What are the benefits of folk songs for children? Selection of vocal exercises for a group

Introducing children to the basics of traditional national culture, understanding the connections between folklore and professional art, studying the language of different types of folk art (poetic, musical, choreographic, arts and crafts) and involving children in independent creative work on this basis contributes to the development of an aesthetic sense that will help them in the future, evaluate the place and significance of different layers of culture. The additional general education general development program “Folklore and Folk Singing” is implemented in the folk-modern studio “Makosha”.

The program aims to:

- – through the study of folk art, children understand their belonging to their homeland, understand the national and cultural identity of the child’s personality, and understand him as a Russian person;

- – development of ethnic tolerance, children’s readiness for interethnic contacts, for constructive interaction with representatives of other ethnic groups;

- – upon completion of the program, students enter secondary and higher educational institutions with a specialty in “Folk artistic creativity”. They are active participants in folk song ensembles.

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Kursk Education Committee

Municipal budgetary institution of additional education

« Palace of Pioneers and Schoolchildren of Kursk"

Additional general education program

"FOLKLORE AND FOLK SINGING"

Program focus– artistic

The age of children for whom the program is designed is 6-18 years old

Program implementation period – 7 years

Compiler of the program -NATALIA VALERIEVNA POOR

Additional education teacher

Kursk 2016

Explanatory note

Program focus– artistic

Relevance of the program.Introducing children to the basics of traditional national culture, understanding the connections between folklore and professional art, studying the language of different types of folk art (poetic, musical, choreographic, arts and crafts) and involving children in independent creative work on this basis contributes to the development of an aesthetic sense that will help them further evaluate the place and significance of different layers of culture.

The additional general educational developmental program “Folklore and Folk Singing” is implemented in the folk-modern studio “Makosha”.

Pedagogical feasibility

Authentic traditional folk songs are studied and performed in a modern arrangement. The new sound of the ancient song determined the “folk-modern” direction. This is interesting for children and is in demand today. Russian song in this sound becomes more accessible, close and understandable to modern children. In the workshop of solo folk singing, a love for folk song, folk music, and folk performance is instilled. The children learn to perform both authentic traditional folk songs and their adaptations, as well as original works written for the folk voice. Singing skill is instilled a" cappella, accompanied by an ensemble of folk instruments, to a soundtrack.

- formation and development of students’ creative abilities;

Satisfying the individual needs of students in intellectual, artistic, aesthetic, moral and intellectual development, as well as in physical education and sports;

Formation of a culture of healthy and safe lifestyle, strengthening the health of students;

Providing spiritual-moral, civil-patriotic, military-patriotic, labor education for students;

Identification, development and support of talented students, as well as individuals who have demonstrated outstanding abilities;

Professional guidance for students;

Creation and provision of necessary conditions for personal development, promotion of health, professional self-determination and creative work of students;

Socialization and adaptation of students to life in society;

Formation of the general culture of students.

The program is developed in accordance with regulatory documents:

Federal Law of December 29, 2012 No. 273-FZ “On Education in the Russian Federation”

Order of the Ministry of Education and Science of the Russian Federation dated August 29, 2013 No. 1008 “On approval of the Procedure for organizing and implementing educational activities in additional general education programs”

Concept for the development of additional education for children (Order of the Government of the Russian Federation of September 4, 2014 No. 1726-r)

Resolution of the Chief State Sanitary Doctor of the Russian Federation dated July 4, 2014 No. 41 “On approval of SanPiN 2.4.4.3172-14 “Sanitary and epidemiological requirements for the design, content and organization of the operating mode of educational institutions of additional education for children”

Letter of the Ministry of Education and Science of Russia dated December 11, 2006 No. 06-1844 “On approximate requirements for additional education programs for children.”

When developing the program, materials from famous teachers and musicians were taken into account. Agamova N.S., Sleptsova I.S., Morozov I.A. Folk games for children: organization, methodology, repertoire, M., Velichkina O., Ivanov A., Krasnopevtseva E., The world of childhood in folk culture, Veretennikov I.I. South Russian Karagods, Belgorod; Karacharov I., folk songs of the villages of Kupino and Bolshoye Gorodishche. Belgorod (sheet music).

Distinctive features of the program

A solo folk singing workshop was created on the basis of the children's folk-modern studio "Makosha". Folk song is the bearer of the living individual foundations of national and patriotic education. At the same time, folk song serves as an indispensable means for the formation of healthy taste, understanding of grace and the ability to enjoy it.

The program aimsto preserve national traditions– through the study of folk art, children understand their belonging to their homeland, understand the national and cultural identity of the child’s personality, and understand him as a Russian person;

- for multicultural education of children– development of ethnic tolerance, children’s readiness for interethnic contacts, for constructive interaction with representatives of other ethnic groups;

- professional self-determination of students– upon completion of the program, students enter secondary and higher educational institutions with a specialty in “Folk artistic creativity.” They are active participants in folk song ensembles and participants in the regional festival “Student Spring of the Nightingale Region.”

