (8) classes (from 11 years old) Implementation period - 3 (4) years Author - teacher Learing SE Moscow - 2010 1 I. EXPLANATORY NOTE The proposed educational program has an artistic and aesthetic orientation and provides for raising the level of the general musical and vocal culture of children. The purpose of this program: - the formation of the musical culture of students as part of their general spiritual culture.Program objectives: - to develop in students musical ability: hearing, sense of rhythm, musical memory, musical thinking; - to instill in students such qualities as creative will, activity, independence, the need for the realization of knowledge and skills; to instill stage behavior skills; - form artistic taste, sense of style. - to teach students the basic principles and performing techniques of correct sound formation, competent independent analysis of musical text, reading notes from a sheet, emotional and meaningful performance of a learned work. - identify the most gifted children for their vocational guidance and preparation for entering vocational secondary schools. Throughout all the years of training, the teacher monitors the formation and development of vocal and technical skills, such as: - sustainable singing breathing on a support; - smooth sound throughout the entire range of the voice; - high singing position and precise intonation; - melodiousness, melodiousness of voice (cantilena); - diction skills, precise and clear articulation; - orthoepic skills in speaking and singing. Students should know: the vocalist's repertoire, which includes works from different eras, genres, styles; professional terminology, the specifics of performing solo and with an accompanist. The program is designed for children aged 11 to 14 (15) years. The term of study is 3(4) years. The result of each year of study is the implementation of the program of varying degrees of difficulty, presented in the transfer test. Vocal classes are held on an individual basis. In our school, in the choir department, vocal is an elective subject, so classes are held once a week for one academic hour. From the very first voice training lessons, students need to develop a sense of self-control, the ability to hear and analyze their shortcomings in order to overcome them. The teacher's attention should be directed to the student's correct corpus position, free position of the larynx, natural articulation, singing breathing with silent, not overloaded inspiration and economical gradual air consumption during phonation. You should also pay attention to the facial muscles. Free face, free mouth, soft chin - important conditions correct voice. It must be remembered that singing breathing is not only one of the foundations of correct sound formation and a condition for the development of vocal technique, but also an important means artistic expressiveness. Developed, elastic singing breathing helps the singer to be fluent in the musical phrase, caesuras, dynamics and other elements of expressiveness in singing. As a rule, when singing, a soft sound attack is recommended, accurate, “without entrances”. Forced sound is not allowed, which often brings irreparable harm. Particular attention should be paid to the correct singing articulation, clear and precise diction, achieving purity of intonation in the sound of the voice. This program involves the creative approach of the teacher to the task of developing the individual abilities of the student, the constant creative growth of the teacher himself, the use of new achievements in the field of pedagogy, teaching methods and repertoire. For students who have graduated from school and are preparing to enter secondary specialized educational institutions (music schools, colleges, etc.), as well as for students who have repeatedly participated in various competitions and concerts, this program provides for the possibility of additional training in solo singing after graduation (4- 1st year of study). Exercises Exercises are of particular importance in initial stage development and formation of the singer's voice. They are necessary in order to bring the voice into working condition, to eliminate the existing shortcomings. At the same time, work on exercises helps to master breathing, resonators, achieve evenness of sound throughout the entire range, mobility of the voice, as well as finding its best timbre. While developing the correct legato singing tone from the first steps, it is recommended that the student sing freely, naturally, without tension. At first, in a small limited area of ​​the range, leading the sound smoothly, without “entrances”, gradually expanding the range and complicating the exercises, taking into account the growing capabilities of the student. The first exercises should not set difficult tasks for the student, they should be devoted to chanting in the literal sense of the word (warming up the vocal apparatus), and only then you can move on to chanting, which sets certain