Recommendations for students on the subject of Reading choral scores. Topic XXI: Analysis of the choral score Analysis of the score in the work of the conductor

Analysis of the choral score.

Compiled by: senior lecturer

Department of Choral Conducting and

solo singing of the Faculty of Music

Bogatko I.S.

Perm 2013

Analysis of a choral work

Musical theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).

Vocal-choral analysis: type and type of choir, ranges of voices, tessitura, ensemble, structure, intonation, vocal-choral, rhythmic, diction difficulties).

Performance analysis of the work; (connection of music with text, definition of caesuras, establishment of tempo, nature of the work, dynamics, strokes, climax).

List of works.

1 course

Choral works to study

Arensky A. Anchar. Nocturne

Agafonnikov V. They sowed flax across the river.

Bely V. Steppe

Boyko R. 10 choirs at A. Pushkin station

Vasilenko S. Dafino wine. Like in the evening. There are two gloomy ones in the mountainsclouds. Blizzard. Stepnaya.

Grechaninov A. The stream makes us happy. In a fiery glow. Aboveunapproachable steepness. The world is quiet. After a thunderstorm. At dawn.

Gounod S. Night

Davidenko A. All-forward. Barge haulers. The sea moaned furiously.

Darzin E. The Past. Broken Pines.

Dvorak A. Peer. Choirs from the cycle "About Nature"

Debussy K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ippolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under the big tent. Rus.

Korganov T. Sees a doe in the water.

Kasyanov A. Autumn. The sea does not foam.

Caldara A. StabatMater

Kalinnikov V. Lark. Winter. On the old mound. We have starsthe meek ones beamed. Autumn. Forest. Oh, what an honor to the fellow. The stars dimmedchickpeas and go out. Condor. Elegy.

Koval M. Ilmen-lake. Leaves. Tears. There would have been a storm or something.

Kravchenko B. Russian frescoes (optional)

Cui C. Nocturne. Cheer up, songbirds. Two roses. The sun is shiningtse. Storm clouds. Dream.

Kolosov A. Rus'.

Lasso O. Soldier's serenade. Oh, if only you knew. Matona.

Lensky A. The Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).

Lyatoshinsky B. Autumn. Oh, my mother. In a clean field. Water is flowing.

Makarov A. “City of Unfading Glory” from the suite “River-Bogatyr”

Mendelssohn F. Choirs to choose from.

Muradeli V. Response to A. Pushkin’s message.

Novikov A. In the forge. Oh, you, field. Love. Merry feast.

Popov S. Like on the sea.

Poulenc F. White snow. Sadness. “I’m afraid of the night” from the cantata “The Face” human"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. In a dark forest. Oh, you wide steppe. Down on mother along the Volga.

Sviridov G. "Pushkin's Wreath": No. 1, 3, 7, 8, 10. "Night Clouds" -No. 2. Blue in the evening. Clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Wither and wither, stormy weather. Are you a rowan or a ripple? nushka.

Taneev S. Adeli. The ruin of the tower. Venice at night.

Tchaikovsky P. Without time, without time. Not a cuckoo in the dampBor. A cloud spent the night. Nightingale. That the fun has stoppedvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).

Chesnokov P. August. Alps. In winter. The dawn is warming. Forest. Along and alongriver. Dubinushka. Not a flower in a field withers. Liturgical choirs (optional).

Shebalin V. Winter road. The mother sent her thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove the horse. Soldier's grave.

Shostakovich D. Ten poems. (choirs to choose from).

Schumann R. Good night. Toothache. In the forest. On Lake Constance.

Shchedrin R. 4 choirs at the station. A. Tvardovsky.

Schubert F. Love. Night.

Choral works for sight reading and transposition.

Bortnyansky D. It is worthy to eat. Cherubimskaya No. 2.

Vekki O. The Shepherd and the Shepherdess.

Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.

Dargomyzhsky A. Petersburg serenades.

Glinka M. Patriotic song.

Grechaninov A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ippolitov-Ivanov M. With a sharp axe. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Rowanushka.

Kodaly 3. Evening song.

Costle G. Mignon.

Leaf F. The Coming of Spring.

Mendelssohn F. Run with me. Like frost fell on a spring night.Over her grave. Premonition of spring.

Prosnak K. Prelude.

Rachmaninov S. We’ll sing for you.

Rimsky-Korsakov N.A. Oh, there's a sticky thing in the field. You rise, red sun.

Salmanov V. “Oh, dear comrades” from the oratorio “The Twelve.”

Slonimsky S. Leningrad White Night.

TaneevS. Serenade. Pine.

Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.The golden cloud spent the night

Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.

Shebalin V. Winter road.

Schumann R. Evening star. Good night. Night silence.

Schubert F. Love. Far away.

Shchedrin R. How dear a friend is. The war has passed. Quiet Ukrainian night.

Eshpai A. Song about springs.

2nd year

Accompanied choirsForstudying.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ippolitov-Ivanov M. Morning. Peasant feast.Spring is approaching. Flowers.The leaves in the garden are rustling. In May.

Novikov A. Grass. Hey, let's whoop. And the rain is pouring down.

Schumann R. Gypsies.

Schubert F. Shelter.

Choirs from oratorios and cantatas.

Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.

Britten B . Missa brevis in D

Bruckner A. Requiemd- moll. Big mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Handel T. Oratorio "Samson": "Samson is slain"

Grig E. Olaf Trygvasson (separate rooms).

Dvorak A. Requiem (choral numbers). ThoseDeum(fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory, Black stone.

Kozlovsky O, Requiem (optional parts).

Makarov A. Suite "River-Bogatyr". ABOUT

ABOUT rf K. Carmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan the Terrible (good numbers).

Poulenc F. The Human Face (optional parts)

Salmanov V. Twelve (parts or all).

Sviridov G. “Pathetic Oratorio”: Wrangel’s Flight,To the heroes of the Battle of Perekop, There will be a garden city, The poet and the sun. " Poem in memory of S. Yesenin": Winter sings, Threshing,Night of Ivan Kupala, Peasant

Guys. " Pushkin's Wreath": No. 5, 6. "Night Clouds" No. 5. " Ladoga" No. 3, 5.