The principles underlying the program:

Natural conformity; educational training; scientific character; connections between theory and practice; systematicity and consistency; accessibility; visibility; consciousness and activity; strength.

Purpose of the program: introducing children to the original cultural values ​​of their people, mastering these values ​​in the context of active creative activity, popularizing Russian folk songs.

Achieving this goal is facilitated by solving a number of pedagogical problems

Educational objectives:

Study and master genres of folk music;

Develop vocal hearing and singing voice, teach folk style of singing;

Teach elements of folk household choreography;

Teach instrumental music-making skills;

Involve students in applied arts activities;

To develop vocal and performing skills (in the folk style of singing);

To teach students to understand, feel and convey artistic images in works;

Teach stagecraft;

Educational tasks:

Nurture the child’s personal qualities based on national traditional culture;

To foster an active attitude of students towards folk music;

Foster a respectful attitude towards the culture of your people;

To cultivate understanding and respect for world culture in various national forms of its embodiment.

Developmental tasks:

To develop the qualities of a creative personality;

Develop musical taste (based on listening to Russian folk music and peoples of the world, attending concerts of folk groups and other groups performing folk music);

Develop aesthetic taste (visiting museums, exhibitions of folk arts and crafts);

Reveal individual abilities in children;

Develop collecting skills (work on folklore expeditions);

To teach how to analyze expeditionary material, to distinguish genuine artistic values ​​from imaginary ones.

Program destination.

The program is implemented for students aged 6-18 years. The program will last for 7 years. Children from 6 to 11 years old are accepted into the folk studio. Such a significant age range requires differentiation when forming study groups, which predetermines variability in the content of curricula and methods of their implementation.

Features of the organization of the educational process

The level of preparation of children when admitted to groups of the 1st year of study is determined by listening for a sense of rhythm, hearing, and musical memory. The basis for transferring students to the next year of study is the successful completion of the curriculum. The final lesson at the end of each year shows how much the child has mastered the material. Reporting concerts at the end of the year. Final classes are held at the end of each year.

Lesson mode

For 1-2 years of study, classes are held twice a week for 2 hours, a total of 144 hours per year. For the 3rd and subsequent years of study, group classes are held twice a week for 2 hours, a total of 144 hours; for more successful learning of the educational material, individual classes and classes in subgroups of 2-3 people are used (2 classes per week, 1 hour), a total of 216 hours per year. The number of students in a group is from 8 people (depending on the year of study, in accordance with SANPiN).

The duration of one hour of classes is 45 minutes. (group), 30 min. (individual).

Planned results for ensemble performance.

1st year of study:

Knowledge of genres of musical folklore (games, counting rhymes, tongue twisters, musical riddles, comic sayings, singing);

Knowledge of folk games;

Perform the songs you have learned.

2nd year of study:

Knowledge of genres of musical folklore (teasing songs, lullabies, nursery rhymes, dance songs, comic songs and sayings);

Mastering the folk style of singing and pure intonation;

Knowledge of elements of folk choreography (with singing);

Complete the 2nd year program.

3rd year of study:

Knowledge of the "Folk Musical Calendar";

Perform learned songs;

Show folk games learned this year.

At the end of the second half of the year:

Knowledge of the fairy tale genre;

Knowledge of traditional folk dances;

Show the program for the year.

4th year of study:

Knowledge of the epic genre;

Knowledge of genres: historical song, soldier's song;

Demonstrate playing a folk instrument;

Knowledge of southern and northern songs;

Knowledge of traditional folk dances and games.

6th year of study:

Knowledge of the lyrical song genre;

7th year of study:

Knowledge of wedding rituals;

Singing wedding songs.

Expected results for solo performance

Final classes at the end of each year.

3rd year of study.

(a cappella

4th year of study.

Perform two pieces mastered in a year(a cappella and with instrumental accompaniment).

5th year of study.

Perform three pieces:

A "cappella (lingering),

A cappella

6th year of study.

Perform three pieces:

A "cappella (lingering),

A cappella (with a complex rhythmic pattern),

With instrumental accompaniment at a moderate tempo.

7th year of study.

Show the program mastered in a year:

A "cappella (at a fast pace),

A "cappella (lingering),

Comic (ditties or suffering) with instrumental accompaniment,

Processing with instrumental accompaniment.

Competitive and concert activities throughout the entire period of study.