vocal and technical tasks. The formation of a high-quality singing sound, as well as all the main types of vocal movements: legato, staccato, fluency, jumps at long intervals, etc., as a rule, are developed through exercises. The teacher should select vocal exercises individually for each student in accordance with the level of development. A certain sequence of exercises is advisable only at the initial stage 3 of work with the student, when he learns the basic technical skills. For advanced students, it is necessary to diversify chanting exercises so that any vocal tasks can be performed at any time, as required by works of art. Vocalises Vocalises are the musical material that is used in the work as a transition from exercises to works of art. Singing vocalises is necessary for developing basic singing skills: singing breathing, smooth, smooth, free sounding voice (cantilena), smoothing registers, mastering transitional notes, developing mobility, voice flexibility, gradually expanding the range, achieving a high sounding position, equalizing vowels, etc. d. Vocalises are not only material for practicing technique in singing, but also the basis for identifying the timbre features of the voice. In the future, this leads the singer to the artistic and expressive singing of works with text. It is useful to sing vocalises both in solfegging and on various vowels or combinations of vowels with consonants. They can be transposed into a convenient key, depending on the vocal abilities of students, so as not to cause an overstrain of the voice, thereby helping to find the most free and timbre-beautiful sound. The lack of text distinguishes vocalization from works of art romances, songs, arias. Vocalise acts as a purely musical work, not complicated poetic text. It is this latter - the absence of a word and the technical element contained in vocalization - that make it a valuable material for educating the voice. The singer in vocalization finds himself in the conditions of instrumental singing, as it were, he is faced with the task of expressive performance of the work by purely vocal means, which sharpens the musical feeling, makes you carefully follow the phrase, teaches you to feel the form. Here it is impossible to replace musical expressiveness with speech expressiveness, to “hide” behind an expressive word. Vocalises teach to be especially attentive to the musical text, to all the author's remarks, which is so useful for the performance of artistic works proper. Learning works with text Work on works with text poses new, more complex tasks for students. From the very beginning of training, one must strive for a meaningful and expressive transmission of the content of the work. For this, it is necessary that the vocal and technical side of the performance be subordinated to the artistic one. Vocalization alone, no matter how good it may be, by itself cannot satisfy the modern listener. Even a perfect technique should not be an end in itself, it should be subordinated to creative tasks. The future performer must be taught to understand not only the musical form of the work, but also the content. At the same time, great attention must be paid to clear and precise singing diction, work on the text, 4 artistic and beautiful pronunciation words, helping to convey to the audience the exact content, the idea of ​​the work. Students should be educated on the best examples of the world's vocal and performing arts of various historical eras, awakening in them a sense of deep respect for the classical heritage of the past and present. The basis of the repertoire is, first of all, diverse, diverse and accessible to novice singers folk songs, as well as classical works of Russian and foreign composers. Works of the 18th century do not allow liberties of performance, develop in the student a sense of form, logic and clarity musical thinking. From the vocal-technical side, these works usually have a limited range, their tessitura is not high, and they are written very conveniently. Such, for example, are the widely popular arias of Handel, Stradella, Caldara, Giordano, Scarlatti, and others. These works do not require immediate hot emotionality, excitement, the transmission of great passions and intensity of feelings from the student. A general calm and balanced emotional background is very important for a student who is forced to constantly monitor the vocal and technical side and the musicality of the performance. The expressiveness of these works lies primarily in their music, which makes them extremely useful for mastering all the means of musical and artistic expression. Folk songs are also a very desirable material, on which the singer's voice is well formed and the foundation is laid for understanding the national classical music. Romance creativity of Russian composers - Titov, Bulakhov, Varlamov, Alyabyev, Gurilev and others - is widely used in pedagogical practice. Romances are melodious, melodic, sincere, close to