Open vocal lesson “Dynamic shades. Phrasing

This stage is divided into two parts: work on vocal exercises and work on musical works. This is due to the specifics of the subject being studied.

Vocal exercises.

Target: To trace the degree of formation of vocal skills in teenage students.

Tasks: Mastering vocal skills using constructive exercises as an example.

One of the most important tasks of working on exercises is not only preparing the vocal apparatus for work, but also forming students' basic singing skills. We can include among them:

Singing installation

Singing breathing and sound support

High vocal position

Accurate intonation

Evenness of sound throughout the entire vocal range

Using different types of sound science

To achieve a positive result in work, we use methods:

1. Developmental teaching method. Developmental learning is understood as a new, actively active way of teaching, replacing the explanatory and illustrative method.

Developmental education takes into account and uses developmental patterns and adapts to the level and characteristics of the individual.

Developmental learning occurs in the child's zone of proximal development. Developmental education is the orientation of the educational process towards human potential and their implementation.

2. Method of individual approach to each student.

We must never forget that people have very individual anatomical, physiological and psychological properties of the body, and hence the need for an individual approach to each individual and the uniqueness of the sound of each voice, its timbre, strength, endurance and other qualities.

3. Active and interactive learning method.

These techniques are based on a form of interaction between students and teachers, as a result of which students do not passively follow the teacher’s instructions, but actively participate in the lesson. Moreover, we encourage students to interact not only with the teacher, but also with each other, since the interactive teaching method is based on the principle dominance of student activity in the learning process .

4. Story

5. Explanation

6. Show (demonstration)

7. Dialogue

8. Discussion

The teacher actively uses method of rethinking.

Vocal pedagogy uses many special terms: chest (head) resonators, long larynx, soft rounded palate, sound attack.

Adolescent children do not yet have associative thinking; their thinking is concrete. The teacher’s task is to find terms so that they are understandable to children of this age category.

To do this, the teacher uses the empirical method (the method of practical, experimental search for words understandable to the child, definitions for describing vocal techniques). Based on the differences in the psyche of each child, these terms are selected individually.

1. Heuristic method

Most teenagers aged 14-16 have mature voices. These voices mix elements of a child's sound with an element of an adult (female) voice. An individual timbre is revealed. The range expands to 1.5 - 2 octaves. The sound is mixed. However, this is a period of mutation. Mutation occurs differently for everyone. In girls, the mutation period goes relatively smoothly, but still at this age it is necessary to use the voice-saving method.

All vocal skills are closely interconnected, so work on them is carried out in parallel. Naturally, each vocal exercise has the goal of developing some specific skills, but when performing it it is impossible to ignore the others. This is the main difficulty not only for a little singer, but also for a teenager - to learn that in order to achieve a sustainable result, it is necessary to use absolutely all the knowledge, skills and abilities acquired in classes.

1) Preparing the singing apparatus for the process of phonation.

Target: Prepare the singing apparatus for the phonation process.

Tasks:

Warm up your chords in a natural singing tone

Build an ear for intonation

Fix the position of the “yawn” in sound production

Strengthen the singing breathing system

Connect the necessary resonators

Methods: Singing with a closed mouth, lips open, the lower jaw is heavy, we feel the roundness of the soft palate, we begin singing in primary tones according to the individuality of each voice.

2) Development of singing breathing.

Target: Form correct singing breathing.

Tasks:

Exercise develops singing breathing

Gives evenness of singing tone when changing vowel sounds

Forms correct articulation of vowel sounds

Methods: Singing exercises within "seconds" for different syllables. The last sound increases the duration of a smooth, calm release from breathing, depending on its volume.

3) Register alignment exercise.

Target: Align registers.

Tasks:

Development of cantilena (smooth sound guidance)

Distribution of breathing per singing phrase

Freedom and fullness of sound

Methods: The exercise is sung in “legato”, starting from B-flat of the small octave in semitones upward, alternating vowels and feeling the “long bow”

4) Exercise on the uniformity of vowel sounds

Target: achieve uniformity in the sound of vowel sounds.

Tasks:

Avoid excessive articulation, strive for “clarity” and “flight” of sound

Methods: The exercise is sung using a combination of alternating syllables, where there is a vowel and a consonant sound.

Mastering the technique of vocal art requires many years of work, so in this lesson systematic work is carried out on the formation of vocal skills, which does not imply instant results.

Working on musical works

Target: mastering vocal skills using the example of highly artistic musical works.

Tasks:

· Work on developing performing skills

· Work on the stage embodiment of the work

Pedagogical technique for working on new material

1. Analysis of the verbal text and its content.

2. Competent reading of music text.

3. Analysis of the tonal plan, modal structure, harmonic outline of the work.

4. Division into motives, periods, sentences, phrases. Definition of form (verse, two-part, three-part, etc.).

5. Phrasing resulting from the musical and textual content.

6. Various types of dynamics.

7. The variety of agogic possibilities for performing the work (comparison of two tempos, slow and fast; deceleration; acceleration); various types of fermats.

"The land where there are so many separations" Music Poems by V. Lebedev. Yu. Ryashentseva

Work analysis plan

1. Song by a Soviet composer.

2. Lyrical, leisurely, drawn-out.

3. Mode – minor.

4. The character of the sound is light, warm, melodious.

5. Colorful arpeggiated accompaniment.

6. The form of construction is verse.

7. Wonderful words of the famous Soviet poet.

Target: Formation and consolidation of vocal skills in the process of learning a piece of music.

Task: Achieve a cantilena sound, correct phrasing, understanding of the artistic image, alignment of registers.

Methods:

· Work on a phrase in a poetic text.