Subject results:

Study and mastery of folk music genres;

Development of vocal hearing and singing voice, ability to sing in a folk style;

Be able to perform elements of folk household choreography;

Have instrumental music playing skills;

Vocal and performing skills must be developed (in the folk style of singing);

Possession of stagecraft;

Personal results:

Have well-mannered personal qualities of the child based on national traditional culture;

Students should take an active approach to folk music;

Respect the culture of your people;

Understand and respect world culture in different national forms of its embodiment

Meta-subject results:

- formed qualities of a creative personality;

Developed musical taste (based on listening to Russian folk music and peoples of the world, attending concerts of folk groups and other groups performing folk music);

Developed aesthetic taste (visiting museums, exhibitions of folk arts and crafts);

Revealed individual abilities in children;

Developed gathering skills (work on folklore expeditions);

The ability to analyze expeditionary material, distinguish true artistic values ​​from imaginary ones.

Criteria and norms for assessing student knowledge

The main criteria for assessing students is their participation in reporting concerts, open classes, and competitions at various levels. Criteria for assessing the achievement of the expected development results of students in each year of study: mastery of basic competencies, development of musical abilities, mastery of the psychophysical apparatus, creativity, attitude to the world and to oneself, development of communication abilities.

To study the level of development of performing culture as part of the musical culture of students, pedagogical monitoring is carried out throughout the entire learning process using incoming, intermediate and final diagnostics. At the initial stage of training, incoming diagnostics are used, with the help of which the psychological state of the student, the characteristics of his adaptation, and readiness to master the content of the program are diagnosed. Successful mastery of the curriculum of the educational program and quality control of the acquired knowledge at the end of each semester guarantees the transition to the next stage of education. If risks arise, adjustments are promptly made to ensure the quality of the educational process. The results of pedagogical monitoring are recorded in the work log of the additional education teacher in the association.

SYLLABUS

1 year of study

2nd year of study.

3rd year of study.

4th year of study.

5th year of study.

6th year of study.

1st year of study.

Section I: Games (verbal, movement, round dancing, dramatization), theory and practice.

Section II: Children's musical folklore (counting books, tongue twisters, musical riddles, comic sayings, singing), theory and practice. The form of classes is group.

2nd year of study.

Section I: Children's musical folklore (teasing songs, lullabies, nursery rhymes, dance songs, comic songs), theory and practice.

Section II: Elements of everyday folk choreography (Kursk step, shot, Belgorod “crossed”, stream, tank), theory and practice. The form of classes is group.

3rd year of study.

Section I: “Folk musical calendar” (songs and rituals of autumn, winter, spring and summer holidays), theory and practice.

Section II: Fairy tale (about animals, cumulative, magical), theory and practice. The form of classes is group.

4th year of study.

Section I: Northern Russian tradition, theory and practice.

Section II: The genre of epics (Kyiv, Novgorod epics), theory and practice. The form of classes is group.

5th year of study.

Section I: Northern Russian tradition (historical song, soldier’s song, northern round dance), theory and practice.

Section II: Russian folk musical instruments (kugikly, horn, spoons, rattles, box, violin, balalaika), theory and practice. The form of classes is group.

6th year of study.

Section I: Genre lyrical song. Theory and practice.

Section II: Suffering. Theory and practice.

Section III: Ditties. Theory and practice.

Section IV: Spiritual verse. Theory and practice.

Section V: Kants. Theory and practice. The form of classes is group.

Section VI: Voice production (slow and fast tempos; f, dialect features, expansion of the chest range, singing with the use of chest and head resonators), theory and practice. The form of classes is individual and group.

7th year of study.

Section I: Wedding ritual (great and dance songs, laments), theory and practice. The form of classes is group.

Section II: Voice production (expanding the range by smoothing registers, features of performing folklore, arrangements and original songs, performing works with instrumental accompaniment), theory and practice. The form of classes is individual and group.

Methodological support of the program

The methodological support of the program includes: methods of conducting group classes, methods of individual lessons, methods of preparation for competitive and concert activities (selection and mastery of the repertoire, recording phonograms for selected songs, creating and sewing folk costumes, working on stage images), methods of research activities students studying on folklore expeditions (methods of collecting information, methods of processing information).

Theoretical and practical classes are conducted in a vocal classroom, in a concert hall, and a recording studio - using a piano, button accordion, sound amplification equipment, microphones, a computer and computer software.

In folk ensemble and solo folk singing classes, collections of songs for the folk voice, collections of holiday scripts, and teaching aids are used.

Teaching methods , used in the educational process: explanation, demonstration, demonstration, conversation, exercises, training, observation.

Forms of classes: group and individual classes, rehearsals, class-concert, stage performance of folklore, classes in a recording studio, participation in concerts, participation in festivals, competitions, shows.

List of literature for teachers

1. Agamova N.S., Sleptsova I.S., Morozov I.A. Folk games for children: organization, methodology, repertoire, M., 2005

2. Antipova L. A. Concert and performing practice and stage embodiment of folklore, M., 2003

3. Velichkina O., Ivanov A., Krasnopevtseva E., The world of childhood in folk culture, M., 2008 (methodological manual).

