Developing a round sound in vocal lessons. Methodology for organizing singing in music lessons
- METHODOLOGY
- SOLFEGIO
- VOCAL
- SINGING
- EXERCISES
The author of the article, based on his own experience of teaching solfeggio (more than 20 years), offers practical recommendations for integrating the most important and necessary elements of vocal technique into solfeggio lessons.
- Methodology for organizing project activities aimed at developing communicative universal educational activities when teaching English at the intermediate stage
- Methodology for designing an individual educational route when teaching English in primary school
- General principles for studying hand striking techniques in hand-to-hand combat and boxing
One of the main meanings of the term solfeggio is vocal exercises for developing hearing and voice processing. As a rule, in the daily practice of teaching solfeggio, the main attention is paid to the development of students' skills in reading notes, determining by ear intervals, chords, degrees of modes, and recording dictations. The skills of correct singing (solfege) are almost not developed (often due to lack of teaching time, but also due to insufficient awareness of teachers in the field of vocal methodology and practice). Meanwhile, such skills seem absolutely necessary for students of any specialty, of any age. In addition to increasing the efficiency of the solfeggio learning process itself, competent mastery of singing skills and their application has a beneficial effect on the entire human body and improves its well-being.
More than fifty years ago, the famous teacher, associate professor of the Leningrad Institute of Culture A.D. Vartholomos, in his work “Singing in the Solfeggio Course,” raised the issue of correct, expressive, beautiful singing in Solfeggio lessons. The situation has changed little since then. In terms of method, at the moment there are a huge number of manuals, proprietary courses and developments, textbooks and anthologies on solfeggio, as if aimed at realizing the main task of this subject - the development in children of intonation-correct and expressive singing, inseparable from the development of hearing and other parameters. At the same time, many manuals have appeared offering methods for developing the voice of children, without reference to solfeggio lessons, relying, for example, on the folk performing style, as the most natural for the voice. However, in practice, it is extremely difficult for a solfeggio teacher to combine a large amount of theoretical and educational material while simultaneously following one or another vocal technique. For example, the well-known and very effective technique of V.V. Emelyanov, involves working in several stages, which is almost unrealistic in the conditions of the average school solfeggio course. Hence the need arises to offer the solfeggio teacher the necessary fundamentals of vocal methodology and corresponding recommendations in the most concise, universal and adapted form for an ordinary lesson.
In common practice, students' desire for expressive singing in most cases remains only a good intention. Students often sing with a strong throat tone, a clenched lower jaw, do not know how to sing with an even sound, separate syllables from each other, glide when approaching upper or lower notes, etc. As a result, students lose the imaginative sense of music and are not imbued with love for anything. solfeggio, nor to singing.
Vocal work should be done without prejudice to other forms of work in the solfeggio lesson, for example: during chanting, singing melodies, chords, interval sequences. Students need to be explained in detail the mechanics of the voice apparatus. It is very important to instill in students a respectful attitude towards sound. The ideal form of organizing the educational process in a music school would be to present uniform requirements to students in solfeggio classes, vocal classes (in those schools where they are held), and in choir class.
Vocal tasks.
- Developing a high singing position.
- Instilling basic singing inhalation and exhalation skills.
- Development of the length of breathing, cantilena.
- Correct formation of vowels.
- Correct pronunciation of consonants.
- Developing vocal mobility and staccato.
Developing a high singing position
The high singing position (HSP) is a raised soft palate, a lowered larynx, and a free, open mouth. The raised palate opens the resonators (frontal and maxillary sinuses, nasopharynx and oral cavity). When the larynx is lowered, its walls relax and it is easier for the ligaments to produce high, clear sounds. The runway produces flight sound. In this case, the sound must be directed forward without “deepening” it - otherwise it will “go to the back of the head” and sound unnatural. A yawn helps you get a runway. It is necessary to explain to students that while inhaling, they need to yawn slightly and leave the yawn while singing. You can ask students to imagine that they are smelling a subtle scent of perfume or flowers. You'll get the same effect. Singing with your mouth closed helps develop the SPP; you can start with it and return to it regularly.
While singing, you need to sit straight. Both feet should be on the floor so that part of the body's weight falls on the legs: the diaphragm should not be pinched.
Exercises.
Variants of chants can be very different, depending on educational purposes.