· Extracting phrases with large intervals from a musical text and singing them in a combination of consonant and vowel sounds.

"Barcarolle" Music F. Schubert, lyrics. , translation by A. Pleshcheev

Work analysis plan

1. The Italian word "barka" means boat. A derivative of it is the barcarolle - the boatman's song. Perhaps someone will be surprised: why should the songs sung by boatmen be given a special name! After all, they can sing the same thing as everyone else... But they can’t. These songs are unusual, as are the boatmen who perform them. Barcarolle was born in the wonderful Italian city of Venice. The form of the work is verse.

2. Brisk pace.

3. The sound character is light and melodious.

4. Wide range melody.

5. In the accompaniment there is an independent part, which carries the figurative beginning of the game of waves.

Goal: Formation and consolidation of vocal skills in the process of learning a piece of music.

Tasks: Achieve cantilena performance, correct phrasing, understanding of the artistic image, and fluidity of vocal sound.

Methods:

· Singing musical material on vowels and vowel combinations.

· Work on a musical phrase.

· Work on the dynamics of the work (nuance).

Transition from diaphragmatic breathing to chest breathing, achieve lightness and flight of sound.

Municipal educational budgetary institution

additional education for children

Center for additional education for children “Raduga”, Sochi

Pop vocals

Topic: “Journey to the country “Melody””

Dombrovskaya Yulia Yurievna

Danilenko Svetlana Vasilievna

Explanatory note

An amazing musical instrument is the human voice. Each of us is endowed with it. And how unique the voices of children sound, how they love to sing and perform both at home for their parents and at holidays. This gives them self-confidence and develops aesthetic and artistic taste.

When they come to their first vocal lesson, they still don’t know what they have to do. And it is very important from the first lesson to reveal to the pupils the beauty of music, to show how necessary it is to master the means of vocal expressiveness, musical and rhythmic abilities, which helps children to be free and relaxed on stage, that today it is impossible to imagine a pop song performer who does not have choreographic and acting skills, that allows you to more clearly and expressively convey to the audience the nature of the songs being performed, and acquire knowledge of musical literacy. And the most important thing is to influence the emotional, and, consequently, the motivational aspects of the individual for vocal lessons.

Novelty and relevance of the development.

The development of this lesson was driven by the search for optimal forms of working with children in the additional education system. The lesson takes place in the form of a game - a journey, which promotes emotional communication between students and the development of their creative imagination. Each child finds an opportunity for creative personal expression through the completion of individual and group tasks. This lesson helps the teacher gain an initial understanding of the musical abilities of newly arrived students, how much they love music and want to learn how to sing beautifully and correctly, how much they are endowed with the ability and desire for creativity and the development of their vocal abilities.

Another distinctive feature of this lesson development is the coordinated activity of all areas of activity during training in a vocal studio (vocals, musical and rhythmic movements, choreography, acting), aimed at achieving a common goal.

When compiling the methodological development, the following methods were used:

the method of “running ahead” and “returning” to the material covered;

communication method;

improvisation method;

dramatization method.

All methods are closely interconnected. This helps the teacher to conduct the necessary live communication between the teacher and the children during the lesson, which allows them to easily move from one stage of the lesson to another, since it is emotional in nature and evokes a feeling of joy in the children. This process of information perception is the most effective.

The lesson is structured in such a way that the teacher can control the effectiveness of the implementation of the development of this lesson unnoticed by the students, since at the last station of the journey they themselves show in a playful way how much the goals and objectives set by the teacher have been realized.

The role and place of the lesson in the educational route of students, the practical purpose of the lesson.

Children, in this lesson, have the opportunity to get acquainted with all sections of the program in which they will study throughout the entire pop vocal course.

Expected results.

Positive attitude of children to vocal lessons,

Practical significance The educational development of the lesson is that it can be applied in circle work, in secondary schools, Children's Creativity Palaces, and cultural centers.

Target:

TARGET: creating conditions for the inclusion of children in the system of continuous musical and aesthetic education through classes in a vocal studio.

Tasks:

introducing children in a playful way to the basic concepts of the song genre;

development of initial skills in preparing the vocal apparatus for vocal performance;

development of children's cognitive activity;

promoting aesthetic education of children;

creating in children an atmosphere of joyful communication and success in a team.

Equipment:

Multimedia projector, screen, laptop (computer), musical equipment (deck for mini-discs), piano, coffee table, chairs for children, casket, stave, “magic” wand.

Children's age: 7 – 8 years

Lesson plan:

Greetings

Acquaintance

Preparing for the “trip”

Station "Notki"

Station "Major and Minor"

Teatralnaya station

Station "Grace"

Station "Scene"

Summing up the lesson. Identifying children's moods.

Parting.

Progress of the lesson.

Before the start of the lesson, children's songs are played in the recording. The guys get acquainted with the booklet. Children take their places in the audience. (slide number 1)

1. Organizational moment. Greetings.

Teacher: Hello, friends! Do you want to visit a fabulous musical land? Where are the wonderful students and kind teachers, where learning is not boring, not difficult, but fun and wonderful? There is such a country in the world, it’s called

"Melody"! (slide number 2)

2. Getting to know each other

Teacher: Before we go on our journey, let's get to know you. My name is Yulia Yuryevna. What's your name?

Children answer one by one.

Teacher:

This is how we met. Now let's greet each other.

Our greeting will be a little unusual, musical. Exactly

greetings in the beautiful country “Melody”.

Musical greeting: “Good afternoon”

Teacher's demonstration.

Children, together with the teacher, perform a greeting.

Teacher: Well done, you did great.

