Folk singing is characterized, first of all, by a conversational manner of performance, and therefore by the preservation of intonations inherent in this people. Therefore, we can say that intonational expressiveness is the main feature of folk singing. Folk singing, including Russian folk vocals, as well as smooth, even speech, has special musical properties. To master the technique of singing, you need to develop a high position of sound.
Of course, we must not forget that chants for folk vocals do not differ from ordinary vocal chants. We know that a melody consists of sounds of different heights, various melodic leaps, and the transition from one sound to another is a difficult performance, because the human voice has several registers that have their own mechanics of sound formation, and transitions from one to another for non-professionals and beginners vocalists are very noticeable. Extra sounds may appear in the voice, and the change in registers can be very noticeable by ear. This is one of the biggest difficulties in singing - to achieve a smooth and even sound in any register, and when transitioning from one register to another. In folk singing, this is achieved by rounding the sound, which is possible with a high singing position. All vowels sound close to the sound “o”. In this case, the sound should be supported, as with any other style of singing. Why is high position so important for folk singing? Because it is thanks to her that that characteristic folk sound appears - bright, sonorous, sharp - this is what distinguishes Russian folk vocals. Songs written in this style and sung in this manner are an integral part of Russian culture and the culture of singing in general.
Russian folk vocals have a characteristic open sounding voice. Although, the manner of execution varies depending on the region. Unlike academic singers, in folk singing the ligaments are closed more tightly and the chest resonator is used to a greater extent. And this is due to the fact that folk singers perform works in a convenient register, and often the range of works does not exceed one octave.
Another feature of folk singing is the attack and. It is very important not to lose your breath; such an inhalation is considered unsuitable for singing. The inhalation should be short and the exhalation long and controlled. This is achieved through long practice on singing breathing. In folk singing, an inhalation close to human nature is more often used - chest or lower costal.
The mechanism of sound formation during singing is a very delicate apparatus that depends on many factors and is highly individual. The voice is so mobile, and with any even small changes it changes colors, and it is thanks to this that a person has the opportunity to create a wide variety of performance styles and combinations of sounds.
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 rhyme.
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 happily repeat the song several times, trying to sing it long and tenderly. 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 senior groups, I teach them 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.” The children named their favorite songs, sang, played them on the 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 up 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.
Excerpt from Yu.A. Tolmachev’s manual. "Folk musical creativity". Breathing section.
Folk singing has much in common with spoken language. Singing, just like speaking, requires clear expression.
striking pronunciation of the word. Both in colloquial speech and in singing, timbre, increase and
lowering of tones. This way you can highlight heights, registers and ranges.
Speech, like singing, is carried out only on the basis of breathing. A good-sounding speech is always melodious, sonorous
soft, soft, it contains that element of melodiousness which, with practice and development, can closely
compare with singing.
Conversation is usually carried out in the middle register, using the most convenient primary sounds. But when
emotional upsurges, with surprise, anger, joy and other strong sudden feelings, exclamations, re-
basic intonations are freely transferred to other registers, higher or lower. Therefore, speech depends
Depending on the meaning, it takes on a wide variety of colors. Speech skills develop from birth,
people talk completely freely, naturally, without thinking about how sounds are pronounced.
During a conversation, breathing is taken, expended and held automatically: the air is taken exactly as much as
necessary for the intended phrase. Both the speaker himself and the listeners do not notice or hear this breathing -
tions, although the phrases can be very long. If these natural sound production skills, developed over the years,
If you can bring closer to singing so that a person sings in the same way as he talks, then success is guaranteed: in
When singing, he will maintain the same naturalness and ease as in speaking. I sing well
This ease is always characteristic of most folk singers. Singing differs from speaking in that
that it is associated with musical sounds of a certain pitch, duration and sequence.
In colloquial speech, only semantic ones are usually stretched - “stressed” vowels, the rest of the letters are pro-
are worn out by patter, that is, unstressed vowels are, as it were, “eaten up.” The mechanics of expression are built on this
of human speech. In singing, the singer must obey other laws that apply to everyone
sounds and letters have a certain sound time. Sometimes this does not coincide with the logic of speech, in other words, in
While singing, it is necessary to maintain the conversational meaning of the sound coming from the word. But when you say the word, it will
dead unless we give it the right intonation. Intonation is the semantic message of the sounding word,
a person’s desire to express a certain thought or feeling using a word, that is, colloquial speech
full of semantic intonations. The “conversational” style of singing, characteristic of folk singers, implies
What matters, first of all, is the preservation of these intonations.