Russian folk songs. However, the musical side of them is more developed. In terms of performance, these works require a very careful attitude to the verbal text, well developed sense style. Natural abilities and shortcomings make the process of selecting a repertoire creative. Each teacher should know the vocal repertoire well and be able to choose from it what is most useful to the student at this stage of development. The teacher faces a difficult task - not only to teach vocal technique, develop musicality and performance skills, but also to educate a novice singer in a high musical performance culture. The work of the concertmaster The concertmaster is the first assistant to the teacher, so he must always be in close contact with him, must be attentive to all the instructions that are given in the class. The accompanist needs to know the individual requirements of the teacher for each student. Given the fact that sometimes it is necessary to prepare several students at the same time to go on stage, the accompanist must be able to set tasks for students and build a performance according to the requirements of the teacher. The accompanist should be able to give the student several vocal exercises corresponding to those exercises that the teacher of solo singing offers in the class. The concertmaster must be able to freely transpose, as sometimes the teacher has to change the key of the work, choosing the most convenient for the student's voice. Together with the teacher, the accompanist instills in students the skills of independent work on musical material. We have time for control and accounting. In children's music schools and art schools, in order to achieve the best results, various control activities are carried out aimed at identifying and consolidating the acquired performing skills in the learning process. In this regard, children's music schools and art schools carry out the following activities: - ongoing monitoring of academic performance; - intermediate certification of students; - final examination. An important element of progress control is its systematization and frequency. The current control of progress is aimed at maintaining academic discipline, identifying the student's attitude to the subject being studied (vocal), organizing regular homework. It has educational goals and takes into account the individual psychological characteristics of the student. Control is carried out every 2-3 lessons. Based on the results of the current control, semi-annual and annual estimates are derived. Interim assessment determines the level of development of the student. Forms of intermediate certification are tests that are held at the end of the semester, academic concerts, control auditions. At the tests, 2-3 works are performed, different in genre and character. During the academic year, for showing at academic concerts, the teacher must prepare 4-5 works with the student, 2 works in half a year. The final annual assessment takes into account the results of the current academic performance and the results of the student's performance during the year. For training in the vocal class, you need: - a healthy vocal apparatus; - the presence of satisfactory vocal and musical data; - singing voice; - musical and vocal hearing; - musical memory; - sense of rhythm; - absence of speech defects. During the period of study at a music school, a student must master the full scope of knowledge and skills provided for by this program. 6 II. EDUCATIONAL TEACHING PLAN A three-year course of study.* Theme of the lesson 1. Acquaintance with the elements of musical literacy, musical terms 2. Mastering and developing elementary singing skills 3. Work on sound formation and sound knowledge, sound attack 6. Work on breathing 16. Work on the evenness of the sound of vowel sounds 7. Work on the evenness of the timbre of the voice in the working section of the range 4. Work on various types of vocalization: cantilena, fluency, sound thinning 9. Work on scales and exercises 10. Work on vocalizations 12. Work on diction and articulation 8. Work on a piece, text analysis, epochs, vocal and technical analysis 18. Work on the stage production of a feature number For half a year Total for a year 1 1 half a year Grade 1 2 Number of hours 2 half year 1 half year 2 half year year 3-4 1 half year 2 half year 0.5 1 2 2 2 1 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 2 2 1 1 2 2 2 2 2 2 2 2 2 1 2 1 2 1 2 1 1 0.5 0.5 0.5 0.5 4 4 4 5 5 6 0.5 0.5 0.5 0.5 0 ,5 18 16 18 16 18 16 34 34 *Hours may vary depending on student progress through the program. 