Now we can go on a journey. Let's take with us the most necessary things: a bright smile and a good mood. The main goal of our trip is to see how beautiful the musical country is, what heroes inhabit it.

3. Preparing for the “trip”

Teacher: For a magical journey, you need magical helpers: a fairy screen, a magic key and an extraordinary train. We have a fabulous screen, we will create an extraordinary train ourselves. I will be the locomotive, and you will be the carriages. Let's line up now and try to portray a real train.

The teacher takes a flag and a whistle. Children pretend to be a train.

Teacher: Here we are ready! How will we get to the country “Melody”?

The teacher takes out a treble clef from the casket

Teacher: Do you know what this is?

Children's answers

Teacher: That's right, it's a treble clef. He will help us open the road to the beautiful country of Melody.

The teacher attaches the treble clef to the staff.

The door opens on the screen, (slide number 3) and the children see a map of the country “Melody” (fairytale music plays) (slide number 4)

Teacher: The road is open, the journey begins.

But what is a trip without a happy song? To make the journey more fun, I will sing a song, and you try to remember the simple words of the song and sing along with me. Remember.

Chorus:

Chug-chug-chug, tu-tu-tu,

White lambs

Blows out on the go

Bug steam locomotive.

Well done, you are doing great! Now with a cheerful song they will definitely let us into the musical land! I will sing the verse, and with the chorus our train will start moving. The chorus is the beginning of the movement. So, get ready! (slide No. 4, 5)

The children, together with the teacher, begin to move around the classroom. Music sounds, the teacher sings a song: (plus 1 verse and chorus of the song “Locomotive-bug”)

The train stops. On the screen is a house with windows. (slide number 6)

4. Station “Notki”

Teacher: Our first stop. Look guys, how wonderful it is

house. This house is home to 7 very friendly residents.

Do you know their names and who lives on what floor?

Children's answers (Do, re, mi, fa, sol, la, si).

Teacher: Right! The note “DO” lives on the ground floor.

The window of the house on the first floor opens, and the children see the note “DO”

Teacher: In the country "Melody" the note "C" is a symbol of kindness and friendship. This note will help you find many friends. Guys, do you know songs about friendship?

Children name songs about friendship (“Strong friendship”, “When my friends are with me”, etc.)

Teacher:"RE" lives on the second floor

The window of the house opens and the children see the note “RE”

Teacher: This is the joy of creativity, work. Do you think that in order to sing beautifully and correctly, you need to work hard REGULARLY?

Children's answers

Teacher: Yes, singing is regular practice and a lot of work. Let's find out who lives on our 3rd floor - the note "MI", which means the World of Song.

The window of the house opens and the children see the note “MI”

There are different types of songs: folk songs and songs created by composers and poets. And the note “MI” will be able to introduce us to these songs in the future.

Tell me, who lives on the next floor?

Children's answers

Teacher: Right! Note "FA".

The window of the house opens and the children see the note “FA”

In my country, everyone is a great fantaser and inventor.

The window of the house opens and the children see the note “SALT”

Teacher: Here we are on the “SALT” floor. In our country this means cooperation, agreement, co-creation. These qualities are very important when the inhabitants of the country sing in chorus. But in our country they learn to sing one by one. Such singing is called solo and such a performer is a soloist.

Teacher: Floor note "LA". EARTH... This note introduces your friends to what is happening on our land. She talks about different events.

The window of the house opens, and the children see the note “SI”.

Teacher: The last inhabitant of the house is the note “SI”. "SI" is strength. The power of creativity, the power of imagination, the power of friendship.

There are hooks between them.

Come on, say them -

Children: Do, re, mi, fa, salt, la, si!

Teacher: And now it’s the other way around -

Children: Si, la, sol, fa, mi, re, do.

Teacher: To make friends with them,

We need to study music.

You will discover a beautiful world,

If you master all the notes.

You will find yourself in a magical world -

You'll sing along with them!

You will be friends with notes -

You will live musically.

Live without music, my friend,

No one on earth could.

So we met seven new friends. We will definitely meet them again, but for now we are going on a journey in search of new friends.

The children, together with the teacher, begin to move around the classroom. Music sounds, the teacher sings a song: “Locomotive-bug.” (Plus chorus) (slide number 7)

The train stops. On the screen is a one-story cozy house. (slide number 8)

5. Station “Major and Minor”

Teacher: Our second stop. And we ended up with two brothers, with whom, I hope, we will become friends. And their names are Major and Minor. And now I want to introduce you to one wonderful fairy tale. Once upon a time there were two brothers: Major and Minor. Major was the eldest, and minor was the youngest. The older brother always had fun:

I am in a major mode: joyful, perky!

And the younger one was sad and sighed:

I've been sad for a long time because I'm a minor.

Despite their different characters, the brothers never quarreled and lived amicably. One day they went into the forest to pick mushrooms and berries and got lost...

“Oh, we’ll be lost, we’ll fall into a hole,” the minor key wailed. We will never leave this forest...

Why did you cry, his older brother reassured him. Don’t worry, but rather sing a song!

Performs a song: I am a minor scale, there is a long row of sad sounds, I sing a sad song and now I will roar...

The song turned out to be very sad in minor key. The whole forest became sad along with him, the grass rustled sadly, the breeze died down, even the birds fell silent. And the sun hid behind a cloud from a sad song in a minor key.

No, brother, that won’t do! - the major exclaimed. Let me sing!

And the major sang his song: We all stood together in unison, creating a scale. Not simple - major, joyful, perky.

The forest shook, the sun came out, the birds chirped cheerfully, singing along with their older brother Major.

Come on, brother, have fun! Look how brightly the sun shines and how the birds chirp! Do you hear? The stream is babbling! This is the direction we should go!