Instilling basic singing inhalation and exhalation skills
There are several types of breathing in singing practice. The most common is abdominal (abdominal). With this type of breathing, the abdominal muscles actively work. They are very mobile, so you can inhale quickly, silently, unnoticeably. It is more convenient to control exhalation with the abdominal muscles. Boys have this type of breathing by nature; girls need to develop it specially. At the first stage of training, it is enough to explain to students three general rules:
- Inhalation should be done quickly, easily, imperceptibly (without raising your shoulders);
- After inhaling, before singing, you should hold your breath for a short time;
- Exhale evenly and gradually.
Let's look at each rule in more detail.
In order not to overdrawn the air, it is necessary, if possible, to draw it through the nose. During inhalation, you need to prepare a runway (if you learn to breathe with the help of your abdominal muscles, then when you hold your breath and the corresponding muscle effort, the air will go inside on its own). Holding your breath must be done after each inhalation. This is the most difficult moment in the process of singing, but gradually this procedure becomes familiar.
After the delay, you can begin to exhale (attack the sound). The attack of sound is the moment the singing begins. There are three types of attacks: soft, hard and aspirated. With a soft attack of sound, the ligaments close tightly and softly, the sound appears simultaneously with exhalation. With a solid attack - with a knock. During an aspirate attack, the ligaments allow air to pass through and then close. The best attack is considered to be soft; it is the basis of cantilena singing. A solid attack is used when singing staccato. The aspirate attack is used for pictorial purposes. But students often sing breathily, especially vowel chants at a fast tempo. For example, in the exercise:
before each subsequent sound, instead of a continuous vocalization, a sound like “ Ha" The students should immediately pay attention to this and sing the exercise slowly, listening to the sounds (to strengthen the abs and develop the cantilena, you can use V.V. Emelyanov’s exercise with lip vibration).
Let's go back to the beginning of the singing. This is a very important point. You need to attack the sound gently, from above, with a small injection, without relaxing the abdominal muscles, as if holding the air within yourself. Some vocalists say: “sing into yourself.” We must ensure that the sound is bright, beautiful, and supported. The air must be expended evenly and gradually, without jolts. If it is necessary to make the sound louder or stronger, the abdominal muscles should be collected even more. And the less air remains in the lungs, the more collected the stomach should be. To prevent the sound from falling out, it is useful to hold your palm in front of your lips. If a stream of air hits your palm, it means that the air is not being used correctly. The first breathing exercises can be done without sound, on consonants " w», « With" And " f“, but you should remember that being able to hold air for a long time does not mean singing well.
There are special exercises to train the abdominal muscles. For example:
- Exhale sharply on the syllable " wow"and freeze with tense abdominal muscles;
- Perform exercises with lips on the sound " tprr...", as cab drivers did when they stopped a horse (Emelyanov).
With these exercises, the abs are trained spontaneously.
Development of breathing length, cantilena
The longer a student can hold air in himself, the more opportunities he has for solving artistic problems. The length of breathing can be developed while singing chants, degrees of scales, and melodies. The principle of cantilence of sound in the coherence of syllables. In order for the syllables to be better connected, they must be made open, i.e. ending in a vowel. In some melodies this comes naturally. For example: " In the field be-re-a hundred-i-la..." And in the song “The Moon Is Shining” several syllables are closed with consonants; they must be moved to the next syllable so that all syllables become open: “ Sve-ti-tme-sya-tsve-ti-t’ya-sny" If you explain this principle to students right away, they will quickly get used to it and do everything correctly. To develop a cantilena, the following comparison also helps: you need to imagine that you are singing a solid neutral vowel, into which they merge a, y, o, uh, s and different syllables are strung on it (such a singing vowel is called basic or mixed).
Proper vowel formation
The ability to sing coherently, with a beautiful, rounded and even sound depends, first of all, on the correct formation of vowels. It is necessary to explain to students that the VPP sound is rounded (neutral vowel, not lips). Lips are involved in creating the character of sound and words. For the vowel " And"Characterized by composure and sharpness of sound. In order for this letter to be narrow (by nature), one must strive to open the lower jaw freely, as with other vowels, and lift the tongue upward and bring it closer to the upper alveolus (the tongue must be soft). The result will be a light and rounded sound. In chants, it must be placed next to other vowels and its alignment and liberation must be achieved. Working with the letter " And"It is also useful for correcting such voice defects as dull and dull sounding, for the development of VPP.
Exercise.