Tchaikovsky P. Moscow: No. 1, 3, 5.

Shostakovich D. “Song of the Forests”: A Future Walk. "The sun is shining over our Motherland,” “ Stenka Razin."

Choirs from operas;

Bizet J. “Carmen”: scenes 24, 25, 26.

Beethoven L. “Fidelio” (choir section).

Borodin A. “Prince Igor”: Glory, Scene of Yaroslavna with the girls,Scene at Galitsky, Polovtsian dances with choir,Finale of the 1st act,

Wagner R. “Lohengrin”: Wedding Choir. "Tannhäuser: March.

Verdi D. “Aida”: choral scenes. "Othello": choral scenes from acts 1, 3.

Verstovsky A. “Askold’s Grave”: Ah, girlfriends, Brew, potion.Choir and Torop's song.

Gershwin A. “Porgy and Bess”: separate choirs.

Glinka M. “Ivan Susanin”: Polish Act, Glory."Ruslan and Lyudmila": Introduction, Act 1 Finale,Oh, you are light, Lyudmila.

Glitch X. "Orpheus": separate choirs.

Gounod S. “Faust”: Waltz. "Romeo and Juliet": courtiers' choir.

Dargomyzhsky A. “Mermaid”: Oh, you, heart, Braid yourself, wattle fence. How we brewed beer on the mountain.Like in a bright room.

Delibes L. “Lakme”: choir and scene in the market.

Kozlovsky O. “Oedipus the King”: 1st choir of the people.

Mussorgsky M. “Boris Godunov”: Coronation Scene,Scene at St. Basil's,Scene near Kromy (entirely and individual fragments), “Sorochinskaya Fair”: Chorus from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in Streltsy Sloboda (in full) and separate fragments).

Rimsky-Koreakov N.A. "Pskovite": Meeting of Grozny,Entry of Grozny to Pskov, Veche Stage; "Sadko": Choir of trade guests,Is it the height, the height of heaven? "Snow Maiden": Choir of Blind Guslars,Scene in a reserved forestAnd we sowed millet, Pcarnival celebrations, The finale of the opera.

« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride: Love potion, Yar-hop. " May Night": Millet.

Smetana B. “The Bartered Bride”: separate choirs.

Kholminov A. “Chapaev”: Here, Petenka.

Tchaikovsky P. “Eugene Onegin”: Peasant Choir, Ball at the Larins'. " Queen of Spades": Walking Choir,Guest Choir, Shepherdess Pastoral. “Mazeppa”: Chorus and mother’s lamentation, Folk scenes, Execution scene. "Oprichnik": A duck was swimming at sea,Wedding choir "Slava".

Choral works for sight reading and transposition

Borodin A. “Prince Igor”: Fly away on the wings of the wind.

Verstovsky A. “Askold’s grave”: Two choirs of fishermen,There was a white birch tree near the valley, Ah, girlfriends.

Verdi J. “Nebuchadnezzar”: You are beautiful, oh, our Motherland. "Aida": Who is there (act 2).

Glinka M. “Ruslan and Lyudmila”: Oh, you are the light Lyudmila,The bird won't wake up in the morning. "Ivan Susanin": Wedding song.

Dargomyzhsky A. “Rusalka”: Three choirs of mermaids.

Mussorgsky M. “Khovanshchina”: Dad, Dad, come out to us.

Petrov A. “Peter I”: Final chorus from the opera.

Tchaikovsky P. “The Snow Maiden”: Farewell to Maslenitsa.

Chesnokov P. Spring is rolling.

3rd year

Polyphonic choral works for study.

Original choral works

Arkadelt Ya. Swan at the moment of death.

Vecky Oh, it's better not to be born.

Verdi G. 4 spiritual choirs.

Gabrieli A. Young maiden.

Grechaninov A. Swan, crayfish and pike.

Glazunov A. Down the mother, along the Volga.

Kodaly 3. Hungarian Psalm.

Lasso O. Shepherd. Goose song. Echo.

Marenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.

Morley Tenderness burns in your face.

Palestrina J. Spring wind. Oh, he's been in the grave for a long time.

Rimsky-Koreakov N. The month floats. Old song.The golden cloud spent the night. Tatar is full.You're a garden. In the wild north.

Sveshnikov A. You are a garden.

Sokolov V. Where can a girl go out of grief?

Taneev S. Alps. Sunrise. Evening. At the grave.The ruin of the tower. Look how dark it is.Prometheus. I saw a cliff from behind a cloud. On days when over the sleepy sea. There are two gloomy clouds in the mountains.

Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.

Chesnokov P. The baby was walking.

Shebalin V. Above the mounds.

Shchedrin R. Willow, willow.

Choirs from operas:

Borodin A. “Prince Igor”: Choir of villagers.

Berlioz T. “The Damnation of Faust”: Brander’s Song and chorus.

Vasilenko S. “The Legend of the Invisible City of Kitezh”:Choir of the people "Woe has befallen".

Wagner R. “Die Meistersinger”: Glory to Art.

Glinka M. “Ivan Susanin”: Introduction. "Ruslan and Lyudmila”: He will die, he will die.

Dargomyzhsky A. “Rusalka”: Healthy Choir.

Mozart V. “Idomeneo”: Run, save yourself.

Rimsky-Koreakov N. “The Tsar’s Bride”:choral fugetta "Sweeter than honey". "Snow Maiden: I have never been scolded by betrayal(from the final 3 days)

Ravel M. “Child and Magic”: Choir of Shepherds and Shepherdesses.

Shostakovich D. “Katerina Izmailova”: Glory.

Choirs from oratorios and cantatas

Harutyunyan A. Cantata about the Motherland: No. 3 “Triumph of Labor”.

Bartok B. Cantataprofana. № 1, 2, 3.

Bakh I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of the Winds", No. 206D- dur"Opening Choir", No. 208 F-dur "Closing Choir", Mecca h- molI: № 1, 3, 15, 16, 17.

Beethoven L. MassC- dur: 1st anthem

Berlioz G. Requiem: dep. numbers.

Britten B. War Requiem. MassinD.

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: No. 5, 12

Verdi J. Requiem: No. 1, 2, 7.