34 7 III. CONTENT OF THE PROGRAM In the work on the production of the voice it is necessary: ​​a) to take into account the degree of vocal and musical preparedness of the student; b) select the repertoire according to the degree of difficulty in each individual case; c) to instill in students the skills of conscious mastery of musical and artistic content performed work(do with students a detailed musical and textual analysis). When the teacher draws up an individual curriculum it is necessary to take into account the individual vocal data of the student and, on the basis of this, draw up a repertoire list, gradually complicating it. The concert repertoire is made up of works studied with a teacher in the classroom. First year of study. The singer's vocal education is inextricably linked with the development of his musical abilities and general cultural level. As a result of the first year of study, the student should: - have an elementary idea of ​​the vocal apparatus and resonators; - to know what the correct position of the body is when singing (watch how to stand, how to hold your back, shoulders, head, how to open your mouth); - be able to use singing breathing correctly; - correctly form vowels in combination with consonants; - follow the natural, high, light sound without shouting and tension; - to master the elementary skills of correct singing voice formation, due to the interaction of singing breathing, sound attack and the function of resonators, as well as the skills of rounded sounding of the voice (in the middle register). In all cases, it is necessary to start work from the central section of the range, starting from the most successful sounds. Limiting upper and lower sounds should be avoided, otherwise there is a need for additional efforts with which the student tries to help himself. This can lead to the destruction of naturally correct coordination. The development of the voice should begin with such exercises that do not capture transitional notes. You should always try different vowels in order to choose those on which the voice best reveals its timbre singing qualities. Exercises for beginners should be simple so that the student's attention is focused on the technique of voice formation. Accuracy of attack and purity of intonation should be demanded. Particular attention should be paid to exercises on "cantilena" and diction. One of the most important tasks of a teacher initial period learning establishing contact, mutual trust with students. This is necessary for successful pedagogical influence. Full-fledged classes are possible when benevolent business and human relations arise between the student and the teacher. As a rule, the teacher not only teaches professional skills, but is also the spiritual leader of the student. 8 During the first year of study, the student must work out: - at least 2 vocalizations; - at least 2 folk songs; - 2 - 4 songs of Russian, foreign or Soviet composers (optionally); - for more advanced students - a light aria or romance. At the end of the first semester (December) and at the end of the second semester (May), each student sings at least 2 works in the test, which takes the form of a control lesson or concert. During the year, for showing at academic concerts, the teacher must prepare 4-5 works with the student. Approximate repertoire list of Sopranos: A bt F. Vocalises Arensky A. “Sleep my child, sleep”, “Tell me, moth” Alexandrov A. “I walked around the garden”, “Behind the spinning wheel” Arakishvili D. “Stream”, “Flowers” Arutyunov A. "Artist-frost" Alyabyev A. "Forget-Me-Not" Beethoven L. "Magic Flower", "Marmot" Blanter M. "Lullaby", "Sad Willows", "The Sun Hidden Behind the Mountain" Brahms J. "Lullaby" G regori "Burre" Gurilev A. "Mother, darling", "Sarafan", "Swallow gray-winged" Dargomyzhsky A. "Fever", "You're pretty", "Bayu, bayushki, bayu" Zeidler G. "Vocalises" part 1 Mendelssohn F. "Hello" Moravian folk song arr. Nejedly "The Cuckoo" Mozart V. "Barbarina's Aria" from the opera "The Marriage of Figaro", "Longing for Spring", "The Little Spinner", "Birds" Mussorgsky M. "Spring Song" R.N.P. in arr. A. Egorova "Do not fly, nightingale" R.N.P. in arr. N. Rimsky-Korsakov “A baby walked along the forest”, “A birch stood in the field” R.N.P. in arr. M. Balakireva "At the gate, gate" Partskhaladze M. "The first warm day" Pakhmutova A. "It's good when snowflakes fall" Pergolesi J. "Oh, why am I not a lawn", "If you love" Tchaikovsky P. "Lullaby in storm", "The grass is green" Swiss folk song arr. Gunda "Cuckoo" Schumann R. "Swallows", "Owl", "Moth" “English Songs” 9 Arutyunov A. “Artist Frost” Beethoven L. “Marmot”, “Jamie was the sweetest of all” Varlamov A. “Red Sundress”, “Green Grove” Gurilev A. “Guess, my dear”, “Flew away little bird" Glinka M. "Will I forget", "Do not chirp, nightingale" Dubuk A. "Do not scold me, dear" Dargomyzhsky A. "Do not judge, good people" Mokrousov B. "Clear night", "Good spring in flower garden "Pergolesi J. "Oh, why am I not a lawn" Russian folk song in arr. A. Zhivtsova “Bird cherry sways under the window” Russian folk song in arr. V. Volkov "Thin Rowan", "Spinner", "What are you looking greedily at the road" Russian folk song in arr. A. Fedorova "Luchinushka" Russian folk song in arr. D. Vladimirova “I was walking in the garden” Russian folk song “They gave it to the young”, “Viburnum on the mountain”, “Katya