The lesson is conducted according to the educational program “Vocaletto” of the 1st year of study. This training session is intended for the consistent development of singing and performing skills.
The training session is designed for 2 academic hours with the vocal ensemble “Vocaletto” (10 people) of the 1st year of study. The age of students is 7-17 years. Recruitment to the association is carried out on the basis of desire.
Lesson objectives:
1. formation of performing vocal skills in students skills and abilities.
2.creating conditions in which the student experiences pain achievable sensation
performing freedom and creative comfort.
Tasks:
- development of singing skills (meaning sustainable singing
breathing on support, evenness of sound throughout the entire vocal range,accurate intonation, melodiousness, melodiousness of the voice, clear and precise diction, correct articulation).
- stable intonation of monophonic singing
4.skills in working with phonograms and microphones
Teaching methods: explanatory-illustrative, reproductive, practical
Form of organizing a training session: individual, group
Equipment: piano, stereo system, microphone, piano, CD discs, phonograms minus, plus performance of “About Jam”, “Three Wishes”, “Lyceum”, handouts - lyrics
Stages and timing of the lesson
1 lesson – 1 hour 30 minutes
I.Organizational stage . Checking readiness for class. Correct singing position – 2 minutes;
II.Preparatory stage : gymnastics of the articulatory apparatus, phonetic exercises, breathing exercises, vocal and intonation exercises – 14 min.
III.The stage of assimilation of new knowledge – learning the canon chant – 12 min.
IV.Main stage– work on the repertoire (work on
sound production, sound science, purity of intonation, expressive singing, two-voice).
1. Singing the songs “About Jam”, “Three Wishes”, accompanied by
piano and a capella – 8 min
2. Work with soloists. - 4 min.
3. Singing songs to a minus soundtrack – 8 min.
4. Singing songs with a microphone – 8 min.
Dynamic pause - 10 minutes between songs for rest and relaxation,
Physical education minute
5. Work on the movements in the song “About Jam” – 5 min.
6. Repetition of the song “Lyceum” - 5 min.
V . Reflective stage: children’s self-esteem about their performance,
Emotional state – 2 min
VI. Final stage: singing songs from beginning to end under
Phonogram with movements. Summing up results, mistakes and successes
Each student – 10 minutes
VII. The final stage: homework assignment, message about the following
Lesson – 2 min
I. Organizational stage :
– meeting children;
– checking of those present;
– Correct singing position: stand straight, chest free, shoulders turned and down, good emphasis on both legs, hands free. Keep your head straight. A strong head lift leads to tension in the anterior neck muscles and constrains the larynx. The face should be free from grimaces. A smile on the face creates feeling of elation,
necessary for the lesson.
Preparatory exercises. II. Preparatory stage: Before we start singing, let’s prepare our vocal apparatus. We begin each lesson with articulation and breathing exercises, intonation and phonetic exercises. What is the articulatory apparatus? (.)
tongue, lips, hard and soft palate, lower jaw
Articulation gymnastics
– Tongue gymnastics Lightly bite the tip of your tongue with your teeth four times.
– Stick your tongue out as far as you can, lightly biting the tip of your tongue in succession. Bite your tongue alternately with the right and left sides
– with my teeth, as if chewing it.Make a circular motion with your tonguebetween the lips and teeth with the mouth closed. The same in contrast
in the right direction.– Place your tongue on your upper lip, lower lip, right
my cheek, into my left cheek, trying to pierce them right through.
Lip gymnastics:Bite your lower lip, upper lip, suck in your cheeks and
bite their inner surface with your side teeth.
Intonation-phonetic exercises. 1. Starting position: mouth open as much as possible with jaw movements
forward and down. The exercise consists of a strong, active pronunciation of consonant sounds in the following sequence: Sh, S, F, K, T. P, B, D, G. V, Z, Zh. Each sound is pronounced four times.
3.
2. Sequence of vowels: A, E, I, O, U.
The starting position is the same as in exercise 1.
The main element of the exercise is sliding ascending and descending intonation with a sharp transition from the chest to the falsetto register and from the falsetto to the chest with a characteristic fracture of the voice.
U~u, u~o, o~a.
Tongue Twisters:
1. The bull is blunt-lipped, the bull is blunt-lipped, the bull’s white lip was blunt.
2. How 22 Egorki lived on a hill on a hill. One Yegorka, two Yegorkas, etc.
Breathing exercises. – How does the singing process begin? ()
with inhalation in the stomach). The body is loose, the shoulders are lowered.
