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: Track the degree of formation of vocal skills in adolescent students.

Tasks: Mastering vocal skills on the example of constructive exercises.

One of the most important tasks of working on the exercises is not only the preparation of the vocal apparatus for work, but also the formation basic singing skills of students. Among them we can include:

singing installation

Singing breath and support of sound

High vocal position

Accurate intonation

Smoothness of sound throughout the entire vocal range

Using different types of sound science

To achieve a positive result in the work are used methods:

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

Developing education takes into account and uses the laws of development, adapts to the level and characteristics of the individual.

Developmental learning takes place in the child's zone of proximal development. Developing education is the orientation of the educational process to the potential of a person and to their implementation.

2. The method of individual approach to each student.

We should 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 person 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 the teacher, as a result of which the students here do not passively follow the instructions of the teacher, but actively participate in the course of the lesson. Moreover, we encourage the interaction of students not only with the teacher, but also with each other, because the basis of the interactive teaching method is the principle dominance of students' activity in the learning process .

4. Story

5. Explanation

6. Show (demo)

7. Dialogue

8. Discussion

The teacher in working with adolescent children actively uses rethinking method.

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 task of the teacher is to find such 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 difference in the psyche of each child, these terms are selected individually.

1. Heuristic method

Adolescents aged 14-16 in the bulk have formed voices. In these voices, elements of a child's sound are mixed with an element of an adult (female) voice. The individual timbre is revealed. The range is expanding to 1.5 - 2 octaves. The sound is mixed. However, this is a period of mutation. Mutation is different for everyone. In girls, the period of mutation goes relatively smoothly, but all the same, at this age it is necessary to use the method of voice saving.

All vocal skills are closely related, 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 rest. 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 gained in the classroom.

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

Target: Prepare the singing apparatus for the phonation process.

Tasks:

Warm up the ligaments on a natural singing tone

Build intonation

Fix the position of "yawn" in sound production

Fix the singing breathing system

Connect the necessary resonators

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

2) The development of singing breathing.

Target: Form the correct singing breathing.

Tasks:

Exercise develops singing breathing

Gives evenness of singing tone when changing vowel sounds

Forms the correct articulation of vowels

Methods: Singing exercises within "seconds" on different syllables. The last sound increases the duration of an even, calm release from the breath, depending on its volume.

3) An exercise in register alignment.

Target: Align registers.

Tasks:

The development of the cantilena (smooth sound leading)

Distribution of breath per song phrase

Freedom and fullness of sound

Methods: The exercise is sung in "legato", starting from B - flat small octave in semitones up on the alternation of vowels and on the feeling of a "long bow"

4) Exercise for the uniformity of the sound of vowels

Target: achieve uniformity in the sound of vowels.

Tasks:

Avoid excessive articulation, strive for "clarity" and "flight" of sound

Methods: The exercise is sung on 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, therefore, in this lesson, systematic work is carried out on the formation of vocal skills, which does not imply instant results.

Work on musical works

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

Tasks:

Work on the formation of performing skills

· Work on the stage performance of the work

Pedagogical method of working on new material

1. Analysis of the verbal text and its content.

2. Competent reading of musical text.

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

4. Division into motives, periods, sentences, phrases. Form definition (couplet, two-part, three-part, etc.).

5. Phrasing arising from musical and textual content.

6. Various types of dynamics.

7. Variety of agogic possibilities of performance of the work (comparison of two tempos of slow and fast; deceleration; acceleration); various types of fermat.

"Land where there are so many separations" Muses. V. Lebedev poems. Y. Ryashentseva

Work analysis plan

1. Song of the Soviet composer.

2. Lyrical, unhurried, drawn out.

3. Fret - minor.

4. The nature of the sound - light, warm, melodious.

5. Colorful arpeggiated accompaniment.

6. Form of construction - couplet.

7. Wonderful words of a famous Soviet poet.

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

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

Methods:

Work on a phrase in a poetic text.

· Extraction of phrases with large intervals from the musical text and singing them in a combination of consonants and vowels.

