Coursework forms and methods of rehearsals. Lecture on the course “choral studies” “rehearsal work in the choir” Issues under study Rehearsal process in the work of the choir

INTRODUCTION

Choral singing as a form of musical art. The role and significance of choral singing in the life of the people

The importance of the subject “Choral studies” in the professional training of a music teacher
The determining direction in improving the general and musical culture of the people is choral singing. It also acts as the leading activity of students in music lessons at school. Teaching children to sing correctly and beautifully, while bringing joy to themselves and those around them, is one of the tasks of a future teacher-musician. From the above it follows that the subjects of the conducting and choral cycle are of great importance in the professional training of a music teacher.

The subjects of the conducting-choral cycle, studied by students at the Faculty of Music and Pedagogy, include six main educational lectures and practical courses: choral studies, conducting, choral class and practical work with the choir, methods of working with the children's choir, choral arrangement, choirmaster practice with educational and children's choral groups. This choice of the listed academic disciplines is determined by the objectives of comprehensive vocal and choral training of future music teachers and consists in the systematic and consistent study of theoretical and practical knowledge, the formation of professional communication skills and management of choral groups of various compositions and ages. In response to the general goal of professional training for a music teacher and director of a children's choir, each of the subjects occupies a strictly defined place in this system and solves very specific problems.
Thus, in the process of working in a choral class, students learn the skills of communicating with a choral group in two capacities - a singer and a conductor, acquire professional skills in singing in a choir, and comprehend the social and personal significance of choral singing as a means of cultivating spiritual culture.
In the conducting class, students acquire knowledge about the history of the formation and development of conducting art. In practical classes, students learn to master their own conducting techniques. Under the guidance of the teacher, work is carried out to study, comprehend and reproduce on the instrument techniques for performing choral scores, compiling and preparing oral and written annotations and analyzes of coursework and diploma choral works.

In the choral arrangement course, students learn techniques and methods for arranging choral works from one choir to another. In practical classes on choral arrangement, students comprehend and consolidate knowledge about the artistic capabilities and specifics of the sound of each type and type of choir.
The content of choirmaster practice is the live practical work of students with children's choirs of secondary schools and educational course choirs of the faculty. During the practice, students are given the opportunity to try themselves as a core leader, to see and feel their organizational, pedagogical and musical-performing capabilities.

During independent work with a children's or educational course choir, they will be able to evaluate all the musical and pedagogical knowledge they have accumulated during previous vocal and choral training, and predict the possibilities of its use in subsequent practical activities.
The course “Choral Studies” occupies a special place in the cycle of conducting and choral disciplines. The current state of the subject is considered in the unity of its three components: firstly, the study of the history of choral performance from the point of view of analyzing the development of choral art of various eras, genres, forms and styles; secondly, comprehension of the theoretical foundations of choral art, the psychophysiological mechanism of the singing process, the development of the vocal and choral culture of choir singers, the characteristics of the means of musical expressiveness of a choral work; thirdly, mastering the methodology and practice of working with the choir.
This course opens the cycle of conducting and choral disciplines and is studied at the Faculty of Music and Pedagogy in the first semester of the first year. The theoretical knowledge acquired by students in the “Choral Studies” course is subsequently implemented in practical classes in conducting, choral class, choral and pedagogical practice. The effectiveness of the methodology for conducting rehearsal work with the choir, manifested in the ability to communicate with the choir during classes and concert performances, is largely determined by the level of students’ knowledge in this academic discipline.
The Choral Studies course is taught through lectures, seminars and practical classes. The content of the lecture sessions includes the most complex and voluminous historical, theoretical and methodological issues that form the basis of the course. The purpose of the seminar classes is to consolidate the knowledge acquired during the lectures, demonstrating the level of their consolidation when analyzing the choral score, methods of independent work of the conductor when preparing fragments of the choral rehearsal. In practical classes, when attending rehearsals of choirs, students get acquainted with the experience of the leading choirmasters of the Republic, as well as teachers - leaders of student choirs, processing and assimilating their best methodological and pedagogical techniques.