is cheerful”, “Like for the river, but for Daria”, “You go, my cow, go home” Sh Ubert F. “Forgive me” Tenor: A bt F. Vocalises Alyabiev A. “I loved you” Beethoven L. “In the spring” Blanter M. “Lullaby” Varlamov A. “Snowstorm” Haydn J. “Quietly open the door to the garden” Grieg E. “ Forest song "Georgian folk song "Suliko" Gurilev A. "After the battle" Lyadov A. "You are my street" M okrousov B. "The sweet path winds into the distance" Malov V. "Barcarole" Slovak folk song "Ivushka, you are mine , dear "Shostakovich D. "Lullaby" Yakovlev V. "Winter Evening" Baritone: A bt F. Vocalises Alyabyev A. "Two Crows" Bulygin A. "I Met You" Grachev M. "Mother's Song" Gurilev A. “The little bird has flown away” Pergolesi J. “Oh, why am I not a lawn” Russian folk song in arr. A. Ananiev “From steep banks” Solovyov-Sedoy V. “Where are you now, brother-soldiers”, “Evening song”, “Moscow evenings” Bass: 10 Abt F. Vocalises Alyabyev A. “Despondency”, “If life will deceive you "Beethoven L. "The Spirit of the Fighters" Glinka M. "Will I Forget", "Confession" Grieg E. "The Old Song", "Sunset" Gurilev A. "The Little Bird Flew", "Song of the Night Watchman" , “Both boring and sad” Dargomyzhsky A. “In the expanse of heaven”, “I don’t care” Mussorgsky M. “Leaves rustled sadly” Russian folk song in arr. S. Kondratiev "Kalinushka stands at the valley" Russian folk song in arr. A. Alexandrova "Viburnum on the mountain" Tabachnikov M. "Spring winds" Khachaturyan A. "Called you a flower" Schubert F. "The organ grinder" In the second year of study In the second year of study, work should be carried out on deepening vocal-technical and musical - artistic skills acquired earlier. As a result of the second year of study, the student should, if possible, expand the range of the voice, align the sonority of vowels and achieve the correct, clear pronunciation of consonants. It is very important to work on the breath associated with the feeling of support. When working on vocalizations, it is important to ensure that the student is able to melodiously, plastically lead the sound, feel the movement of the melody and the climax of the work. When working on vocal work it is necessary to achieve semantic unity of text and music. When choosing an individual repertoire for the student, avoid too high or too low tessitura, as well as emotional overload leading to forcing. Basically work on the middle register. During the second year of study, the student must work out: - 3-4 vocalizations; - at least 2 folk songs or romances; - 3-5 works by Russian, foreign or Soviet composers. An exemplary Soprano repertoire list: Abt F. "Vocalises" Balakirev M. "A bright month ascended into heaven" Borodin A. "Beauty - a fisherwoman" Budashkin N. "Beyond the distant outskirts" Varlamov A. "Golden ring", " Don’t wake her up at dawn” Wekerlen J. “The shepherd girl” Grieg E. “Spring”, “Children’s song”, “Forest song” 11 Glinka M. “Lark” Grechaninov A. “Lullaby” Gurilev A. “ The Swallow Curls", "Tiny House", "Sarafanchik" Dargomyzhsky A. "Olga's Song" from op. "Mermaid", "Sixteen Years", "Young Man and Maiden" Dunayevsky I. "Autumn Song" Dubuc A. "Grass-Ant" Zeidler G. "Vocalises" Conkone J. "Vocalises" Kabalevsky D. "Serenade of the Beauty" Lyadov A "Grapes are blooming in the garden", "I danced with a mosquito" Mozart W. "Bastienne's Aria" from op. Bastien and Bastien, Arias of Cherubino from op. “The Wedding of Figaro” (“The Heart Excites”, “I Can’t Tell, I Can’t Explain”), “Oh, My Zither” M oniuszko S. “Goldfish” Polish folk song “The Lark” Russian folk song in arr. V. Sokolova “You, the field, the field is clean” Ostrovsky A. “But I see”, “ autumn waltz ”, “Where did you grow up, girl?” Rakov N. "Summer Evening" Rimsky-Korsakov N. "Quiet Evening Burns Down" Spadavecchia "Cinderella's Song in the Forest" Titov N. "You Will Have a Rest" Khrennikov T. "Glasha's Song" from the film "The Pig and the Shepherd" Tchaikovsky P. " My garden”, “The snow is already melting”, “I won’t tell you anything” Schubert F. “Trout”, “Rosette in the field” Schumann R. “Lotus”, “Swallows” Shostakovich D. “Lullaby” Mezzo-soprano : Abt F. Vocalises Alyabiev A. “I see your image”, “And I will go out onto the porch” Balakirev M. “Blow, blow bad weather” Beethoven L. “Faithful Johnny” Bulakhov P. “The leaves were silent”, “And no in the world of eyes "Bach I. "Life is good" Volkov V. "Maiden" Varlamov A. "I'm sorry for you", "So the soul breaks" Glinka M. "Song of Ilyinishna" from the music for the tragedy "Prince Kholmsky", "Not tempt”, “If I meet you” Gurilev A. “The rowan blossomed”, “The little bird flew away” Gluck H. Aria “It gets cold, the blood yearns” from op. “Orpheus” Dargomyzhsky A. “We parted proudly”, “Do I hear your voice”, “I am sad” 12 Dunayevsky I. “To the meadows, glades”, “School waltz” Zeidler G. “Vocalises” Kalzirs Aria “Though you are cruel torment me "Konkone J. Vocalises Cui Ts. "Tsarskoye Selo statue" Lyadov A. "At the gate, wide gate" Makarova V. "Morning song" Russian folk