1. Inflate the balloon (inhale through your nose, hold your breath, exhale through the SSS, the air comes out, the balloon remains.)
2. Short inhale into the stomach, short exhale to “shoo”, “shush”.
3. Riding a motorcycle (arms stretched forward, inhale - brushes back, fasten, exhale RRRRRRR).
4. Feet shoulder-width apart, arms at shoulder level, elbows bent parallel to each other. We connect the elbows, inhale, elbows to the sides, tack, body down. Exhale to “Ha.”
5. An exercise to activate the work of the anterior abdominal wall for the sounds “k” and “g”.
The teacher's attention should be directed to:
–muscle freedom
– correct posture;
– the ability to take a breath and expediently distribute the exhale;
– operation of the resonator system;
– general speech intelligibility;
–rhythmic precision.
Vocal intonation exercises.
Goals of vocal intonation exercises:
Develop the skill of maintaining a tone at the same pitch with the same volume or with different nuances, which trains singing breathing
form the correct articulation of a particular vowel sound
achieve certainty in the attack of sound
clarify intonation at the moment of sound attack
build unison
All exercises are performed in an ascending and descending chromatic sequence (in the range A m - F 2)
1.Singing with your mouth closed helps to equalize the timbre sound and auditory tuning. The exercise is sung with slightly open teeth (mouth closed), high palate, sensation of sound in the upper resonator, on the sonorant consonant sound “M”. (example 1) When you feel a slight vibration and a slight tickling of the lips.
2. Register smoothing. (Lip vibration, then RRRR)
Make sure your lips are free and have an even, full sound when moving to
head register. The slower the vibration speed, the better.
3.Practice a soft but precise sound attack. This will be
facilitate the execution of legato exercises on one note.
4. Exercise based on triad sounds. Rely on breathing.
Goal: expanding the sound range in order to equalize the register sound of voices and to activate the work of the anterior abdominal wall.
2. Exercise to develop voice mobility and work on diction.
Monitor the clear pronunciation of syllables, the jerky work of the diaphragm, the larynx remains in the middle position and does not rise behind the sound. The tip of the tongue touches the two upper front teeth.
III. The stage of assimilation of new knowledge is learning the chant of the canon “There is a birch tree in the field”
The first acquaintance with two-voices should begin with the singing of canons. This is the most interesting and accessible form of polyphony for children. What is canon? Canon translated from Greek language means "rule, order." A musical canon is a song performed in a special way. All performers of the canon sing the same melody with the same text, entering alternately. The one who started singing first and finishes first. Singing with the canon became very popular in the 16th and 17th centuries, and now the canon is gaining a new surge in popularity among young performers due to the fact that it clearly demonstrates the performer’s singing technique
Stages of work on the canon:
1) speech recitation. Invite the children to recite the first
a line to everyone together. Recite again, and the teacher recites in canon. Divide the ensemble into two groups, the second group now taking the place of the teacher.
2) Having mastered the performance of the rhythmic canon, you can start singing.
To begin, sing the melody of the canon to everyone together with the teacher:
Bring to pure a-cappella unison. After the melody is learned, the children perform the 1st voice, and the teacher performs the 2nd.
Then divide the children into 2 groups. Everyone sing a cappella, in dynamics p, listen to each other, vertical. Remind children: “First I listen, then I sing.” Pay attention to the precise introduction of voices, the ability to maintain the tempo from beginning to end.
Appendix No. 1
Main part.
Work on the repertoire.
Work on the songs “Three Wishes” and “About Jam”.
Stage 1 . Singing songs with piano accompaniment and a capella. Work on purity of intonation, clear pronunciation of words, endings, correct sound management, unison.
The song “Three Wishes” has a complex dotted rhythm, it is important that each of the students learn it. Simultaneous removal and entry of voices by the hand of the teacher. Consonant sounds are pronounced easily, clearly, clearly and energetically. Pay attention to singing narrow vowels, avoid flat sounds. Needed whenteach students to clearly pronounce consonants at the end of words, monitor the clear pronunciation of consonants in the middle of words at a fast pace.
Particular attention is paid to working on two-voices in the song “About Jam” - pure intonation. the main task teach students to listen to each other, to hear both voices, and not just their own. First, each part is worked out separately, then the voices are combined.
Stage 2. Working with soloists in the song “Carousel of Melodies”. This song contains solo episodes.
Much attention is paid to working on intonation and sound production, since each student has his own voice timbre and his own shortcomings. This applies to the vowels “A” and “E”.