4. Veretennikov I.I. Russian folk song at school, Belgorod 2004

5. Veretennikov I.I. South Russian Karagodas, Belgorod 2003

6.Karacharov I., folk songs of the villages of Kupino and Bolshoye Gorodishche. Belgorod 2005 (sheet music).

List of literature for students

1. Childhood. Repertoire and methodological collection, M., 2004
2. Kashaeva T.Yu. Children's musical holidays, M., 2005.
3. Krasnopevtseva E.A. Children sing, M., 2009 (sheet music).
4. Morozov I., Sleptsova I. Fun around the stove, M., 2004.
5. Naumenko G. "Birch Carousel", M., 2008 (round dance games).
6. Naumenko G. "Spring" M., 2008 (sheet music).
7. Naumenko G. "Larks" vol. 1-4, M., 1977-1986 (sheet music).

Application

Phonochrestomathy.

1. “Good night, kids” (Russian folk tales with the melodies of Galina Egorova). Firm "Melody" 1990.

2. Anthology. Russian folk music of the western, central regions and the Volga region. "Melody" Recording 1981.

3. Instruments of the Russian folk orchestra. "Melody" 1989.

4. Youth folklore ensembles. "Melody" 1990.

5. Folk calendar - 1. Firm "Melody" 1989.

6. Folk calendar - 2. Firm "Melody" 1989.

7. Easter bells in Moscow. MP "Russian disk" 1992.

8. Songs and rituals of the Black Sea Cossacks. "Melody" 1990.

Audio recordings.

1. Epic Pechera. Vol. I, P.

2. Gilyarova N.N. Reader on Russian folk art. Sound application.

3. Cossacks are Nekrasovites in foreign lands and in Russia.

4. The Cossacks of the Don sing (part 1).

5. Russian folk music of the North and Siberia.

6. Folklore ensemble "Cossack Circle".

Video recordings.

1. Avsen-Tayusen (Ryazan).

2. Green Christmastide (Kursk).

3. Winter songs of the Belgorod steppes.

4. Cossack antiquity (Volgograd).

5. Kostroma patterns (Winter Christmastide).

6. “World Village” program.

7. Program "At the Outskirts".

8. Russian carousel (Almanac).

9. The Tale of the Pipes (Kursk).

Let us recall the well-known statement about folk art: “... the highest form of art, the most talented, the most ingenious is folk art, that is, what was captured by the people, what was preserved by the people, what the people carried through centuries ... cannot be preserved among the people that art that has no value.”

Interest and attention to folk art, including music, has recently increased even more in our country. We note the emergence of interesting artistic groups, professional and amateur, both adults and children, promoting Russian music, songs, and dances.

The theme “Folk Art for Children” was devoted to city assets and conferences of music directors of kindergartens. A real revelation was the experience of working with Russian folk nursery rhymes.

I wanted to expand my repertoire of Russian songs, round dances, games, start working with Russian nursery rhymes, make the necessary attributes, costumes, in a word, plan work with children so that a Russian song would be heard in music classes, in everyday life, on a holiday.

I had to start with self-education: reading specialized literature about musical and oral folklore and Russian folk instruments, studying anthologies of Russian folk songs and poetry.

In all age groups I use small chants, songs, and jokes. The program songs for junior and middle groups are very good: “Ladushki”, “Soroka - Soroka”, “Cockerel”. The abundance of vowels, simple rhythmic pattern, and interesting content make them indispensable in working on long singing and good diction.

When introducing the song “Cockerel” to children, I introduce a bright illustration, and when the song is learned, I suggest they recognize it by the melody performed on a metallophone. After the children have learned the song, a cockerel appears - a bibabo toy or a papier-mâché toy made in a folk style. The toy pleases the children, and they are happy to repeat the song several times, trying to sing long and affectionately. Then I use this song in role play. When a child puts on a cockerel cap, the teacher says:

Like a peta - a cockerel,

The hat is higher than the scallop,

Morocco boots,

Tin spurs.

Louder than anyone else in the world.

The child moves, raising his legs high, showing his spurs, while adults and children sing.

I use the Russian folk song “Soroka” in the junior, middle, and senior groups, complicating the musical task. In the middle and older groups I teach how to distinguish sounds by pitch, starting a song with a low, medium, high sound. I suggest singing, emphasizing the vowel by a quarter, clapping the rhythmic pattern. In the older group, children sing this song in different keys and learn to play the metallophone. In the senior and preparatory groups, the chant “Skok-skok” helps to consolidate in children the concept of the falling movement of a melody and develops lightness and mobility of the voice. The chant is convenient for the “chain singing” task, when a child, having sung a musical phrase, seems to pass the song on to a friend; this chant serves as a good exercise in playing the glockenspiel.