The vowel sound " at"when sung, differs little from a vowel" at" when talking. Of all the vowels, it is the most convenient for work. By nature it is the “darkest”, deepest. It promotes good vowel alignment. Mouth when forming the vowel " at"must be opened as in " O", while only slightly pursing your lips. But you shouldn’t get too carried away with this letter, so as not to “drive” the sound “into the back of your head.”
Exercises.
Sounds " e», « yu», « I», « e" - iotated, their peculiarity is that they begin with the sound " th”, which must be pronounced by quickly throwing back the jaw along with the tongue to the desired vowel.
Exercises.
These exercises are also good because they make it easier to maintain a high runway, because they start from the top. These chants are convenient for studying intervals and scale degrees.
The use of iotated letters and syllables helps achieve sharpness and sonority of sound. Sound " th", if it is at the end of a syllable, it must, like consonants, be transferred to the next syllable.
Exercise.
Correct pronunciation of consonants
Vowels are formed in singing on a continuous stream of air. Consonants interrupt it (close it). Voiceless consonants are pronounced without the help of the vocal cords (“ n», « f», « T», « To», « w», « sch», « With», « h», « ts"). The goal is to teach coherent and distinct performance of vowels in combination with consonants, in other words, singing cantilena and diction. The most important for the development of sonority of the voice are four sonorant (singing) consonants - “ m», « l», « r», « n" Most are built using these sounds.
Exercises.
The clarity of pronunciation of consonants depends on the active work of the tip of the tongue, lips and soft palate. Consonants have a big influence on the attack pattern of a sound; for example, the consonant " d"in combination with the vowel " A» promotes a solid attack of sound.
Exercises.
This syllable is also convenient because it helps to obtain a spacious, full sound. To obtain a uniform sound, when performing a melody, it is useful to first sing it on the syllable “ Yes", and then switch to singing with words.
To obtain a soft sound, you can use syllables in combination with the consonant " l».
Exercises.
Developing vocal mobility and staccato
Without mastering the skills of coherent singing and clear diction, mobility and ease of voice are impossible. In working on these qualities, gradualness should be observed. An excessively fast pace leads to loss of diction and false intonation. Developing vocal flexibility should begin with simple exercises, gradually shifting the tempo and complicating the melody of the chant.
Exercises.
Staccato is abrupt singing based on a solid attack of sound. It helps to achieve elasticity of breathing and sharpness of the voice. Staccato can be performed in one breath, closing and opening ligaments, or with the help of short pushes of the press (abdomen). Staccato exercises can be started from the first lessons, with short phrases, gradually complicating the melodies and rhythm.
This work presents exercises common in the practice of vocal teachers and choir singers. Their options can be very different, depending on the tasks of solfeggio. To develop correct articulation (pronunciation of vowels and consonants), singing scales is very useful (since the scale includes basic vowels and consonants).
Graduates of theoretical departments of music schools, colleges and conservatories have a voice to varying degrees, but, unfortunately, they do not know or know insufficiently the secrets of voice production. This work is aimed at familiarizing solfeggio teachers with practical recommendations in this area.
References
- Bagadurov V.A. Vocal education of children. M.: Academy of Pedagogical Sciences, 1953.
- Vartholomos A.D. Singing in solfeggio course. On teaching methods in music schools. L.: Gosmuzizdat, 1962.
- Dmitriev L.B. Vowels in singing // Questions of vocal pedagogy. Vol. 1. M.: Gosmuizdat, 1962. P. 77-130.
- Emelyanov V.V. Voice development. Coordination and training. Educational and methodological manual for music and singing teachers, choir singers and vocalists. St. Petersburg: Lan, 1997.
- Emelyanov V.V. Phonopedic method of voice development. Methodological development. St. Petersburg: Regional Institute for Teacher Improvement, 1993.
- Milovsky S. Singing in singing lessons and in the children's choir of an elementary school. M.: Muzyka, 1977.
- Orlova N.N. Development of girls' voices (About age-related changes). M.: Academy of Pedagogical Sciences, 1960.
- Fedonyuk V.V. Child's voice. Tasks and method of working with it. A manual for teachers of children's music schools, art lyceums, secondary and higher educational institutions. St. Petersburg: Union of Artists, 2002.
Natalya Podstavkina
Working on voice timbre
From experience work. Subject: « Working on voice timbre» . Teacher-speech therapist Podstavkina N.N. GBDOU d.s. No. 12 p. White Clay.
