Interesting ways of working with the choir. Methods of vocal work in the choir
Section the process of learning a choral work with a choir
It should be noted that rehearsal process quite long and complex, covering various aspects of the study of musical material. The rehearsal mode, forms and methods of rehearsal work with the choir can be very diverse and are selected depending on the characteristics of the repertoire being studied, on the personality and qualifications of the conductor, on the working conditions of the choir, on the level of training of this choir and other circumstances.
To organize systematic rehearsal work on choral works, a student-choirmaster needs to know the following classification of choral rehearsals:
A) by composition of performers:
Rehearsals for the voices of choral parts (sopranos, altos, tenors, basses);
- group rehearsals (female, male or first voices, second voices);
- consolidated rehearsals (general choral, with an accompanist, with an orchestra or other ensembles of performers);
b) stages of work on the repertoire:
Rehearsals of preliminary analysis (acquaintance with the work, sight reading, primary analysis);
- rehearsals of detailed work on choral work;
- rehearsals for "singing" a choral work;
V) by nature of activity:
workers;
- running;
-general.
It should be noted that the rehearsal work is based on the results of the conductor's preliminary work on the choral score. The entire multilateral and diverse rehearsal process is conditionally divided into the following main phases of rehearsal work:
1 - sketch or initial;
2- technological or preparatory;
3- artistic or final.
Let's consider each of the proposed phases in detail.
The purpose of the sketch or initial phase is the general familiarization of the choir with the work. The conductor precedes the beginning of music-making with an introductory brief and informative conversation, in which he informs the content of the work, the main artistic image, musical and textual features. this work etc.
The next step is execution choral score on the piano by the conductor himself or an audio demonstration. The performance of the score on the piano must correspond to the performance interpretation created as a result of the conductor's preliminary work. After that, the work is “read from a sheet” by the entire choir 1-2 times. In this way, the choir receives a primary idea of the work.
The second technological phase provides for painstaking, detailed, time-consuming work on the study of choral texture. First, solfegging by choral parts is recommended (if there is a divisi in the score, each part is solfegged separately). The conductor draws his attention and the attention of the performers to the correct and precise intonation, rhythmic clarity. Further, general choral solfegging of a choral work is recommended, however, with joint solfegging, “phonetic dissonance” occurs, which does not allow the singers to hear each other. In this case, this essential side of the rehearsal work can be completed by singing each part of a single syllable, for example, “lu”, “le”, “ta”, “di” and similar syllables that contribute to the correct attack of the sound.
Having finished this side of the study of the choral part, one should proceed to its study in conjunction with the poetic text. At this stage, the conductor needs to pay attention to the correct uniform sound formation, to the timbre continuity of each choral part, to monitor the clarity of pronunciation, both of individual consonant sounds, and of syllables, and of entire text phrases. In parallel with this work, work is being carried out to equalize the overall sonority, smooth out the registers, work out the moments of the singing attack and strokes, dynamics, musical phrasing, work to regulate the singing breath of each part.
Having carried out detailed work on the parts, the choirmaster proceeds to “gluing” all the elements into a single general choral sonority, adjusting it in relation to the performing plan, moving on to the artistic phase of learning the piece. At this stage of work, the conductor conducts careful work on the melodic and harmonic structure, works on all types of choral ensemble (metro-rhythmic, tempo and agogic, dynamic, dashed, timbre, choir and accompaniment ensemble, choir and soloist ensemble). At the same time, work is underway to establish relationships between the content of the choral work and the form of its performance. It is this creative process of creating an artistic image that is the most interesting and crucial moment, where the "mind and soul" of the conductor is revealed. According to the authoritative choral conductor A.A. Egorov, at this stage the conductor is like “a painter-artist, choosing any choral and freely disposing of them, creates long-lasting artistic images.”
The entire rehearsal process ends with a final or general rehearsal, where the results are summed up, the achieved results of technical training and the artistic maturity of the performance are checked. The purpose of the final rehearsal is a rehearsal of a concert performance, the so-called “run”, which determines the timing of each work and the entire program, approves the order of choral works in the concert program, determines the exact location of the choir and other performers (soloists, accompanist, ensemble, orchestra) on stage, the entrance and exit of the performers are being worked out.
Lecture 10. Part 3
Methods of vocal work in the choir
1. Transformation of methodological methods of solo pedagogy.
Features of education of vocal hearing of choristers.
Formation of connections between the auditory perception of collective sound, internal ideas about the corresponding sound of one's voice, muscle actions and specific singing sensations of the vocal apparatus. The dependence of all components of vocal technique - singing breathing, sound attack, dynamics, register adaptability and timbre coloring of singing - on the requirements of the choral ensemble.
The predominance of methods of integral and indirect regulation of voice formation. Wide application of the phonetic method. Influence with the help of specially selected phonemes on the collective sound in order to effectively control the voice formation of each chorister. Using the method of emotional tuning of the choir, which provides reflex coordination of the vocal apparatus.
2. Specific choral techniques of vocal work.
Methods of purposeful influence of specially formed choral sonority on individual singing. Acoustic-physiological effect of attunement of voices in the choir.
Formation of ensemble techniques among choristers in order to create a colorful choral ensemble. Teaching them methods of effective control over timbre formation. Activation of resonator vibrational self-control, not subject to disguise in the conditions of the choir. The use of exercises that focus the attention of the choristers on these sensations and reinforce them. The use of tactile techniques, specially selected phonemes and emotional-figurative terms.
3. Modern directions vocal work with children.
The traditional approach to educating the singing voice. Original author's methods.
Many years of experience as a choirmaster and our own scientific and pedagogical research prompted us to develop a method for teaching singing in a choir, based on the activation of resonant vibrational sensations. It was created on the basis of the concept of Professor V.P. Morozov, the author of the resonance theory of the art of singing (Morozov, 1977, 2002).
The merit of the scientist, first of all, is that he created his concept not speculatively, but as a result of many years of scrupulous research into the art of outstanding singers and the methods of the best teachers. The author's conclusions are undoubtedly of great practical importance for all specialists involved in the education of singing voices.
We have developed exercises that focus the student's attention on these sensations and reinforce them (Safonova, 1988). The exercises are arranged in a certain sequence.
At first, it is advisable to teach choristers to perceive clearly localized resonator sensations that increase vibrations in the region of either the head or chest resonators.
The first stage of work with the boys' choir is especially difficult and responsible. In fact, the choirmaster creates a performing team from young musicians who do not own their instrument - a singing voice. Indeed, despite the fact that a person has been using his voice since birth, singing in an academic manner differs significantly from speech in terms of the acoustic characteristics of sound and the way voice is formed.
By nature, boys are characterized by sound formation in pure registers - chest and head (Popov, 1999). The mix is extremely rare. Nowadays, largely due to unhealthy sound environments, they speak and try to sing exclusively in chest mode (hence the increased number of "hooters"). At the same time, the conversational manner of sound formation is “pulled” into a high tessitura unusual for it. The result is a false, hoarse cry "on the throat" instead of singing. The guys just lose their voices.
When switching from speech to singing, young vocalists must learn to change the mode of operation of the organs of voice formation from the chest to the head (we repeat that the head sound is natural for boys, but since now they practically do not hear it, they do not use it). To instill the skills of pure head singing on initial stage expedient and because it differs sharply from speech. Boys are immediately convinced of the peculiarities of singing sound formation.