The basis of any singing is vowel sounds. Depends on the correct sound formation of vowelssits the beauty of timbre. For students of the 1st and 2nd year of study school age the timbre is uneven, which is annoyingcaught mainly by the “variegation” of vowels. Even sound is achievedthrough maintaining a high sound (position) on all sounds of the singing range on the.
The condition for competent sound production is a correctly open mouth, a freely lowering jaw, active lips that clearly articulate eachsound. At the initial stage, you should mainly pay attention tothe student inhaled correctly, distributing the exhalation until the end of the word or smallphrases, did not take breath in the middle of a word.
10 minutes rest
Face massage
– Apply a tapping massage over the entire facewith the tips of bent fingers. The blows must be strong enoughso that the face “lights up”.
– Massage the jaw-temporal joints with your fingers.Make a forward and downward circular motion with your lower jaw.: Make a forward circular motion with your lower jaw. right-back-left-forward.
Back massage.
Free time
Stage 3. Singing songs to a soundtrack. Songs are sung at a faster tempo, with a clear rhythm.
Stage 4. Singing songs with a microphone.
Stage 5. Working on movements in the song “Slush”
Stage 6. Repeating the song "New Day"
IV. Reflective stage: children’s self-esteem about their performance, emotional state
– What did you remember most about the lesson and what did you like...
V. Final stage: singing songs from beginning to end to a soundtrack with movements. Summing up the results, mistakes and successes of each student
– What new concepts did you learn about in class?
– Meanings of the concept canon.
VI. The final stage: homework, message about next lesson
Bibliography
Gerasimova I. « Vocal and choral education children" Samara 2001
Gontarenko N.B. Solo singing. Secrets of vocal mastery. –
Rostov-on-Don, 2006
Methodological development. Samara, 1997
Dmitriev L.B. Fundamentals of vocal pedagogy. M., 1968.
Erokhina I.A. Working with beginning singers. Methodological development. -Samara, 1999
I. Isaeva“Pop singing. Express course for the development of vocal abilities"
Ogorodnikov D.E.. Musical and singing education of children in secondary schools. - M.: Muzyka, 1972
Romanova L.V. School of pop vocals. – St. Petersburg: Publishing House “Lan”; Publishing house "PLANET OF MUSIC" 2007.
Stulova G.P. Theory and practice of working with a children's choir. Moscow 2002
Seth Riggs How to become a star. -M, 2004.
The material contains information on how to organize work with a vocal ensemble, how to choose a particular song, how to prepare a vocalist for singing, how to conduct a stage speech lesson, what exercises to use to develop a singing voice.Download:
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Municipal budget educational institution additional education children
"Palace of Children and Youth Creativity"
G. Tver
for teachers)
Explanatory note…………………………………….. Page 1
Working with a vocal ensemble…………………………………… Page. 4
Methodological support……………………………………………………….. Page. 9
Exercises for developing a singing voice……………. Page 19
References…………………………………………………………… Page 31
Explanatory note.
Art plays a huge role in the formation of a spiritually developed personality, in improving feelings, in perceiving the phenomena of life and nature through the prism of human relationships.
Art is a complex system that includes many types: painting, music, theater, cinema, etc.
Each type of art has its own artistic and figurative language, the specifics of recreating reality. A musical image is a musical stereotype - an established idea of melody, rhythm, and timbre sound. It is initially inherent in human feelings. Therefore, children, perceiving a piece of music, get the opportunity to more accurately experience the musical image due to its emotional coloring.
Music plays an extremely important role in a person’s life and is universally loved. The love for songs begins in childhood and is an inseparable companion throughout life. The power of music, the conquering power of an expressive melody that can capture the soul and unite the aspirations and thoughts of people, has been well experienced by each of us. The social purpose of music can be very different. It is listened to in operas, concert halls, and at holidays, in parks and kindergartens. There is ballet and opera music, symphonic and chamber music, military and religious music, music for children and dance and pop music. It must be emphasized that music differs from other arts in many ways. Her means of expression and images are not as visual as the images of painting and theater. Music operates by means of emotional influence, appealing primarily to the feelings and moods of people. Another special feature musical art: awakening in a person the desire for beauty, nurturing in him an artist and an accomplice in the creative process.
Vocal music is a rich and diverse field musical creativity. Many people know the names of singing voices well:
2 Male voices: tenor, baritone, bass. Each of these voices has its own distinct timbre coloring. Exist different types vocal music. Most often, she combines singing with accompaniment, where the latter acts on an equal footing with the vocal part.
This musical manual is offered to help music directors, additional education teachers, and vocal teachers. It contains my many years of experience working with students in children's groups. The manual consists of theoretical and practical parts, and has a sheet music appendix.