So, with a cheerful song, the brothers got out of the forest!

Did you like the fairy tale?

So what are the names of the two brothers of music?

Children's answers (Major and minor).

Two men appear on the screen near the house. (slide number 9)

Teacher: What do you think can be done to the music of a major key? And the minor?

(Major - active: clapping, jumping, etc., minor - smooth.) We will now play a game. Music will play one by one. When you hear the major key, you will need to clap your hands; as soon as the minor key sounds, swing your arms from side to side above your head. Is the task clear to everyone? Let's see which of you is the most attentive!

A game is played and different types of music are played.

Teacher: Well done, you all learned to understand the mood of the music, which means you made friends with Major and Minor. But our journey continues, and the extraordinary train sets off again.

The children and their teacher form a train again and “go on the road” with a song. Music sounds (the “Locomotive-Bug” chorus).

Children sing along with the teacher. (slide number 10)

The train stops. On the screen there is a house - a station. (slide number 11)

6. Teatralnaya station

Teacher: It was not in vain that we stopped at this station. Any person performing on stage, be it an actor, musician or singer, gives the audience not only his creativity, but also emotions. Do you know what emotions are?

Children's answers: joy, sadness, sadness, admiration, etc. How can we convey these emotions? Voice intonation and facial expressions

Teacher: Now I will read the text of a song we are already familiar with, and you will listen carefully, and then answer, did I manage to convey the character and content of the text with my intonation of voice and facial expressions?

The teacher reads the lines out of character, sad and drawn out.

Teacher: Fields and forests float past the window,

We are going to where miracles await us,

And the sun is shining and the river is sparkling

And our little train flies so fast.

No, I couldn’t convey the mood, because the lyrics are from a cheerful, perky song. And Alexander wrote it, and one of our friends Major helped him. Let's read the lines together for fun?

Children try to pronounce lines cheerfully, cheerfully, loudly. (slide number 12)

Teacher: Well done, you have completed this task. It's time to move on...

The children, together with the teacher, begin to move around the classroom. Music is playing. Children sing together with the teacher “Locomotive-bug” (chorus plus). The train stops. (slide number 13)

7. Station "Grace"

There is a dancing girl on the screen. (slide number 14)

Teacher: So that we can sing joyfully,

We need to own the body.

Everyone dance to the song,

Conquer with song and dance.

When a singer sings on stage, he must not only sing well, but also be able to move beautifully. At the Grace station, we will try to learn several dance moves that you will definitely need for performances. And the train from Romashkov will help us with this. Be careful, listen to the music and follow me and the magical assistants on the screen.

On the screen, fairy-tale characters show dance moves. Children try to remember and repeat the movements with the help of a teacher.

(slide no. 15, 16, 17)

Teacher: Amazing! You are just real dancers. All your movements are great. We will definitely need them at the next station. And again on the road.

The children, together with the teacher, begin to move around the classroom. Music is playing. Children sing along with the teacher (chorus plus). (slide number 18)

8. Station "Scene"

There is a scene on the screen. (slide number 19)

Teacher: Well, guys, you and I have arrived at one of the most important stations in the country, “Melody” - the “STCENA” station. Everyone who comes to this station becomes real artists. And the Microphone becomes their faithful friend.

Look carefully and say: “How many microphones are there in our audience?”

Children's answer (10).

Teacher: You are very attentive and counted correctly - there are exactly 10 of them. Look how they smile and are really looking forward to being in your hands, but...

But for a microphone to truly be an assistant to a performer, you need to know how to use it. How do you think a microphone should be used?

Children's response

Teacher: You have interesting assumptions. And in many ways you are right. Like all friends, your microphone should be handled with care.

You don't have to shout into the microphone, but you don't just have to hum either.

You need to sing clearly, distinctly and cleanly into the microphone so that all the words can be heard and there is no falsehood.

Don't be afraid of the microphone. At first, your own voice will not seem like yours, since the microphone tends to distort sounds.

Do not hold the microphone by the head, otherwise the sound will be muffled.

But that is not all.

You need to hold the microphone in one hand. 4 fingers should be placed all together at the top, and the thumb at the bottom. The microphone should not cover your face and should be located at a distance of 5-10 centimeters. The sound should hit the middle of the microphone.

So, I hope that you are now armed with knowledge and ready to work with

microphone.

Throughout the story, the teacher demonstrates the correct handling of the microphone.

Teacher: Now you and I will try to sing a song with microphones, remember how we learned to be actors at the Teatralnaya station and the movements that we learned when we were at the Gratsia station. If you and I are attentive, we will have a real performance by little artists.

The teacher distributes microphones to all children. Music is playing. Children, together with the teacher, perform the song “Locomotive Bug”, trying to combine emotions, movements, and correct handling of the microphone in their performance.

(slide no. 20, 21, 22, 23, 24, 25)

9. Summing up the lesson. Identifying children's moods. (slide number 26)

Teacher: Our journey today has come to an end. But in the country “Melody” there is still much, much more interesting. By engaging in vocal creativity, you will be able to learn more and more about this country. Did you enjoy our adventures?

Children's answers

Teacher: Do you know that our new friends liked you so much that they gave you a gift.

The teacher takes out a music box. The box opens. Magic music sounds.

Teacher: This box contains multi-colored notes, with the help of which we will compose our real MELODY today. If you liked our trip, it was fun and interesting for you, take a note from the box and attach it to the staff where the treble clef is located, which opened the door to the country “Melody” for us.

Children take notes and attach them to the stave.

10. Farewell.

Teacher:

Look what a wonderful major melody we have created.