The study of this discipline ends with an oral examination. The exam papers include theoretical questions, tasks on analyzing fragments of a choral score and demonstrating a system of vocal and choral exercises and fragments of learning works with a choir. As a rule, the first question on the ticket is devoted to the history of choral art and the evolution of its genres. In covering the second question, it is necessary to demonstrate knowledge of the theory of choral studies, the practice of working with a choir, and also to characterize the features of the choral structure and ensemble. The answer to the third question should demonstrate the volume and quality of the student’s independent work on selecting vocal and choral chants and exercises, drawing up a program for a choral concert, presenting and justifying a choir rehearsal prospectus.

Chapter 2. THEORETICAL FOUNDATIONS OF CHORAL PERFORMANCE
Topic 1. Genres of choral performance
Topic 2. Definition of the concept of “choral group”. Types and types of choir. Choral score
Topic 3. Ranges of the choir and choral parts Registers of singing voices. Choral tessitura
Topic 4. Formation and recruitment of choral parts of a mixed choir
Topic 5. Characteristics of the artistic and performing capabilities of different types of choral groups
Topic 6. The composition of the choir and its arrangement during rehearsals and concert performances

Chapter 3. FORMATION OF VOCAL TECHNIQUE AND ITS IMPORTANCE IN INCREASING THE PERFORMING CULTURE OF THE CHOIR
Topic 1. Singing breathing, its types and types. Correct singing attitude
Topic 2. Attack of sound and main types of sound management in choir
Topic 3. Diction in the choir and its role in revealing the ideological and semantic content of a choral work

Chapter 4. CHARACTERISTICS OF ELEMENTS OF VOCAL-CHORAL SOUNDS
Topic 1. Choral structure. Methods of working on formation in the choir
Topic 2. Choral ensemble. Methodology for working on an ensemble in a choir.

Chapter 5. TECHNOLOGY OF VOCAL-CHORAL WORK: FORMS, CONTENT, METHODS OF TRAINING CHOIR SINGERS
Topic 1. Amateur choir as a type of musical creativity
Topic 2. Main directions of work of the amateur choir
Topic 3. The conductor’s work on independent study of the choral score
Topic 4. Choir rehearsal, methods of organizing and conducting it.
Topic 5. Concert activity of the choir, its role and significance

Chapter 6. WRITTEN ANALYSIS OF A CHORAL WORK
General requirements for the preparation of a written analysis of a choral work
APPLICATION. Examples of the use of M. Lermontov’s poem “In the Wild North” in the choral works of Russian composers
LITERATURE

Rehearsal process in the junior choir

Report

VOCAL AND CHORAL TEACHER
MBUDOD "ZARECHNENSKAYA DSHI"
UMEROVA ELVIRA SEITVELIEVNA .
Vocal education in the choir. The concept of vocal and choral skills.
Vocal education in the choir is the most important part of all choral work with children. The main condition for the correct setting of vocal education is the preparation of the leader for singing lessons with primary schoolchildren. The ideal option is when the choirmaster has a beautiful voice. Then all the work is based on demonstrations conducted by the choirmaster himself. But other forms of work also make it possible to successfully solve issues of vocal education. In such cases, the choirmaster often uses demonstration with the help of the children. By comparison, the best samples are selected for display. In every choir there are children who naturally sing correctly, with a beautiful timbre and correct sound production. Systematically applying an individual approach to choristers along with collective vocal work, the teacher constantly monitors the vocal development of each of them. But even with the most correct vocal work, it brings different results for different choristers. We know that just as no two people are identical in appearance, so there are no two identical vocal apparatuses.

It is known that attention plays a huge role in the process of mastering any material. “Attention is the direction of mental activity and its concentration on an object that has a certain significance for the individual (stable or situational).”
Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that a child’s body, unlike an adult’s, is in constant development and, therefore, change. Many years of practice have proven that singing in childhood is not only not harmful, but also beneficial. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing promotes the development of vocal cords, respiratory and articulatory apparatus. Proper singing improves children's health.

And in order for the development of a junior schoolchild in the choir to proceed correctly, it is necessary to formulate his basic vocal and choral skills. These include:
Singing installation
Students should definitely learn about the singing attitude as the basis for successfully mastering the educational material.
Conductor's gesture
Students should be familiar with the types of conducting gestures:
- attention
- breathing
- start of singing
- end of singing
- change the strength of sound, tempo, strokes according to the conductor’s hand
Breathing and pauses
The teacher must teach children to master breathing techniques - a silent short breath, support for breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is developed gradually, so at the initial stage of training, the repertoire should include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on breathing development.