Haydn I. Seasons: No. 2, 6, 9, 19.

Handel G. “Alexander Festus”: No. 6, 14, 18. “ Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.

Davidenko A. From the joint oratorio “The Path of October”: On

ten miles away, the street is worried.

Degtyarev S. “Minin and Pozharsky”: separate numbers.

Dvorak A. Requiem: separate numbers. Stabat Mater No. 3.

Yomeli N. Requiem: separate numbers.

Mozart W. Requiem: No. 1, 4, 8, 9, 12.

Honegger A. “King David”: No. 16, 18 and Final Chorus. "Joan of Arc at the stake: Finale of the oratorio.

Ravel M. “Daphnis and Chloe”: Choirs from Suites 1 and 2.

Reger M. Requiem: complete and separate numbers.

Scriabin A. 1st Symphony: Glory to Art (finale).

Stravinsky I. Symphony of Psalms: complete and individual numbers.

Smetana B. “Czech Cantata.”

Taneyev S. “John of Damascus”: complete and separate numbers. "After reading the psalm": No. 1, 4.

Faure G. Requiem: separate numbers.

Hindemith A. “Eternal”: complete and separate numbers.

Tchaikovsky P. “To the 200th anniversary of the monument to PeterI": Fugue.

Schubert F. Mass As-major. Private rooms. Mass Es-dur: Individual rooms.

Shimanovsky K. StabatMater: № 1, 4, 5, 6.

Schumann R. “Paradise and Peri”:№8, 11, Requiem: separate numbers.

Shostakovich D. “Song of the Forests”: No. 7 Slava.

Shchedrin R. “The Sealed Angel”: separate numbers and in full.

Choral works in the keys "C".

Baya T. OboneJesu

Bortnyansky D. Concerto for choir No.I.

Gastoldi T. Heart, do you remember

Kalvisius S. I am a man.

Lasso O. All day long.I was told. How did you do it?

Lechner L. Oh, how cruel my fate is to me.

Meyland Ya. The heart rejoices in the chest.

ScandeliusA. To live on earth.

Friederici D. Song of Society.

Hasler G. Ah, I sing with a smile.

Chesnokov P. Spirit. choirs.

Shostakovich D. Like in the immemorial year.

Choral scores for transposition

Venosa J. Sancti spiritus.

Verdi J . Laudi alla virgine Maria ( fragments )

Dargomyzhsky A. Petersburg serenades: From a country, a distant country.The raven flies to the raven.I drink to Mary's health. At midnight the goblin. On calm waves.

Ippolitov-Ivanov M. Pine.

Kodaly 3. Hello, Janos.

Lottie A. Miserere

Mendelssohn F. In the South.

Muradeli V. Touchy dreams.

Rechkunov M. With a sharp axe. Autumn.

Taneyev S. Serenade. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.

Main questions

1. Analysis of the score in the conductor’s work

2. Brief summary of the choral score

3. Plan for a detailed analysis of the choral score

4. Methodological literature

a) Method of analysis

b) Sample analyzes of choral scores

Target: Determine the importance of score analysis in the work of a choir conductor. Analyze all points of the main issues in the analysis of a choral score. Identify all performance difficulties in working on a choral score to maximize the musical image.

Analysis of the score in the conductor's work

Conducting is a difficult and complex art that requires great knowledge, bright musical performance, strong-willed qualities, and extraordinary organizational abilities.

All the diverse activities of the conductor are ultimately concentrated around one goal - working on the work. The conductor’s work on a choral work consists of three successive stages:

Self-study;

Rehearsal work with the choir;

Concert performance.

It is difficult to say which stage is more important - they are all interconnected. There is no doubt, however, that the basis of all the conductor’s work is the first stage, when not only a comprehensive study of the work takes place, but also the foundations of the performing concept are thought through. It is no coincidence that in the educational process, students’ independent work is given such great importance.

Conductor-choral pedagogy has developed certain methods for the conductor to independently work on a piece before learning and performing it with the choir. They are:

Piano performance;

Vocal and intonation development;

Conducting and technical development;

These methods, the result of the experience of the best choral conductors of the past, have now become generally accepted and unshakable. It is not uncommon, however, for choir conductors (especially beginning amateur choir directors) to neglect some of them, which significantly reduces the effectiveness of their work. With the main attention to the conducting and technical side, much less space is given, for example, to the independent vocal and intonation development of the work, and the analytical side sometimes simply falls out of sight of the novice conductor. This is largely due to the insufficient methodological development of issues related to the analysis of choral scores.

Analysis of choral scores is one of the means for a conductor to independently study a choral work.

The need to analyze a work as a prerequisite for preparing a conductor to work with a choir developed during the many years of experience of the best Soviet conductors and teachers. Requirements for the analysis of choral scores, formulated by the luminaries of Russian and Soviet choral art P.G. Chesnokov (1877 - 1944) and N.M. Danilin (1878 - 1945), are also put forward in the famous works of G.A. Dmitrevsky, A.A. Egorov, K.K. Pigrov, K.B. Ptitsa, V.G. Sokolov, I.I. Poltavtsev and M.F. Svetozarova and others. Serious attention is paid to this issue in manuals devoted to the methodology of working with an amateur choir.

The significance of a deep and comprehensive analysis of the choral score for the education and work of a choral conductor mainly boils down to the following:

Firstly, analysis of the score contributes to a better understanding by the conductor of the musical and literary text of the work, which, as we know, he must know perfectly (by heart). Conscious - based on comprehensive analysis - study of the score is fundamentally different from the often used rote memorization, which is usually short-lived and much less effective in work.

Secondly, analysis of the score is necessary to identify technical, stylistic, vocal and other features of the work, to identify difficulties that may arise in the process of learning and performing. Working with a group and usually being limited in time, the conductor must, when preparing independently, do everything possible to take into account in advance the various details of his work with the choir.

Thirdly, on the basis of the analysis, the conductor establishes the main performance issues of the work and determines specific expressive means for its creative embodiment.

Fourthly, work on the analysis of the score significantly enriches the conductor’s knowledge in the field of music history, harmony, polyphony, musical form, choral studies, and conducting. The ability to have a good understanding of issues of general and musical culture contributes to his improvement as a performer and significantly increases his authority as a leader of a group. The constant accumulation of this knowledge is a necessary condition for the work of a conductor.