The proposed exercises are simple and graphic, emotionally colored with familiar images, which is easily perceived by children. Many of them can be accompanied by simple movements of the arms and legs (“Andrey the Sparrow”, “I’m Stepping Up”, “Petya Was Walking...”, “Hedgehog”, “The Cat Got in a Taxi”, “Thought and Thought”, etc. Children really like this and allow game form develop hearing and voice, as well as acting. The chants can be sung not only in chorus, but also into a microphone one at a time. During practice, it is advisable to alternate singing with the piano and with a soundtrack. This develops the ability to sing songs while maintaining a given rhythm. The peculiarity of the exercises is that they are arranged as their complexity increases.
Theoretical material contains information on how to organize work with a vocal ensemble, how to choose a particular song, how to prepare a vocalist for singing, how to conduct a stage speech lesson, what exercises to use to develop a singing voice.
The benefit is designed for children of different ages:
1 Preschool age.
2 Junior school age.
3 Middle school age.
4 Senior school age.
Methods of working with a vocal ensemble.
The teacher not only teaches singing, but also helps the individual develop, based on the basic moral criteria of the concept of good and evil. Qualities such as kindness, sincerity, charm, openness, combined with skill, should accompany the artist throughout his life.
To determine a child's singing voice, you need to identify:
Range
Timbre
Ability to withstand tessitura
Transitional register tones jp
There are four main stages in the development of a child’s voice:
7-10 years - the youngest pre-mutation age - the voices of girls and boys are homogeneous and almost all are treble. They are characterized by head resonance and a slight falsetto. Range up to 1-re2. most comfortable sounds mi1- la1. The sound is uneven, vowels sound colorful.
10-13 years - older pre-mutation age - signs of a chesty sound appear, the voice begins to sound denser and richer. Range: up1 - salt2, there are 3 registers: head, mixed, chest.
13-15 years is the mutation period. Coincides with puberty The voice may break during singing and speaking. The duration of the mutation ranges from several months to several years.
16-18 years - post-mutation period. Formation of voice.
1. Sound range
2. Dynamic range at different voice pitches
3. Smooth register transitions
4. Evenness on various vowels
5. Degree of tension
6. Vocal position
7. Quality of diction: intelligibility, meaningfulness, literacy
8. Timbre: richness of overtones, quality of vibrato, flight and sonority
9. Expressiveness of performance.
1. Singing
A song representing musical and poetic art,
conveys a certain content, an artistic image.
Theme is a musical structure that expresses the main idea
work or part thereof. It often gets further development.
A phrase is a small semantic part of a piece of music,
performed in one breath.
Nuances help reveal the character of the music.
Form - structure.
Climax - moment highest voltage in the work, it has the most rich sound. Coda - the end.
2. Choreography
> The spectacular element contained in the songs makes it possible to perform them more dynamically, sometimes even in the form of an extended stage composition.
> In dance songs there is greater freedom to reveal individual traits through choreography.
> The director must develop the ability to see the dance without separating it from the text (meaning) of the song.
> For the participants to perform dance-song, special choreographic classes are needed.
3. Drama
To dramatically solve the artistic problems of a song, it is necessary to know and use the means of stagecraft within the framework of the laws of the stage.
4. Stage performance
This is a deep penetration into the content of the song and the search for an adequate form of stage solution. It can be expressed both statically and dynamically - everything is dictated by the content of the song.
5. Musical accompaniment
Can be performed with a musical phonogram or piano.
6. Stage design
Assumes appropriate costumes, stage attributes, even
Scenery.
Tasks:
Reflect the artistic and performance orientation in the costume creative activity;
Singing in an ensemble.
The ensemble is the balance, unity and consistency of all the expressive elements of the ensemble sound.
It implies an organic fusion of individuals, the ability of each singer to hear his part and the ensemble as a whole, to equate and subordinate his voice to the overall sonority, and to flexibly coordinate his actions with the actions of other singers.
Types of ensembles:
2. Dynamic ensemble (unity of voices in terms of sound strength)
3. Rhythmic ensemble (unity of rhythmic performance)
4. Tempo ensemble (unity of tempo performance)
6. Diction ensemble (single diction sound)
7. Polyphonic ensemble (relative balance of voices, depending on thematic material)
8. Ensemble between the soloist and the rest of the ensemble.
9. Private ensemble (the unity of the sound of the voices of any individual part)
10..General ensemble (balance of sound strength between parts).
METHODOLOGICAL SUPPORT.