Sound formation
Formation of a soft attack of sound. It is recommended to use hard materials extremely rarely in works of a certain nature. Exercises play a big role in developing correct sound production. For example, singing in syllables. As a result of work on sound formation, children develop a unified singing style.
Diction
Formation of the skill of clear and precise pronunciation of consonants, the skill of active work of the articulatory apparatus.
Build, ensemble
Working on the purity and accuracy of intonation in singing is one of the conditions for maintaining harmony. Purity of intonation is facilitated by a clear awareness of the feeling of “harmony”. You can cultivate modal perception through mastering the concepts of “major” and “minor,” including various scales and main degrees of the mode in chants, comparing major and minor sequences, and singing a cappella.
In choral singing, the concept of “ensemble” is unity, balance in text, melody, rhythm, dynamics; Therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach those who sing to listen to the voices sounding nearby.

DEVELOPMENT VOCAL AND CHORAL SKILLS WHEN WORKING WITH A JUNIOR CHOIR GROUP
The initial stage of work with the junior choir
The junior choir, as noted above, is characterized by a limited vocal range. To the first octave - D - E-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Clearly pronounced sopranos are rare, and altos are even rarer. In this regard, we believe that at the beginning of classes, dividing into choral parts is inappropriate. Our main task is to achieve a unison sounding of the choir.
The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, entry, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention should be paid here to breathing - wide breathing through phrases. Each lesson of the junior choir (the choir practices once a week for 45 minutes) usually begins with chanting, followed by choral solfeggio exercises. We write out all the songs we are learning on the board. Sometimes we use the relative technique: instead of an inconvenient key with many signs on the board, we write the nearest convenient one, for example, instead of D-flat major, D major, instead of F minor, E minor, etc. Learning a song can be done from the voice (by ear), especially at the first stage, because excessive use of notes can discourage children from practicing (difficult!), but then you need to return to the notes.

Singing melodies from notes brings certain benefits. Firstly, children get used to singing from notes, and secondly, a psychological restructuring occurs: “it turns out that it’s interesting to sing from notes, and not so difficult.”

We also take into account the characteristics of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired quite quickly, and their attention becomes dull. To concentrate, you have to alternate a variety of methodological techniques, actively use game moments, and build the entire lesson along an increasing line.

A choir lesson, in our opinion, should be fast-paced and emotional. In the future, every good choral group is an asset for conducting rehearsals and singing at gatherings. The use of a complex of various methods and techniques should be focused on the development of the basic qualities of children’s singing voice by stimulating, first of all, auditory attention and activity, consciousness and independence

Also a necessary condition for the formation of vocal and choral skills is the correct selection of the repertoire, and the choir director must take care of this in advance, since this is very important: how they will sing depends on what the children sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the chosen piece should also be aimed at developing certain skills. The repertoire must meet the following requirements:
a) Be educational in nature
b) Be highly artistic
c) Appropriate to the age and understanding of children
d) Comply with the capabilities of the given performing group
e) Be diverse in character and content
f) Selected difficulties, i.e. Each piece should move the choir forward in acquiring certain skills, or consolidate them.

You should not take complex and voluminous works. For children who will sing this, this may turn out to be an insurmountable task, and this will certainly affect the productivity in their work, and may lead to fatigue, lack of interest in the work they are doing, in some cases, even alienation from choral singing in general (depending on the character ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy works should be limited in the repertoire, since an easy program does not stimulate professional growth. And also naturally it should be of interest to the choristers; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader.

Hearing development techniques aimed at developing auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher’s demonstration for the purpose of subsequent analysis of what was heard;
comparison of various design options in order to select the best one;
introduction of theoretical concepts about the quality of singing sound and elements of musical expressiveness only on the basis of students’ personal experience;
singing “in a chain”;
modeling the pitch of a sound with hand movements;
reflection of the direction of movement of the melody using a drawing, diagram, graph, hand signs, musical notation;
adjusting to the key before singing;
oral dictations;
isolating particularly difficult intonation patterns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, changing the key in order to find the most convenient one for children, where their voices sound best.