In addition, working on the analysis of a work develops the ability to competently express one’s thoughts, which is also important for the conductor, as the leader of the ensemble.

Thus, the significance of the analysis of a choral work is not limited to the scientific and theoretical side - it is very important for practical conductor's work.

An educational analysis of a choral score is done in written form. Depending on the tasks facing the student and the degree of his special training, there may be two type analysis: brief summary and detailed analysis.

The purpose of creation brief summary is to establish basic data about the work and the creativity of its author.

An annotation should be prepared for each piece studied in the conducting class (at least 5 pieces per semester). Having 40–50 annotations for the final exam, a student accumulates significant creative and scientific knowledge, which will always be useful in work.

Other requirements are set during creation detailed analysis of the score, which in educational practice is usually called written work on score analysis.

Written work is submitted for each conducting examination or test (hence each semester). One written work is also submitted for the choir dance exam. That. During the period of study, the student must complete 8-10 written works on a detailed analysis of choral scores.

For analysis, in agreement with the teacher, one of the works studied in the conducting class is selected (primary attention is recommended to be given to works for mixed choir a cappella– the most typical for choral performing practice). At the same time, it is necessary to strive to ensure that students work on analyzing works of various styles and genres during the learning process.

The size of the written work is determined by the size and complexity of the work being analyzed, as well as the degree of depth of the analysis. The usual size of work is 12-15 pages of school notebook format. However, when students are just beginning to master analysis skills, it may be somewhat smaller (10-12 pages). Subsequently, the size of the work, as a rule, increases to 15-20 pages.

The work must be written correctly, accurately, legibly and carefully edited. It should be accompanied by the score of the work being analyzed (in full) with digital markings of bars, to which references are made during the analysis. If you are analyzing a piece of large form with accompaniment, then it is not necessary to write out the accompaniment part - it is enough to limit yourself to the necessary musical examples.

Regardless of the characteristics of the work and the level of special training of the student, the analysis of each choral score should consist of the following main sections:

General information about the work;

Analysis of literary text;

Analysis of musical expressive means;

Analysis of choral texture (vocal-choral analysis);

Development of performance Key issuesa.

The difference in requirements for students when analyzing scores in various courses is:

In the increasing complexity of the analyzed works;

In increasing demands on the quality of analysis, its depth and versatility;

It should also be borne in mind that while all sections of the Fundamental Issues are important and necessary, not all of them have the same importance. The sections devoted to the analysis of choral texture and the development of performance issues are fundamental, while others are, to a certain extent, auxiliary in nature, which, however, should not affect their theoretical level. Therefore the question arises about aspect of analysis, i.e. about its purposefulness. The author must have a very good idea of ​​the purpose of his work in order to accurately define his tasks. For the conductor, the main task of the analysis is to identify specific choral performing means necessary to reveal the content of the work. Therefore, the analysis of the choral texture for the performer of a choral work is the main task: not an analysis “in general,” but an analysis of the vocal and choral features of the work and the development of performing basic questions based on knowledge and understanding of these features. It is always important to remember this in order to avoid chaotic and inconsistent presentation without a clear and definite purpose, which, unfortunately, is often found in student works.

Often, when analyzing a score, too much space is given to describing the composer’s life path and characterizing his work. Information about the authors of the work should be brief. The main attention should be paid to the direct analysis of the work itself.

When analyzing choral texture, the most important thing is to determine specific choral presentation techniques(choral writing) used in this work, as well as identifying features choral style composer. These are the most difficult sections. In addition, work on them is hampered by the lack of sufficiently complete and systematically presented educational and methodological material - the least developed in choral theory.

The specific results of the analysis, its quality in each case depends on many factors, the most important of which are: the author’s general musical theoretical knowledge, his special choral knowledge (knowledge of choral studies), experience in conducting and choral work, analytical abilities and skills. We pay special attention to the importance of education from a conductor analytical skills. For a conductor as an organizer and leader of a performance, rational-analytical abilities and skills are no less important than emotional-intuitive qualities. Only their combination gives rise to true professionalism.

To develop the analytical skills of choir conductors, a course in choral studies is of great importance, one of the main tasks of which is a deep and systematic study of the features of choral texture, expressive means of the choir, and specific techniques of choral writing. No less important is the study of genre and stylistic patterns of choral music - both in relation to the work of individual composers and choral genres in general. A course in the analysis of musical works can also provide significant assistance in this, where more space should be given to choral creativity - not only in the main issues of structural analysis, but also textural and choral.

Working on the analysis of a work is a matter that requires a lot of attention and a real creative attitude. Analysis of the score and its study in technical and performance aspects. The main issues are mutually enriching processes. If familiarity with general information about the work and its authors is an important prerequisite for the practical creative development of the score, then without knowledge of the score and all its details it is impossible to exhaustively analyze its musical and expressive means, the features of choral presentation, and develop performance basic issues. Therefore, work on analyzing the score should begin with the first acquaintance with it and continue until the work is finally mastered by the conductor. It should be borne in mind that without fulfilling all the requirements for studying a choral work in a conducting class (playing the piano, singing choral parts, intonating chords, careful conducting and technical work), an exhaustive, deep and comprehensive analysis of it is impossible.

Brief summary of the choral score

The abstract consists of a concise presentation of the main data about the work, in a specific fixation of indicators of tempo, meter, mode-tonal features, features of form, texture, etc. The following is recommended Main questions of the annotation :

Title of the work. Year of creation.

Type of choral creativity and choral genre.

If the analyzed work is part of a larger composition, general information about the entire cycle (number and name of parts, composition of performers...)

Cast of performers (for choral works with accompaniment and soloists).

Form (definition of the form indicating the parts and their size - number of beats).

Tonality (main, modulation, deviations).

Pace and character of performance (translation). Metronome.

Meter and size.

Rhythmic features.

Dynamics.

Sound science.

Invoice (general type of invoice).

Choir composition.

Ranges of choral parts and the general range of the entire choir.

Tessitura.

Techniques of choral presentation.