Yes, from communicating with music we have become a little more beautiful and kinder today. Bring these feelings into our world, and it will become better! You have been wonderful travel companions, promise not to forget the road to the musical land of Melodiya. I am very glad that I met you today. Thank you very much. See you again, friends!

Perm region

Kungur municipal district

Municipal budgetary institution

additional education

"Kalinin Children's Art School"

Public lesson.

“Working with a pop ensemble in vocal class”

Prepared by: Guryanova N.L.
Pop vocal teacher

Kalinino village 2017

Working with a pop ensemble in vocal class.

The purpose of the lesson: show and reveal the main points of working with a vocal ensemble.
Lesson objective: show work with vocal exercises and work out vocal parts and arrangements.

During the classes.
1. Opening speech 3 min.
2. Explanatory note 2 min.
3. Chanting 8 min.
4. Work with vocal parts 20 min.
5. Performance in concert version 7 min.
6. Closing remarks 5 min.

Musical material.
1. D. Tukhmanov, An.Transverse."Stork on the Roof"

2 . “I would like to draw a dream”

Introduction.
The vocal ensemble of the art school has been in existence for three years and consists of a homogeneous two-voice composition with elements of 4 voices, students of the high school vocal department.
There are 4 people in total, 2 in each batch. The ensemble performs various works in Russian and English and is a regular participant in all school concerts, and also takes part in municipal and intermunicipal competitions.

Explanatory note.

To identify the character of the voice and determine which part to assign to it in the ensemble, you need to start with a “chanting”, with each individual. During chanting, the leader determines the type of voice, its range, and identifies the qualitative (timbre) characteristics of the singing sound. You need to know that in pop singing, the division into types of voices is conditional. This is due to the fact that pop vocalists sing in a natural register. They do not have an artificially extended high range using head resonators. In pop singing, voices differ according to their “mass”, such as high and low, plus the individual qualities of the singing sound.

Before starting work on developing a unified singing sound for all members of the vocal ensemble, it is important to identify such nuances of the character of the voice as transparent, dense, light, heavy, sonorous, muffled, sonorous, quiet, etc.

Each cast should select appropriate chants in order to achieve the ability to sing exercises without “its own” timbre, without “its own” vibration and “its own” sound strength. Everyone listens to their neighbor, while trying to “drown”, “hide” the timbre of their voice, in the timbre of the voice singing next to them. Everyone makes sure that his voice does not stand out and is not lost in the overall sound, which should be perceived by those singing as coming from the same source, the same timbre, the same volume and with a common vibrato.

The best exercises for developing a unified singing sound formation are diatonic scales and arpeggios. Exercises and scales are performed at moving tempos, with an energetic, full sound. The higher the tessitura, the more support there is on the lower abdominal muscles.

The chants are sung in unison (if the composition is mixed - in octave unison), in the range of sounds freely, without tension. At the same time, in the lower register, low voices sing in a subtone, the girls “turn on” the chest register of their voices and sing in pp.

Chanting.

Altos sing the exercise up to D of the first octave and return to the original one, sopranos sing up to B of the first, wait for the altos to sing their turn and join them from the same note. Three-quarter beats are counted out loud or marked with body movement.

The teacher plays the exercise with both hands in the minor and second octaves. In all exercises in the syllable uVa, vowel u pronounce like English W, performing it as a grace note to the syllable Wa.

The scale for the ensemble chants looks like this:

Sing in semitones up to D of the second octave. Altos begin with the note A of the small octave and sing up to F first. The leader plays the exercise with both hands in the minor and first octaves.

Sing all exercises from beginning to end, and only after that the leader makes comments, gives instructions for correcting errors, and again completely completes the entire course of the exercise.

You need to sing the exercises in that part of the range where the voices of the ensemble feel comfortable. Where, say, low voices are high, they drop an octave or skip high notes. You should monitor the dynamic and timbre balance of voices, and avoid highlighting any voice. The attack in all types of exercises is any, but the same for all singers in the ensemble.

Clearly articulate the scat. Use only the suggested syllables. The ensemble should chant for up to ten minutes. Be sure to use nuances, different timbre shades and dynamics.

While performing the exercises, students must beat beats with their feet. When the unison is performed confidently and clearly, the ensemble moves on to harmonic exercises.

Chord exercises.

Chord exercises to sing piano. The leader determines the type of attack, sets the piano tuning with one sound or chord, and calculates the pauses out loud. The pace is slow.

The ensemble members listen carefully to the tuning and begin the exercise with a light sound, without approaching. Listen to every sound, interval and chord. “Dissolve” their voice in the general sound.

All chord exercises are performed in crescendo.

The leader himself chooses a convenient tessitura for the exercises.

In the next exercise, pauses are noted by the leader. Execution is free, according to the teacher's hand.

Slow and very free.

Choose a scat that is comfortable, take pauses, observe the nuances. Memorize. Sing in different keys and tempos.

Learning the parts.

Before students each write out their own part to learn, it is necessary to familiarize them with the composition, sing each part, and pay attention to the details and nature of the interpretation. In the next lesson, students sing separately, each with their own part. The teacher plays the same part in octave unison, maintaining the phrasing of the intended overall sound of the song. Then the parts are sung in pairs of voices: first and third, second and fourth. And only in the third lesson does the connection of all voices take place. Immediately pay attention to the phrasing and balance of voices. In the fourth lesson, you can demand the execution of the nuances and intended dynamics of the composition.

The next two or three lessons will be to achieve the requirements of the eight points.