Intonation expressiveness is the basis of the art of folk singing.
Singing as chanted musical speech has special vocal properties. Singer while singing
must maintain continuity, fullness and evenness of voice sound.
Of particular importance in mastering the technique of singing is the development of a high position of sound. The melody consists of
sounds of different heights, and the transition from one sound to another is always difficult for the singer, especially when
large leaps from bottom to top and vice versa. The difficulty is aggravated by the fact that a person’s voice has several registers.
ditches that have different sound production mechanics. Experienced singers experience changes in sound production
occurs gradually and imperceptibly, register transitions seem to be smoothed out, and the voice sounds clear to the ear.
straight and straight.
An inexperienced singer experiences changes in his voice that are unpleasant to the ear, and during transitions from one register to
another voice “breaks”, after which it sounds completely different. Leveling the sound of voices on registers
transitions are one of the main difficulties of singing. Overcoming these difficulties in folk singing
is achieved by rounding the sound, allowing the singer to find the best position for the sound of the voice - high-
I forge. However, rounding in folk singing is permissible only to a certain extent, when it is not very deep.
something Rounding improves the sound of the folk voice and helps it overcome register difficulties. IN
This technique is mainly used when performing arrangements and original compositions.
To perform a vowel with rounding - to bring the position of other vowels somewhat closer during phonation (a, i, e,
e, u, u) to the vowel “o”. In a comfortable tessitura, sing the vowel “o”, then all the other vowels, bringing them closer to
vocal position "o".
When the sound is rounded, the soft palate has a higher position, and the sound becomes more voluminous,
however, it is necessary to ensure that the sound remains close to the conversational one, since if used inappropriately,
In the absence of rounding, the character of the folk singing style, based on speech position, is lost.
It is necessary to emphasize the special importance and necessity of a high sound position for high-quality
the sound of the people's voice. High position is the best proportion of the sound in the voice of high, head
overtones. The upper overtones, clearly audible at a high position, give the voice a special sharpness and
sound accuracy, flightability.
In folk singing, a high position is combined with a close message of sound, in which it, together with the word
seems to fly off the tip of the tongue. When working on a high sound position, one must not forget about simultaneous support
to the “pillar”, since the process of singing is, first of all, interaction. We must not miss the main task: soft
some precise, even movement of the voice along the sounds of the melody throughout the entire range of the song. Mechanics of sound production
at the same time, it is the same in any singing, but the structure of the singing apparatus is so complex and individual, and the organs
sound formations are so flexible and mobile that various, even small changes can create new ones
combinations of sound formation. This is the possibility of developing different styles of singing.
The Russian folk style of sound production is characterized by a natural, open sound of the voice, although in
in different regions of Russia the style of singing varies: in the northern Russian regions, in the Volga region, in some
areas of the Urals and Siberia they sing with a more rounded, “narrow” and light sound. But rounded folk singers
are used exactly as much as necessary to smooth out register changes in voices with pain
wide range of the choral score, leaving the sound open.
In folk singers, the ligaments close more tightly than in academic singers and to a much greater extent.
no chest resonator is used, since folk singing is predominantly chest singing. Usually folk singers
The people sing in a register that is convenient for them, approximately within an octave, although there are folk voices that range
zones exceeding one and a half octaves.
Specific features in folk singing are singing breathing and attack of sound. Rib cage
a person, like the bellows of a button accordion, constantly and rhythmically contracts and expands due to the necessity of life
breathing. This process is rhythmic and automatic. But singing breathing requires a short inhalation and it is possible
long exhale. As a result of this gradual exhalation, the chest air from below evenly presses on the closed
ligaments in the larynx and, breaking through in short bursts, causes them to vibrate and sound. If during
while singing, exhale quickly and sharply - you will get a sharp cry, after which the sound will dry up until the next
just take a breath.
To maintain an even, smooth sounding voice, conscious regulation of inhalation and exhalation is necessary.
doha.