"Barcarolle" Muses. F. Schubert, sl. , translated by A. Pleshcheev

Work analysis plan

1. The Italian word "barka" means boat. Derived from it - barcarolle - the song of the boatman. Perhaps someone will be surprised: why is it necessary to give a special name to the songs that the boatmen sing! After all, they can sing the same thing as everyone else ... But no. These songs are unusual, as are the boatmen who perform them. Barcarola was born in the wonderful Italian city of Venice. The form of the work is couplet.

2. Busy pace.

3. The nature of the sound is light and melodious.

4. Wide range melody.

5. In the accompaniment, an independent part, carrying the pictorial beginning of the play of waves.

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

Tasks: To achieve cantilena in performance, correct phrasing, comprehension of the artistic image, mobility of voice sounding.

Methods:

· Singing musical material on vowels and combination of vowels.

· Work on a musical phrase.

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

The transition from diaphragmatic breathing to chest breathing, to achieve lightness, flight of sound.

Municipal educational budgetary institution

additional education for children

Center for additional education for children "Rainbow", Sochi

pop vocal

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, develops aesthetic and artistic taste.

Coming to the first vocal lesson, they still do not know what they have to do. And it is very important from the first lesson to reveal the beauty of music to the students, to show how necessary it is to master the means of vocal expressiveness, musical and rhythmic abilities, which helps children to freely and liberatedly stay on stage, that today it is impossible to imagine a pop song performer who does not have choreographic and acting skills, which allows you to more clearly and expressively convey to the audience the nature of the songs being performed, to acquire knowledge of musical literacy. And most importantly, to influence the emotional, and, consequently, the motivational aspects of the personality for vocal lessons.

Novelty and relevance of development.

The development of this lesson is due to the search for optimal forms of work with children in the system of additional education. The lesson takes place in the form of a game - travel, which contributes to the emotional communication of pupils, the development of their creative imagination. Each child finds an opportunity for creative self-expression of the individual through the performance of individual and group tasks. This lesson helps the teacher to get an initial idea of ​​the musical abilities of newly arrived pupils, how much they love music and want to learn how to sing beautifully and correctly, how much he is endowed with the ability and craving for creativity, the development of his vocal abilities.

Another distinctive feature of this development of the lesson is the coordinated activity of all areas of activity when studying in a vocal studio (vocal, 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" forward and "returning" to the material covered;

method of communication;

improvisation method;

dramatization method.

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

The lesson is structured in such a way that the teacher can exercise control over the effectiveness of the implementation of the development of this lesson unnoticed by the pupils, since at the last station of the journey they themselves show in a playful way how the goals and objectives set by the teacher are 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, according to which they will be trained throughout the course in pop vocals.

Expected results.

Positive attitude of children to vocal lessons,

Practical significance The educational development of the lesson lies in the fact that it can be applied in circle work, in secondary schools, Palaces of children's creativity, houses of culture.

Target:

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

Tasks:

acquaintance of children in a playful way with the basic concepts of the song genre;

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

development of cognitive activity of children;

promotion of aesthetic education of children;

creating in children an atmosphere of joy of communication and success in the team.

Equipment:

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

Children's age: 7 – 8 years

Lesson plan:

Greetings

Acquaintance

Preparing for the "journey"

Station "Notki"

Station "Major and Minor"

Station "Teatralnaya"

Station "Grace"

Station "Scene"

Summing up the lesson. Identification of the mood of children.

Parting.

Course progress.

Children's songs are played before the start of the lesson. The children read the booklet. The children take their places in the audience. (slide number 1)

1. Organizational moment. Greetings.

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

"Melody"! (slide number 2)

2. Acquaintance

Teacher: Before embarking on our journey, let's get to know you. My name is Yulia Yurievna. And what is your name?

The children answer one by one.

Teacher:

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

Our greeting will be a little unusual, musical. Exactly

say hello in the beautiful country "Melody".

Musical greeting: "Good afternoon"

Teacher display.

Children, together with the teacher, sing a greeting.

Teacher: Well done guys, you did great.

Now we can start our 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 "journey"

Teacher: For a magical journey, you need magical helpers: a fairy screen, a magic key and an unusual train. We have a fabulous screen, we will create an extraordinary train ourselves. I will be a steam locomotive, and you will be trailers. 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! And how do we get to the country "Melody"?

The teacher takes out a treble clef from the chest

Teacher: Do you know what it is?

Children's answers

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

The teacher attaches the treble clef to the stave.