The looseness and ease acquired by children when performing rhythmic movements (body, head, arms, legs, have a positive effect on the motor properties of the speech organs. Voice timbre in such children it is closely related to the emotional state of the child. In children with a predominance of the inhibition process low timbre, voice quiet or muffled, unmodulated. In children with a predominance of the excitation process high timbre, the voice is loud, loud, breaking into falsetto. Loss of sonority and strength vote associated with decreased muscle tone voice apparatus, mode change functioning of the vocal cords.
Violations of sound pronunciation and prosodic aspects of speech are determined by the nature and degree of the ability to change strength and pitch vote. CHILDREN do not reproduce sounds and their combinations clearly enough in isolation, in syllables, in words, in phrases and phrases, and incorrectly reproduce speech material at a given pace. Their perception and reproduction of various rhythms is impaired. Children do not use intonation means in their speech.
Description of the exercise
The teacher explains to the children that when a sound comes close, it can be heard well, but if it comes from afar, then
seems quiet and difficult to hear.
Then the adult gives one child the task of pronouncing any onomatopoeia, either quietly or loudly. voice
tut-tut, ding-tink, tut-tut).
The other children's task is to guess whether the animal is far or close or whether the bell is ringing.
Then another child is asked to make a sound riddle, and so on until all children have played this role.
Exercise
Standing, spread your lowered arms to the sides and say low voice: "ABOUT___". Hands to chest, average, normal voice: "ABOUT___". Hands up, high voice: "ABOUT___". Repeat the same with other vowels and in combinations with consonants like "ta-to-tu".
Exercise:
While standing, slowly raise your arms up and then lower them, pronouncing: "U___tu___" etc. low at first voice, which gradually increases and then decreases. The same goes for other consonants.
Game "Airplane".
The plane is taking off.
The plane is flying, its engine is humming.
Exercise
Reading poetic material related to changes in pitch vote.
The train is flying at full speed spirit:
Wow! Wow! Wow!
The diesel locomotive hummed: "Uh-uh-uh".
Took the kids home: "Doo-doo-doo".
Exercise. Read the texts
changing strength depending on the content vote:
There was silence, silence, silence.
Suddenly it was replaced by a roar of thunder!
And now it’s raining quietly - do you hear? -
It sank, sank, and sank across the roof.
He'll probably start drumming now
Already drumming. Already drumming.
Exercise. Say the words slowly at first, then gradually speed up the tempo to a very fast pace, followed by slowdown: "We were driving fast, we were driving fast, we were driving fast. we were driving fast. we were driving fast."
Development of duration and stability of the sound of the fundamental tone vote
Exercise
Smoothly bring your hands together in a rounded manner in front of you (or over head) and say drawlingly: "ABOUT___". Sharply lower your joined hands down and say short: "ABOUT".
Working on your tone of speech
Exercise. Say the phrase “What a dress.” so that express: admiration; sympathy; contempt; neglect; question; envy; question-request; astonishment.
Education of intonation expressiveness
The correctness, purity and beauty of speech are closely related to its melody (prosody, intonation. Sound oral speech is easily perceived if it is not only meaningful, correct, but also intonationally expressive. The role of intonation in speech is enormous. It enhances the very meaning of words and sometimes expresses more, than words.
Considering that intonation is a unity of interconnected components. sound means of language that phonetically organize speech, establish semantic relationships between parts of a phrase and give the phrase a narrative, interrogative or imperative meaning, including stress and logical pauses. Allow the speaker to express different feelings. If any component is violated, speech loses the corresponding expressive properties. .
Intonation expressiveness of speech is a complex complex of all expressive means of speech, which is ensured by the ability to change voice(raise and lower its tone, increase and decrease the volume, speed up and slow down the pace of speech, use pauses, highlight voice a single word or group of words and avoids monotony. With the help of intonation, the speaker reflects his attitude to the thought being expressed, conveys his feelings, experiences, and brings his statement to complete completion.
Melody manifests itself in rising and falling pitch vote. In combination with stresses and pauses, it phonetically formalizes the semantic relationships between parts of the phrase and unites them, and also connects the sequence of phrases in a detailed statement. The melody largely expresses the emotional state of the speaker and in many cases serves as a means of figurative expressiveness of speech. Formally, the melody of speech is created by raising and lowering vote, pauses, strength, tempo-rhythm.
Pauses divide speech into correlated segments in accordance with the meaning and grammatical connections between words, as well as under the influence of various psychological moments and psychological states of the speaker; in poetic speech - in accordance with its rhythmic structure. The child’s ability to consciously and correctly use, depending on the situation, all the characteristics of speech develops both in special exercises and in the process of any statement.