1. First you need to arrange the song (write a polyphonic score for your composition, taking into account the range of the ensemble, including backing vocals), while:
> Determine its modal structure, which will be helped by correctly identifying the reference tones; the supporting tones, or melodic nodes, are distinguished in the melody by various means: they account for the longest durations, repetitions of sounds, unison (simple or octave), and the entire melodic development of the melody tends towards them. It is the reference tones that can be used as a supporting voice.
> Pay great attention to poetic text; identify the musical syllabic rhythm of the song, which should be the same for all singers of the ensemble;
> The identified harmonic combinations possible in the song can be offered by the performer as a guide when dividing into voices. When singing with voices, the modal, textural, metrical and harmonic features inherent in a given work must be recreated;
2. In addition to the main melody, it is necessary to take into account the tessitura comfort of the voices (choosing the best key for all voices)
3. It is necessary to take into account the techniques of chain breathing, the stylistic features of polyphony, and to achieve smooth vocal performance.
4. If the singer does not have a unified manner of sound production, his voice sounds varied, all vowels are formed differently. A unified manner of sound formation means correct sound formation with the same degree of roundness of vowels.
5. It is necessary to rely on musical-auditory perceptions, it is necessary to develop auditory-vocal coordination among the ensemble members, to achieve naturalness, meaningfulness and beauty in the melodic lines of voices and their combination with each other when varying.
The strength of the voice is its volume, which depends on the activity of the respiratory organs. Forcing the vocal cords can lead to voice failure. During classes, you need to calculate the strength of the sound of your voice. The quieter the voice sounds, the brighter any enhancements. There is no absolute sound (forte). It manifests itself in the context of the overall sound. It is important that every person knows the relative forte (the highest volume of his voice), then he can use it wisely without causing harm to himself. To train the strength of sound, you can use the “echo” technique. It helps develop the ability to quickly switch your voice from a quiet sound to a loud one and vice versa, and strengthens the vocal cords. For example.
Imitation of "echo". Alternating pronunciation of a poetic line, now quietly, now loudly:
(loudly) I love thunderstorms in early May. (quietly) I love thunderstorms in early May. (loudly) When the first thunder of spring. (quietly) When the first thunder thunders in spring. (loudly) As if frolicking and playing. (quietly) As if frolicking and playing. (loudly) Rumbling in the blue sky. (quietly) Rumbling in the blue sky.
The poem is pronounced according to the text from bottom to top according to line numbering. 8 You too will have a rest. 7 wait a little. 6 sheets do not shake. 5 the road is not dusty. 4 are full of fresh darkness. 3 quiet valleys. 2 sleep in the darkness of the night. 1 mountain peaks.
The texts are chanted up and down. When working on the pitch of a sound, you should constantly remember about proper breathing, since each new sound tone requires a new breath.
Voice timbre is its coloring, depending on physical and psychological data. Any shades of mood affect the timbre of the voice. Working on the timbre of your voice allows you to enrich and adjust new reserves. When working on the timbre richness of the voice, you can use the technique of self-dialogue (a person conducts a dialogue with himself, as if split in two).
For example. How was your day today? Doesn't matter.
What he planned, he could not implement. And who is to blame for this? I don't know, maybe it's just me. What should I do?
I think I'll try again to implement my plan. Well, try it!
Exercises on using different voice tempos can be done in a singing voice.
1) Alternating slow and fast lines while simultaneously raising or lowering the voice on the line, (slowly) Give the boys loaves of bread. (quickly) Give the boys some loaves.
(lower case) (slowly) Give it to the girls, pullets, (quickly) Give it to the girls, pullets.
2) Exercises for alternating three slow lines and one fast one, raising the latter by a semitone.
(inhale) Flies off-road, along the road, Passing the boundaries of centuries and countries, An indomitable, fleet-footed horse (slowly in a sing-song voice) (inhale) And there are no bridles on it and no stirrups. (quickly and clearly)
The euphony of the voice is purity, the absence of unpleasant overtones. The flight of the voice (filling the space in which it is carried) depends on the euphony. Special role Vowel sounds play a role in the development of voice flight. They should not be swallowed, but, on the contrary, sing and fly out.
If the flight is insufficient, then the voice “withers”, drops, and sounds dull.
PREPARING A VOCALIST FOR SINGING.
Before starting singing lessons, singers need to relieve internal tension and feel psychological and physical relaxation. There are special warm-ups for this.
Warm-up
1.To relieve tension from internal and external muscles:
A). Count by four: inhale - head back, hold - head straight, exhale - head down;
b). Count of four: turn your head to the sides;
V). Count of four: “Uzbek” head turns (movement of the neck to the right - left without tilting the head, in the same plane);
G). Count by four:
a smooth turn shoulder to shoulder, from left to right and back.