song "I walked in the meadows in the evening", "Luchinushka" Russian folk song in arr. . V. Volkova “Why are you looking eagerly at the road”, “Century Linden”, “Over the fields, but over the clean ones” Russian folk song in arr. Martynova “I remember, I was still a young woman” Rubinstein A. “Singer” Titov N. “Bird” Fradkin N. “The Volga Flows” Tenor: Abt F. Vocalises Alyabyev A. “Winter Evening”, “Winter Road” Varlamov A. “ Where are you, little star”, “Mountain Peaks” Vekerlen J. “Shepherd Girl” Glinka M. “Northern Star” Grieg E. “On the Way to the Motherland”, “Spring Flower” Gurilev A. “Inner Music” Dargomyzhsky A. “ Do not judge, good people”, “What do I care about songs” Dunaevsky I. “School waltz” Zeidler G. Vocalises Conkone J. Vocalises Mozart W. Bastien's Aria from op. "Bastienne and Bastienne" Russian folk song "Troika" Slovak folk song "Sleep, my dear" Khrennikov T. "Like a nightingale about a rose" Tchaikovsky P. "Autumn" Baritone: Abt F. Vocalises Alyabyev A. "I loved you" Balakirev M. “The Song of the Old Man” Beethoven L. “Always, always be happy” Borodin A. “The red maiden fell out of love” Gurilev A. “Heart-toy” Kalinnikov V. “On the old mound” Conkone J. Vocalises Malov V. Barcarolle Mozart V Aria of Figaro from op. “The Wedding of Figaro” (“The Frisky Boy”) 13 Mussorgsky M. “Evening Song” Russian folk song in arr. Yu. Slonova "Nochenka" Russian folk song in arr. YuShaporina “Barge Hauler Song” Slonov Y. “Oh, you, the sun is red” Khrennikov T. “The night with foliage sways a little” Bass: Abt F. Vocalises Balakirev M. “Dream” Bach I. “Our day brings the light of dawn” Borodin A. “ The Song of the Dark Forest" Grieg E. "The Hut" Dargomyzhsky A. "The Heavy Stone" Kalinnikov V. "On the Old Mound" Konkone J. Vocalises Mendelssohn F. "There is no greater torment in the world" Mozart V. 1st aria of Zorastro from op. "Magic Flute" Russian folk song arr. A. Lyadova “Kalyada, malyada”, “Dream sits” Russian folk song in arr. M. Balakireva - A. Lyadova "What in the world is cruel" Russian folk song in arr. A. Alexandrova "Hey, let's go" Ukrainian folk song in arr. N. Stetsenko “Oh, why are you so dumb” Solovyov-Sedoy V. “Where are you now, fellow soldiers” Khachaturyan A. “I called you a flower” Third year of study In the third year of study, work should continue on equalizing the sound of the voice, expanding range, the development of clear diction, the expressiveness of the word, the smoothing of transitional notes, the development and strengthening of singing breathing. Depending on the student's ability, work begins on the mobility of the voice, acquaintance with grace notes, gruppetto, etc. In the process of working on musical works with text, one should strive to create an artistic image, use the student's emotional capabilities, and develop his acting skills. During the school year, the student must perform several times in concerts. A student of the third year of study must pass: - 3-4 vocalizations with the presence accelerated movement and technology; - 2-3 arias (cantilena and moving); -3-4 romances and songs by Russian and contemporary domestic composers. Exemplary Soprano repertoire list: Alyabiev A. “Sweetly the soul of the nightingale sang”, “I see your image” Arakishvili D. “The Shepherd’s Song” 14 Balakirev M. “A clear moon has risen in the sky”, “Barcarolle” Bulakhov P. “No, I don’t love you” Varlamov A. “What should I live and grieve”, “What are you early, grass, turned yellow”, “I love to look at a clear night” Glazunov A. Romance by Nina Glinka M. “I remember wonderful moment" Gluck X. "Aria of Cupid from op. ''Orpheus" Guno Sh. Barkarola Dargomyzhsky A. "Youth and Maiden", Natasha's aria "Ah, that time has passed" from op. “Mermaid”, “The Nightingale Flew” Giordano “Oh, my dear” Dolukhanyan A. “Swallow” Zaremba V. “I marvel at the sky” Zeidler G. Vocalises Kabalevsky D. “Serenade of the beauty”, Caccini J. “Amarilis” Conkone J. Vocalises by Cui C. "I Touched a Flower" Lysenko N. "Oh, Don't Shine for a Month" Lutgen B. Vocalises by Mozart W. Susanna's Aria from Op. "The Marriage of Figaro" ("The Moment Comes"), Susanna's inserted aria "How quivering the heart", Zerlina's aria "The Means I Know" from op. "Don Juan" Mendelson F. "On the Wings of a Wonderful Song" Folk English song in arr. Bailey "Do you remember" Folk Russian song "Deep Volga River" Pakhmutova A. "Tenderness" Rubinstein A. Tamara's romance from op. “Demon” Rimsky-Korsakov N. “Not a wind blowing from above”, “In the stillness of the night” Rachmaninov S. “Island” Tulikov S. “The Nightingale of Kursk” Mezzo-soprano: Balakirev M. “Clip, Kiss” Verstovsky A. Gypsy song "Old Husband" Haydn J. Aria of Eurydice from op. "Orpheus and Eurydice" Gendel G. "Give me tears" Gounod S. Siebel's aria "When carelessly" from op. "Faust" Gurilev A. "Heart-toy" Dargomyzhsky A. "Night marshmallow", "I won't tell anyone" Dunayevsky I. "The lilac blossomed", "Good morning" Zeidler G. Vocalises Konkone J. Vocalises 15 Russian folk song in