In the future, they should be taught to preserve, when singing in different tessitura, the sensation of simultaneous sounding of the chest and head resonators, using the mechanisms of mixed voice formation.
Control of the vocal apparatus based on vibrational resonator sensations is extremely promising in a choir environment, where singers are constantly faced with changes and impaired auditory self-control. Vibration sensations (hereinafter referred to as VO), as practice shows, are not masked in different acoustic conditions.
Exercises that enhance resonant sensations in the head area:
Exercise 1. Singing on one sound.
Exercise 2. Singing in big seconds up and down.
Exercise 3 Singing in parallel thirds up and down in seconds. Tessitura medium and high. Dynamics R And tr. The attack is soft. Exercises are performed on the vowels "u", "yu" and the syllable "ku". Emotional mood: to sing lightly, serenely, with joyful surprise. To control the evenness, economy and duration of phonation expiration, maintaining the "inhalation" setting. The purpose of the exercises is to achieve a light, head sound and fix the VO in the middle part of the palatine vault and in the area of the soft palate. The vertical projection of vibrations will create sensations of direction of sound in the "dome" and in the "crown". These sensations will be most clearly localized on the “mi” of the second octave (one of the speech formants “y” is 650 Hz, the absolute height of the “mi” of the second octave is 660 Hz. The coincidence of the speech formant “y” with the frequency “mi” of the second octave will cause resonance, which will enhance VO). Intermittent, "sharp" sound contributes to the activation of VO. For the same purpose, the exercises use the iotized vowel sound "yu" and the syllable "ku".
Exercise 4 Singing with a closed mouth to the consonants "m", "n", "khn" of one and two adjacent sounds.
Exercise 5 Singing rapidly alternating neighboring sounds, interspersing the syllables "ri", "li", "ni" with the vowel "ya".
Exercise 6 Singing rapidly alternating neighboring sounds up the steps of a major triad and returning to the original sound. Tessitura medium and high. The attack is mostly soft, sometimes hard. Dynamics R And tr(in exercise 4), mf(in exercises 5 and 6). Emotional mood: in exercise 4 - joyful surprise, on "xn" - slight annoyance; in exercises 5 and 6 - joy, triumph, delight. You should sing with a richer sound than in the previous exercises, actively “feeding” your breath. Follow the uniformity of vowels, evenness and fullness of sound. The purpose of exercises 5 and 6 is to achieve a bright, brilliant sound and fix vibrational resonant sensations in the anterior part of the hard palate, as well as in the nasal cavity and its paranasal sinuses, in the “mask”. This is facilitated by the sonorous consonants "m" and "n", in which sound waves are emitted through the nose and increase the vibrations in it and its adnexal cavities. For the same purpose, it is recommended to sing with a "mute" sound. When singing to “khn” (“whining”), the air comes out jerkily, the accented sound enhances the VO (exercise 4). The combination of the sonorous consonants "r", "l", "n" with the vowel "i" enhances the resonant sensations in the anterior part of the hard palate and causes an intense resonance of the resonators in the "mask" area. The brightness of sensations increases in high tessitura.
Exercises that enhance vibration resonator sensations in the chest area:
Exercise 7 Singing one sound into the syllables "mi - me - ma - mo - mu". strokes legato And pop legato.
Exercise 8 Singing one or two neighboring sounds. The syllables are the same. Hatch pop legato. First play each sound separately, then combine legato two sounds.
Exercise 9 Singing a major triad up and down on the syllables "mi - ma". Hatch pop legato. Should be merged legato two sounds. Tessitura medium and low. Dynamics - mf And f. The attack is solid. Emotional mood: perform exercise 7 calmly, majestically. Exercises 8, 9 - with annoyance, with a feeling of "groaning", dramatic. Breathing must be "served" very actively. When singing pop legato attack each syllable with a quick contraction of the muscles of the lower abdomen and their subsequent relaxation. The purpose of the exercises is to develop a rich sound and fix the VO in the region of the chest resonator. The most vivid sensations will arise when singing in a low tessitura on “la” of a small octave, on syllables with the vowel “i” (one of the speech formants “i” - 240 Hz almost coincides with the absolute height of “la” of a small octave - 220 Hz). These exercises in low tessitura can be spoken first and then sung.
To concentrate the attention of choristers on VO and activate their perception, I use auxiliary tricks.
Tactile. We recommend that you touch the resonators with your hand and sing in such a way that you feel their vibration. Even if the choristers do not really feel these vibrations, for example, by touching the crown of the head, this technique helps to focus on the necessary sensations. In individual lessons, it is possible to simulate VO in the area of the palatine vault on the palm folded in the form of a dome. Beforehand, I recommend that singers feel for the appropriate resonation point on the palatine vault with the tip of the tongue.
Conductors. The conductor's palm is shaped like a dome. It imitates the position of the upper jaw of a choir singer. This model can be used to show at what point of the palatine vault one should feel the vibrations corresponding to one or another sound. We remind the choristers of the necessary sensations by touching our own resonators with our hands; we advise you to focus on VO as much as possible, even at the expense of auditory ones.
Emotional. We use the method of emotional mood, emotional-figurative terminology. We form stable associative links between the singing sound, terminology and the corresponding resonator VOs.
Exercises that contribute to the preservation of sensations of simultaneous sounding of the chest and head resonators in different tessitura:
Exercise 10 Singing a major pentachord from top to bottom and returning to the original sound on the syllables "ku-ma-mi" and "I". Range: "to" the first - "mi" of the second octave. Dynamics R And tr. The attack is soft. Hatch legato. Emotional mood: perform lightly and serenely. Sing in a rounded and covered tone, using your breath sparingly. When the melody moves down, it is necessary to maintain the positional pitch of the first sound. The purpose of the exercise is soft, round sounding and maintaining the sensation of head resonance when the melody moves from top to bottom. The syllable "ku" contributes to the fixation of sensations in the soft palate.
Exercise 11 Singing a major pentachord from top to bottom with the words: “My Motherland!” Range: "to" the first - "mi" of the second octave. Dynamics mf And f. The attack is soft. Hatch legato. Emotional mood: perform joyfully, with enthusiasm. Sing with an active and full sound. The purpose of the exercise is to achieve mixed sound and mixed VO. On the syllable "ro" it is convenient to fix the VO simultaneously at the anterior point of the hard palate and chest. On “r”, the tip of the tongue vibrates near the upper teeth, and one of the speech formants of the vowel “o” - 535 Hz is close to the low singing formant. The most clearly mixed sensations will occur on to sharp the second octave, the absolute height of which is 550 Hz.
Exercise 12 Singing from the first to the third degree of major and returning to the original sound on the consonant "m" and the syllables "mi", "re", "da". Tessitura medium and low. Dynamics tr And mf The attack is soft. Hatch legato. Emotional mood: sing calmly and confidently. It is necessary to observe the evenness of the sound, to monitor the active, but soft supply of breathing. The purpose of the exercise is to preserve the sensations of chest resonance (when the melody moves from bottom to top) and the sensations of mixed resonance. This is facilitated by the selection of phonetic material. On "m", even in low tessitura, vibrations occur in the nasal cavity and its paranasal sinuses. The syllables "mi" and "da" contribute to the strengthening of the VO in the "mask" and the anterior part of the hard palate.