So, in order for speech to flow freely, easily and to be varied, it is necessary to have correct, full breathing and good spent, flexible, sonorous with a wide range of voice Therefore, all parts take place in a complex, in close connection, mutual development and mutual improvement.
Submitting your good work to the knowledge base is easy. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Posted on http://www.allbest.ru/
STATE INSTITUTION "MUSIC SCHOOL OF AESTHETIC EDUCATION No. 1 of LUGANSK"
Outline of an open lesson in academic vocal class on the topic:
"Methodsworkoversmoothvoice leadingonlessonacademicvocals"
Lugansk 2016
Form organizations - individual lesson.
Target lesson: individual selection of methods for developing smooth vocal performance in a 1st grade academic vocal student.
Tasks lesson: vocal academic hearing development
1. Development of singing breathing skills (developing a sense of diaphragmatic “support”; working on breathing as the most important factor in proper voice formation).
2. Development of the articulatory apparatus (activation of the articulatory apparatus; dictionary clarity of pronunciation of consonants; formation of a unified manner of singing vowels).
3. Development of hearing, musical memory, sense of metro rhythm.
4. Development of the muscles of the lips, tongue, cheeks.
5. Development of the skill of analyzing verbal text and its content.
6. Formation of skills of concentration, hearing, thinking, memory, control of emotions.
Plan lesson:
1. Introductory part.
2. Main part:
Chanting;
Work on works.
3. Final part.
4. Summing up.
Equipment: piano, notes.
Volume forideas 45 minutes.
Move keep busyI
1. Introductory Part.
Teacher: Good afternoon, dear participants. I, Anastasia Valerievna Sokolova, teacher of academic vocal class, am pleased to welcome you to an open lesson with Sergei Mezhensky, a 1st year student. The topic of our lesson today: “Methods of working on smooth vocal performance in an academic vocal lesson.”
The reason for choosing this topic is that the first stages of working on a student’s voice formation are associated with developing the skill cantilenas, i.e. smooth, coherent singing, a smooth transition from sound to sound. L. B. Dmitriev points out that the cantilena is “This is the basis of vocal music” [Dmitriev L. B. “Fundamentals of vocal technique” - P. 342]. However, he also emphasizes that cantilena singing is not possible without free flowing sound. It (sound), in turn, includes such factors as correct sound formation, close word formation based on breathing, and the absence of muscle tension.
During the lesson, I will use such basic techniques of working with students as voice demonstration, auditory analysis of voice formation, muscle-muscular association, and connecting the student’s imagination. In my work I will focus on the phonetic method of training a singer’s voice.
2. Main Part.
Chanting: 1) before starting work, you should remind about the singing attitude of the performer-vocalist, and also check the position of the student’s body; 2) remind about the correct, calm breath before singing;
Exercise 1 - “mormorando” (mooing). Singing with a closed mouth, its task is to warm up the ligaments, as well as focus the student’s attention on resonator sensations. Requirements for performance: lips closed, teeth open, calm smooth inhalation and relaxed sound of performance. Execution range c№ - a№.
Exercise 2 - tertian singing up and down on the syllables “mi-ya”. Its task is to continue to strengthen the resonator sensations during performance, as well as to actively close the lips when pronouncing the consonant “m”. Execution range c№ - a№.
Exercise 3 - fifth song up and down “do-re-mi-fa-sol-fa-mi-re-do”. Tasks during performance are clear operation of the articulatory apparatus, economical breath consumption for the entire exercise, monitoring a single singing position when performing the exercise. Execution range h - h№.
Exercise 4 - singing up a major pentachord and down a major triad to the syllable “la-a”. Objectives of the exercise: activation of breathing, close formation of a consonant, expansion of the student’s range. The range of the exercise is h - dІ.
Exercise 5 - singing “do-mi-sol-mi-do” up and down a major triad. The main objectives of the exercise: singing legato, monitoring the close formation of consonants in a single singing position, monitoring the unforced performance of the exercise in the upper part of the range. The range of the exercise is h - cI.
Exercise 6 - octave singing according to the main degrees of the major scale, the syllable “la-a” or “do”. Objectives of the exercise: singing staccato, with a light sound, but based on breathing; expanding the learner's range. The exercise range is l - fI.