The door opens on the screen (slide number 3) and 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 journey without a cheerful song? To make the road 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:

Choo-choo-choo, tu-tu-tu,

white lambs

Blows on the go

Locomotive-bug.

Well done, you are doing great! Now, with a cheerful song, they will definitely let us into the musical country! I will perform the verse, and with the chorus, our train will move. The chorus is the beginning of the movement. So, get ready! (slide number 4, 5)

Children, together with the teacher, begin to move around the audience. The 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, what a wonderful

house. 7 very friendly residents of notes live in this house.

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

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

Teacher: Right! On the first floor there is a note "DO".

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

Teacher: In the country "Melody", the note "DO" 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 (“Friendship is strong”, “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 a lot REGULARLY?

Children's answers

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

The window of the house opens, and the children see the note "MI"

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

Guess 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, all big Dreamers and inventors.

The window of the house opens, and the children see the note "SOL"

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

Teacher: Floor notes "LA". Earth... This note introduces its friends to what is happening on our earth. She talks about different events.

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

Teacher: The last resident of the house is the note "SI". "SI" is power. The power of creativity, the power of fantasy, the power of friendship.

There are hooks between them.

Well, say them -

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

Teacher: And now vice versa -

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

Teacher: To befriend them

You have to study music.

You will open a beautiful world

If you master the notes.

You will enter the magical world -

You will sing along with them!

You will be friends with the 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 with them, but for now we go on a trip in search of new friends.

Children, together with the teacher, begin to move around the audience. Music sounds, the teacher sings a song: "Insect steam locomotive." (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 you 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. Lived - there were two brothers: Major and Minor. Major was senior and minor was junior. The elder brother always had fun:

I am a major scale: joyful, perky!

And the younger one was sad and sighed:

I have been sad for a long time because I am a minor.

Despite their different personalities, the brothers never quarreled and lived together. Once they went to the forest for mushrooms and berries and got lost ...

Oh, let's get lost, we'll fall into the pit, wailed the minor. We will never get out of this forest ...

What are you crying, soothed his older brother. Do not grieve, but rather sing a song!

Performs the song: I am a minor scale, a long series of sad sounds, I sing a sad song and now I will roar...

The song turned out to be very sad. The whole forest was sad with him, the grass rustled sadly, the breeze subsided, even the birds fell silent. And the sun hid behind a cloud from the sad song of the minor.

No, brother, that's not right! - exclaimed the major. Let me sing!

And he sang his song in major: We all became unlikely together, a scale turned out. Not simple - major, joyful, perky.

The forest started up, the sun came out, the birds chirped merrily, singing along to their elder brother in major.

Come on, brother, more fun step! Look how bright the sun is shining, how the birds are chirping! Do you hear? Bubbling stream! Here's 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?

Answers of children (Major and minor).

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

Teacher: And what do you think, what movements can be performed to the music of a major? And the minor?

(Major - active: claps, jumps, etc., minor - smooth.) We will now play a game. The music will play alternately. When you hear a major, you will need to clap your hands, as soon as the minor sounds, swing your arms from side to side above your head. Is the mission clear to everyone? Let's see which one of you is the most attentive!

The game is played, diverse music sounds.

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

Children with a teacher again form a train and with the song "set off on the road." The music sounds (plus track "Steam locomotive-bug" refrain).

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

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

6. Station "Teatralnaya"

Teacher: We stopped at this station for a reason. Any person performing on stage, be it an actor, musician or singer, gives the audience not only their 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 already familiar to us, and you will listen carefully, and then answer, did I manage to convey the character and content of the text with the intonation of my voice and facial expressions?

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

Teacher: Fields and forests are floating outside the window,

We are going to where miracles await us,

And the sun is shining and the river is shining

And our train flies so fast.

No, I failed to convey the mood, because the text is from a cheerful, perky song. And Alexander wrote it, and one of our friends Major helped him. Let's read the lines together with you fun?

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

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

Children, together with the teacher, begin to move around the audience. Music sounds. Children sing together with the teacher "Insect-locomotive" (plus chorus). The train stops. (slide number 13)

7. Station "Grace"

A dancing girl on the screen. (slide number 14)

Teacher: For us to sing merrily

We need to own the body.

Everyone dance to the song

Song with dance to conquer.