Russian folk song has enormous artistic and educational value. A native song enriches children with musical images, shapes the child’s artistic taste, and enriches speech with typical folk expressions, epithets, and poetic expressions: grass - ant, silk grass, winter - winter, Vanechka - friend, girls- beauties, the little girl walked along the hill, took, took strawberries, herself V I’ll go dancing and crumble like an apple tree. Children note that the words “Lyuli - Lyuli” are often found in the choruses of Russian songs.

Despite the fact that the songs contain words that are unfamiliar to modern children or sound unusual rocker arms, rake, senichki, children show a keen interest in the content, quickly memorize the text, and, having correctly understood the meaning of such words, quickly find synonyms for them. In the middle group, children got acquainted with the round dance game “Who is our good one?” I asked who understood the word “handsome,” and Sasha quickly found it: “It means very pretty.”

I try to introduce children to songs of various types - lyrical, round dance, comic.

The children of the preparatory group are very fond of the Russian folk comic song “Mlada went for water”, arranged by V. Agafonnikov, and perform it with great expressiveness;

The young woman went for water,

Gold rocker.

Golden rocker,

Oak buckets.

The melody of the song is quite complex, and in order to achieve its pure reproduction, I invite the children to clap the rhythmic pattern, sing the melody on the syllable “A”, and call those who sing well for individual singing. Later it is staged and interestingly designed. Elements of Russian costume are brought to the two leading children, wooden painted buckets and a rocker, and a harp.

The song “Zimushka - Winter”, adapted by An, makes a deep impression on children. Alexandrova:

You're a winter girl - winter,

Snowy winter has arrived.

Snowy winter has come,

All the roads are covered,

All roads and paths

Neither pass nor pass.

The funky nature of the song helps the development of children's breathing. An expressive musical conclusion complements the general mood and musical image of the song.

To ensure that interest in the song does not wane, I use various methodological techniques, which also help me better understand the individual capabilities of children.

Russian folk wooden toys - Matryoshka and Vanka-Vstanka - come to the senior and preparatory groups to ask musical riddles. I or one of the children drives the toy, reproducing the rhythmic pattern of a song or nursery rhyme. Children listen carefully and with interest and are very happy if they recognize and correctly name songs or nursery rhymes. I suggest singing a song individually or in chorus, and everyone repeating the rhythmic pattern after the toy, clapping their hands.

In the group, children have the necessary illustrations, toys, children's musical and percussion instruments for independent musical activities. Observing the children during free play, the teachers and I saw their attempts to stage songs, create simple dances to the dance songs “Oh you, canopy”, “Kalinka”, the desire to select their favorite melodies on the metallophone. In the middle of the year, a musical evening “Russian Song” was organized in the preparatory group. I talked about the love of the Russian people for song, that they went to work with song and celebrated holidays, that Russian song is known and loved all over the world. She reminded the children of proverbs in which people expressed their attitude to the song: “Where the song flows, life is easier there,” “It’s fun to sing, it’s fun to spin.” Children named their favorite songs, sang, played them on a metallophone, and listened to songs performed by adults. They led a round dance to a round dance song, and played a game to a game song.

Games with singing are important in the musical education of children: they develop stability of intonation in singing, the ability to coordinate singing with movement. Singing games can be played without musicescort outside music classes under the guidance of a teacher. It is important to create an appropriate environment and decorate the game with interesting attributes. To play the game “Who’s Good” we bring in a house painted in the Russian style, a kokoshnik for a girl, a hat and a toy horse for a boy. Before the game “At the Bear in the Forest,” children dress up, put on scarves, take suits, baskets, and the boy who will play the role of a bear puts on a suit.

Rehearsals of the Russian folk percussion orchestra are one of the children's favorite evening activities. The orchestra's repertoire includes folk melodies “Oh, you, canopy,” “I will dispel my grief,” and a dance with spoons.

A lot of work with Russian folk material resulted in the entertainment “Like on Our Street” for older groups.

At the teachers' meeting, the design of the hall and attributes were agreed upon. On the central wall they decided to depict a village street with huts, lowwattles, white-trunked birches, dress the presenter and children in bright Russian costumes.

It was necessary to think through the role of the presenter, her manner of behavior, and her speech addressed to the children. The children were waiting for this holiday. And then the long-awaited evening arrived. The presenter Vasilisa greeted them warmly and with a bow: “Hello, guys,I'm glad to see you for a long time I’m waiting for you on our wide street with white birch trees and tall huts. I’m waiting for you, singing a song.” Vasilisa sang, danced, asked riddles to the children. The beautiful girls danced in round dances, and the good fellows started valiant games - they measured their strength and showed off their strength. A young woman from the river walked down the street with full buckets. The jokers competed to see who could talk to whom. Lazy Titus came out with a big spoon. The spoon dancers performed, they danced a quadrille, and then the whole street began to dance. The children remembered this holiday for a long time and performed the most interesting numbers in front of the younger children.