The inhalation and exhalation muscles in the human body are responsible for exhalation and exhalation. Muscles-
exhalers, in addition to their main role of expanding the chest during inhalation, play the role of a kind of
a brake that slows exhalation. Uniform resistance of the closed ligaments to pressure on them from below the chest
creates the feeling of a sounding “pillar” in the air and the voice resting on this “pillar”. The singer feels
that the sounding “pillar” rests with its base on the diaphragm, and its apex goes to the head, among folk singers
tsov - somewhere near the upper teeth and bridge of the nose. Feeling of a “pillar” with a good and comfortable sounding voice
occurs both among folk singers and academic ones.
Experience working with folk singers shows that it is better to preserve the involuntary, natural
type of inhalation for a given person: thoracic, lower costal, mixed, excluding upper thoracic or clavicular
as unsuitable for singing.
The inhalation should be light, silent, but deep enough. To do this, you need to ensure that
the singer did not gasp for air, but took a kind of “internal” breath, that is, he took in air with the help of an expanded
abdominal muscles and through the nose.
Too much air is very dangerous. This phenomenon is very common among many singers, even professional ones.
nykh.
With a large amount of air taken in, it is difficult to regulate exhalation. With excessive and noisy inhalation
singers almost always force their sound, which should never be allowed. "Support" of the voice when exhaling
only works on an empty diaphragm. Externally, there is a noticeable movement of the chest
cells down, at the same time tension of the muscles in the diaphragm area (in the belt). For high and strong sounds
this muscle movement is very noticeable and noticeable.
While singing, the sensation of support found must be recorded for the entire duration of the voice. Sometimes
inexperienced singers, wanting to hold their breath, seem to lock the air in their chest from excessive effort. In this
In this case, the interaction between the vocal cords and chest air is disrupted. The chest and abdominal muscles are tense, but
the voice doesn't sound. To prevent artificiality in the functioning of the singing apparatus, you should always look for
life practice is a natural starting point at which the desired sound appears as if by itself
itself, for example: reproducing hooting and roll calls in the forest; the feeling of sound support can be found by
a natural sigh “oh”, which seems to relieve fatigue. When repeating “oh” multiple times on different
sound pitch, quite soon the beginning singer begins to understand the process of breathing support. At the same time
the voice sings well if you remember that it should sound on the free larynx in the chest resonator
re, and most importantly, these sounds should be pronounced, not sung.
Many years of experience working with a folk choir have shown (especially with beginning singers) how important it is to
we need to teach the group proper vocal breathing, because the sound of each singer depends on it
and the choir as a whole. To do this, it is necessary to devote some time at the beginning of each rehearsal to exercises for
vocal breathing, sound support. For example, actively inhale through the nose, directing the breath down the abdomen
and also actively push your breath out through your mouth - this is an exercise for working the diaphragm (make sure that you breathe
it was not aimed at the chest). So breathe for half a minute and let the body calm down - also breathe deeply -
walk, but let out the breath, as if “putting out a candle”; in this case, the support of the air “table” is fixed
ba"; also actively take breath through the nose, while working with your hands (play boxing): on inhalation - movement
one hand, while exhaling - the other. Then “put out the candle” again. This type of breathing is also very beneficial for blood circulation.
Singing is like gymnastics before singing, it relieves physical fatigue, especially before an evening rehearsal.
Next, strengthening the feeling of support by “putting out the candle”, repeat this many times, depicting a punctured ball - on
combination of letters shhh... release the supply of breath, which should come by itself, without pressure. After,
keeping this feeling, translate to the sound “mi”. But again, don’t sing this sound, but somehow put your voice on
support, at this height, and release it, the voice sounds itself, relying on the breath. Good at this exercise
chain breathing is practiced in the choir, as well as sound thinning (r, mr, f, ff), that is (crescendo, diminuen-
to), a nuance that is only possible with mastery of vocal breathing. In a choir this can be done in octave
nom unison or fifth combination of female and male voices.
In the next exercise, reinforcing the skill of respiratory support, the task is given to pronounce (in octave
in unison) the vowels “ё”, “e”, “ya” are close, forming each letter on the teeth, openly, sonorously. But again not
sing the letters, and exclaim, resting the sound of each letter on the chest resonator and “resetting” it, train
this is the same vocal technique that folk singers use.
When performing this exercise, it is necessary to direct the singer’s attention to the chest resonance of the voice,
placing your hand on your chest, try to remember this feeling and maintain it while singing, as if directing your voice
on the chest. Moving upward in semitones, approximately from the note G, it is necessary to connect the head register,
as if directing the voice to the head, without turning off the chest resonator.