When a singer sings on stage, he must not only sing well, but must also be able to move beautifully. At the station "Grace" we will try to learn a few dance moves that you will definitely need for performances. And the little train from Romashkov will help us in this. Be attentive, listen to the music and repeat the movements of me and the magic assistants on the screen.

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

(slide number 15, 16, 17)

Teacher: Amazing! You are just real dancers. All your movements are amazing. They will definitely come in handy at the next station. And again on the road.

Children, together with the teacher, begin to move around the audience. Music sounds. Children sing along with the teacher (plus chorus). (slide number 18)

8. Station "Stage"

The scene is on the screen. (slide number 19)

Teacher: Well, guys, you and I arrived at one of the most important stations in the country "Melody" - the station "STAGE". Everyone who gets to this station becomes a real artist. And the Microphone becomes a true friend to them.

Look closely and say, "How many microphones are there in our auditorium?"

Children's answer (10).

Teacher: You are very attentive and correctly counted - there are exactly 10 of them. Look how they smile and are waiting for you to be in your hands, but ...

But in order for the microphone to really be an assistant to the performer, one must be able to use it. How do you think the microphone should be used?

Children's answer

Teacher: You have interesting guesses. And in many ways you are right. As with all friends, the microphone must be handled with care.

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

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

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

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

But that is not all.

Hold the microphone in one hand. 4 fingers should be placed at the top all together, and the big one at the bottom. The microphone should not cover your face and be located at a distance of 5-10 centimeters. The sound should fall into the middle of the microphone.

So, I hope 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 we 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 Grace station. If we are attentive, then we will get a real performance of small artists.

The teacher distributes microphones to all children. Music sounds. Children, together with the teacher, perform the song "Insect Engine", trying to combine emotions, movements, and the correct handling of the microphone in their speech.

(slide number 20, 21, 22, 23, 24, 25)

9. Summing up the lesson. Identification of the mood of children. (slide number 26)

Teacher: This is the end of our journey today. But in the country "Melody" there is still a lot, a lot of interesting things. Being engaged in vocal creativity, you will be able to learn more and more about this country. Did you enjoy our adventures?

Children's answers

Teacher: And 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. Magical 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 stave, where the treble clef is located, which opened the door to the country "Melody" for us.

Children take notes and attach to the stave.

10. Farewell.

Teacher:

Look what a wonderful major melody we got.

Yes, from communication with music we have become a little more beautiful and kinder today. Bring these feelings into our world, and it will become a better place! You were wonderful fellow travelers, promise not to forget the road to the musical country "Melody". I am very glad that I met you today. Thank you very much. Until we meet again, friends!

Perm region

Kungur municipal district

Municipal budget institution

additional education

"Kalinin Children's Art School"

Public lesson.

"Working with a variety ensemble in the vocal class"

Prepared by: Guryanova N.L.
Pop vocal teacher

s.Kalinino 2017

Work with a variety ensemble in the 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, 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 a 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 exists for the third year and consists of a homogeneous two-voice composition with elements of 4 voices, students of the vocal department of the senior classes.
In total, 4 people are engaged in 2 in each party. The ensemble performs various works in Russian, English and is a regular participant in all school concerts, as well as taking part in municipal and inter-municipal competitions.

Explanatory note.

In order to reveal the nature of the voice and determine which part to entrust to him in the ensemble, you need to start with a “chant”, with each one individually. In the course of singing, the leader determines the type of voice, its range, reveals 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 end of the range, using head resonators. In pop singing, voices differ, according to their "mass", as high and low, plus the individual qualities of the singing sound.

Before starting work on developing a single singing sound formation among 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 composition should choose the appropriate chants in order to achieve the ability to sing exercises without “its own” timbre, without “its own” vibration and “its own” sound power. Everyone listens to his neighbor, while trying to "drown", "hide" the timbre of his voice, in the timbre of the voice singing nearby. Everyone makes sure that his voice does not stand out and is not lost in the overall sound, which should be perceived by the singers as coming from one source, one timbre, one 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 assertive, full sound. The higher the tessitura, the more support for the muscles of the lower abdomen.

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

chanting.

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

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

The scale for the chants of the ensemble looks like this:

Sing in semitones up to D of the second octave. The violas enter from the note La of the small octave and sing to the first Fa. The leader plays the exercise with both hands in the small and first octaves.