(1st option - eyes look at the floor; 2nd option - eyes look at the ceiling); d). Count on four: put your head on your shoulders.
2. To develop lateral vision: Count by eight: turn the eyes up - down, right - left.
The vocalist's task is to see the objects around him.
A). “Sword” - pricking each cheek with the tip of the tongue;
6). Chewing the tongue (accumulating saliva and swallowing);
V). “The horse is running” - clicking the tongue;
G). Stretching out your lips - “suck the pacifier”;
d). Exercise “teasing monkey” (mouth wide open, tongue stretched forward as far as possible down to the beard with a simultaneous active hissing exhalation).
4. Clearing the nasopharyngeal system: Count by four:
A). Inhale - move your index finger from the base of the nostril to the upper sinuses,
exhale - lightly hit the wings of the nose with our index fingers;
b). "Smelling a flower"
inhale - we suck in air through our nose, exhale - Ah!
5 To prepare the respiratory system: Count by four:
a) “Snake or the noise of the forest” to the sound Sh - sh - sh - sh, also strengthening and weakening the sound; b) “The cicada chirps” to the sound Ts - ts - ts - ts, also intensifying and weakening the sound; c) “Start the motorcycle” - R - r - r, “we are riding a motorcycle,” as if moving away and approaching;
6. To develop the root of the tongue:
A). We cough like old people - Kha - kha - kha;
b). Let's shoot with our finger, aiming at the target - Kh-kh-kh;
V). Fish bone stuck in the throat - Cough - cough - cough;
G). The crow screams - Kar - kar - kar.
7. To feel the intonation:
A). “The cry of a donkey” - I - a, y - a, y - a (intonation sharply falls from top to bottom);
b). “Scream in the forest” -A-u, a-u, a-u (intonation from bottom to top);
V). “The Cry of a Seagull” - Ah! A! A! (intonation falls sharply from top to bottom and from bottom to top)
8. To feel the small tongue working and singing ultrasounds:
A). “The puppy whines” - And - and - and - closing his lips in a bitter smile;
B). “A sick kitten squeaks” - plaintively Meow - meow - meow.
9. Tongue twisters
Tasks:
A). Speak the text clearly, including the articulatory apparatus;
b). Speak tongue twisters with different intonations (surprise, narration,
question and exclamation);
V). Speak tongue twisters with intonation, playing with the image and showing them in action.
Tongue twister with “n”, “l”: Nanny washed Mila with soap, Mila didn’t like soap, But Mila didn’t whine, Mila was a good girl. Tongue twister with “s”, “r”: Forty forty ate cheese, The rhinoceros horn brought to the doorstep. Why did he come, the chatterers shout, He is not enough for a tongue twister. Tongue twisters with “s”, “sh”: Sasha walked along the highway And sucked on a dryer. Tongue twister for action: The golden-tailed duck dived, and surfaced, surfaced, and dived. Tongue twister with “t”, “d”, “r”: There is grass in the yard, There is firewood on the grass. Don't cut wood on the grass of the yard.
Tongue twister with “k”, “r”, “l”: The king saved a penny for his crown. Yes, instead of a crown, I bought a cow. And this king saved up for a cow, but instead of a cow he bought a crown
Diction.
Speech should be clear and rhythmic. Words should sound and sparkle. Must remember!
1) The correct pronunciation of sounds depends on the work of the articulatory organs: lips, lower jaw, tongue, soft palate, larynx with ligaments.
2) Resonators of the chest cavity, larynx, pharynx, mouth, nasopharynx, and nose also participate in the formation of sounds. If one of them does not work, the sound goes out and becomes distorted.
Pronunciation of vowels requires attention and self-control. Before practicing the correct pronunciation of vowel sounds, you can do a special exercise that imitates a yawn. This allows you to expand the oropharyngeal cavity. Vowel sounds are pronounced with a free flow of air.
The articulation of consonants is different than that of vowels. The air stream encounters various obstacles. Particular attention should be paid to the pronunciation of consonants in large room, where the articulation is distorted. Work on the pronunciation of consonant sounds should begin with syllabic combinations (consonant sound + vowel sound).
Exercises to train diction, breathing and voice.
These exercises will help prepare the articulatory and speech apparatus for action, relieve internal tension, and overcome uncertainty. They must be carried out regularly. The voice is the main instrument with which the speaker conveys musical information to listeners. Exercises are an excellent warm-up for a speaker. If you correctly correlate and use the capabilities of breathing and the power of your voice, this will allow you to sing freely. In the vocals, inhalation and exhalation, a pause, are sequentially repeated.