Exercise 13 Singing the upper tetrachord of the major scale down, with a return to the original sound, and the major triad up. The second part of the exercise is performed in three voices. At the end of the exercise, all voices go down a semitone and return to the original sounds. We recommend to perform on the syllables "tra - lala". Range: "to" the first - "fa" of the second octave. Dynamics mf And f. The attack is soft. Hatch marcato. Emotional mood: you should sing joyfully and cheerfully. The sound is bright and full. Breathing actively. The purpose of the exercise is the uniformity of sound and VO. When the melody moves down, one should not lose the VO in the anterior part of the hard palate (behind the upper teeth). The syllable “tra” contributes to the activation of these sensations, during the pronunciation of which the tip of the tongue closes and vibrates at the alveoli of the upper teeth. The syllable "la" helps to maintain these sensations.
Exercise 14 We recommend performing the major scale from top to bottom in two ways: legato, with note name and pop Legato, into the syllables "ri", "ro", "ra" or "mi", "mo", "ma". When singing pop legato each syllable should be attacked with a quick contraction and subsequent relaxation of the muscles of the lower abdomen. Range: "la" small - "e flat" of the second octave for altos and "do" of the first - "salt" of the second octave for soprano. Starting from "fa" of the second octave, the sopranos sing legato, to the vowels "I-e-e-yu". Dynamics mf And f. The attack is soft. Emotional mood: sing confidently, persistently and cheerfully. The purpose of the exercise is a rich sound and a feeling of full-fledged work of all resonators. Hatch pop legato promotes singing with good support and enhances VO in the chest. The phonetic material of the exercise helps to fix the VO in the anterior part of the hard palate and in the “mask”.
Exercise 15 Singing the major scale from bottom to top and back, with a constant return to the original sound, to the syllables "mime". Range: “la” small - “E flat” of the second octave for altos, “do” of the first - “salt” of the second octave for soprano. Dynamics mf And f The attack is soft. Emotional mood: to sing solemnly, widely, freely. Play with active full sound. An octave jump from top to bottom in the middle of the exercise to sing as follows: top sound - f concentrating on the VO in the chest; bottom sound - R, directing attention to the VO in the region of the head resonators. The goal is the same as in the previous exercise. It is necessary to keep the feeling of resonance in the chest, when the melody moves up, and in the “mask”, when moving down. This is facilitated by a constant return to the original sounds, on which the necessary sensations were originally recorded.
Exercise 16 Singing a major pentachord from the bottom up, with stops at the sounds of a major triad, singing the fifth step and returning to the original sound on the vowels "i", "a". Range: "A" small - "E flat" of the second octave for altos, "C" of the first - "B flat" of the second octave for the first sopranos (second sopranos - to "G" of the second octave). Dynamics mf And f crescendo to the top sound. strokes staccato And legato. Emotional mood: to sing cheerfully, playfully, "sharply". follow active work abdominal muscles. The purpose of the exercise is a bright, brilliant sound with a predominance of VO in the “mask”.
Exercise 17 Singing the major scale from the bottom up and back, at a fast pace, in one breath, on the vowels "i-a". Range: "la" small - "fa" of the second octave for violas (second violas - up to "e flat" second); “C” of the first - “B flat” of the second octave for the first sopranos (second sopranos, if possible, to “G” of the second octave). Dynamics p to f, crescendo to the top sound. The attack is soft. Hatch legato. Emotional mood: sing cheerfully, as if laughing. Perform confidently, without dwelling on every sound. When moving from the vowel “and” to “a”, do not change the localization of the VO. The purpose of the exercise is a bright, brilliant sound throughout the entire range of voice and the preservation of VO in the chest and in the “mask”.
Exercise 18 A combination of arpeggio movements along the sounds of a major triad up and a scale-like movement down, to the vowels "i", "a".
Exercise 19 A somewhat complicated version of the previous one. Before the scale-like downward movement, the tonic is sung several times. Range: "B flat" small - "E flat" of the second octave for altos, "C" of the first - "B flat" of the second octave for soprano. Dynamics mf And f. The attack is soft and hard. strokes pop legato And legato. Emotional mood: sing joyfully, jubilantly. Before the upper sound, be sure to take a breath and attack it confidently and actively. The purpose of the exercise is the full use of the properties of the voice and the development of bright VOs with the simultaneous operation of all resonators.
It is possible to include fragments of the studied compositions with certain technical tasks in the singing of the choir.
Many years of pedagogical experience has convinced us that the resonance technique ensures the optimal development of voices in conditions of collective learning and has a very positive effect on the aesthetic properties of choral sound.
Dedova Elena Petrovna
Music teacher, singing, total experience 19 years.
GBS (K) OU boarding school of the VIII type of the village of Ilsky Krasnodar Territory
"various forms vocal- choral work for students with handicapped health"
Annotation:
Having devoted many years of his life to working with children and being in schoolVIII kind, I acutely felt the need to modify many forms of vocal and choral work, taking into account the specifics of this category of children. In this methodological material the basic principles of vocal and choral work and specific exercises are briefly outlined, which can be safely taken as a basis and act. All of them have been personally tested by me and work.
Plan:
1. Choral singing is the main and most accessible means of introducing children to musical culture.
2. The main tasks of vocal work:
3.Musical games.
4. List of references.
Choral singing is the main and most accessible means of introducing children to musical culture. A team of singing people, a class - a choir.
In the process of teaching choral singing to children, important social and educational tasks are carried out. Well-organized work of the choir / class contributes to the rallying of children into a single friendly team, reveals their creative activity, and thus introduces them to socially useful activities. All of this is artistic. educational value children's choirs. Practical activities choir is to teach children to sing in one, two voices, as well as unaccompanied, to develop their ear for music and vocal ability, to give elementary knowledge. learning song repertoire- this is not the main activity in the lesson, because the teacher performs a lot of tasks, following the main program and affecting various activities. In working with children who have mental developmental disorders, there is a difficulty in performing many educational tasks. Much also depends on the degree of musical and auditory development, the availability of the necessary vocal skills in such children and the degree of their impairment.
But if you properly organize the work in the lesson, purposefully and constantly work on mastering children's singing skills, conscious perception of musical material, then the result will not be long in coming. Children happily rush to music lessons and sing, talk about music and play music with pleasure.
2. The main tasks of vocal work in music lessons.
2.1. Development of vocal skills.
Children's voices are characterized by a light light sound and do not have sufficient fullness and strength of sound. Individual timbre, as well as pure intonation, is absent in most cases, the range is usually limited, maximum: “C” 1 - “C” 2 octaves. All this obliges the teacher to be careful and careful in working on the development of the skills of primary school children. In the process of classes, it is necessary to ensure that the children sing calmly, without tension. Forcing the sound can lead to a breakdown of the vocal apparatus and even a complete loss of voice. All singing skills are closely interconnected, like all organs of a complex singing mechanism. Only as a result of the simultaneous coordinated work of the entire vocal apparatus does the correct sound arise and expressive singing is possible. Breathing while singing largely depends on the singing attitude. It is more useful and more convenient to sing while standing, but with increased fatigue of children, this work has to be done while sitting, if possible, leaving the position of the body straight. Children with intact intellect quickly get used to and understand the importance of chanting and short chants, and children with poorly developed speech react emotionally to musical works. But one and the other perform exercises with interest, because. here there is an emotional "drawing" of all children into the general process.