PERFORMANCE OF COMPOSITIONS

Performing pop music has its own characteristics:

a) deviations from the rhythmic pattern of the melody recorded in the musical notation are allowed.

b) the method of sound production and manner of intonation are of fundamental importance.

c) every performer must have a sense of swing and a keen sense of rhythm.

d) the ensemble needs a leader who is capable of leading the group and who is most proficient in pop performance skills.

CONCLUSION

When working with a pop ensemble, you should start by working on dynamic and timbre balance and vocal articulation. This can be achieved by competently and persistently working with vocal exercises - triads, scales, arpeggios and chords, throughout the entire working range of a given ensemble. You can start working with a vocal composition only after the vocal parts of the arrangement have been learned and worked out, and you can start working on the artistic and vocal interpretation of the composition when it has been sung and polished technically. When working with a vocal ensemble, you should achieve:

Simultaneous and silent inhalation.

Same attack.

Instrumental sound emission.*

Well mixed, "overall" timbre.

Clearly simultaneous beginning and ending of exercises.

Strict execution of strokes, pauses and nuances.

Steady and clean intonation.

* The normal pulsation of the voice in singing is considered to be 6-7 vibrations per second. Add here subtle deviations in one direction or another. And if four vocalists with different vibrato frequencies sing a chord, then at best it will sound uncomfortable for the ear. To achieve clear intonation, each singer must sing with an even (instrumental) sound, without vibrato. At the same time, try to “dissolve”, “drown” the sound of your voice, in the sound of a voice singing next to you

Anna Fedkina
Open vocal lesson “Dynamic shades. Phrasing"

Purpose of the lesson: Getting to know dynamic tones and phrasing.

Tasks:

1. Develop dynamic hearing;

2. Learn to perform musical works with phrasing;

3. Develop musical taste.

Equipment:

TV, mixing console, DVD player, microphone, sound amplification equipment.

Lesson volume: 45 minutes.

Progress of the lesson:

Introductory part:

Hello dear people present. I am Fedkina Anna Ivanovna teacher vocals t. O. "Merry notes". Today's lesson will be held with Anastasia Chinina, a 1st year student. The topic of our classes: « Dynamic shades. Phrasing» . Today we will get acquainted with dynamic shades, let's find out what it is; let's learn to perform songs with phrasing. Let's understand how important it is dynamics and dynamic shades to give artistic musical beauty to the work, to what extent it enriches it.

Main part:

Breathing exercises:

The most important thing in the production vocals- this is correct breathing. It is with him that training in professional singing begins, which serves as a guide to the vast world of the stage. It is with proper breathing that the performance of a song begins, because this is the support on which everything rests. vocal technique, and therefore I recommend doing breathing exercises before each chant to warm up.

During breathing exercises, you need to learn the mandatory rules:

monitor your body position. The neck should not be tense and stretched forward. We should be in a state of comfort, slightly relax. During exercise, only the stomach works.

1 exercise: Actively inhale and exhale through your nose. (repeat 6 times).

Exercise 2: Inhale vigorously through your nose and exhale through your mouth. (repeat 6 times). This will serve as a kind of “massage” for the ligaments.

Exercise 3: Inhale through the mouth, exhale through the nose (repeat 6 times).

Exercise 4: Inhale through one nostril, exhale through the other, pinching the desired nostril with your finger. (6+6 times).

Exercise 5: Inhale through your nose and exhale through pursed lips. Forcefully push the air through your lips as you exhale. This exercise will help develop your lip muscles and the intensity of your exhalation.

Exercise 6: Puff up your cheeks like a balloon. Sharply “exhale” the air through the tube lips. This exercise activates the cheek muscles and lip muscles, and is useful for developing good articulation.

Articulation exercises:

Our word, addressed to the audience either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium.

Good diction is required, that is, clear, clear pronunciation of words. To achieve good results, you need to work on improving the articulatory apparatus and developing its technical capabilities.

The articulatory apparatus is the part of the vocal apparatus that forms the sounds of speech, and the organs included in its composition are the articulatory organs. The work of these organs aimed at creating speech sounds (vowels, consonants) called articulation.

To the articulatory apparatus relate: oral cavity (cheeks, lips, teeth, tongue, jaws, palate, pharynx, larynx). We must remember that the oral cavity is a very important resonator (a movable resonator, the “architecture” of which determines the sound quality.

The first condition for the operation of the articulatory apparatus is naturalness and activity. You can achieve active naturalness by removing various tensions and stimulating the precise functioning of various muscles and organs. Of course it's very simple say: “removing tensions” - but they must first be detected and only after long work in front of the mirror and with constant attention, these shortcomings will begin to disappear. The simplest will help us in this work exercises:

1. To activate the tongue. Let's move the tongue from side to side, forward, backward, right, left, circular turns in both directions, "cog", "tube". Stick out the tip of your tongue and quickly, quickly move it from corner to corner of your mouth.

2. To strengthen the muscles of the larynx, vigorously said m: K-G, K-G, K-G.

3. To activate the muscles of the lips, we inflate our cheeks, release the air with a sharp “pop” through the compressed (collected in a “bun”) lips. Said energetically m: P-B, P-B, P-B.

4. Very good for practicing tongue twisters. Tongue twisters are used to warm up the articulatory apparatus and activate singing diction. We will read tongue twisters slowly at first, gradually speeding up as we successfully improve. We monitor the rhythm of pronunciation. Don't forget tempo and diction (each tongue twister is repeated 4 times).

a) There is grass in the yard, there is firewood on the grass.

Don't cut wood on the grass in your yard.

b) The spider made a hammock for itself in a corner on the ceiling,

So that the flies, just like that, sway in the hammock.

c) Prokop came, dill was boiling, Prokop left, dill was boiling; Just as under Prokop the dill was boiling, so without Prokop the dill was boiling.

d) Thirty-three ships tacked, tacked, but did not tack.

e) The protocol about the protocol was recorded as a protocol.