Every singer should imagine the work of the ligaments while singing. When the voice sounds in the middle
hyster, the ligaments close in the middle, the upper edges of the ligaments sound on high tones, and close on low sounds
lower edges of the ligaments. When the voice sounds smooth, soft, and expressive, it means the singer has mastery of the registers during
singing, its ligaments are plastic, flexible and obey the will of the singer.
This exercise makes it possible to develop the plasticity of the voice in the upper register, strengthen the base
ru sounds, expand the range of your voice.
On the feeling of e, e, I pronounce (and not sing) the combination of letters “gu”, sending the voice to a distance, far away. Neither
Under no circumstances should you remove your voice from the chest resonator. Move up semitones to and above, also
down. This exercise will teach you how to use mixed register.
To strengthen the support of sound and the chest resonator, speech intonation, exercises are necessary to
built on conversation. Also, starting with mib, say: “You, in vain, my little dawn, evening dawn,” -
going up and down in semitones. You need to speak in a resonator, while observing logical
Chinese accent in a sentence, emphasizing stressed syllables, while revealing vowels, voicing them.
Free resonance of the voice is the key to good singing. Musical instrument sound quality
depends on the design of the housing, which is a sound resonator.
In the human voice, the role of a resonator is performed by the chest, diaphragm, larynx, the so-called lower
chest resonators (located below the vocal cords), as well as upper head resonators: pharynx,
oral cavity, nasopharynx and its accessory cavities. In order for a voice to sound good, it must be
direct into natural resonators. It is enough to say some phrase in high and low sounds, like
you will feel the voice resonating in the head and difficult register.
Continuity and evenness of the sound of the voice is an indispensable condition for folk singing. Good singers have
The voices always sound smooth and continuous. The pronunciation of words and the continuity of the sound of the voice are organically fused
and form a single whole.
In amateur performances, the manager often has to deal with singers who do not
master folk singing techniques, and even more often have incorrect singing skills. What are the defects in singing?
prevent the leader from achieving smooth singing and how to correct them? The most common drawback is
this is singing in jerks, when the voice is sharply pushed out of the throat and goes out before the musical
sound duration. This depends primarily on the attack of the sound. The attack can be hard, soft, aspirated.
During a hard attack, the vocal cords close sharply and tensely, exhalation also automatically becomes
sharp; it is much more difficult to achieve smooth singing; it can lead to overexertion and premature
temporary wear and tear of the vocal cords.
With a soft attack in folk singing, the ligaments close tightly but softly. A soft attack is gentle - it does not
injures and does not tire the ligaments, which is why it can be recommended as the main method of sound production
singing in folk singing.
During an aspirated attack, the ligaments do not close tightly, chest air flows freely through them, without
causing the ligaments to actively vibrate. The sound of the voice is hoarse, sluggish. The aspirated attack is popularly
It is practically of little use in nom singing. It is found in lullabies and laments.
Working on the smoothness of singing is greatly hampered by the bad habit of chanting - beating out syllables. Sometimes
drums, sometimes everything. Most often in choral singing this is done for the purposes of the ensemble - simultaneous pro-
wear of words and clarity of rhythm.
To achieve clarity, this method is the fastest, but far from the most reliable, since it is artificially
natural, it does not allow the singer to sing smoothly, even if he wants to. Among the people, clarity is achieved by precision
singing, and the necessary accentuation - by means of articulation that do not violate the vocal line.
The most common shortcomings in the sound of singers' voices are the following:
1. “White sound” is a toneless, flat, inexpressive sound. It occurs when the singer cannot
use natural resonators. In this case, the velum palatine is motionless, the small uvula
hangs low over the root of the tongue.
The path to correction is the development of singing initiative, finding the support of natural resonance and
high position.
2. Pharyngeal sound - heavy, dull, as if squeezed out from below from the chest, extremely unpleasant in timbre
and completely unpromising from the point of view of voice development. This is a chesty, open sound, directed
singer into the depths of the widened throat and completely devoid of head overtones, since with this method
Without sound production, the voice cannot find its way to them. The pharyngeal sound is most often lost on singers who...