From the very first lessons, children should be taught to organize their breathing while singing, so that the children do not forget to take their breath on the hand of the teacher. The teacher should teach children to hold their breath, take it as long as necessary to complete the phrase. Breathing should be used sparingly, evenly, for the entire musical phrase. Breathing features affect the purity of intonation. With excessive tension of the respiratory muscles, intonation, as a rule, rises, and when relaxed, it decreases. The nature of the sound attack - hard or soft - also depends on the quality of breathing. For our children, a soft sound attack is most acceptable, although a hard sound attack is still necessary in some cases.
2.2. To acquire the above skills, it is useful to use the following exercises, which I use in my work with children in my lessons:
1). "Happy Account" All students simultaneously take their breath at the sign of the teacher and count together: one, two, three, and so on. The teacher warns the children in advance about what number the score will be kept. For example, up to ten, in one breath. It is better to keep the score in a singsong voice, on more convenient sounds of the 1st octave, approximately from “mi” to “la”. It is necessary to count in the nuance of "piano". However, this exercise is not worth it.
2). "Ball". Children love this exercise very much: Gradually “deflate the balloon”. Simultaneous inhalation and gradually release the air.
3). "Inflatable toys". Children stand in two lines - facing each other at a short distance from each other. The “pumps” push with tension with their fists and exhale the air in jerks, as if pumping up a “toy”). "Toys", squatting, gradually "inflate". Also a favorite exercise of children, because. all this takes place in game form. Children come up with what toys they will be and "inflate" provided that their "pumps" try.
4). "Let's inflate the ball." Children blow out the air gradually, while the stomach is tense. After the exercise, we immediately begin to sing, and we get a very good “legato”, we make sure that the tummy is as tense as during the exercise. (Sometimes I bring real balloons to class so that the children feel the right feeling when they are inflated, and then they are enthusiastically played with them).
5). "Blow out the candle." We just push with the stomach. Effective.
6). "Letters". I show the children cards with the letters "B", "T", "D". And they kind of push out consonant sounds with their stomachs. This tenses the abdominal muscles.
7). "Jump rope". I rarely use it, the exercise is designed for children with minimal physical impairments. For each jump, the syllables of the poem are pronounced.
8). "Ball". As in the previous exercise, a syllable of a poem is pronounced for each jump of the ball.
These exercises are very effective, but we must remember that you can use no more than one or two exercises in a lesson and very carefully to avoid overstrain and dizziness in children.
2.3. Basically, work on the skills of correct singing breathing should be carried out on special vocal exercises. These exercises should consist of short musical phrases so that one breath is enough for the entire phrase. They must be sung in separate vowels or syllables, in moderate pace, in a tessitura convenient for all children, in the dynamics of mezzo-piano, mezzo-forte. For a change, the singing of these exercises on individual vowels and syllables should be alternated with a specially selected, simple text. (“Dear Mom”, “New School”, “Our Motherland”, etc.)
During the exercises, it is necessary to ensure that the children take their breath simultaneously and actively: so that they start and end each phrase together, distribute the air over the entire phrase.
Only by achieving a melodious sound can one achieve the main thing in choral singing.
I recommend using sonorant consonants ("m", "n", "l"), which are pronounced at the height of the sound. You should move on to developing the sound of vowels, connecting them with sonorant consonants, for example, “mmmm”, “mmmm”, etc. Exercises to develop the power of sound should be started only after mastering the basic skills of free sound formation, sound science and sounding in different registers. Gradually, the exercises become more difficult. Numbers, phrases, proverbs, sayings are pronounced while driving. It must be remembered that arbitrarily regulated respiratory movements cause rapid fatigue of the respiratory muscles.
2.4. When educating the technique of stage breathing, the use of movements has another advantage along with innate reactions respiratory system on muscle work at all; the formation of respiratory skills occurs in relation to a specific form of respiratory activity. For example, the abdominal muscles, which play an important role in the mechanism of subglottic pressure regulation, are auxiliary muscles.
2.5. Work on sound formation must begin with the correct formation of vowels (“a”, “o”, “u”, “e”, “i”) and individual syllables in combination with these vowels with various consonants. Thanks to the combination of vowels with consonants, the most active sound formation is ensured. At the same time, consonants should be pronounced easily and briefly, i.e. serve as a starting point in the formation of the following vowel sounds. It is best to start the exercises by singing the vowel sounds in unison, starting with the lighter ones and ending with the darker consonants. When performing vowels in this order, children develop a light and positionally high sound. With children who sound too dark, it is useful to sing exercises involving the lightest vowels (“and”, “I”). Carried away by singing, children often without noticing it, sing with their heads raised too high, with their necks stretched out, which is why the sound of their voices acquires a sharp throaty timbre. This shortcoming must be dealt with from the very first lessons. Unfortunately, clamped throat singing can also occur if the correct singing setup is followed. To eliminate this drawback, it is worth performing the exercise first with your mouth closed for the consonant "m", then for the syllable "ha", with aspiration.
In order for children to quickly understand and better master the basic rules of sound formation, it is necessary to more often resort to practical demonstrations of the correct sound formation. And since singing is inextricably linked with the word, a clear and precise pronunciation of the lyrics is absolutely necessary for expressive performance. For this, speech and respiratory-speech exercises, tongue twisters are also used. (For example, “Osip yells, Arkhip does not lag behind, who will yell at whom, Osip osip, Arkhip hoarse”). The exercises “Ball”, “Rope” are also suitable here.
To release the lower jaw from stiffness, I advise you to use the syllable "yes." On this syllable, sing small exercises consisting of three to five successive sounds up and down.
In addition to exercises on articulation, it is necessary to work in the process of learning songs. While working on diction, one should not forget about the melodiousness of the sound. In order to develop a greater melodious sound, the consonant sound that closes the word must be attached to the next word. (For example, "Ring-Tzvono-Kvesyoliy").
2.6. Of no small importance are exercises for the muscles of the face:
- "Crystals". Depict joy, surprise and other emotions.
-"Mirror". The children came up with another name "Repeat". One shows emotions, others repeat.
2.7. Many other exercises work to develop unison:
1). Hand signs (according to G. Struve)
2). Singing "by hand".
3). Showing pitch by hand.
4). Some phonopedic exercises (according to Emelyanov).
5).Sliding movements up and down.
6). "Live Notes and the Tuner". (In the past, in other children's groups, I used it with success. Unfortunately, this is not acceptable with my students at this school. But this is temporary). If children purely intotone, then each child is one note, one hand sign. It is better to take no more than three "notes". The teacher, and then the child, acts as a tuner. He "tunes" his "notes" and then they sing and compose tunes.
Such exercises for children are a kind of game. Children love them very much. We compose various fairy tales, developing our voice along the way. (For example, “We went into the forest and got lost” - “Ay” - from a low sound a transition to a high one. “We saw a hut, began to open the door, and it creaks like this” - we creak with some cords, opening our mouth well. “And there is a fluffy teddy bear , and he growled like this "- creak - "a", from the creak we go out to a low sound. "We got scared, ran and saw a little kitten that mewed plaintively" - everyone meows thinly so that the voice can adjust. )
2.8. An important point in the development of children's vocal and choral skills is the development of a sense of rhythm. The process of developing a sense of rhythm can be divided into two main stages:
Hearing comprehension musical rhythm and its direct reproduction in movements (running, walking, clapping, tapping).