Russian song and word fit well into any children's party.

Ovchinnikova L.V.

Vocal exercises and chants

Working with a folk singing group

for leaders of folk singing groups

Rostov-on-Don

Introduction……………………….………..…..…………..…….….…… 4

1. Chanting and exercise……………...………….…………… 5

2. Chanting at a vocal lesson …………………..….….…...….…..…. 6

3. Vocal exercises……………………………..………….. 22

4. Selection of vocal exercises for the group…………..…. 22

5. Features of working with a folk singing group..……… 24

6. Vocal and choral exercises for a folk group

singing….………..…..…………..…….….……..…….….………..… 29

Conclusion…………………………………………….…………… 45

List of used literature…………….…..…….…..…… 46

Introduction

The art of folk singing includes a complex of theoretical concepts, skills and abilities. In order to teach group members folk singing, develop their vocal abilities, and teach them to overcome difficulties in performing songs, systematic vocal education is required, the goal of which is the gradual development and inclusion of the muscles involved in singing. These skills must be trained with the help of a special preparatory warm-up course.

The necessary preparatory warm-up course, traditional for each lesson, includes:

1. breathing exercises, which promotes the development of the respiratory apparatus, forms the breathing necessary for vocal work, strengthens the diaphragm, organizes a variety of breathing: short, long, chain;

2. a special course of speech and diction exercises aimed at correct pronunciation of vowels and consonants, as well as sounds traditional in folk singing, dialects and dialects;

3. a cycle of exercises for the vocal apparatus. These exercises expand the range of the voice, strengthen breathing, develop the singing voice, vocal and harmonic hearing, the skill of polyphonic singing, improve sound production, diction, and develop purity of intonation.

Singing educational and training material includes the following: demonstration and work on constant exercises, explanation of the purpose and objectives of the exercise, singing on separate fragments of the song with the aim of singing this episode.

An educational and training set of exercises is selected for each participant depending on the development of the voice and the skills of singing in a folk style. When chanting, strict adherence to the pedagogical method of gradual loads is necessary: ​​singing skills must be instilled gradually, from simple to complex.

Breathing exercises, speech, and diction exercises can be found in various educational and methodological manuals. They are suitable as training for any type of singing: academic, pop or folk.

This methodological manual provides vocal training material for folk singing groups, which includes vocal chants, exercises and recommendations for their use.

Chanting and exercise

Vocal lessons are unthinkable without vocal exercises. Those who have studied and are studying vocals will agree with this statement. The development of vocal skills is a certain set of vocal exercises performed a certain number of times by a specific performer (vocalist). Both the set of exercises and the number of times performed can be completely different for different people. But, in any case, vocal exercise is the main tool of the vocalist.

Only such an exercise is called vocal, during the performance of which phonation occurs, that is, the vocalist sings. Not all exercises used to develop the voice are vocal. There are others: breathing, articulation, diction. Exercise refers to the repetition of an activity in order to improve the way it is performed. Exercise is the primary means of acquiring skills, i.e. actions that automatically occur in any complex activity. Likewise, in vocal practice, exercises serve to develop the basic skills necessary for professional singing. Both the correct generation of sound and the technique of sound engineering in various conditions dictated by the melody - all this is mastered and consolidated, first of all, through exercises. Indeed, the principles of legato singing, cantilena, fluency, leaps, staccato singing, passages and various embellishments are learned through exercises and then improved and polished in vocalises and artistic works.

Exercises that are built on short sections of musical phrases, as a rule, are transposed by semitones up and down the sound scale. Such repetition of the same chants, the same musical movements leads to the establishment of strong skills in their implementation. The sequence of the same movements is reinforced, developing a stereotype. In the future, when encountering a similar figure in a work, the singer performs it without thinking, automatically correctly. However, singing repeated combinations of sounds can be called an exercise only when it is performed for a specific purpose and when the teacher or student evaluates the results of each attempt in terms of bringing it closer to the goal. Simply singing exercises without a clearly stated goal and critical evaluation will be just chanting, warming up the vocal apparatus.

Singing (warming up) the vocal apparatus serves the purpose of making it ready to perform complex singing tasks, but does not lead to improvement in the performance of the function. On the contrary, thoughtless, formal singing of exercises can lead to the emergence and strengthening of negative skills.

Any improvement of a function in an exercise presupposes a clearly defined goal and continuous monitoring of its implementation; only this can form the necessary new coordinations. There are no exercises “in general”, but there are exercises for developing certain specific qualities of the voice.