The abstract can be supplemented with brief information about the composer’s work (list the main works), as well as some of the most significant performance remarks. If there are other editions of the analyzed work, they should be indicated.

Creating such annotations is relatively simple; the main thing is the ability to clearly formulate answers to all the questions specified in the Basic Questions.

The main and most common types of choral scores are: choral miniature a cappella and a large choir with instrumental accompaniment.

Their abstract quite fully covers all the necessary issues that arise in the process of a student’s work on this section of the conducting and choral specialty.

Plan for a detailed analysis of the choral score

General information about the work and its authors

General information about the work. The exact and detailed title of the work. Year of creation. Authors of music and lyrics. Type of choral creativity (choir a cappella, accompanied choir). Choral genre (choral song, arrangement, miniature, large form, arrangement, part of an oratorio, cantata, suite, scene from an opera, etc.). If the work being analyzed is part of a larger composition, then the remaining parts should be briefly described in order to have a general idea of ​​the entire cycle (the composition of performers, the number and name of parts, the role of the choir, etc.).

Information about the life and work of the composer. Years of life. General characteristics of creativity. Major works. A more detailed description of choral creativity.

Literary text

Comparison of the text used by the composer with the literary original; the changes that have occurred and their causes. If the text used is a fragment of a larger work (poem, poem, etc.), it is necessary to give a general description of the entire work.

Presentation of the literary text (write out all the text used).

The relationship between text and music. The degree of their compliance. The embodiment of literary themes and images through music. The relationship between the structure of the text and the form of the choral work.

Analysis of the choral score.

Compiled by: senior lecturer

Department of Choral Conducting and

solo singing of the Faculty of Music

Bogatko I.S.

Perm 2013

Analysis of a choral work

Musical theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).

Vocal-choral analysis: type and type of choir, ranges of voices, tessitura, ensemble, structure, intonation, vocal-choral, rhythmic, diction difficulties).

Performance analysis of the work; (connection of music with text, definition of caesuras, establishment of tempo, nature of the work, dynamics, strokes, climax).

List of works.

1 course

Choral works to study

Arensky A. Anchar. Nocturne

Agafonnikov V. They sowed flax across the river.

Bely V. Steppe

Boyko R. 10 choirs at A. Pushkin station

Vasilenko S. Dafino wine. Like in the evening. There are two gloomy ones in the mountainsclouds. Blizzard. Stepnaya.

Grechaninov A. The stream makes us happy. In a fiery glow. Aboveunapproachable steepness. The world is quiet. After a thunderstorm. At dawn.

Gounod S. Night

Davidenko A. All-forward. Barge haulers. The sea moaned furiously.

Darzin E. The Past. Broken Pines.

Dvorak A. Peer. Choirs from the cycle "About Nature"

Debussy K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ippolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under the big tent. Rus.

Korganov T. Sees a doe in the water.

Kasyanov A. Autumn. The sea does not foam.

Caldara A. StabatMater

Kalinnikov V. Lark. Winter. On the old mound. We have starsthe meek ones beamed. Autumn. Forest. Oh, what an honor to the fellow. The stars dimmedchickpeas and go out. Condor. Elegy.

Koval M. Ilmen-lake. Leaves. Tears. There would have been a storm or something.

Kravchenko B. Russian frescoes (optional)

Cui C. Nocturne. Cheer up, songbirds. Two roses. The sun is shiningtse. Storm clouds. Dream.

Kolosov A. Rus'.

Lasso O. Soldier's serenade. Oh, if only you knew. Matona.

Lensky A. The Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).

Lyatoshinsky B. Autumn. Oh, my mother. In a clean field. Water is flowing.

Makarov A. “City of Unfading Glory” from the suite “River-Bogatyr”

Mendelssohn F. Choirs to choose from.

Muradeli V. Response to A. Pushkin’s message.

Novikov A. In the forge. Oh, you, field. Love. Merry feast.

Popov S. Like on the sea.

Poulenc F. White snow. Sadness. “I’m afraid of the night” from the cantata “The Face” human"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. In a dark forest. Oh, you wide steppe. Down on mother along the Volga.

Sviridov G. "Pushkin's Wreath": No. 1, 3, 7, 8, 10. "Night Clouds" -No. 2. Blue in the evening. Clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Wither and wither, stormy weather. Are you a rowan or a ripple? nushka.

Taneev S. Adeli. The ruin of the tower. Venice at night.

Tchaikovsky P. Without time, without time. Not a cuckoo in the dampBor. A cloud spent the night. Nightingale. That the fun has stoppedvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).

Chesnokov P. August. Alps. In winter. The dawn is warming. Forest. Along and alongriver. Dubinushka. Not a flower in a field withers. Liturgical choirs (optional).

Shebalin V. Winter road. The mother sent her thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove the horse. Soldier's grave.

Shostakovich D. Ten poems. (choirs to choose from).

Schumann R. Good night. Toothache. In the forest. On Lake Constance.

Shchedrin R. 4 choirs at the station. A. Tvardovsky.

Schubert F. Love. Night.

Choral works for sight reading and transposition.

Bortnyansky D. It is worthy to eat. Cherubimskaya No. 2.

Vekki O. The Shepherd and the Shepherdess.

Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.

Dargomyzhsky A. Petersburg serenades.

Glinka M. Patriotic song.

Grechaninov A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ippolitov-Ivanov M. With a sharp axe. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Rowanushka.

Kodaly 3. Evening song.

Costle G. Mignon.

Leaf F. The Coming of Spring.

Mendelssohn F. Run with me. Like frost fell on a spring night.Over her grave. Premonition of spring.

Prosnak K. Prelude.

Rachmaninov S. We’ll sing for you.

Rimsky-Korsakov N.A. Oh, there's a sticky thing in the field. You rise, red sun.

Salmanov V. “Oh, dear comrades” from the oratorio “The Twelve.”

Slonimsky S. Leningrad White Night.

TaneevS. Serenade. Pine.

Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.The golden cloud spent the night

Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.

Shebalin V. Winter road.

Schumann R. Evening star. Good night. Night silence.

Schubert F. Love. Far away.

Shchedrin R. How dear a friend is. The war has passed. Quiet Ukrainian night.