The transition from a direct muscle sensation of rhythm to its awareness and accumulation of theoretical knowledge (naturally, always inextricably linked with practical skills).
There are many different exercises for the development of musical and rhythmic feeling in the methodological manuals. They are used in the lesson "music, dance". I am a music and singing teacher. But I definitely use it musically - rhythm games, which I invent myself, and which are often "born" by themselves or with the help of children in my lessons. So, a simple chant "Mouse" led us to the game "Musical Cat and Mice." At the initial stage, the “Musical Cat” claps its hands with quarters, and the children check its correctness and clarity. Then " Music mice» learn to walk to the beat of the music. Here they should hear the end of the musical phrase and stop in time. Then these fragments are combined. At the end of the phrase, the children run off to their seats, and the "Musical Cat" catches them, to the general delight of everyone. Those children who, for physical reasons, it is dangerous to play this game, are in the role of a jury, or help the "Musical Cat" to clap rhythmically. They also have the honor of turning the music on and off on the computer.
2.9. I also pay special attention to such a type of musical activity as games with singing. Before holding such games, you need to learn in advance the song under which the game will be played. It should be noted that singing with simultaneous movement may adversely affect the quality of the performance of the song, because. makes breathing difficult and distracts children from controlling the purity of intonation. Therefore, at the initial stage, games are given either with slow movements or such games are used where singing and movement alternate. Also, songs can be first performed by the teacher, and the children only show certain movements and, if possible, sing along. (By the way, in classes with complicated mental retardation, I rely, to a greater extent, on precisely this form of activity, not counting the game on children's musical instruments).
When learning songs, you also need to develop musical memory. This is facilitated by methods such as:
Learning a song with a ball. The teacher sings one phrase, throws the ball to the child, the child repeats the phrase and returns the ball to the teacher. Etc.
Memorization "by hand". Goal: who will remember and sing faster.
Listening to an unfamiliar song from lesson to lesson. Gradually, the children themselves begin to sing along.
Memorization by listening to an audio recording.
Need to develop creative thinking in children. To do this, it is effective to apply:
Composition of tunes with the help of hand signs;
Verbal essay. First, they listen to music, talk about their ideas, then we analyze the work in detail: character, dynamic shades, timbre, etc. Here, children not only learn to hear and fantasize, but master some musical terms.
Declamation. Expressive pronunciation of the text.
Conditional conducting. By the nature of the gesture, they recognize the song and justify their answer: the tempo, the nature of the gesture, etc.
Here are a few things you can do to keep your kids engaged:
1.Before listening piece of music the goal is to listen carefully so that the child can substantiate each conclusion.
2. The use of several diverse toys. The goal is to determine which of them could move to the given music. At first, a simpler one (march - a dolphin and a soldier). Next - jumps (for example, a frog). But first, talk about how this animal moves.
3.Item falling and cotton during fall. The goal is to accurately capture the fall.
4. Repetition of a rhythmic pattern with the help of clapping, tapping, tapping.
Classes with children with disabilities should be carried out in a playful way, or with elements of the game. Children love them very much.
"Musical handkerchief" - a handkerchief is passed to the music.
"Musical Cat and Mice" - I spoke about this game above. It is also useful in connection with musical-rhythmic movements, and is also aimed at attention.
"Guess who am I?" - to determine the timbre of the voice.
"Find the sound" - they look for the sound on the metallophone.
"Bird on the branches" - for the development of pitch. First, the children repeat the pitch after the teacher (if they are already intoning), then show the pitch with their hand. Later, one of the students shows, and the rest repeat.
"Catch up - ka." To determine the jumping melody.
"Crocodiles" - to determine the movement of the melody up and down. (Children crawl on all fours on the carpet in one direction until they hear that the melody has changed. Then they turn and crawl back).
"Magic Box" When the children already know the basic games, they are written on cards (children help to draw and draw the necessary pictures for those who still cannot read). And used in the classroom.
Inextricably linked and organically woven into classes, the education of musical taste and development musical perception in children. Children get acquainted with the composers of those songs and works that we sing and listen to. I try to educate children on the highest quality samples of Russian, modern, foreign music. Musical works are very diverse - folk songs, classical works and of course songs performed children's choir.
I use everything that is stated in this material. I am convinced that it is very easy and simple to interest children if the teacher himself is engaged in musical activities with pleasure, does not give up and is always positive. The effectiveness of our joint activities with the children has already increased significantly in a short amount of time, the children sing with pleasure, perform on stage with a desire. And the most important achievement is that children with disabilities are actively involved in the general musical process, and this creates the necessary prerequisites for the development of their emotional-volitional sphere and socialization.
Bibliography:
2. A. Danilevskaya "What I learned from Grodzenskaya"
3. L. Goryunova "Education of musical taste and development of musical perception among schoolchildren"
4. V. Surgautayte "On the initial stage of development of a sense of rhythm"
6.Yu. Samoilov "On unaccompanied singing"
7.I.Kevishas "Memorization of musical material by younger students"
8. G. Stulova "On the singing breath in the children's choir"
9. “Singing in the children's choir” Compiled by S.I. Eremenko, Krasnodar, ed. "Eolian strings"
10. " Choir class, vocal and choral exercises. Method. instructions for students of the conducting-choir faculty. Moscow, 1991
Municipal Autonomous educational institution additional education"Children's School of Arts of Egvekinot City District"
Methodical work:“Methods of working on collectivity with senior chorus music school»
Performed by the teacher of the vocal department
Sorokina Marina Gennadievna
1. The method of psychophysical attunement of the choir to the performance
This method implies a single understanding of the artistic image, a single understanding of the means of its implementation, a single manner of intonation.
collective principlechoral singing permeates all aspects of the educational and pedagogical process of working with the choir and concert choral performance. The success of this process depends both on each individual participant and on the team as a whole. It is in the relationship between the singer and the team that the essence of ensemble performance lies. The head of the choir is faced with a difficult vocal and choral task: he needs to teach everyone to sing individually and in an ensemble.
The choir is made up of different people, individually unique, different character and temperament, different culture, upbringing, students of different ages sometimes gather in a team, not to mention different vocal abilities and musical abilities. The team develops gradually, sometimes over the years.
In a creative team, all participants are united by common goals and objectives. Choral performance is distinguished, first of all, by the fact that interpretation is the fruit of the creative imagination of not one, but a whole group of performers, and they are realized through their joint efforts. In progress joint work choral singers become partners for each other. “It is the art of listening to a partner, the ability to subordinate one's performing “I” with the artistic individuality of another, which distinguishes, first of all, an ensemble player from a soloist,” writes V. L. Zhivov. When implementing the interpretation, the concept of "creative empathy of performers" arises only as a result of continuous and comprehensive contact of partners, their flexible interaction and communication in the process of performance.
The richer the vocal and technical skills, the higher the level of general and musical culture the more developed the artistic taste of each chorister, the more opportunities for achieving high artistic results open up for the choir as a whole. All these criteria determine the pliability, flexibility, emotional responsiveness of each chorister to the artistic and performing requirements of the conductor.
The principle of collectivity has an impact both on the interpretation as a whole and on each of the performances used in choral practice. means of expression. As an example of a psychophysical mood, let's take the area of dynamics. If we consider the choral part separately, then each participant, due to the specific conditions of collective work, is somehow limited in revealing his vocal abilities to the full extent, he must subordinate the sonority of his voice to the sonority of the choral part and the general sound of the choir.