Sing all exercises from beginning to end, and only after that the leader makes comments, gives instructions on correcting mistakes, and again complete 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. It is necessary to monitor the dynamic and timbre balance of voices, not to allow any voice to be singled out. The attack in all types of exercises is any, but the same for all the singers in the ensemble.

Clearly articulate the sket. Use only the suggested syllables. The ensemble should be sung for up to ten minutes. Be sure to apply nuances, different timbre shades and dynamics.

During the exercise, students must beat the beat with their feet. When the unison is performed confidently and clearly, the ensemble moves on to the exercises of the harmonic warehouse.

chord exercises.

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

The members of the ensemble carefully listen to the tuning and with a light sound, without an entrance, begin the exercise. Listen to every sound, interval and chord. "Dissolve" their voice in the general sound.

All chord exercises are performed on the crescendo.

The leader himself chooses a convenient tessitura of exercises.

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

Slow and very loose.

Choose a scat that is convenient, pause to withstand, observe the nuances. Memorize. Sing in different keys and tempos.

Partitioning out the parties.

Before the students write out their own parts for learning, it is necessary to familiarize them with the composition, sing each part, pay attention to the details and the nature of the interpretation. In the next lesson, the 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 is the connection of all voices. Immediately pay attention to the phrasing and balance of voices. In the fourth lesson, you can demand the performance of the nuances and the intended dynamics of the composition.

The next two to three lessons are to achieve the requirements of the eight points.

PERFORMANCE OF COMPOSITIONS

The performance of 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 formation and the manner of intonation are of fundamental importance.

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

d) the ensemble needs a leader who is able to lead the group, who is most proficient in pop performance skills.

CONCLUSION

Work with a pop ensemble should begin with work 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 this ensemble. It is possible to start working with a vocal composition only after the vocal parts of the arrangement have been learned and worked out, to 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 inspiration.

Single attack.

Instrumental sound emission.*

Well mixed, "general" timbre.

Clearly simultaneous start and end of exercises.

Strict execution of strokes, pauses and nuances.

Steady and pure intonation.

* The norm of voice pulsation 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 its sound will be uncomfortable for hearing. To achieve pure intonation, each singer must sing in an even (instrumental) tone, without vibrato. At the same time, try to “dissolve”, “drown” the sound of your voice, in the sound of the voice of the singing

Anna Fedkina
Open vocal lesson “Dynamic shades. Phrasing"

Purpose of the lesson: Introduction to dynamic shades and phrasing.

Tasks:

1. Develop dynamic hearing;

2. Learn to play music with phrasing;

3. Cultivate musical taste.

Equipment:

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

Lesson volume: 45 minutes.

Lesson progress:

Introduction:

Hello dear attendees. I am Fedkina Anna Ivanovna, teacher of vocals t. O. "Funny notes". Today's lesson will be held with Chinina Anastasia - a student of the 1st year of study. The theme of our classes: « dynamic shades. Phrasing» . Today we will get to know dynamic shades, find out what it is; learn to sing songs phrasing. Understand how important dynamics and dynamic shades to give the artistic musical beauty of the work, to what extent it enriches it.

Main part:

Breathing exercises:

The most important thing in staging vocals is correct breathing. It is from 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 the whole 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 body position. The neck should not be tense and stretched forward. We should be in a state of comfort, relax a little. During exercise, only the stomach works.

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

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

3 exercise: Inhale through your mouth, exhale through your nose (repeat 6 times).

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

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

6 exercise: Puff out your cheeks like a balloon. Sharply "exhaust" the air through the lips-tube. This exercise activates the muscles of the cheeks and muscles of the lips, and is useful for developing good articulation.

Articulation exercises:

Our word, whether spoken or sung to the audience, must be clear in pronunciation, expressive, and loud enough to be heard in the last row of the auditorium.

Good diction is needed, that is, a clear, clear pronunciation of words. To achieve good results, it is necessary to work on improving the articulatory apparatus, to develop its technical capabilities.

The articulatory apparatus is a part of the vocal apparatus that forms the sounds of speech, and the organs that make up it are the articulatory organs. The work of these organs, aimed at creating speech sounds (vowels, consonants) called articulation.