arr. Koval "Stitches-tracks have grown over" Rimsky-Korsakov N. "That was in early spring", the third song of Lel from op. “The Snow Maiden” Rakov N. “Nothing sways in the pole” Schubert F. “A girl’s complaint” Tchaikovsky P. “Night” (Why I love), “Autumn”, “It was in early spring”, “Song of a gypsy” Tenor: Balakirev M. “Do I hear your voice”, “Do I feel like a daring young man” Blanter M. “Migratory birds are flying” Bulakhov P. “My bells, flowers of the steppe” Varlamov A. “A lonely sail turns white” Glinka M. “I remember a wonderful Moment”, “Autumn Night” Glier R. “Sweetly the Soul of the Nightingale Sang” Guno Sh. Arietta “Oh love, you are a wonderful gift” Konkone J. Vocalises Lysenko N. “Oh, don’t shine, a month” M osolov A. “Glory to the Russian soldier” Russian folk song “Farewell to joy” Russian folk song “Century Linden” Rubinstein A "Singer" Rimsky-Korsakov "Not the wind blowing from above", Sadko's song "Play my guselki" from op. "Sadko" Sizov N. "French song" Scarlatti A. Arietta "Stop hurting your heart" Titov N. "Talisman", "Blue scarf" Ukrainian folk song "Brown eyes" Tchaikovsky P. "My nightingale, nightingale" Baritone: Aedonitsky P "Icy Sea" Balakirev "Clip, Kiss", "Cliff" Brahms I. "Sunday Morning" Bulakhov P. "Shine, shine, my star" Glinka M. "Tell me why you came" Dargomyzhsky A. "I remember deep”, “Night Marshmallow” Zhivotov A. “Birch” Zeidler G. Vocalises 16 Koval M. “Oh, Nastasya” Makarov E. “Morning Song” Mozart V. Don Juan's Serenade “Oh, come to the window” from op. "Don Juan" Mussorgsky M. "Forgotten" Russian folk song "Farewell joy" Russian folk song "Glorious sea, sacred Baikal" Rubinstein A. Demon's aria "On the ocean of air", "I am the one whom" from op. "Demon" Titov N. "Talisman" Schumann R. "On the Rhine" Tchaikovsky P. "I would like in a single word" Bass: Berg A. "Shepherd" Beethoven L. "In love" Blanter M. "Oh you, the northern sea" Balakirev M. “Cliff” Bulakhov P. “Shine, shine, my star” Varlamov A. “Reminder” Grechaninov A. “And I dreamed of a distant country” Glinka M. “I am in love, maiden of beauty” Dargomyzhsky A. “ Both boring and sad”, “Night marshmallow”, “I loved you” Zeidler G. Conkone vocalizations J. Vocalizations Kalinnikov V. “On the old mound” Lobachev G. “The river is silent” Fourth year of study The fourth year of study should give the teacher the opportunity to identify the vocal, technical and performance data of the student. The main work is to strengthen singing breathing and intonation. Work continues on strengthening all the passed vocal and technical skills. It is necessary to pay great attention to familiarizing students with the works of both domestic and foreign composers. During the fourth year of study, work continues on equalizing the sound of the voice over the entire range, on all vowels, on developing voice mobility, improving fluency techniques and sound thinning. During the fourth year, 2-3 vocalizations, 5-7 works of different genres (romance, folk song, classical works of foreign, Russian and Soviet composers) should be completed. The student is obliged at the end of the first semester and at the end of the second semester to perform at a test or control lesson, or at a concert with an assessment. You need to complete 2-3 pieces. 17 Exemplary Soprano repertoire list: Arakishvili D. “On the hills of Georgia” Arensky A. “The sky is dazzling blue”, “Happiness” Beethoven L. “Song of the Mignon”, “Adelaide” Brahms I. “Behind the spinning wheel”, “ Nightingale "Varlamov A. "Barcarole" Vasilenko V. "Lugovaya" Vlasov V. "To the fountain of the Bakhchisarai Palace" Glinka M. "Song of Margarita" Glier R. "A meek star", "Oh, do not weave flowers" Grieg E. " Song Solveig "Guno Sh. "The night is full of brilliance" Dargomyzhsky A. "Without mind, without mind", "My betrothed, my mummers" Dolukhanyan A. "Swallow" Dunayevsky I. "Silence", "Healthy" Cui Ts. " Cloud", "Tsarkoselskaya statue" Lysenko N. "Vitras are blowing" Russian folk song in arr. P. Londonova "Grass-Ant" Russian folk song in arr. V. Krasnoglyadova "Nothing sways in the field" Rachmaninov S. "Island" Rubinstein A. "Desire" Taneyev S. "In the Invisible Haze" Tulikov S. "Winter Evening", "Joyful Waltz" Tchaikovsky P. Serenade "Where are you going you fly”, “He loved me so much”, “On this moonlit night”, “The sun went down” Schubert F. “Serenade”, “Margarita at the Spinning Wheel” Mezzo-soprano: Alyabiev A. “If life deceives you” Balakirev M. “The rosy sunset is burning down” Beethoven L. “The Song of Clerchen” Bulakhov P. “Date” Varlamov A. “I'm sorry you "Glinka M. "What are you bending over the waters" Gluck X. Aria of Orpheus "I lost Eurydice" from op. "Orpheus" Grechaninov A. "Why are you drooping, green willow" Grieg E. "Water lily" Dargomyzhsky A. "I'm sad", "My betrothed, my mummers", "Without mind, without mind", Laura's first romance from op. “The Stone Guest” Dunayevsky I. “The Gray Cedars Are Noisy” Mussorgsky M. “Picking Mushrooms”, Song of Marfa (“The Baby Came Out”) from