Consider the following example, vowel formation. For all participants in the choral part, the formation of vowels must be of the same timbre. In this case, it is necessary that each singer in the choir party to some extent give up his individual manner of forming vowels and, in accordance with the instructions of the conductor, find and master those methods of rounding and covering them, darkening and brightening them, which will ensure maximum generality and the unity of the ensemble.
V. L. Zhivov also highlights the synchronicity of sound. “The collective principle is very clearly manifested in such an important ensemble quality as the synchronicity of sound, which is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of a common understanding and feeling by the partners of the tempo and rhythmic pulse of the performance. A slight change in tempo or deviation from the rhythm of one of the singers can drastically break the synchrony if, performing this nuance, he is ahead or behind his partners. Sometimes singers follow a leader who doesn't have enough developed sense tempo and rhythm. In this case, the synchronicity of the sounding of the part will inevitably come into conflict with the tempo and rhythm of other parts, and the tempo and rhythmic ensemble of the entire choir will be disturbed. Not every choral singer knows how to keep the set tempo, if necessary, easily switch to a new one, has a “tempo memory”. However, these qualities are necessary for ensemble players.
Special meaning in choral work comprehensive development ensemble players have the stability and flexibility of individual rhythm, the sensitivity of "rhythmic hearing", necessary for solving the rhythmic problems of collective performance. On this occasion, V. L. Zhivov writes: “The principle of collectivity makes its own adjustments to almost all performing skills and elements of musical and expressive technique. There is no need to prove that competent musical performance also implies the consistency of the strokes of all performers (choral parts), and, consequently, the possession line technique, consistency of phrasing, skills of articulation, diction, intonation”. All of these skills are formed in the process of choral work, which is based on collective activities that bring up a "sense of elbow", responsibility for performance. In this case, it depends on the conductor how much more fully each member of the choir will show himself in creative work team, from the ability to cultivate the desire to create together.
One of the most acute problems in the chorus is intonation. As already noted, specific feature choral art - its collective nature; the system, in turn, is impossible without the pure unison of each choral part, which arises due to the conscious intonation of musical sounds by the voice of each of the singers.
The fundamental principle of the ensemble in monophonic presentation is the unison of the choral part. N. A. Garbuzov defines unison as a zone that sounds in simultaneity. Since several people perform unison in a choral part, their ideas about pitch interact with each other. Thus, unison in choral singing manifests itself as a kind of "collective" zone. Each singer of the choir in his own way understands the modal, rhythmic, intonational and other connections between the sounds in the work. “The singers of the choir sing the first sound according to the standard, while singing the subsequent ones, although they take into account all the connections, they take them into account in different ways, immediately correcting the sound of their voice according to the sound of other voices. The zone in choral unison is the result of the interaction of at least two opposing tendencies in intonation. The first trend is that each choir singer's ideas about the height of the steps differ to some extent from the ideas of other choristers, which leads to an expansion of the collective zone. The second trend: musicians tend to sing in harmony, together, cleanly, unanimously, which leads to a narrowing of the zone.
The essence of achieving unison lies in the "pronunciation" of the musical text. Questions related to the intonation of a melody play a primary role in the theory and practice of choral performance. The studies of N. A. Garbuzov and his followers: Yu. N. Rags, S. G. Korsunsky, O. E. Sakhaltuyeva, O. M. Agarkov, S. N. Rzhevkin, D. D. Yurchenko and others confirm that practicing musicians in their performance of the melody constantly vary the height of the steps of the scale and the size of the intervals. According to their observations, the intonation of a melody is affected by the degree of emotional perception of music by the performer, the nature of musical images, the pitch pattern of the melody, its harmonic and metrorhythmic structure, thematic development works, tonal plan, dynamic shades, tempo, rhythm, as well as syntactic elements of musical form.
To build an intonational ensemble, a technique is used in which the choir sings in slow pace with fermats on those chords that sound out of tune. In the course of execution, inaccuracies must be corrected. At this stage, it is extremely useful to use the technique of singing either aloud or silently. Let's say we perform the chorus at a moderate pace, but we sing out loud only tonic chords, and all the rest - to ourselves. Then we do everything the other way around - tonic chords to ourselves, and all the rest out loud.
S. A. Kazachkov deduces ways to achieve and improve the intonational-high-pitched ensemble: trimming to the leading, most experienced singers; to the tone set by the conductor; to the escort string; the ability to choose the most correct tone in the sound stream, to which one should adapt.
2. The method of balancing choral sonority
Art has a temporary character, and therefore, in order to achieve harmony in the sound of a choir, we need such types of ensembles as dynamic, rhythmic, tempo, ensemble of textures, choir and piano. To achieve a highly artistic ensemble, it is necessary to constantly improve each particular type of ensemble separately.
Ensemble of textures presentation . There are three main styles of ensembles: polyphonic, homophonic - harmonic, mixed. When working on a polyphonic ensemble, the difficulty is not to lose the ensemble unity, not to let the voices scatter, to combine the originality of each line with a single compositional plan.
The principle of the polyphonic ensemble is most characteristically expressed in the statement attributed to Bach: “Each work is a conversation of different voices that represent different personalities. If one of the voices has nothing to say, it must be silent for a while, until it is quite naturally drawn into the conversation. But no one should ... speak without meaning and need.
In works of a polyphonic warehouse, it is often necessary to prefer one or another voice that conveys the main thematic material; it must be dynamically distinguished. This rule especially applies to such polyphonic imitation forms as canon, fugetta, fugato, fugue. It is necessary to achieve a relief sounding of the main or several main themes, while other voices should sound clear and definite.
When working on a homophonic-harmonic ensemble, it is necessary to avoid flat sounding, to give each part an individual shade and relief as much as the specificity of the homophonic ensemble allows, to highlight the main melodic line, while it is necessary to confidently perform the entire harmonic basis.
S. A. Kazachkov divides the homophonic-harmonic ensemble into two subspecies: homophonic and choral. In a homophonic ensemble, the party leading the melody has an individual characteristic. N. M. Danilin said: “Never close the melody. Melody is the queen, and everything else is just a retinue, no matter how brilliant it may be.
When working on a choral ensemble, it is necessary to identify the characteristic intonations in each part. Give them relief, strictly observing the harmonic vertical. The sensitivity of performers to precise intonation should be constantly brought up, this is what will lead the team to performing skills. The modal feeling helps to overcome many intonation difficulties.
Metro - rhythmic ensemble . In achieving a rhythmic ensemble in the choir, the most important thing is to educate in each singer a constant feeling of the main metrical, “pulsating” beat. In a beginner choir, you can teach singers by slapping or tapping out the main metric share L. V. Shamina suggests: “In order to preserve the rhythmic ensemble, it is useful to use the method of splitting the shares taken as a unit of meter ... The method of splitting the shares into smaller ones (quarters - into eighths , eighths to sixteenths). This will help to feel the inner pulse, the movement of music, to overcome static, vagueness in performance.
The training of choristers in the skills of simultaneously taking a breath, starting to sing (introduction) and removing sound (ending) is closely related to work on a rhythmic ensemble.