Some of them had not previously mastered the style and, while searching for an open chest sound, “found” a sound that seemed to them
I am very bright and strong. It is not difficult to sing with such a sound, because they only use
chest register. They like the sound for its strength and apparent brightness (after all, they listen to themselves from the inside out).
ri, not outside). This sound is very haunting and infectious. If at least one singer in a choir sings with such a sound, everyone
others also switch to it, because it is impossible to sing next to it with an easy and correct sound. Is-
it is very difficult to control it, but it is impossible to allow the continuation of singing with such a sound.
3. Hoarse, weak sounding of the voice depends, most often, on the lack of singing skills, lethargy of singing
sky apparatus. This deficiency can be corrected by developing singing skills, mainly “support”, ac-
optimizing the singing tone. It is useful as an exercise to repeatedly recite the chant of the fast-
cooing a phrase of a dancing or humorous nature, for example: “I turned up, my heel broke, but my de-
Vushka on the right side”, etc.
4. Hoarse and weak sounding of the voice in the low and middle sounds of the range, more sonorous and bright in the high range
Sochikh depends on the inability to use the chest resonator, undeveloped “support” on the diaphragm. For use
To rule, you need to “look for” the chest timbre in the voice, first in conversation, then in singing. Sometimes when searching
chest sounding, the high position is lost and the upper register “disappears,” which should not be allowed.
5. The loud sound of the voice on the upper sounds, while sonorous and rich on the lower ones, depends on inability
smooth register transitions. The main help in correcting a deficiency will be finding a high
positions. It must be present throughout the entire range. As you move up, you should strengthen
the sound of the head overtones will be heard.
It must be emphasized that the entire process of vocal lessons should be lively, exciting and varied.
novel. And the leader must use his “vocal ear” to control the sound of the singer’s voice, to notice
the slightest changes in it and correctly determine their nature. The development of vocal hearing is one of the main
conditions for advanced training of managers.
Municipal government educational institution of additional
children's education "Children's Art School"
METHODOLOGICAL DEVELOPMENT
“Singing a folk song in a vocal ensemble.
Initial period of training"
Completed:
teacher I categories
Marzaeva Natalya Alexandrovna
Biryusinsk
Introduction
2. Goals. Tasks. Predicted result
Singing installation. Sample vocal exercises, singing
Conclusion
References
Taking into account the psychophysical characteristics of younger schoolchildren, various forms and methods of work should be used in folk choir lessons. In particular, the game method of teaching a lesson turns the training of vocal and singing skills into an entertaining, exciting process. The use of musical and rhythmic exercises during chanting leads to the development of such important qualities and skills as attentiveness, good coordination of movements, speed of reaction, sensation of pulsation, development of metro - rhythmic thinking.
When singing a folk choir at the initial stage of training, along with exercises, it is recommended to use examples of children's folklore. Nursery rhymes, pesters, jokes, folk games with singing - exactly These song genres seem to have been specially created by the people for the development of children's vocal qualities.
The slogorhythm of a particular song determines comprehensively developing musical and rhythmic exercises, which become understandable to the child thanks to his own active participation: in musical and rhythmic movements (steps, stomps, jumps), with the content of elementary musical gestures (claps, slaps, shaking hands). The initial stage of musical-rhythmic education begins with familiarization with the simplest homogeneous rhythmic structures and uniform pulsation. The rhythmic unit of clapping, stamping, and steps can be different: a quarter, an eighth, a sixteenth. Children's attention is focused on the repetition of the movements accompanying singing.
In parallel with the study of song material, children become familiar with elementary dance movements and dance figures: “step - clap your hands”; movement with variable steps; “square” - movement with an additional step; “comb” - movement in groups in the opposite direction. These movements are subsequently accompanied by playing noise instruments, emphasizing strong or weak beats, duplicating the rhythmic pattern of a particular chant by the entire team or in groups. In this case, the main attention should be paid specifically to vocal training, not forgetting about the main tasks and requirements, only decorating your performance with a variety of movements.
Chanting is carried out at the beginning of classes. Learning song fragments and exercises should take place from the voice of the teacher. In this case, the children’s attention is activated, they get used to controlling the sound of their own voice, and develop freedom of vocal intonation.