op. “Khovanshchina” 18 Rachmaninov S. “I fell in love with my sadness”, “Child, you are beautiful like a flower” Rubinstein A. “Desire” Taneyev S. “Not the wind blowing from above” Tchaikovsky P. Olga's Arioso from op. "Eugene Onegin", "The weak light of the candle fades", "No, only the one who knew" Schubert F. "You are my peace" Tenor: Beethoven L. "Adelaide" Bulakhov P. "I remember the day" Varlamov A. " Don’t wake her up at dawn” Glinka M. “Knight’s romance”, “The fire of desire burns in the blood”, “Poor singer”, “Winner” Glier R. “Sweetly sang the soul of the nightingale”, “We swam with you”, “Stream” Grechaninov A. “Desire” Gurilev A. “The bell rattles monotonously”, “At the dawn of foggy youth” Dargomyzhsky A. “Wedding” Kompaneets L. “The apple tree blooms again” Lysenko N. “Oh, girl” Mozart V "Lullaby" Nosov N. "Far, far away" Novikov A. "Free Russia" Russian folk song in arr. Glazunov “They don’t tell Masha to go beyond the river” Ostrovsky A. “Swifts are flying” Rachmaninov S. “The night is sad” Rubinstein A. “Night” Solovyov-Sedoy V. “Nightingales” Titov A. “I knew her as a sweet child” Tchaikovsky P. “Tell me why”, “In the midst of a noisy ball”, “I won’t tell you anything”, “The sun has set”, Triquet’s verses from op. "Eugene Onegin" Schumann R. "Child, you are beautiful like a flower" Schubert F. "Serenade" Baritone: Beethoven L. "Under the gravestone" Borodin A. "For the shores of the distant homeland", "The Song of the Dark Forest" Vasilenko V. "Buffoon" Glinka M. "Doubt", "Do not sing, beauty, in my presence" Grechaninov A. "I go sadly through the steppe" Grig E. "Hunter" Gurilev A. "Song of the sailor" Dolukhanyan A. "My Motherland » Dargomyzhsky A. “Titular Counsellor”, “Melnik” Keneman F. “Oh, you harp” 19 Kabalevsky D. Drinking song Cola from op. “The Master from Clamcy” Koval M. “Oh, Nastasya” Listov K. “Sevastopol Waltz” Matveev Yu. folk song "Hey, let's go" Nosov N. "Northern ballad" Rimsky - Korsakov N. “Oh, if you could” Stolypin D. “Two giants” Titov A. “I knew her as a sweet child” Tchaikovsky P. “No, only the one who knew”, “I bless you, forests”, “We sat with you ”, “First Date” Schumann R. “I'm Not Angry” Schubert F. “Wanderer” Bass: Bellini V. Cavatina Rudolph “Again I see my native places” from op. "Sleepwalker" Beethoven L. "Under the Gravestone" Balakirev M. "Desert" Borodin A. "Song of the Dark Forest" Glinka M. "Doubt" Dargomyzhsky A. "The Miller", "Titular Advisor" Keneman F. "Oh you, harp "Mozart W. Zorastro's aria "Oh, you, Isis and Osiris" from op. "Magic Flute" Mussorgsky M. "Mischievous" Nosov N. "Northern Ballad" Russian folk song in arr. Izvekov “Kalinushka spoke” Russian folk song in arr. Varlamov "Why are you sitting until midnight" Rimsky-Korsakov N. Song of the Varangian guest from op. "Sadko", Sobakin's aria from op. "The Tsar's Bride" Stolypin D. "Two Giants" Tchaikovsky P. "I bless you, forests", "No, only the one who knew" Khachaturian A. "The Baltic Sea" Schubert F. "Serenade", "To Music" , "Hotel" (from the series "Winter Way") 20 IV . METHODICAL SUPPORT OF THE PROGRAM In working with students, it is necessary to monitor compliance with sanitary and hygienic standards: illuminated. Visual material: - Musical works in recording (SAT, DVD); - Portraits of prominent vocalists and composers; - Musical staff. - Working with parents and: Consultations for parents; Concerts, holidays; Participation in parent meetings and preparation for performances; Stand design. Methods and methods of work: Methods of formation of the student's consciousness: - Show; - Explanation; - Briefing; - Explanation. Methods of formation of activity and behavior of the student: - Independent work; - Illustration. Methods of stimulation of knowledge and activity: - Encouragement; - Control; - Self-control; - Grade; - Self-esteem; - Presentation of a gift; - Approval word. Encouragement methods: - Gratitude; - Thank You Letter parents; - Verbal approval. 21 V. RECOMMENDATION LITERATURE LITERATURE 1. Dmitriev LB Fundamentals of vocal technique. M.: Muzyka, 2000. 2. Dmitriev LB Vowels in singing.// Questions of vocal pedagogy. Issue. 1. State. Muses. Izd., 1962. 3. Emelyanov VV Voice development. Coordination and training. S.-P., 2000. 4. Petrushin V. I. Musical psychology. Moscow, 1997. 5. Yushmanov VI Vocal technique and its paradoxes. S.-P., 2001. 6. Yu sson R. Singing voice. M., 1974. 7. Glinka M. I. Exercises for improving the voice, methodological explanations for them and solfeggio vocalizations. M.; L.; 1951. 8. The human voice as musical instrument// Ed. E. I. Sh eveleva. M., 1998. 9. Aspelund DL The development of a singer and his voice. M., 1952. 10. Zdanovich A.P. Some questions of vocal methodology. M., 1965. 11. Pryanishnikov IP Tips for those who study singing. M., 1958. 12. Panofka G. The art of singing. M., 1968. 13. Lvov M. L. From the history of vocal art. M., 1964. 14. Nazarenko I. K. The art of singing. Reader. Moscow, 1968. 15. E. M. Malinina. Vocal development children. M.-L., 1967.