Joboverworks:
- O. VoroninAndR.VoroninaVocalise№ 6. From the collection “30 vocalises based on Ukrainian folk songs.” The key is c minor.
The melodic structure is based on third moves along the main steps of the minor scale, as well as the gradual singing of the melody along the pentachord. The same melodic structures were used as the basis for chanting at the beginning of the lesson. As a result, the developed singing skills are transferred to a work of art, which is already a vocalise. The melody of the vocalization, built on folk intonations, allows the student to quickly perceive and also reproduce understandable musical material.
Also a necessary condition at the initial stages of vocal lessons is the dubbing of the vocal part by the accompanist, which is presented in the musical text of this work.
Tasks to complete:
3) use your breath sparingly due to the slow tempo of the piece;
4) logically construct musical phrases.
When singing a vocalise, the student was asked to lead the melody using his hand, as if drawing one smooth line with a brush. Attention was transferred to physical action, which led to the removal of excess tension from the vocal apparatus.
-L.IN.Beethoven,sl.G.Burgher"Robin". Key - E-dur. The construction of the melody in this work is based on repetition, as well as singing of the main tones of a major triad. Consolidating the skills of singing a major triad up and down was also practiced in exercises at the beginning of the lesson.
Reasons for choosing this work for vocal lessons in first grade: availability of poetic text; convenient range of the product (h - h№); duplicating the melody in the piano part.
Tasks to complete:
2) do not distort the pronunciation of consonants and vowels;
4) conveying the semantic load of the work;
The student was asked to retell the poetic text of the work in his own words, and analyze the image laid down by the author. Answer the question why, despite the sad act of the main character, the author uses the major key of the work.
When singing the piece for the first time, the student was also instructed to use a legato stroke to connect the melody of the phrase into a coherent whole.
-Ukrainianfolksong"Yakdilooking forward to itlita." The key is F major.
The melody of the work is of a dance nature, built on a gradual ascent and descent to the main tones of the major scale. The form of the work is verse. When repeating the piano part, the melody is not duplicated, which intonationally makes it more difficult for students to perform. However, the availability of the melody for playback, even without dubbing by the accompanist, allows the student to cope with this task. The fast tempo of the piece, as well as the relatively high tessitura of the performance, provokes forcing of the sound when singing. Therefore, more attention should be paid to calmly playing the melody of the song, without unnecessary vocal efforts.
Tasks to complete:
1) monitor the free, unforced reproduction of the melody of the work;
2) do not distort the pronunciation of consonants and vowels;
3) use your breath sparingly for the entire length of the phrase;
4) conveying the dance character of the work;
When playing the melody of the piece for the first time, the student was asked to use the “brush” technique, tested on previously completed works. As a result, the smoothness of voice production was worked out, attention was paid to the presence of pauses in the melodic structure, and non-forced playback of musical material was worked out.
3. Final Part .
Homework task.
This concludes our open lesson. Thank you all for your attention.
4. P leading results.
During the lesson, an individual selection of methods for developing smooth vocal performance for a 1st grade academic vocal student was worked out. The following main tasks in the lesson were worked out: developing singing breathing skills; development of the articulatory apparatus; development of hearing, musical memory, sense of metro rhythm; development of the muscles of the lips, tongue, cheeks; developing the skill of analyzing verbal text and its content; formation of skills of concentration, hearing, thinking, memory, control of emotions.
Methodical security: Dmitriev L. B. Fundamentals of vocal technique / L. B. Dmitriev. - M.: Muzyka, 2007. - 386 p., notes, illus.
Posted on Allbest.ru
Similar documents
Introducing children to the organs of the articulatory apparatus. The need for children to listen to the speech of an adult. Expanding preschoolers' understanding of the world around them. Enrichment of active vocabulary, development of phonemic hearing, attention, memory, thinking.
lesson notes, added 11/17/2010
Problems of developing a sense of rhythm in children 6-7 years old while playing children's musical instruments. Identification of the level of development of the sense of rhythm. The process of developing musical abilities. A system of music lessons aimed at developing a sense of rhythm.
thesis, added 03/05/2014
The essence of the concept of “aesthetic education”. Development of creative musical and rhythmic abilities of primary school students. Formation of ideas about tempo. Techniques for activating the sense of rhythm in children of primary school age during music lessons.
thesis, added 09/24/2017
Basic provisions of the theory of gaming activity in music pedagogical literature. Psychological and pedagogical characteristics of primary school students. Using the game to develop a sense of rhythm in the content of music lessons in elementary school.