A musical sound is produced when exhaling. The length of exhalation is associated with an increase in lung volume. This is what training should be aimed at.
It should be noted that without proper breathing it is impossible to create an expressive musical image.
When training breathing, you can use a special set of exercises, for which you need to learn a number of rules.
1) The sound is pronounced calmly, simultaneously with the exhaled stream of air, if the exercise does not require special forced exhalation.
2) Inhalation coincides with a pause during singing; with long singing, a short pause is necessary to gain air.
3) When singing, you need to take breath through your nose, because breathing through your mouth leads to a hoarse voice and dry mouth. And also the effect of “choking fish” occurs.
Methodology for conducting classes in stage speech.
ARTICULATIVE GYMNASTICS
1. Piglet - smile.
2. Close your jaws and teeth, move your lips.
3. Chew your lips by your teeth.
4. Balloon - take in air and move it in a circle.
5. Rinse the chipmunk.
6. Horse - click your tongue.
7. Tongue injections - cheeks, lips.
8. Clean your lips with your tongue.
9. Open your mouth, place your relaxed tongue on your lower teeth, curl your tongue deep, relax, curl, relax (Yur.)
10. Painted the tongue across the roof of the mouth.
11. Raise the sky for a yawn.
12. Hot potatoes.
13. Release - whoa.
14. Surprised hippopotamus - open its mouth wide.
15. Click like a horse, like a squirrel (fills with saliva).
16. Yawning panther - ah - y, relax.
17. Kiss.
DICTION WARM-UP.
I-E-A-O-U-Y
The energy of a word depends on the pronunciation of vowels.
Control: ptig - bdyk vkti - vgdi mli-mly mni - mny rli-rly
pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up - pop up
tk - tuk - tk - tk captain - captain - captain boiled - boiled - boiled boiling water - boiling water - boiling water
My aunt reads a little bit of Tyutchev, Tyutchev, Tyutchev. The ships tacked and tacked, but did not tack. (Raise in semitones as high as the voice can, descend)
About love, weren’t you sweetly beckoning me?
And in the fog they beckoned, beckoned to me.
The bull is blunt-lipped, the bull is blunt-lipped, the bull’s white lip was blunt, (with jumps)
UPR. Sound basketball - bang - bang - bang - bang - bang ham - ham - ham - ham - ham (continuation of the sound of the ball) UPR. A pair of drums, a pair of drums, a pair of drums beat into the storm, a pair of drums a pair of drums a pair of drums beat into battle.
(With marching)
INTONATION 20 variations of “Hello”: sad
joyfully erotic enthusiastically preoccupied
Use the text when memorizing, look at it. The optic nerve is 25 times thinner than the auditory nerve.
Exercises for developing a singing voice.
Andrey is a sparrow.
Chanting trains rehearsal (keeping the melody on one tone). Chant: Andrew the Sparrow, don’t chase the pigeons, chase the ticks from under the sticks.
I step up.
The chant allows you to determine and develop the performer's range as you step up and down the words: I step up, I step down.
Petya was walking.
A chant for young children. The content distracts you from the difficulties of reproduction. You can portray the content while singing. Develops range and diction. Chant: Petya walked, walked, walked and found a pea, and the pea fell, rolled and disappeared, oh, oh, oh, oh, somewhere a pea will grow.
Hedgehog.
A chant for young children. Gradual movement up and down to the words: The hedgehog was running along the path, his legs were tired, the hedgehog was prickly. While singing, you can “walk” your fingers along your knees.
The cat took a taxi
A universal chant for all ages and levels of hearing and voice development. Promotes the development of range, articulation, and gives an idea of the arrangement of notes. The chant uses incremental movement along the scale up and down. Chant: Do-re-mi-fa-sol-la-si, the cat took a taxi. I paid five rubles and went to the museum. And the kittens latched on and took a free ride.
Chanterelle song.
Chant to the words: Sal is not enough, I-ha-ha-ha-ha. Develops abdominal breathing skills. Bru-Y
Chanting develops range without straining the ligaments. The sound is reminiscent of brrrruuu, when a child imitates a car by sticking out his lips. The chant can be sung to different melodies depending on the age and skill of the singer. Chant: Bru-y. To illustrate, you can turn an imaginary steering wheel with your hands and press the pedals with your feet.
I'll go up the steps.
The chant uses a stepwise movement up and down along the sounds of the major scale: I will go up the steps, and then I will go back down.