To the articulation apparatus relate: oral cavity (cheeks, lips, teeth, tongue, jaws, palate, pharynx, larynx). It must be remembered that the oral cavity is a very important resonator (a movable resonator, on the "architecture" of which the sound quality depends.

The first condition for the operation of the articulatory apparatus is naturalness and activity. It is possible to achieve active naturalness through the removal of various clamps and stimulation of the precise work of various muscles and organs. Of course it's very simple say: "removal of clamps" - but after all, they must first be detected, and only after prolonged work in front of the mirror and with constant attention, these shortcomings will begin to disappear. In this work, we will be helped by the simplest exercises:

1. To activate the language. 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 the tongue and quickly move it from corner to corner of the mouth.

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

3. To activate the muscles of the lips, inflate the cheeks, release the air with a sharp "pop" through the compressed (collected in a "bundle") lips. say it vigorously 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 at first slowly, gradually speeding up, as we successfully improve. We follow the rhythm of pronunciation. Do not forget the pace, diction (each tongue twister is repeated 4 times).

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

Do not cut wood on the grass of the yard.

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

So that the flies, just like that, swayed in a hammock.

c) Prokop came, dill boiled, Prokop left, dill boiled; just as dill boiled under Prokop, so dill boiled without Prokop.

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

e) A protocol was recorded by a protocol.

chanting:

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

chants:

1. How an old man traded ash under a hill under a mountain, my potatoes are 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 coast. To sing in a major with a rise of half a tone.

4. Chanting on 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 that are divided into noise and musical. Musical sounds are combined by the composer in terms of semantic content into a piece of music. Each piece of music has its own unique abilities, which are referred to as a means of musical expression. One and the same piece of music can sound completely different, it depends on what means of musical expression will be used in the performance.

Now I will play a small 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 : 1st passage sounded loud and 2nd passage sounded soft.)

That's right, Nastya, you heard. 1st passage was loud and 2nd passage was quiet.

In music, it is customary to call the power of loudness dynamic shades.

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

Think, Nastya, and tell me, how can music sound in terms of loudness, in terms of the power of sound?

(answer : loud, soft, moderate).

That's right, Nastya. In life, we also do not speak at the same volume. Usually, when we want to say something important, we increase the pitch of our voice - we speak louder, and in music, the most important words in particular in a song are pronounced louder.

Why do you think?

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

We begin to sing the song quite quietly, because each piece of music has its own dynamic development. The intensity of the sound gradually increases and then gradually decreases. This is what is called application in music. dynamic shades and phrasing, i.e., like a regular colloquial phrases there is a logic - we say something louder, and something quieter.

Today we continue to work on the song "New Year's". You know the melody well, we have analyzed the text, phew - the beats have been arranged, and today we will work on phrasing, i.e. add dynamic shades, and the song will immediately become alive, emotions will be added.

With what do you think dynamic shade will you start the performance?

(answer : I will start the song with a quiet performance). The power of the voice will increase towards the chorus of the song. Verse 2 must be performed as loudly as possible, but not loudly, because it contains the main idea of ​​​​the song, what is it called, we will find out on the next lesson. And by the end of the song, since the author said everything he wanted to convey - momentum is on the decline.

Song work "New Year's". Difficult passages are sung with explanation over and over again.

Working on the next song "An association".

Final part, summing up results:

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

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

Our lesson over, Goodbye. Thanks for coming to my public lesson, I hope Nastya and I had a good time.

Open lesson on pop vocal Mamonova Olga Vitalievna.

Lesson topic: various methods of work on vocal technique.

The purpose of the lesson: To reveal and substantiate 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) Practically visually show the performance of exercises by children of different ages and levels of training.

Introduction. Similarities and differences between academic and pop vocals.

There are 20 vocalists in my class from 4 to 18 years old. Of these, this year 4 people were exhibited at an international competition and won prizes there. In the course of our lesson, I will show how I work on voice production with both toddlers and adult students. Since we will talk about pop vocals, I would like to clarify the difference between the genres of academic and pop vocals.

academic vocals - the old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, 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 the experience and history of vocal music. These limits, as a rule, do not allow the 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, academics can perform in other vocal genres if they can facilitate the presentation of the sound.

pop vocal

Pop singing combines many song directions, unites the entire palette of vocal art. Pop vocal, first of all, means singing from the stage, but the concept of pop vocal, as a rule, is associated with light and understandable music. In pop vocals, you can hear both folk motives and elements of jazz, it is also an author's song and elements of rock music. Pop vocals differ from academic vocals in 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. We conclude: In pop and academic vocals there are absolutely different tasks, absolutely different sound formation, but the need to achieve sound support on breathing is the same for everyone.