Chanting at a vocal lesson

An important link in working with a folk singing group is chanting. Any vocal lesson should begin with chanting, because many muscle groups are involved in the formation of sound. Chanting warms up the vocal cords, preparing them for work. The warm-up for singers is similar to the warm-up for athletes. Like athletes, vocalists need to warm up their muscles, thereby preparing them for further professional stress. Without chanting, you may not hit some notes from the very beginning, despite good hearing and voice. Without chanting, in the middle of a vocal exercise or song, your throat may become tight and you will need to clear your throat, etc.

The first chants in a vocal lesson are a warm-up exercise. Vocalists should warm up in the “middle” of their range to avoid damaging the vocal apparatus. It is necessary to do chanting exercises to strengthen support, lengthen vocal breathing, monitor the correct formation of sound, warm up the tongue, lips, jaw, larynx, and resonators.

The second part of vocal chants (on an already warmed-up vocal apparatus) is aimed at expanding the range and developing good diction. The exercises are “stretching”. What is important is the smoothest possible transition from sound to sound, without changing the sound quality, and simultaneous relief and exaggerated intelligibility of diction.

The third part of the chants in the vocal lesson is aimed at mastering various technical techniques: leaps, jerky vocals, decorations. Such chants are given at an advanced level of vocal training (at the initial level, all exercises are done on cantilena, that is, smooth, voice guidance).

Singing in motion - combining singing and movement - is a very important part of a vocal lesson, aimed at freeing the voice, vocal apparatus, and establishing coordination, which helps singing.

Chanting takes up most of the vocal lesson. At initial and intermediate levels of training – 30-40 minutes. However, in the future, as the vocal apparatus strengthens and basic vocal techniques are mastered, the time for chanting is reduced to 15 minutes. The rest of the time during vocal lessons is devoted to working on the repertoire.

Chanting is one of the most important parts of developing singing skills. The problem of chanting (its organization and selection of exercises) is very acute, since some people look at chanting only as a warm-up of the vocal cords before performing the repertoire. In fact, chanting is a difficult path to mastering the technical foundations of vocal art. The work is based on special exercises that are selected according to the age, pedagogical tasks and level of musical development of the vocal group participants.

Chanting is a vocal exercise with a narrow range that opens classes. The chant begins in the middle voice range that is comfortable for the singer. After it has been sung once, the chant is repeated, raising the key a semitone higher, etc., until they reach the top of the voice range. Then, in the same way, but going down by semitones, you can work on the lower notes of the voice.

Chanting can be carried out simultaneously with the entire group, in groups (women's, men's), in parties. Chanting, carried out with the whole team, helps organize the start of classes. However, to achieve strong vocal skills, it is advisable to sing in batches or groups. In the process of singing, performers not only warm up their vocal apparatus, they improve their singing skills. Consequently, singing has three main goals: warming up the vocal apparatus, psychological mood for vocal and choral work, and improving singing techniques and skills.

It is advisable to start singing in the middle segment of the range of each vocal part. It is important to take into account the structure of the exercises, especially at the beginning of chanting.

The prepared exercises for singing should not only warm up the vocal apparatus and prepare it for work, but also instill certain skills in folk vocal and choral performance and eradicate existing shortcomings. Each chanting should have a specific purpose, and the entire set of exercises should be built according to the principle from simple to complex, from narrow scales to wider ones. It is better to choose chants that are not long and easy to remember. These can be motives from the works being studied or songs unfamiliar to the performers. There is no point in changing them for every lesson.

The common name for vocal exercise is chant. It happened that way, but it’s not entirely correct. The chant serves to alert, warm up the vocal apparatus, and adjust the respiratory system.

This is achieved by performing several vocal exercises (before a performance, for example), but these exercises are well known and familiar to the performer, and we are not talking about any development of vocal skills. The most familiar and effective (for a given vocalist or band) exercises are used.

Any vocalist has several favorite chants at his disposal and uses them constantly. Thus, the concepts of “chanting” and “vocal exercise” are not entirely identical, although they are close.

As you master vocal technique, exercises that at the beginning were complex, difficult and required some effort for the vocalist to perform, gradually turn into familiar and comfortable ones. This is how the exercise turns into a chant, and the same exercise moves from the training category (during the period of mastering) to the warm-up category.

Below is educational material that includes a number of chants for a folk singing group and recommendations for their use. The chants are performed with a shift in semitones up and down.

1. “Andrey the Sparrow”

Exercises on primary sounds: sing “angrily”, with pressure, on support, clearly, loudly, close, sending the sound forward.

2. “Chebotukha”(see comment to exercise 1)

3. "Valley"(see comment to exercise 1)

4. “Dig a well”

Sing at a tempo, moving consonants from the end of a syllable to the next syllable.

5. “How the fox walked”

6. “I’ll go, I’ll go, I’m young”

Don't rush, although at a pace. You can sing with a “fall” at the end, you can add bourdon.