course work, added 11/03/2013
General characteristics of types of musical activity. Children's musical performance, carried out in singing, rhythmic movements and dancing, playing instruments. Development of a sense of rhythm in preschool children, the formation of musical and auditory concepts.
test, added 10/22/2015
The essence of the concept of “musical-rhythmic feeling”. Retrospective analysis and characteristics of the process of development of musical-rhythmic sense in primary schoolchildren during a music lesson. Psychophysiological characteristics of children of primary school age.
course work, added 08/12/2017
Analysis of the tasks of music pedagogy. Study of problems of development of abilities and giftedness. Studying ways to form musical and rhythmic abilities in the learning process. Development of a sense of musical rhythm. Systems of rhythmic education.
abstract, added 12/01/2016
Identification of the level of development of speaking skills in children with hearing impairments. Development of visual aids, techniques and ways of working to improve it. Program requirements for the language teaching system for 1st grade deaf students.
thesis, added 01/15/2011
Characteristics of speech development in children of senior preschool age: dynamics of the verbal apparatus, its flexibility, clarity. Improving speech hearing. Accumulating the content of words and working on their structure. Basic methods of dictionary work.
course work, added 02/25/2011
Physiological basis and types of memory, methods of its development. Age-related characteristics of memory in younger schoolchildren. Memory diagnostics, organization and analysis of the results of experimental work on memory development in children of primary school age.
What do they do during a vocal lesson, what stages does a vocal lesson consist of? – This question is often asked by readers. Let's talk today about what a vocal lesson is, and what sections - stages a vocal lesson consists of.
Let's start with the fact that the word “vocal” translated from Italian “voce” means “voice”.
We consider vocals as a technological process of artistic singing. Because the art of singing is about images and emotions, it is a process in which not only sound is involved, but also a meaningful word.
Each vocalist must master vocal technique, that is, freely control his voice. To control your voice, you need to train your voice, master various singing techniques, and then it is possible to form a stage image and manner of performance.
.
The voice is a universal instrument, and therefore the vocal lesson is held in an individual form, that is, the teacher works with one student during the lesson. In addition to the teacher, there must also be an accompanist - a person who accompanies the student, that is, who plays a musical instrument, mainly the piano. Often these functions are combined by the teacher. The reasons are different - banal saving of hours, that is, money that goes to pay for the work of the accompanist. Or is it a shortage of specialist accompanists.
On the one hand, when the teacher himself plays during the lesson, time is used optimally - there is no need to explain and set tasks for the accompanist. Especially if the student is engaged in pop vocals and performs the repertoire to a soundtrack. Ideally, there should be both a teacher and an accompanist in the lesson.
And ideally, the student should master in the lesson:
— theory and technique of singing
— a set of vocal and technical exercises for voice development, aimed at developing accurate intonation, expanding the range, mobility and flexibility of the voice
- singing breathing skills
- work on improving articulation and diction
- study the structure of the vocal apparatus, have an idea of the singing setup, types of sound attack, resonators, know the rules of hygiene and voice protection. This is what you should do in a vocal lesson.
The main stage of a vocal lesson
The main stage of a vocal lesson– this is the development of the voice and mastery of singing breathing.
The first, main part of the lesson is devoted to special exercises for developing singing breathing and the formation of the correct voice qualities.
After the chants and exercises, work begins on learning a repertoire that will help in mastering singing techniques. Mastering the repertoire is carried out using backing tracks and live accompaniment.
.
The repertoire can be divided into three categories:
.
1 – songs of high difficulty
They are distinguished by a wide range and a large number of vocal effects. Performing such a repertoire by a beginning vocalist is an impossible task. Just the desire to sing difficult songs is not enough; you need to realistically assess your capabilities. The performance of such a repertoire will cause bewilderment among listeners, to put it mildly, and a teacher who allows performance of a dubious level will receive criticism from the administration and colleagues. Singing songs that are too difficult is not an adequate goal for a beginning vocalist. Learn - perhaps, sing for yourself and your loved ones - please. Your family and friends are loyal to you, and most likely your performance will not be criticized. This is what music school students do, who are often invited to perform at class and school events.