To work on the setting of breathing, there are various exercises that we use.

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

To feel exactly where the support of the sound is, you can "cough", or slowly blow out the letter "c". For younger children, this may not be very clear, 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

Embrace your shoulders

Pump

Hug your shoulders + pump

head turns

Ears

Pendulum

rifts

front steps

back steps

Work on vocal technique.

The sound must be sent to the teeth, but often the sound enters 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 on the "snake" exercise. We take a breath and imitate a bite of a huge apple.

To feel the natural expansion of the larynx, you can do this 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 the formation of a yawn.

We sing with the kids on a simple exercise, with a hand showing:

"I step up, I step down" (Ksyusha)

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

Ksyusha sings "Cloud". We work on the right breath, try to open our mouth correctly and hold out 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, you need to ask the child to sing any note that is convenient for him while breathing. As a rule, this will be the working middle. Kids don't make mistakes...

Let's find a working middle for Sony.

We start with this note chanting.

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

Mmmm - closed mouth. The sky is raised, the teeth are open, the lips are closed.

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

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

Bra, bra, bree, bro. bru

We sing all the vowels as if we were forming the letter “a”. It turns out approximately in one position. Be sure to pay attention to the clarity of the 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 moment of singing, the children do not stand in a rack. We move, while singing, bend over and wave our arms.

Pop singing means singing into a microphone. Therefore, due attention must be paid to this skill. The microphone must be held so that the sound hits it directly, and not at an angle. Otherwise, frequencies will be cut and the sound will be distorted. You can not take the microphone to the side. Keep it all the time in a single position so that the volume and strength of the sound do not change.

To develop and consolidate this skill, we do the following exercise: How to draw 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:

Ree-ee-ee-ee-ee-ee-ee-ee-ee

Mii-ii-ii-ii-ii-ii-ii-ii-i

6) 3 notes in a row on vowels: (Lena sings)

Yaaaaaaaaa

7) Yaa-aa-aa-aa-a

Mii-ii-ii-ii-i

All consonants: e, e, and y. sing in "a" position

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

Le-lely lel-lely lel-lelilyolil-lely

9) Staccato legato

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

(Does Karina)

Rrrrrrrrrrr

Do Remi Fa Sol Fa Mire Do Remi Fa Sol Fa Mire Do

To salt mi to salt mi to salt mi to salt mi to ...

Do mi sol do mi sol fare si sol fare do…

11) to achieve balance, convenience. It is sung rather nasally, but not in the nose.

Nay nay nay nay….

12) the same melody:

ma ma ma ma ma maaaaaaaaa ma ma ma

13) for range extension

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

Approximately from re of the 2nd octave, we pass to mi, then we open our mouth wide and send the sound to the head with force

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

oh oh oh oh oh oh

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

First a fifth, then an octave.

long breathing exercises

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

Performance of fragments of songs.

Ksyusha - "Cloud"

Sonya - "About the sweetheart - the king"

Yana - "The roosters sang"

Lena - "About the elephant"

Nastya - "Little Blues"

Karina - "The swans flew away"

Lesson plan

Introduction. Similarities and differences between academic and pop vocals.

Breath work. Respiratory system A.N. Strelnikova

Work on vocal technique:

sound shaping

working with a microphone

long phrase

diction

range extension

staccato legato

Performance of 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 the classroom and moves with pleasure towards a positive result. The teacher needs to be very careful in choosing exercises and repertoire for the child, allowing them to reveal all the possibilities of this student as widely as possible. It is very important to know the measure here. You should not tire the student with long exercises, but they should not be neglected either. You need to know the characteristics of each student. Someone is better to sing from top to bottom, and someone vice versa. For class work, you can choose a work that is a little more difficult so that there is something to work on. And for a performance, it is better to take a work that is simpler, but one that can be easily performed by a child.

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