Chanting:

Chanting is one of the most important parts of developing singing skills. Chanting is used to warm up the vocal apparatus and activate singing breathing. We will carry out the work on chanting by repeating the exercise in semitones up and down, but strictly within the range of the child vote: "before"- first octave - "re" second octave.

Chants:

1. How an old man was selling ash under a hill, my potatoes were all fried (repeat five times)

2. DO RE DO RE DO

DO RE MI RE DO

DO RE MI FA SOL FA MI RE DO SOL DO

3. We ran across the banks. Sing in a major key and raise it by half a tone.

4. Chanting in scales.

We live in a world full of sounds. And despite the fact that we have been studying for only 1 year, we know that we are surrounded by sounds, which are divided into noise and music. Musical sounds are combined by the composer according to their semantic content into a musical work. Each piece of music has its own unique abilities, which are referred to as a means of musical expression. The same piece of music can sound completely different, depending on what means of musical expression will be used during performance.

Now I'll play a short excerpt from the song twice, the melody will be the same, but with different means of musical expression. (An excerpt from the song is performed 1 time piano; 2 times forte).

Nastya, answer me, how does one excerpt from a song differ from another?

(answer : 1 passage sounded loud, and 2 passage sounded quiet.)

That's right, Nastya, you heard. 1 passage sounded loud, and 2 passage sounded quiet.

In music it is customary to call the force of volume dynamic shades.

Thus, dynamics– this is the power of the sound of music.

Think, Nastya, and tell me how music can sound in terms of volume and sound intensity?

(answer : loud, quiet, moderate).

That's right, Nastya. In life, we also don’t speak at the same volume. Usually, when we want to say something important, we strengthen our voice - we speak louder, and in music, the most important words, particularly in a song, are pronounced louder.

Why do you think?

(answer : to attract attention, emphasize importance, etc.)

We begin to perform the song quite quietly, because each piece of music has its own dynamic development. The sound strength gradually increases and then gradually decreases. In music this is called application. dynamic tones and phrasing, i.e., like a regular conversational phrases There is a logic of our own - we say some things louder, and some things more quietly.

Today we continue to work on the song "New Year's". You know the melody well, we’ve sorted out the lyrics, uh, we’ve arranged the bars, and today we’ll work on phrasing, i.e. let's add dynamic shades, and the song will immediately become alive, emotions will be added.

What do you think, with what dynamic shade will you start the performance?

(answer : I’ll start the song with a quiet performance). The strength of the voice will increase towards the chorus of the song. Verse 2 needs to be performed as loudly as possible, but not loudly, because this contains the main idea of ​​the song, we’ll find out what it’s called in the next lesson. And by the end of the song, since the author said everything he wanted to convey - the dynamics are declining.

Working on a song "New Year's". Difficult passages are sung with explanation over and over again.

Working on the next song "An association".

Final part, summary results:

Today we met ( answer: With dynamic shades, learned that music can sound loud and quiet. Moderately and this is dynamic shades, and in music are called means of musical expression.)

Nastya, continue to work with your breathing at home, do diction and breathing exercises.

Our lesson is over, Goodbye. Thank you for coming to my public lesson, I hope Nastya and I had a good time with you.

Open lesson on pop vocals by Olga Vitalievna Mamonova.

Lesson topic: various methods of working on vocal technique.

The purpose of the lesson: Reveal and justify various methods of working on vocal technique in pop vocals.

Tasks: 1) identify the differences between pop and academic vocals

2) Determine the sequence of exercises

3) Almost clearly demonstrate the performance of exercises by children of different ages and levels of training.

Introduction. Similarities and differences between academic and pop vocals.

In my class there are 20 vocalists from 4 to 18 years old. This year, 4 of them entered an international competition and won prizes. During our lesson, I will show how I work on voice production with both children and adult students. Since we will be talking about pop vocals, I would like to clarify the difference between the genres of academic and pop vocals.

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

Pop vocals

Pop singing combines many song styles and unites the entire palette of vocal art. Pop vocals, first of all, mean singing from the stage, but the concept of pop vocals is usually associated with light and easy-to-understand music. In pop vocals you can hear both folk motifs and elements of jazz, as well as art songs and elements of rock music. Pop vocals differ from academic vocals in that they have a more open and more natural sound. However, singing skills, correct position and sound support are just as necessary in pop vocals as in academic ones.. We conclude: In pop vocals and academic vocals there are completely different tasks, completely different formation of sound, but the need to achieve sound support on breathing is the same for everyone.

To work on breathing control, there are various exercises that we use.

1) Stand up straight with your chin parallel to the floor. Place your hands on your lower ribs and inhale so that they expand at the same time, inflating your stomach. (the balloon is inflated) You need to breathe into the lower ribs, stomach, corners of the lungs (back). To feel this, you can bend over, resting your hands on the table. In this case, the inhalation should be done in combination: with the mouth and nose slightly open, immediately forming a “yawn.” (raised soft palate) Raise the corners of the lips slightly so that the upper teeth open. (This position is just different from the academic one)

To feel where exactly the support of the sound is, you can “cough” or slowly blow out the letter “s”. This may not be very clear to younger children, so you can simply ask the child to “push”

They do everything...

2) To strengthen and develop the respiratory system, there is a system of breathing exercises by Alexandra Nikolaevna Strelnikova. Its main idea is that we breathe in resistance mode. In this case, the respiratory muscles have to work more actively.