Basic techniques for voice development related to sound production, articulation, breathing, expressiveness of performance:
vocalization of singing material with a light staccato sound on the vowel “U” in order to clarify intonation during the attack of a sound and during the transition from sound to sound, as well as to remove force;
vocalization of songs on the syllable “lu” in order to equalize the timbre sound, achieve a cantilena, hone phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals - on the contrary: the lower sound should be tried to be performed in the position of the upper one;
expansion of the nostrils at the entrance (or better before inhalation) and maintaining them in this position when singing, which ensures the full activation of the upper resonators; with this movement, the soft palate is activated, and the elastic tissues are lined with elastic and harder, which contributes to the reflection of the sound wave when singing and, therefore, cutting the sound;
targeted control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of the sound relying on the breath;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
reciting the words of songs into a chant at the same pitch in slightly elevated voices relative to the range of the speaking voice; The choristers’ attention should be directed to stabilizing the position of the larynx in order to establish a speaking voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound learning, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

Work on vowels.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so inaccurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.

The specificity of the pronunciation of vowels in singing lies in their uniform, rounded manner of formation. This is necessary to ensure the timbral evenness of the choir’s sound and achieve unison in choral parts. Alignment of vowels is achieved by transferring the correct vocal position from one vowel to another with the condition of a smooth restructuring of the articulatory structures of the vowels.
From the point of view of the operation of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. Forming vowels in a high singing position in a choir presents a certain difficulty.

The sounds “U, Y” are formed and sound deeper and farther away. But phonemes have a stable pronunciation, they are not distorted; in words, these sounds are more difficult to individualize pronunciation than “A, E, I, O.” They sound approximately the same to different people.
Hence the specific choral use of these sounds to correct the “variegated” sound of the choir. And unison is achieved more easily on these vowels, and the sound is also well balanced timbrally. When working with works, after singing the melody on the syllables “LYu”, “DU”, “DY” - the performance with words will acquire greater evenness of sound, but again if the choir singers carefully monitor maintaining the same setting of the articulatory organs, as when singing vowels "U" and "Y".

The pure vowel sound “O” has properties that “U, Y” but to a lesser extent.
The vowel sound “A” gives the greatest variety to singing, since it is pronounced differently by different people, including different language groups, this should be taken into account when performing a piece in foreign languages. For example, the Italians have “A” from the depths of the pharynx, the English have it deep, and among the Slavic peoples the vowel “A” has a flat chest sound. The use of this phoneme in classes with beginning students must be very careful.
“I, E” - stimulate the functioning of the larynx, causing a tighter and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx; they brighten sounds and bring the vocal position closer. But these sounds require special attention in terms of rounding the sound.
The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, shrill character. And even if the sound would not be “narrow”, Sveshnikov considered it necessary to connect it with the vowel “A” (I-A).
The vowel “E” should be formed as if from the articular structure “A”.
The vowels “E, Yu, Ya, Yo”, thanks to the sliding articulation, are easier to sing than pure vowels.
Thus, work in the choir on vowels - sound quality - is to achieve pure pronunciation in combination with a full singing sound.

Working on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. Pronunciation of consonants requires increased pronunciation activity.
Formation of consonants as opposed to vowels. associated with the appearance of an obstacle to the flow of air in a speech cycle. Consonants are divided into voiced, sonorant and voiceless, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus, we place sonorant sounds in 2nd place after vowels: “M, L, N, R.” They received this name because they can stretch and often stand on a par with vowels. These sounds achieve a high singing position and a variety of timbre colors.
Further, the voiced consonants “B, G, V, Zh, Z, D” are formed with the participation of vocal folds and oral noises. Voiced consonants, as well as sonorants, achieve a high singing position and a variety of timbre colors. The syllables “Zi” achieve closeness, lightness, and transparency of sound.
Voiceless “P, K, F, S, T” are formed without the participation of the voice and consist of only noise. These are not sounds that sound, but guides. It has an explosive character, but the larynx does not function on voiceless consonants; it is easy to avoid forced sound when vocalizing vowels with preceding voiceless consonants. At the initial stage, this serves to develop clarity of the rhythmic pattern and creates conditions when vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant “P” rounds the vowel “A” well.
The hissing “X, C, Ch, Sh, Shch” consist of nothing but noise.
The voiceless “F” is good to use in silent breathing exercises.

Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling “S, Sh” because they are well picked up by the ear, they must be shortened, otherwise when singing they will create the impression of noise and whistling.
There is a rule for connecting and separating consonants: if one word ends and another begins with the same or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized, and at a fast pace When such sounds occur over short durations, they need to be combined in a distinct manner.

Working on rhythmic clarity
We begin the development of rhythmic flair from the very first moment of the choir’s work. We actively count durations using the following counting methods:
- rhythmic pattern out loud in chorus.
- tap (clap) the rhythm and at the same time read the rhythm of the song.
After this setting, solfage, and only then sing with the words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten. An extraordinary role is played by the simultaneous entry of the singers, taking breath, attacking and releasing the sound.

To achieve expressiveness and accuracy of rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation and gives timbre richness. The crushing method, in our opinion, is the most effective and has been known for a long time.

Singing breath.
According to many choir leaders, children should use abdominal breathing (formation as in adults). We certainly monitor and check each student to see how much he understands how to take the breath correctly, and we make sure to show it to ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouth, with their arms completely lowered and free. With daily training, the child’s body adapts. We strengthen these skills with a silent breathing exercise:
Small inhalation - voluntary exhalation.
Small inhalation - slow exhalation on the consonants “f” or “v”, counting up to six, up to twelve.
Inhale while counting the chant at a slow pace.
Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
1) Warming up and setting up the singers’ vocal apparatus for work.
2) Development of vocal and choral skills, achieving high-quality and beautiful sound in works.
The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.

Singing the choir organizes and disciplines children and promotes the formation of singing skills (breathing, sound production, sound control, correct pronunciation of vowels).
At the beginning, 10-15 minutes are allotted for chanting, and it is better to sing while standing. Chanting exercises should be well thought out and given systematically. When chanting (even if for a short time), we give various exercises on sound control, diction, and breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is intended to develop, and with each lesson the quality of the chant will improve. Most often, we take the material we are studying for chanting (usually we take difficult passages).

In order to set up and concentrate the children, to get them into a working state, we begin chanting as if with a “tuning”, asking the children to sing in unison with their mouths closed. This exercise is sung smoothly without jolts, with even, continuous (chain) breathing, soft lips not quite tightly closed. The beginning of the sound and its ending must be specific. In the future, this exercise can be sung with weakening and increasing sonority.

The chant can be sung on the syllables ma and da. This exercise will teach children to round and collect the sound, maintain the correct shape of the mouth when singing the vowel “A”, and also monitor the active pronunciation of the letters “N, D” with elastic lips. It is very convenient for the syllables lu, le, because this combination is very natural and easy to reproduce. Here you need to watch the pronunciation of the consonant “L”; it will not be there if the tongue is weak. And the vowels “Yu, E” are sung very close, with elastic lips.

Learning a song
This is the next stage in working on vocal and choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; If the history of the creation of the song is known, then we introduce the guys to it.
Next, the song is shown. The way it is carried out often determines the children's attitude towards learning - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show and prepare well in advance for it.

As a rule, during choir classes we never write down the words of a song (with the exception of foreign texts, which are difficult to remember and require additional study with a teacher of a given language). This is not necessary, since with the method of memorizing a song phrase by phrase, with its numerous repetitions, the words are learned by themselves.

Repeated, long-term memorization of the same passage, as a rule, reduces children's interest in the work. And here you need to have a very precise sense of proportion, a sense of the time allotted for repeating this or that fragment of the work.
We try not to rush into learning all the verses, since the guys sing an already familiar melody with new words with more pleasure than with known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that were not performed well enough when performing the previous verse.

We also attach great importance to the development of active articulation and expressive diction when singing. After the choir has learned the basic melodies, you can move on to the artistic finishing of the work as a whole.
Another option is possible: close interaction, a combination of solving technical problems and artistic finishing of the work.

After learning a new song, we repeat the songs we have already learned. And here there is no point in singing every song from beginning to end - it is better to perform some parts separately in parts, then together to build an interval (chord) you can work on some particulars, enriching the work with new performing nuances. When working on familiar material like this, you will never get tired of it.
At the end of the class, one or two songs are sung and ready to be performed. A kind of “run-through” is arranged, the task of which is to intensify the contact of the choir leader as a conductor with the performers. Here the conductor's gesture language, understandable to the choristers, is practiced.