7. “Oh, you little owl”

Cleanly intonate the third sound, sending the sound forward, do not rush, but sing at a tempo. You can add bourdon.

8. “Got the cat”

9. “I have a sauerkraut”

Sing angrily, with pressure.

10. "Broke"

Make sure that " AND "approached" E " Cleanly intonate the tertian sound.

11. "The Grass is Green"

Sing a fourth without “pushing out” the sound.

12. “Bunny on the River”

13. "Swan"

14. “The swan swam”(see comment to No. 13)

15. “Ulyanushka”(see comment to No. 13)

16. "Nightingale"

Sing close, collected, without pushing, sending the sound forward. Follow the light sound. Develops vocal mobility.

Option 1Option 2

17. “A white swan flew out”

Make sure that " A " was formed according to the principle of the previous one " E " Sing in the same manner: close, high and “angry”. The exercise develops the range of the voice and its mobility.

18. “Grey Swan”

Sing in the same manner: close, high, “angry”. The exercise develops the upward range of the voice, helps train retention, and develops breathing duration. It is advisable to sing it in one breath. If at first there is not enough, then you can “catch” your breath.

19. “Whether the falcon is clear”

20. “Not wormwood”

This exercise solves the problem of transitional sounds.

Not half-un, but you, my darling...

Chant for choir

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Vocal exercises

The simplest type of musical art that vocalists, especially those starting to learn to sing, have to deal with is exercises. However, exercises are not limited to the first stage of voice development. Exercises accompany singers throughout their creative lives. Every singer needs to devote at least a small amount of time to exercise every day. It is necessary that vocal exercises be stable, since a positive result occurs only when the same chants are repeated many times. Lasting skills are developed through long and systematic training.

Chanting exercises should be easy to understand, easy to learn, concise, extremely clear and focused.

It is not advisable to start chanting at a very slow or fast pace. Exercises at fast and slow tempos are necessary only after the singers have already brought their voices into working condition and can begin to improve their singing skills. When working on chanting, you need to pay attention to proper breathing, sound production, maintaining a high position, good diction, and avoiding loud “forced” singing.

Selection of vocal exercises for a group

The leader of a vocal group must be able to select certain exercises for a specific composition and for solving specific pedagogical problems. The selection of exercises and the intensity of chanting are determined by the following: whether the chanting takes place before the choir’s performance or is it part of the next rehearsal. If chanting precedes a concert performance, then the volume of the performance is of great importance: several works, a section or a whole concert. The shorter the performance, the more significant the singing should be. Insufficient vocal singing has a negative impact on the quality of performance. You should not carry out long, intense singing before a choir concert in two or one large department, since a large singing load during singing can tire the vocalists and lead to loss of singing form during the concert.

The leader’s mastery of the methodology and practice of chanting is necessary for the proper organization of work with the vocal group. It is impossible to count all the vocal exercises invented by vocal teachers. There are too many of them. In his practice, every vocal teacher uses a limited set, since there is no point in trying to use everything that has been invented over the centuries. However, most of the well-known and popular (because effective, effective) vocal techniques use predominantly a small number of identical exercises.

The vast majority of vocal exercises are built from sequences. As for vocal exercises, sequences usually differ from each other by half a tone.

The phenomenon of voice is, first of all, the work of various muscles of the human body, and the development of muscles requires a gradual increase in the load on them. In this case, we are talking about acquiring the appropriate elasticity by the muscles and training the nervous system - the muscle must “respond” to the reaction of the nervous system in a strictly dosed volume, otherwise the voice will be false, varied in timbre, overexertion and fatigue.

A semitone in European music is the smallest musical interval. It's called a small second. Naturally, a small second is the minimum portion of an increase in load for a vocalist.

The sequence itself in a vocal exercise can consist of sounds located in a fairly large tessitura: an octave, even one and a half. It should be noted that a sequence is a small “piece” of a certain melody that cannot be torn into pieces.

If this melody is difficult for a vocalist to perform, this indicates that it is too early for him to use this exercise as a tool for developing his own voice.

Thus, when starting to work on a new exercise, you need to learn one sequence very well (like a melody in a song). Often vocalists, wanting to achieve results faster, try to sing a vocal exercise in the entire range available to them, without memorizing its melody well. This kind of work is not useful.

Any vocal piece (and the exercise is also a vocal piece) should be learned at a slow pace. It is necessary to remember all the nuances of the melody, a set of certain vowels, and the transition points from one vowel to another.

Most methods of teaching vocal skills include a small number of vocal exercises, but they are quite sufficient. This is due to the fact that every vocal exercise is multitasking. Performing any exercise, the vocalist develops and trains several skills at once. Accordingly, by performing the same exercise at different times, you can pay special attention to different aspects, that is, in other words, use the same tool for different jobs.