Tempo Ensemble . S. A. Kazachkov singles out the tempo-rhythmic ensemble. Achieving this type of ensemble becomes more difficult with the necessary modifications of the tempo (rubato), as well as in conditions of frequent changes in meter and rhythm. An important role in the work on this ensemble is the leader's conducting technique. But the choir, accustomed to the conductor's precise hand, may lose its own auditory-motor sense of tempo-rhythm. Receiving an accurate attack helps to achieve a tempo-rhythmic ensemble. “In striving for an accurate attack of sound, all singers of the choir must hit the same point, equally pre-audible and maximally corrected by the conductor’s gesture.”
So, the tempo-rhythmic ensemble largely depends on the choir's breathing technique and conducting. Inaccurately shown, not taken in time breath breaks the ensemble. An inaccurate entry (hurried or, conversely, belated) is often the result of an incorrect inspiratory rate.
dynamic ensemble. To improve the dynamic ensemble, it is important to educate in the skill of controlling your own singing and the singing of your comrades. Such control will help each performer simultaneously move on to increase or decrease sonority, to achieve a complete balance in tone strength, and so on. In this regard, it is useful, albeit limited, to use closed-mouthed singing. Evaluation of the performance by the choristers themselves and the leader will help fruitful and successful work on the ensemble. For this purpose, the choir is divided into two equal parts, and this or that work or its fragment is alternately performed. “But the greatest benefit in the development of a dynamic scale in the choir will be the work on works that have a vivid figurative content,” writes P. V. Khalabuzar. “For example, it is incomparably easier to achieve gentle and soft dynamics in any lullaby than in a dance or heroic song.”
Using dynamic nuances that match the natural nature of parts at a given pitch creates favorable conditions for an ensemble sound. The most convenient, so-called working, range of choral voices is the middle part of the scale. To achieve a natural ensemble on the piano in a high tessitura is undoubtedly more difficult than with the same nuance, but in a comfortable tessitura. In such cases, the leader in rehearsal work can take advantage of a sharp change in tone. When the team has achieved the nuance of piano and a good ensemble in a comfortable tessitura, it is necessary to gradually increase the tonality, while it is necessary to transfer the accumulated sound to the main tonality.
An ensemble that is in natural conditions for a part, when singers can perform the required nuances without much tension, is called natural.
With the help of an artificial ensemble, conductors try to smooth out the “irregularities” of the score, often being in conflict with the features contemporary music. The conductor - "classic" explains such "irregularities" by miscalculations of the composer's choral writing.
V. L. Zhivov, in turn, writes that work on the dynamic balance of voices in the extreme registers that go beyond the working range causes great difficulty. If the choral parts are in different tessitura (for example, the soprano part is in a high tessitura, and all the rest are in the middle), then the balance of their sound can only be created artificially, which requires the choirmaster to have a developed timbre-dynamic ear and a true sense of sound balance .
Piano ensemble - choir . Independent accompaniment voices must be placed in the conditions of the most prominent sound. The most effective is the timbre and phrasing solution of the problem with the preservation of the characteristics of each voice. Careful work on two parts (both separately and together) is an indispensable condition for a good ensemble. Undoubtedly, when singing with piano accompaniment, temperament will also have an impact on the choral structure, which will be organized according to the laws of temperament.
3. Method of manual implementation of ensemble sounding
In this method lies the role of the conductor in the choir. The activity of a conductor is similar to that of a director and a teacher; he explains to the team in front of him creative task, coordinates the actions of individual performers, indicates the technological methods of the game. The conductor must be an excellent analyst, notice inaccuracies in the performance, be able to recognize their cause and indicate a way to eliminate them.
I. A. Musin believes that “this concerns not only technical inaccuracies, but also artistic and interpretive ones. He explains the structural features of the work, the nature of melos, textures, analyzes incomprehensible places, evokes the necessary musical representations from the performers, makes figurative comparisons for this, etc.”
The conductor must have deep and versatile knowledge of various theoretical subjects, be fluent in the analysis of the form and texture of the work; read scores well developed hearing. It also requires a lot different abilities: performing, pedagogical, organizational, the presence of the will and the ability to subjugate the choir.
Through the conductor's gesture, the choir is informed of the conductor's will, which organizes the ensemble process. The technical features of conducting allow the choirmaster to organize work on the ensemble in the choir. Conducting the leader must precede the performance of the work by the team for a certain period of time. “The conductor, expressing his demands by conducting methods, goes ahead of the choir for this certain period of time. The gestures of the previous moment express the content of the subsequent performance by the choir. The calculation of time should be such that in a preliminary movement or a complex of movements - a gesture - the performing team is able to clearly perceive all the requirements of the conductor and be able to implement them in their performance,” writes K. B. Ptitsa. They say that "conducting is a strictly thought-out and well-organized system of auf-bars - preliminary movements." A conductor who does not master this technique cannot control the performance of the choir. Indeed, an important part of conducting is the beginning of the performance. From the moment the conductor appears on the stage, the attention of the choir rushes to him. The conductor needs to carefully consider his actions so that from the first steps of his appearance on the stage, everything contributes to focusing the attention of the choir. He must organize the readiness of the team for a strictly disciplined perception and fulfillment of the requirements of the leader, create in the team a clear idea of the main character of the work being performed, and with the help of a conductor's gesture, give an introduction.
With the help of his artistry, the conductor who appears in front of the choir should help create a creative atmosphere in the team, confidence, and a desire to create.
Thus, with the help of such a variety of techniques and methods of choral ensemble, the choirmaster must be able to properly organize educational process to be able to convey to the minds of the singers the creative task.
STAGES OF LEARNING A WORK WITH A CHOIR
TECHNICAL STAGE OF LEARNING A WORK WITH A CHOIR
1. The stage-by-stage nature of the work on the work in the choir.
2. The technical stage of work on the work.
1. The staged nature of work on the work in the choir
work
For the successful existence of the classical triad (choir - choral work - conductor), the methodology of working on the work, which is used by the choirmaster, is of paramount importance. In choral practice, the traditional method recommended by P. G. Chesnokov in the book “Chorus and its management” is widely used. The essence of this technique is to divide the entire period of learning a choral work into three stages: technical, artistic and concert-performing.
According to the author, at the first stage it is necessary to overcome all technical difficulties in the performance of the composition. By the end of the first period, the work on the essay should be completed from the outside, technical side. The second stage of work gives the widest scope for creative implementation by the conductor artistic ideas composer. The task of the third stage is to give the performance artistic integrity and completeness. Of course, the proposed stages do not have strict time limits. They vaguely exist as a conditional scheme structuring the main sections of the work.
There are other ways to learn choral works. So, Professor of the Leningrad Conservatory A. V. Mikhailov built practical work with the choir on comprehending the mysteries of the artistic image of the work through analogies, and this was his leading creative principle, and professor at the Leningrad Conservatory and head of the State Republican Capella. M. I. Glinka V. A. Chernushenko in his practical work with the choir solved all technical and artistic problems through the formation of the necessary vocal-choral sound, in which the meaning and all shades of the artistic image of the work were accumulated, etc.
It can be said that everything outstanding conductors built their own individual methodology, which was born from the objective conditions of a specific creative activity, while focusing in it the best of the accumulated predecessors.
However, we offer beginner conductors to start mastering the technique with the recommendations of P. G. Chesnokov.
We can take as a basis the well-known sequence of this process: first, the analysis of the work in batches, then work on overcoming technical difficulties, and, finally, the artistic finishing of the work. This reflects the principle of consistency in the process of mastering a musical work by the choir - from the initial analysis by the choir to performance on the concert stage.