During “run-through” moments, it is good to use a tape recorder - for recording and subsequent listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. We do not use this technique in every lesson, since otherwise the novelty is lost and interest in it disappears.

We finish our classes musically - the guys, standing, perform “Goodbye,” which is sung in a major triad.

According to the hypothesis of our study, the development of vocal and choral skills in choral singing in music lessons is more effective when music education is carried out systematically, in close communication between the teacher and students, against the backdrop of the formation of a general musical culture of the child at primary school age and, finally, taking into account age and personal qualities of the child. This is proven by the system of methods and techniques we use to form and develop basic vocal and choral skills in children of primary school age. By the end of the year, children steadily master correct singing breathing, develop correct diction, learn to sing in unison without disturbing the overall pattern of choir singing, that is, they become a collective, a single singing organism with which they can work further, learning new, more complex works.
In conclusion, I can say that without interest in your profession and love for it, it is very difficult to achieve success. And only striving for the pinnacle of your success will help you overcome the thorny path from start to finish!!!
2016

In the practice of working with a choir, it is common to divide rehearsals into two stages:

1. technical mastery of the work and its artistic interpretation;

2. disclosure of internal content, emotional and figurative essence.

In turn, depending on the form and content of the work, choral rehearsals can be divided into two groups:

1. consolidated (general), ensemble, group rehearsals for parts;

2. familiarization (introductory), working, final and corrective rehearsals.

Stages of rehearsal work:

- introductory ( obtaining the first information about a new composition, the creative, performing concept of the conductor and mastering the musical text)

-humming(working stage). The main task is to achieve performing freedom, meaningfulness and expressiveness in the singing of each member of the group. Techniques , used at this stage: singing with the mouth closed, singing per syllable, “reading”.

- performing ( the ability of choir singers to give integrity, completeness and persuasiveness to the process of sound materialization of the musical text). The main form of work at this stage is a summary rehearsal. .

Methods of working on an essay:

1. Singing in slow motion. The expediency of this technique is that a slow tempo gives singers more time to listen to a particular sound, to control and analyze it) .

2. Stopping on sounds or chords. The prerequisite for the action of this technique is the same as when singing at a slow tempo. However, due to the fact that it makes it possible to concentrate attention on a separate intonation, chord, its effectiveness is higher .

3. Rhythmic fragmentation. This is a method of conditional rhythmic fragmentation of large durations into smaller ones, which leads to the feeling of constant rhythmic pulsation among the choir artists. An effective technique for overcoming this kind of difficulty is to pronounce a literary text in one sound.

4. Use of auxiliary material. When working on technically difficult passages, it is useful to turn to exercises based both on the material of the piece being learned and not related to it.

5. The relationship between artistic and technical elements in choral performance. The most correct and effective method of work will be in which the conductor, while learning a specific choral part, gradually brings it closer to a character close to the composer’s intention.

Antimethod:

- “coaching” (multiple repetition of musical material without a specific goal) does not develop the aesthetic thinking of singers.

Conducting techniques when working on an essay:

1. work gesture(timing, showing introductions and releases, showing pitches, gestures that clearly convey the rhythmic and intonation structure of the melody);

2. figurative gestures(gestures that convey certain features of choral sound: the nature of sound design, climax, gestures that convey the musically expressive features of the melody, etc.)

Task No. 6.

Reflect on your own activities (after each of the 6 rehearsals orally to the practice leader).

Correlate your goals with your performance results; evaluate the work methods you have chosen and used and their effectiveness; name the reasons for possible failures in the work done.

Task No. 7.

Conduct this composition in a concert setting, using appropriate conducting techniques.

In the context of a concert performance, conducting skills acquire special importance - the only means of creative communication between the conductor and the performers on stage. Consequently, the conductor is required to have an appropriate level of mastery of the technique of expressive gestures that contribute to the conveyance of the figurative sphere of the composition.

Bibliography

1. Zhivov V.L. Choral performance: Theory and practice: A textbook for students. institutions of higher education. – M.: VLADOS, 2003. – 272 p.

2. Kozyreva G.G., Yakobson K.A. Dictionary of choral studies. Editor Elovskaya N.A. - Krasnoyarsk, 2009-105s.

Concert and performing activities,

Organization of creative meetings with various amateur and professional groups,

Organization and implementation of choir tours,

Business contacts.