(Shows Nastya)

Palms

Shoulder straps

Cat

Hug your shoulders

Pump

Hug your shoulders +pump

Head turns

Ears

Pendulum

Rifles

Front steps

Back steps

Working on vocal technique.

The sound should be sent to the teeth, but often the sound ends up in the nose. This means that the nasal passage is not blocked. Through the exercise, we pull the upper palate up, lowering the lower jaw as much as possible.

To achieve a “yawn”, you can practice the “snake” exercise. We take a breath and imitate biting a huge apple.

To feel the natural expansion of the larynx, you can do the following exercise: loosely close your nose with two fingers and inhale through your mouth and exhale through your nose. 5-7 times. You will feel the ease of breathing and the readiness of a yawn.

With the kids we sing along to a simple exercise, showing our hands:

“I step up, I step down” (Ksyusha)

While the child is small, there is no opportunity to work on all vocal skills, as with adult children, so we take simple, uncomplicated songs with a small range, gradually expanding it. At the same time, work on the purity of intonation, breathing control and expressiveness of performance.

Ksyusha sings "Tuchka". We work on inhaling correctly, trying to open our mouth correctly and reach all the long notes to the end.

At the very beginning of working with a child, you need to determine his working middle. (There is a low voice, but the timbre is light) To do this, ask the child to sing on the breath any note that is comfortable for him. As a rule, this will be the working middle. Children don't make mistakes...

Let's find a working middle ground with Sonya.

We begin chanting with this note.

1) First, we sing on one note, with our mouth closed (from small to large)

Mmmmm - closed mouth. The palate is raised, the teeth are open, the lips are closed.

3) now on one note, mouth open...

Ma, me, mi, mo, mu - we strive to sing in one position

Bra, bra, bri, bro. Bru

We sing all the vowels as if we were forming the letter “a”. It turns out in approximately the same position. Be sure to pay attention to the clarity of pronunciation of consonants at the beginning of a syllable. The quality of the subsequent vowel depends on how actively the consonant is formed.

It is very important that at the time of chanting, children do not stand in a stance. We move while singing, bend over and wave our arms.

Pop singing involves singing into a microphone. Therefore, you need to pay due attention to this skill. The microphone must be held so that the sound enters it directly, and not at an angle. Otherwise, frequencies will be cut off and the sound will be distorted. Do not move the microphone to the side. Keep it in the same position all the time so that the volume and strength of the sound do not change.

To develop and consolidate this skill, we do the following exercise: It’s like drawing geometric shapes in the air with a microphone. First separately, then together with the singing of chants.

Yana sings. Let's find its working middle:

Yaa-aa-aa-aa-aa-aa-aa-aa-a

5) To achieve a lighter sound:

Reee-ee-ee-ee-ee-ee-ee-ee

Mee-ee-ee-ee-ee-ee-ee-ee

6) 3 vowel notes in a row: (Lena sings)

Yaaaaaaaaa

7) Yaa-aa-aa-aa-a

Mee-ee-ee-ee-ee

All consonants: e, e, and u. sing in position “a”

8) There must be an exercise to warm up the tip of the tongue and lips. (Nastya) First, we can talk tongue twisters.

Lol-lyoli lel-leli lel-lolilolilol-lel

9) On staccato-legato

10) also to achieve freedom of sound, diction, and connection of different registers:

(Does Karina)

Rrrrrrrrrrrrr

Do re mi fa sol fa mire do re mi fa sol fa mire do

Do sol mi do sol mi do sol mi do sol mi do...

Do mi sol do mi sol fa re si sol fa re do...

11) to achieve balance and convenience. Sung rather nasally, but not in the nose

Nay nay nay nay nay….

12) the same melody:

ma ma ma ma ma maaaaaaaa ma ma ma

13) to expand the range

Yaa a yaaa yaaa aa aa, then mii ii ii and

From approximately D of the 2nd octave we move to E, then we open our mouth wide and forcefully send the sound to the head

14) to sing low notes, we “suffer”. First, on one note down from to 1 octave.

oh oh oh oh oh

15) connect a low note and a high note at the jump.

First the fifth, then the octave.

long breathing exercises:

17) reading a long phrase in one breath. It is better to take the size HEXAMETER. This is an excerpt from either the Odyssey or Homer's Iliad. We read on a raised palate. Singing.

Performing fragments of songs.

Ksyusha – “Tuchka”

Sonya - “About the king with a sweet tooth”

Yana - “The Roosters Crew”

Lena - “About an Elephant”

Nastya - "Little Blues"

Karina - “The swans flew away”

Lesson Plan

Introduction. Similarities and differences between academic and pop vocals.

Working on breathing. Respiratory system A.N. Strelnikova

Working on vocal technique:

sound shaping

working with a microphone

long phrase

diction

range extension

staccato-legato

Performing solo excerpts

5) Conclusion.

Conclusion.

Each teacher is free to use a wide variety of techniques and exercises to develop and strengthen the singing voice and vocal skills. The main thing is that the child feels comfortable in classes and is happy to move towards a positive result. The teacher needs to be very careful to choose exercises and repertoire for the child that allow him to reveal all the capabilities of a given student as widely as possible. It is very important to know when to stop here. You should not tire the student with long exercises, but you should not neglect them either. You need to know the characteristics of each student. Some people are better sung from top to bottom, and others vice versa. For class work, you can choose a piece that is a little more complex so that you have something to work on. And for a performance, it is better to take a simpler piece, but one that can be easily performed by a child.

You should not decorate the performance with some artificial, far-fetched effects. It is better to properly analyze the music and text with the student, understand the content and performance will naturally be filled with meaning, and therefore expressiveness.