But this rule cannot be followed formally. Firstly, it is impossible to recommend any specific deadlines for this or that stage of work with the choir on a work, and even more so to determine their boundaries. A lot depends here on the skill and ability of the leader himself, on the qualifications of the choir, and also on the degree of difficulty of the work being learned. Secondly, very often the technical and artistic in the work go simultaneously, in parallel. This is the specific musical art. But the emphasis should change at different stages of the work. So, at the beginning of the work, the main task is to master the musical material, and at the final stage, finalizing the technical aspects of the performance, pay more attention to the embodiment of the artistic image.
When analyzing and mastering a work, one cannot completely discard its artistic side. During this period, the leader must find an opportunity to introduce elements of artistic performance into the technical phase, of course, in appropriate small doses. This can be expressed in vivid, figurative comparisons, comparisons. Skillful "interspersing" figurative comparisons, comparisons in initial period work on the work is quite natural and necessary.
Something similar happens in the artistic period of work on a work, when the main attention is paid to the artistic side of the performance. But here we observe an inverse relationship: in the process of artistic finishing of the performance of a choral work, purely technical techniques are also interspersed as needed, and this is also natural and necessary.
Thus, it can be argued that the process of working on a work with a choir cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each of the phases. Such division will be formal; it can only be accepted as a scheme, following which the leader, to the best of his experience, skills and abilities, will apply certain methods of working on a choral work.
2. The technical stage of learning a piece with a choir
1. Acquaintance with the work. Before starting to learn the work, the leader conducts a conversation with the choir about its content and character, informs brief information about the composer and the author of the literary text.
Forms of familiarization with musical content works may vary. It is best to organize an audition (recording) performed by a highly qualified choir. In the absence of this possibility, the choirmaster himself must sing the main melodies of the work, accompanied by the piano.
Any instrument (piano, button accordion, etc.) helps to master the musical texture of the work, providing the singers with the opportunity to listen to the harmonic environment of the melody they are singing while singing. A good result is the playing of a difficult part of a work or a separate voice on the instrument with the choir completely silent. All this, of course, contributes to the musical development of singers and, most importantly, introduces an element of activity and consciousness into this process.
At the stage of technical work on the work, all the main difficulties are overcome technical order, the tempo is set, the gradations of nuances are determined.
2. When learning a difficult polyphonic work for a mixed choir it is advisable to work with each batch separately , combining them only after fixing the material covered. The method of learning works by parts not only allows you to quickly memorize the melody, but also makes it possible to work more carefully and productively on the ensemble, system and diction of each part. At the same time, the leader gets to know the capabilities of each singer better, which is especially important in terms of training or amateur performances.
In practice, such work can be carried out as follows: to conduct classes separately with each part of the choir in different time or, if the leader has an assistant and an experienced accompanist, simultaneously in different rooms. Learning a work at once by the whole choir can take place only in the absence of the above conditions.
3. You should learn the work according to predetermined parts , and the separation should not be done formally (for example, by a certain number of cycles), but in full connection with the structure of a musical work and a literary text , that is, so that these parts have a certain completeness, at least within the framework of a sentence, phrase.
It is possible to move from one part of the melody to another only when the previous part is well enough mastered by the singers. However, if the part is very difficult, the study of the work should be continued, despite the fact that the performance of the previous segment of the melody has not yet been fixed; it is necessary to return to it after the singers have familiarized themselves with the whole construction.
4. Depending on the literacy and technicality of the choir, learning a piece can be started in different ways. The most active way is solfegging with a part of his melody from a sheet. Despite the fact that this form of debriefing of a new work requires knowledge of musical notation and experience, each choir should strive to master this skill. Therefore, learning a piece should be carried out immediately from the notes, regardless of the extent to which all singers know musical notation and can solfegge.
5. At the technical stage of the work, the conductor must use rehearsal gesture. The rehearsal gesture includes showing the pitch (reflection in the gesture of the interval structure of the melody), stroke, vocal position, timbre coloring of the sound (“rounding”, lightening the sound, its “support”, etc.). It is also used mainly at the initial stage of learning and can be combined with playing the voice on the piano.
6. Building a sound, interval, or chord on a fermat . This technique is used at the moment of introduction at the beginning of the work, after pauses, instrumental loss, transition from unison to polyphony and vice versa (sounding of unison after polyphony or two-voice), at the moment of occurrence of complex chords or consonances. Lining up on a fermata can be both when isolating individual sounds or chords (singing out of rhythm, along the hand), and when singing the entire phrase. This is one of the most important techniques, thanks to which purity of intonation, timbre and dynamic ensemble is achieved.
7. Singing on a vowel, syllable, or closed mouth used after solfegging to equalize the sound of different vowels in different tessitura conditions, to develop a rounded, covered sound, to smooth out the difference in the sound of different voice registers.
8. Mastering the metro-rhythmic structure of the work .
For the formation of a sense of rhythm among choir singers, it is necessary to form their skills in perceiving tempo, accent and a uniform sequence of identical durations. The simplest method of cultivating this skill is special attention to the metric accuracy of performance, to the perception and reproduction of the measured pulsation of equal time fractions.
The next task is to develop a sense of alternating plastic stresses (accents) - metric (accents of the first beats of measures) and rhythmic (logical peaks of a poetic and musical text).
Pronunciation techniques (for example, into syllables like “ti ti ta ...”), tapping, clapping, etc. the rhythmic pattern of choral parts outside the pitch performance, as well as pronouncing the literary text in the rhythm of the work at a slow pace, and then gradually bringing it to the level indicated by the composer, are the most effective for mastering the rhythmic structure of the performed works by choristers, achieving rhythmic accuracy in choral parts.
In order to achieve a rhythmic ensemble (especially when polyrhythm occurs between choral parts), it is necessary to educate the singers in a sense of internal pulsation (crushing large durations into smaller ones) through small underscores of a continuing sound. For example, the performance of a quarter with a dot should be performed as a performance of three eighths on one sound with non legato sound guiding, a quarter - two eighths, a half - four eighths, etc.
9. Work on diction . To master the literary text of a work, it is recommended to read the text by the part (or by the whole choir) with good articulation in the rhythm of the music under the conductor's working gesture. Elaboration of individual constructions, syllables and words in order to develop clear diction.
In the methodology of working with the choir at the stage of learning a choral work, there are techniques that have been tested in the practical work of many choirmasters.
After mastering the work in parts, it must be sung in its entirety, and if
it will be sung rhythmically correctly, without errors and intonationally pure, then the first stage can be considered completed.
1. Zhivov VL Choral performance: Theory. Methodology. Practice. M.: VLADOS, 2003.
2. Sokolov V.G. Choir work. M.: Music, 1967.
3. P. G. Chesnokov, Choir and Control. Moscow: Muzgiz, 1952.
Questions for self-examination of students:
1. List the main stages of work on the work in the choir. What is the specificity of their following?
3. What is the difference between the method of harmonic support of a melody when learning a separate choral part from the method of instrumental duplication of a melody of a choral part?
4. Explain the purpose of the rehearsal gesture. Can it be used at the stage of artistic finishing of the work?
ARTISTIC STAGE OF WORK ON A CHORAL WORK
2. The main means of artistic expression in choral singing.
3. The attitude of singers to the performed work.
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very necessary