The task of the vocal teacher is to correct the performance - to “comb”, “smooth”. This is the case when the teacher is faced with a fact: “I will sing such and such a song at school tomorrow...”. Often in secondary schools, when compiling concert programs, no attention is paid to the correspondence of the repertoire to the age and vocal-technical capabilities of the child, who sings adult songs, without, of course, understanding the meaning and without being able to convey the character and image of the work. In this case, it is necessary to carry out educational work, explain, convince, and look for relevant interesting material.
songs by famous performers that the student really likes and are similar in character and mood. It is better to take such songs as educational material. Songs should be worked out to the maximum - as far as the student’s capabilities allow. And again, think about whether to present these songs for a concert performance. After all, the songs are famous, and your performance, willingly or unwillingly, will be compared with the performance of a famous singer. And, most likely, this comparison is not in your favor. It’s good if the student’s version is better, or at least not worse. What if not?
songs for beginning performers in which they can show their capabilities – vocal, technical and artistic.
The best option is to look for songs that are not known to a wide range of listeners. This path is long and painstaking. But teachers know that searching for educational, and even more so, concert and competition repertoire is constant work. But a song that matches the student’s age, character, and vocal abilities is a success in itself. All that remains is to learn and work to the maximum.
.
And so, the song chosen for work, and even more so for a concert performance, should:
- being liked is a must!
- have an appropriate range
- match the tone. (You can change the key!)
- be without excessive performance complexity
- suitable for character, appropriate for age
.
The song has been selected. Let's start working on it. First of all, you need to listen to the working material several times, analyze the vocal nuances, find out the tonality, range, character and content of the song. Write the words of the song, or better yet, print it on a separate sheet of paper as a poem, dividing the text into lines according to musical phrases, dividing it into verses and choruses.
Working on the character and content of the song
When working on the character and content of a song, you should
- read the text expressively with logical emphasis on phrases and sentences.
- work on the clarity of pronunciation of consonant sounds at a slow and then at a moving pace. Learn the text in separate parts, best combined with musical phrases and sentences.
- good results can be achieved by reciting the text - recitative. This will help develop the cantilena and sing vowel sounds. After all, we know that in singing only vowel sounds are sung, and consonants are pronounced clearly and briefly.
Do not forget to identify in the song and in each of its parts - verse, sentence, phrase - the climax - the brightest point in terms of dynamics and intensity of passions. It is useful to sing the song, or better yet, individual parts mentally, monitoring the performance with your inner ear.
.
The following difficulties may arise during execution:
- difficult to sing extreme sounds (high or low)
- jumps in melody
- inaccuracies in intonation
- the melody line is not convenient for playback
- Difficulties when performing at a very fast or very slow tempo. At a fast tempo, clarity of pronunciation suffers, and at a slow tempo, defects in singing breathing appear - there is not enough air for a long phrase. The sound fades with long sounds, the semantic load is lost
- fails to convey the character of the song
- I don’t like the song
.
Let's look at the difficulties that arise
.
— If it is difficult to sing high or low sounds, you need to identify the extreme sounds that sound good for the vocalist and change the key so that the sounds do not go beyond the boundaries of notes that are comfortable for the vocalist.
.
— Complexity of melodic progression. The solution to the problem is to select the melody of a complex melodic movement on an instrument, analyze the melody, identify the movement, find the tonic and supporting sounds of the triad, identify the relationships of sounds - that is, bring into the work knowledge of solfeggio and apply it in practice. Next, you should imagine the movement of the melody and show the forward movement of the hand. Solve the melody and play it on the piano from memory. Bring your inner ear to work - before playing, mentally imagine each sound and combination of sounds.
.
— Difficulty performing at a fast pace
To begin with, we recite the text at a slow pace, like a tongue twister, without music. Speak clearly and distinctly. We gradually increase the pace.
Then, for better reinforcement, we sing individual phrases - without accompaniment or phonogram, without playing along on the instrument. Make pronouncing the text at a fast pace lightweight with active and mobile articulation. Identify key words and syllables, and pronounce the rest of the text easily, striving for the key word.
.
— Can’t convey the character of the song
Recommendation - develop your artistic abilities, select songs that are similar in emotional mood and character.
.
— I don’t like the song
Don't teach her - that's the only solution to the problem. Everyone knows the saying - taste and color... - be sure to apply it when choosing a program. From the repertoire proposed by the teacher, the student chooses works that he likes. In turn, students offer songs that they like, and the teacher must analyze the songs for compliance with the student’s age and experience - life and vocal, as well as for compliance with vocal and technical capabilities. And then, through joint efforts, make the right decision - choose a high-quality repertoire. And start working on studying the repertoire.
.
Sincerely,
Irina Anishchenko