Eshpai A. Song about springs.

2nd year

Accompanied choirsForstudying.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ippolitov-Ivanov M. Morning. Peasant feast.Spring is approaching. Flowers.The leaves in the garden are rustling. In May.

Novikov A. Grass. Hey, let's whoop. And the rain is pouring down.

Schumann R. Gypsies.

Schubert F. Shelter.

Choirs from oratorios and cantatas.

Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.

Britten B . Missa brevis in D

Bruckner A. Requiemd- moll. Big mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Handel T. Oratorio "Samson": "Samson is slain"

Grig E. Olaf Trygvasson (separate rooms).

Dvorak A. Requiem (choral numbers). ThoseDeum(fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory, Black stone.

Kozlovsky O, Requiem (optional parts).

Makarov A. Suite "River-Bogatyr". ABOUT

ABOUT rf K. Carmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan the Terrible (good numbers).

Poulenc F. The Human Face (optional parts)

Salmanov V. Twelve (parts or all).

Sviridov G. “Pathetic Oratorio”: Wrangel’s Flight,To the heroes of the Battle of Perekop, There will be a garden city, The poet and the sun. " Poem in memory of S. Yesenin": Winter sings, Threshing,Night of Ivan Kupala, Peasant

Guys. " Pushkin's Wreath": No. 5, 6. "Night Clouds" No. 5. " Ladoga" No. 3, 5.

Tchaikovsky P. Moscow: No. 1, 3, 5.

Shostakovich D. “Song of the Forests”: A Future Walk. "The sun is shining over our Motherland,” “ Stenka Razin."

Choirs from operas;

Bizet J. “Carmen”: scenes 24, 25, 26.

Beethoven L. “Fidelio” (choir section).

Borodin A. “Prince Igor”: Glory, Scene of Yaroslavna with the girls,Scene at Galitsky, Polovtsian dances with choir,Finale of the 1st act,

Wagner R. “Lohengrin”: Wedding Choir. "Tannhäuser: March.

Verdi D. “Aida”: choral scenes. "Othello": choral scenes from acts 1, 3.

Verstovsky A. “Askold’s Grave”: Ah, girlfriends, Brew, potion.Choir and Torop's song.

Gershwin A. “Porgy and Bess”: separate choirs.

Glinka M. “Ivan Susanin”: Polish Act, Glory."Ruslan and Lyudmila": Introduction, Act 1 Finale,Oh, you are light, Lyudmila.

Glitch X. "Orpheus": separate choirs.

Gounod S. “Faust”: Waltz. "Romeo and Juliet": courtiers' choir.

Dargomyzhsky A. “Mermaid”: Oh, you, heart, Braid yourself, wattle fence. How we brewed beer on the mountain.Like in a bright room.

Delibes L. “Lakme”: choir and scene in the market.

Kozlovsky O. “Oedipus the King”: 1st choir of the people.

Mussorgsky M. “Boris Godunov”: Coronation Scene,Scene at St. Basil's,Scene near Kromy (entirely and individual fragments), “Sorochinskaya Fair”: Chorus from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in Streltsy Sloboda (in full) and separate fragments).

Rimsky-Koreakov N.A. "Pskovite": Meeting of Grozny,Entry of Grozny to Pskov, Veche Stage; "Sadko": Choir of trade guests,Is it the height, the height of heaven? "Snow Maiden": Choir of Blind Guslars,Scene in a reserved forestAnd we sowed millet, Pcarnival celebrations, The finale of the opera.

« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride: Love potion, Yar-hop. " May Night": Millet.

Smetana B. “The Bartered Bride”: separate choirs.

Kholminov A. “Chapaev”: Here, Petenka.

Tchaikovsky P. “Eugene Onegin”: Peasant Choir, Ball at the Larins'. " Queen of Spades": Walking Choir,Guest Choir, Shepherdess Pastoral. “Mazeppa”: Chorus and mother’s lamentation, Folk scenes, Execution scene. "Oprichnik": A duck was swimming at sea,Wedding choir "Slava".

Choral works for sight reading and transposition

Borodin A. “Prince Igor”: Fly away on the wings of the wind.

Verstovsky A. “Askold’s grave”: Two choirs of fishermen,There was a white birch tree near the valley, Ah, girlfriends.

Verdi J. “Nebuchadnezzar”: You are beautiful, oh, our Motherland. "Aida": Who is there (act 2).

Glinka M. “Ruslan and Lyudmila”: Oh, you are the light Lyudmila,The bird won't wake up in the morning. "Ivan Susanin": Wedding song.

Dargomyzhsky A. “Rusalka”: Three choirs of mermaids.

Mussorgsky M. “Khovanshchina”: Dad, Dad, come out to us.

Petrov A. “Peter I”: Final chorus from the opera.

Tchaikovsky P. “The Snow Maiden”: Farewell to Maslenitsa.

Chesnokov P. Spring is rolling.

3rd year

Polyphonic choral works for study.

Original choral works

Arkadelt Ya. Swan at the moment of death.

Vecky Oh, it's better not to be born.

Verdi G. 4 spiritual choirs.

Gabrieli A. Young maiden.

Grechaninov A. Swan, crayfish and pike.

Glazunov A. Down the mother, along the Volga.

Kodaly 3. Hungarian Psalm.

Lasso O. Shepherd. Goose song. Echo.

Marenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.

Morley Tenderness burns in your face.

Palestrina J. Spring wind. Oh, he's been in the grave for a long time.

Rimsky-Koreakov N. The month floats. Old song.The golden cloud spent the night. Tatar is full.You're a garden. In the wild north.

Sveshnikov A. You are a garden.

Sokolov V. Where can a girl go out of grief?

Taneev S. Alps. Sunrise. Evening. At the grave.The ruin of the tower. Look how dark it is.Prometheus. I saw a cliff from behind a cloud. On days when over the sleepy sea. There are two gloomy clouds in the mountains.

Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.

Chesnokov P. The baby was walking.

Shebalin V. Above the mounds.

Shchedrin R. Willow, willow.

Choirs from operas:

Borodin A. “Prince Igor”: Choir of villagers.