Exercises should be varied in musical material and technical tasks. Singing should be lively, interesting, and emotional. The time for chanting is determined by the teacher depending on the specific situation. Sometimes it is necessary to devote not 15-20 minutes to singing exercises, but much more, because... the further course of the lesson largely depends on the vocal “form”, and sometimes somewhat less, depending on the state of the singers.
Goals:
learning to sing in a folk style;
acquiring and improving ensemble performance skills;
Tasks:
development of vocal hearing and singing voice;
formation of an open, bright, flying singing sound;
mastering the basic initial elements of folk choreography;
development of the metro - rhythmic thinking;
Predicted result :
At the end of the initial period of study (1-3 grades), students must acquire the following skills:
sing sounds of different pitches freely, easily, loudly in a speech manner;
cleanly intone songs of different genres and different characters;
move freely with simple, alternating and extended steps;
be able to combine singing with movement and playing noise instruments.
SINGING SETUP:
Singing skills while standing. Body position. Articulation when singing, lips are elastic and mobile. Keep your head straight, without tension, open your mouth freely.
SAMPLE VOCAL EXERCISES, SINGING
CHANTING VOWEL SOUNDS:
1. Before each “MA,” take an active, quick breath. Good support training.
"I-li-ya" (« Yo-li-yo ») Sing “I” very collectedly, through “E”, very close, at a tempo, but with breath. Be sure to voice it below. Everything opens well on “Yo”.
"A-Z" ( “Oh-oh”) Monitor the evenness of the sound and the height of the position. Voice mobility develops.
option 1 option 2 option 3
« A-e-z.” Follow the light sound.
“Y-I” Sing in chain breathing, calmly, the vowel changes according to the leader’s hand. Exercise helps develop elasticity and mobility of the soft palate.
“Swan” Perform coherently, as if swinging the melody with your voice. Make sure that the sound is not flat; to do this, sing in an “angry” mood. Open vowels help you find a close, light sound.
SINGING SINGS IN DIFFERENT RANGE:
1 . "The grass is green." Work on sound science; pulsation of long sounds;
2. “I’ll go, I’ll go, I’m young,” sing at a tempo. You can sing with a decline at the end, you can add bourdon.
1.
Chant “You are mine, my valley” - gradual acceleration of the tempo, singing with a light soundmp, short consonants, fine articulation.
2 . "Chebotukha" An exercise on primary sounds: sing “angrily”, with pressure, on support, clearly, loudly, close, sending the sound forward.
USE OF SEPARATE SONG INTONATIONS:
“Oh, you little owl” Cleanly intonate the third sound, sending the sound forward, at a tempo. You can add bourdon
2. "Fuck the cat." Pure intonation m3, chain breathing, silent inhalation
"Nightingale". Sing close, collected, without pushing, sending the sound forward. Follow the light sound. Develops vocal mobility.
Option 1 Option 2
“A white swan flew out” Make sure that “A” is formed according to the principle of the previous “E”. Sing in the same manner: close, high and “angry”. The exercise develops the range of the voice and its mobility.
Bunny on the river" Develops lightness and mobility of the voice. Watch for clear intonation of the sixth.
CONCLUSION
Chanting – this is not only a warm-up of the vocal apparatus, but also a way to develop all singing skills: sound control, sense of ensemble, structure, rhythm; range expansion. Strong singing skills during chanting prepare for confident performance of song material.
Tasks on uniform rhythmic pulsation and identifying the rhythmic pattern of musical examples create the prerequisites for the successful musical development of students. Auditory impressions are accompanied by gestures and movements, thanks to which intonation and rhythmic problems are successfully solved. Work with students is aimed at accumulating musical and auditory experience and impressions that contribute to the formation of children’s passion, and therefore the discovery of their musical inclinations.
REFERENCES
Artemkina T., Artemkin A. Children. Folklore. Creation. Methodical manual. – Vladimir: Transit-X, 2002.
Larks. Russian songs, jokes, tongue twisters, counting rhymes, fairy tales, games. Comp. Naumenko G. - M.: Soviet composer. Issue 3 1984; Issue 4. 1986.
Meisinger S. Introduction to the genres of children's folklore. Methodical manual. - Krasnoyarsk, KKI, 2010.
4. Popov V. Russian folk songs in the children's choir. – M.: Music, 1979.
5. Ethnopedagogy. Theory and practice. Materials of scientific and practical
conferences. - M.: Classics -XXI, 2003.