The task of the choir director is not only to teach its participants proper singing and choral skills and to develop musicality, but also to instill in them good artistic taste, high spirituality, and a love for choral art. This task is complicated by the fact that the manager has to work with people of different ages, different educational and cultural levels.

Such a wide and varied range of activities of the director of an amateur choir requires from him not only knowledge, skills and abilities in the field of choral folk art, but also broad general erudition and pedagogical education. He must be a versatile, creatively active teacher. This requires extensive knowledge in the field of literature, theater, fine arts, social sciences, and the basics of psychology. The choir director must have developed intellect and willpower. Working with an amateur choir requires the leader to have great efficiency, endurance and good health, as well as optimism and, naturally, a sense of humor. All this knowledge, abilities, skills, abilities and character traits are, in essence, the professional qualities of the leader of an amateur choir.

Features of organizing an amateur choir

Amateur choirs are created at various institutions: universities, houses and palaces of culture, cultural centers and associations, etc.

As mentioned above, organizational work is closely connected with pedagogical work and is carried out throughout the entire activity of the team.

To create an amateur choir, certain conditions are needed: material and technical base, rehearsal space, musical instruments, furniture necessary for the work of the choir, as well as funds to pay the labor of the choir director and his assistants, the purchase of concert costumes, a music library, a music library, etc. .

It is important that the rehearsal room is suitable for the choir to work in. For choir rehearsal classes, it is advisable to have several isolated rooms equipped with musical instruments. This will allow the choir to rehearse in parts (groups). Practice shows that such conditions for working with a choir arise very rarely. At least two spacious rooms must be allocated for choir practice. It is necessary that each room has good acoustics, ventilation and lighting. The acoustic conditions of rehearsal rooms require special attention. Rooms with poor acoustics (complete absorption of sound or reflection with an “echo” effect) are completely unsuitable for classes. Typically, corners of a room are draped to improve acoustics.

The creation and organization of a choral group is a complex process that requires great interest and assistance from the leadership of the organization in which the group is being created. In the process of organizing a choir, various means of advertising, agitation and propaganda should be used: announcements about the creation of a choir on local radio and in the press, etc.

PEDAGOGICAL FEATURES OF FORMING A SINGING CAST

The most important stage in the formation of the choir composition is the audition of its participants. The results of the audition must be strictly and systematically recorded in a specially created journal. In it, in addition to the vocal and musical data of the auditionees, general and special education, place of work or study, home address (telephone, year of birth, marital status) should be recorded.

When listening, you should determine the quality of the voice (type, range), ear for music, sense of rhythm, musical memory, and also find out your musical training: knowledge of musical notation, mastery of any musical instrument, experience of singing in a choir. There are various methods for auditioning choir applicants. As a rule, the applicant is asked to perform a song. After this, the range of the voice and the type of voice are determined. The quality of musical hearing is determined through simple exercises. For example, it is proposed to repeat with the instrument or voice various chants within the middle segment of the range of the applicant’s voice, to repeat with the voice a simple structure of three to five sounds played on the instrument. If the applicant has a musical education or experience singing in a choir, the exercises may be somewhat more complicated. For example, the applicant is asked to identify simple intervals by ear in melodic and then harmonic form, and to construct different intervals using his voice from a given sound. It is advisable to include simple chromatic constructions in your listening.

The sense of rhythm is tested by repeating a simple rhythmic pattern.

If those who come to audition for the choir have no singing experience and no musical training, then it is advisable to conduct the audition in several stages. At the first stage, you can limit yourself to only a general acquaintance with the applicant, inviting him to start attending choir classes, and after three to four weeks, conduct a more thorough acquaintance with his vocal and musical abilities, and only after that finally express an opinion on his suitability to participate in the choir. Often the shyness and timidity of those who come to the audition interfere with finding out their vocal and musical abilities. In this case, as an exception, you can try to carry out this work during the choir rehearsal.

It is inappropriate to form a choir without any verification of the vocal and musical abilities of those entering the choir.

Care should be taken to ensure that new members of the choir do not reduce the level of performance of the choir. For this purpose, it is advisable to have a preparatory choir group.

Features of rehearsal work in an amateur group