Berlioz T. “The Damnation of Faust”: Brander’s Song and chorus.

Vasilenko S. “The Legend of the Invisible City of Kitezh”:Choir of the people "Woe has befallen".

Wagner R. “Die Meistersinger”: Glory to Art.

Glinka M. “Ivan Susanin”: Introduction. "Ruslan and Lyudmila”: He will die, he will die.

Dargomyzhsky A. “Rusalka”: Healthy Choir.

Mozart V. “Idomeneo”: Run, save yourself.

Rimsky-Koreakov N. “The Tsar’s Bride”:choral fugetta "Sweeter than honey". "Snow Maiden: I have never been scolded by betrayal(from the final 3 days)

Ravel M. “Child and Magic”: Choir of Shepherds and Shepherdesses.

Shostakovich D. “Katerina Izmailova”: Glory.

Choirs from oratorios and cantatas

Harutyunyan A. Cantata about the Motherland: No. 3 “Triumph of Labor”.

Bartok B. Cantataprofana. № 1, 2, 3.

Bakh I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of the Winds", No. 206D- dur"Opening Choir", No. 208 F-dur "Closing Choir", Mecca h- molI: № 1, 3, 15, 16, 17.

Beethoven L. MassC- dur: 1st anthem

Berlioz G. Requiem: dep. numbers.

Britten B. War Requiem. MassinD.

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: No. 5, 12

Verdi J. Requiem: No. 1, 2, 7.

Haydn I. Seasons: No. 2, 6, 9, 19.

Handel G. “Alexander Festus”: No. 6, 14, 18. “ Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.

Davidenko A. From the joint oratorio “The Path of October”: On

ten miles away, the street is worried.

Degtyarev S. “Minin and Pozharsky”: separate numbers.

Dvorak A. Requiem: separate numbers. Stabat Mater No. 3.

Yomeli N. Requiem: separate numbers.

Mozart W. Requiem: No. 1, 4, 8, 9, 12.

Honegger A. “King David”: No. 16, 18 and Final Chorus. "Joan of Arc at the stake: Finale of the oratorio.

Ravel M. “Daphnis and Chloe”: Choirs from Suites 1 and 2.

Reger M. Requiem: complete and separate numbers.

Scriabin A. 1st Symphony: Glory to Art (finale).

Stravinsky I. Symphony of Psalms: complete and individual numbers.

Smetana B. “Czech Cantata.”

Taneyev S. “John of Damascus”: complete and separate numbers. "After reading the psalm": No. 1, 4.

Faure G. Requiem: separate numbers.

Hindemith A. “Eternal”: complete and separate numbers.

Tchaikovsky P. “To the 200th anniversary of the monument to PeterI": Fugue.

Schubert F. Mass As-major. Private rooms. Mass Es-dur: Individual rooms.

Shimanovsky K. StabatMater: № 1, 4, 5, 6.

Schumann R. “Paradise and Peri”:№8, 11, Requiem: separate numbers.

Shostakovich D. “Song of the Forests”: No. 7 Slava.

Shchedrin R. “The Sealed Angel”: separate numbers and in full.

Choral works in the keys "C".

Baya T. OboneJesu

Bortnyansky D. Concerto for choir No.I.

Gastoldi T. Heart, do you remember

Kalvisius S. I am a man.

Lasso O. All day long.I was told. How did you do it?

Lechner L. Oh, how cruel my fate is to me.

Meyland Ya. The heart rejoices in the chest.

ScandeliusA. To live on earth.

Friederici D. Song of Society.

Hasler G. Ah, I sing with a smile.

Chesnokov P. Spirit. choirs.

Shostakovich D. Like in the immemorial year.

Choral scores for transposition

Venosa J. Sancti spiritus.

Verdi J . Laudi alla virgine Maria ( fragments )

Dargomyzhsky A. Petersburg serenades: From a country, a distant country.The raven flies to the raven.I drink to Mary's health. At midnight the goblin. On calm waves.

Ippolitov-Ivanov M. Pine.

Kodaly 3. Hello, Janos.

Lottie A. Miserere

Mendelssohn F. In the South.

Muradeli V. Touchy dreams.

Rechkunov M. With a sharp axe. Autumn.

Taneyev S. Serenade. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.

Date added: April 28, 2014 at 16:20
Author of the work: c************@mail.ru
Kind of work: graduate work

Attached files: 1 file

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Muz.docx

Music J. Ozolinya

Sl. A. Braudele

The forest is dense

The literary text of the work was written by Anna Yurievna Brodele. Born September 16, 1910. Latvian writer. Born into a forester's family. Published since 1927. For participation in underground work she was imprisoned (1932 - 1936). She studied at the Lithuanian Institute. M. Gorky in Moscow.

The turning point in the consciousness of the old intelligentsia is reflected in the play “Teacher Straush” (1949)

Braudele's most significant prose is the story "Margot" (1950), the novel "Quiet Town" (1967) about the struggle for Soviet power in bourgeois Latvia. Novels from collective farm life: “Blood of the Heart” and “Loyalty.” The stories “Blue Sparrow” and “This is My Time” are dedicated to the problems of youth. She was awarded two orders, as well as medals. She died on September 29, 1981.

The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in the city of Emava. Latvian Soviet choral conductor, composer and teacher. Honored Artist of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductors of song festivals. Author of many choral works, as well as romances, arrangements of folk songs, music for theater and cinema. From 1930 – 1941 taught in secondary schools in Jelgava and Riga. From 1942 to 1944 he was the conductor of the choir of the State Art Ensemble of Latvia in the SSR in Ivanovo, for which he created the first Latvian military-patriotic mass songs. From 1944 - 1953 artistic director and conductor of the State Choir of Latvia SSR, from 1946 - 1948 artistic director of the State Philharmonic Society of Latvia SSR. Since 1951, teacher (since 1965 professor) and rector of the Latvian Conservatory. One of the main conductors of all song festivals in Soviet Latvia. J. Ozolin is the author of numerous successive choral songs with a developed melodic beginning. (“Song of the Latvian Riflemen”, “Song of the Fishermen”, “My Motherland”, “Ivushka”, “The Path of the Song” - a poem for a male choir and symphony orchestra, a cycle of vocal miniatures based on poems by R. Gamzatov, etc.), works for the spiritual orchestra (fantasy suite “Evening in a Fishing Village”, overture “Immortal Youth”, etc.), music for drama and puppet theaters, cinema.

Literary text

The forest is dense...

Clouds float over the forest into the distance,

the blue of the river sparkles,

the sun knits lace.

Gray flock of light clouds

flies to the east and melts,

and, waving the branches after,

The birches send greetings to them.

Visit the places

where we hovered in our dreams!

There will be all dreams and dreams

brought to life by us.

This choral work celebrates the beauty of nature. Nature yesterday, today, and tomorrow – was, is and will be beautiful. Nature evokes bright feelings in people. One cannot help but admire her, because we know how powerful, unique and eternal nature is, how good our Motherland is. Wherever fate throws a person, wherever he finds himself, the soul will still live in the Motherland, where he has corners of nature to which he trusted his thoughts, his feelings, his dreams...

Musical - theoretical analysis.

The work is written in a simple couplet form.

The choral score is 12 bars long.

The period consists of three musical sentences. Each sentence is divided into 2 phrases.

The third sentence is a repetition of the second without change.

The forest is dense... 1 fr.

Clouds float over the forest into the distance, 2 fr.

The blue of the river sparkles, 3 fr.

The sun knits lace.4 fr.

The rhythmic pattern of this choir is simple, expressed by the following groupings:

The work is written in the key of F major. Variable meter is simple, two- and three-part. Simple size ¾, 2/4. The style of presentation is homophonic-harmonic. The work is dominated by monorhythm in 1, 3, 5, 7 bars, 2, 4, 6, 8 bars.

Example vol. 1-2

An important means of musical expression is dynamics. The dynamics of this work are represented by the following quantities: p, mp, mf, as well as many moving dynamics: crescendo, diminuendo.

Example vol. 7-8.

One of the means of artistic expression is tempo - a certain sphere of images, emotions, moods.

The tempo of the piece is moderate (slow).

Example: t.1 – 2

This work is performed acappella, the distribution of musical thematic material between the choral parts occurs as follows: the melodic line runs in part S1, and S2 and A harmoniously support it.

Example: vol. 5 – 6

Lado, the tonal plan of the work is very simple and traditional. The main key of the work is F major. And only in 6 volumes. The composer uses the harmonic form of major (with a lowered 6th degree).

Example: vol. 5 – 6

The harmonic language of the work “The Dense Forest Spreads” is completely determined by the mode-tonal plan - it is very simple. These are triads and inversion of triads (T, S, D).

Example: vol.3 – 4

The style of presentation is homophonic-harmonic. The texture of a choral work is determined by the content and expressive capabilities of the choral parts. In the work “The Dense Forest Spreads”, two main functions of the choral parts can be distinguished: melodic (associated with the implementation of musical thought - the upper voice), and harmonic (the accompaniment function - the middle, lower voice).

Example: vol. 1 – 2

Vocal - choral analysis

The work “The Forest Spreads Deep” was written for a homogeneous female three-voice choir a cappella. Let's consider the range of each choral part separately:

Ranges of choral parts:

Overall range of the choir:

All choral parts are written within the notes of the working range.

With the exception of part - A, their theme begins in a small octave and therefore you need to start singing more quietly on P.

Diction is the most important element in choral art. The word helps the listener understand the composer’s intention, idea and image of the work. Diction is one of the means of conveying the words of the literary text of a choral work to the audience. Vocal-choral diction implies clear pronunciation. According to the rules of orthoepy, the consonant at the end of a word is transferred to the first syllable of the following word:

Lesra-ski-nus-dre-mu-chiy...

Far-float-wu-tna-dle-so-mtu-chi,

Ble-sche-tre-chki-si-ne-va

The sun is so warm.

Sometimes in a group of consonants one of them is not pronounced:

Sun - /sun/

The work mainly uses valuable breath, with the exception of 1-2 volumes, 3-4 volumes.

Choir structure

Since the piece is performed acappella, much attention must be paid to intonation. Clean tuning is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral structure.

The acappella structure is based on the modal and harmonic features of music intonation and its acoustic patterns.

Considering the melodic structure of choral parts, we are faced with intervals that present difficulties in intonation.

S1-t. 4-5 interval m.6 in an upward movement. Performed wide, in a high position:

A - interval part 4 in upward and downward movement. Must be performed in a low position:

There is a danger of lowering intonation when repeating one sound several times: t.1 (S2), t.3, t.5 (A), t.7 (S2).

The intervals and seconds between the parts S1 and S2 also create difficulty in intonation.

Having analyzed the intervals of the choir parts horizontally and vertically, we can conclude that the vocal performance in the parts is different. S1 - smooth, progressive, wavy. And parties S2 and A

on the contrary, they are very static, as if motionless - on one note and only sometimes lead the melody step by step, up and down.

Example: t.5-6

The basis of a good sound is proper singing breathing. The main type of breathing and singing is considered to be lower - costal - diaphragmatic. One of the main conditions for proper singing breathing is complete freedom of the upper chest and neck. The work uses general choral breathing in phrases and sentences.

The third phrase is performed using chain breathing (5 – 8 volumes)

Performance analysis

When starting to work on a work, it is necessary to imagine its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.

The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.

Comfortable tessitura and simple rhythm create favorable conditions for building a choral ensemble.

You need to learn the piece in batches. The conductor's gesture should be small and smooth. The conductor and singers need to pay attention to the culture of sound.

The main dynamic zone of the work (P) is quite natural for conveying a calm, contemplative mood. The dynamics are average from PP – mf.

Each phrase contains moving nuances (crescendo, diminuendo)

The second phrase of the 1st sentence begins with mp.

The second sentence begins with mf. At the end there is a diminuendo.

Each verse has a dynamic development.

This work teaches you to be attentive to nature. To love and take care of her, teach her to see the beautiful.

Short description

When starting to work on a work, it is necessary to imagine its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura and simple rhythm create favorable conditions for building a choral ensemble.
You need to learn the piece in batches. The conductor's gesture should be small and smooth. The conductor and singers need to pay attention to the culture of sound.