Winter spring Summer Autumn.
A chant for warming up the singing apparatus, as well as for training how to place the letter “I” on a smile (high vocal position). On “A” you need to open your mouth wide (open your jaw). The chant is made from the note “MI” - (Mire-mi-fa, etc.) gradually changing the words: Zi-ma, Ves-na, JIe-to, O-sen.
Oh, yes, viburnum.
Chanting warms up the singing apparatus,
trains the pronunciation of the letters “O” and “A”. The chant is made to the words: Oh, yes viburnum, oh, yes raspberries.
Owl.
A chant for teaching the skill of using abdominal breathing. The abdominal muscles work, pushing out air to the sound “Hlu”, imitating the cry of an eagle owl. Chant: Hluuuuuuuu. We seem to push each letter “y” with our muscles abdominals.
Bra-bra-bri-bro-bru.
Tutorial for articulation and diction. Performed on one note, changing consonants. Chant: Bra-bre-bri-bro-bru; Dra-dra-dri-dro-dra; Vra-vra-vri-vra-liar; Mra-mre-mri-mro-mru; Gra-gra-gri-gro-gro; etc. Exaggerate consonants, grass.
Mi-i-i.
Chant for creating a rounded sound, forming a “dome,” developing vibrato and breathing, controlling the abdominal muscles and diaphragm. The chant follows the tonic triad: mi-i-i, and then descends step by step to “ya-a-a-a-a”. In this case, you should try to present the sound “I” “on the yawn” or “on the dome”, as if translating it into “Y”. And then sing “Ya-ha-ha-ha-ha”, helping yourself with your abdominal muscles.
I thought and thought.
Articulation chant. To hear the sound “U” you need to stretch your lips with a straw. Chant: I thought and thought, thought and thought, thought and thought, thought and thought, at that time the wind blew and I forgot what I was thinking about.
Digi-give.
Chanting develops a high vocal position, as well as diction. The movement of the chants from “A” 1 octave down. On the sound “I” you need to stretch your lips in a smile, on “A” you need to open your mouth wide. Chant: Digi-digi-dai, digi-digi-dai, digi-digi-digi-digi-digi-digi-dai
Chants for older people.
Winter spring Summer Autumn.
A chant for warming up the singing apparatus, as well as for training how to place the letter “I” on a smile (high vocal position). On “A” you need to open your mouth wide (open your jaw). The chant starts from the note “MI” (Mire-mi-fa, etc.) gradually changing the words: Zi-ma,
Ves-on, JIe-to, O-sen.
Oh, yes, viburnum.
Chanting warms up the singing apparatus and trains the pronunciation of the letters “O” and “A”. The chant is made to the words: Oh, yes viburnum, oh yes raspberry.
Subton.
Chorus for setting a high singing position. The position of the mouth is as when laughing - the mouth is as open as possible, all the upper teeth are visible, the head is raised (slightly), the cheeks are raised as if smiling. The sound is similar to a nasal one - the “mask” of the face sounds. Inhalation is done through the nose with the mouth closed. Inhale lightly just before the sound is played. An incremental movement up and down (five steps) is used.
Hlu-oo-oo (Owl).
A chant for teaching the skill of using abdominal breathing - the abdominal muscles work, pushing out air to the sound “Hlu”.
Imitating the cry of an eagle owl. Chant: Hluuuuuuuu. We seem to push each letter “u” with the abdominal muscles.
I-a-a-a.
A chant for teaching vibrato skills and using abdominal breathing. The chant is performed on one note Ya-a-a-a, while we push each “a” with the abdominal muscles. In this case, the sound “a” is more similar to
"Ha". Step-by-step complication: -8 times on one sound, increasing the tempo by 2 times: Ya-a-a-a-Ja-a-a-a. Then we move on to the next note.
Mi-i-i.
Chant for developing “vibrato”, singing “on a yawn”, abdominal breathing. Chant: Mi-i-i, I-a-a-a-a.
I thought and thought.
Articulation chant. For the sound "U" you need
stretch out your lips with a tube. Chant: I thought-thought-thought-thought, thought-thought-thought-thought, at that time the wind blew and I forgot what I was thinking about.
Digi-give.
Chanting develops a high vocal position, as well as diction. The movement of the chants from “A” 1 octave down. On the sound “I” you need to stretch your lips in a smile, on “A” you need to open your mouth wide. Chant: Digi-digi-give, digi-digi-give, digi-digi-digi-digi-digi-digi-give.
Bra-bra-bri-bro-bru.
Tutorial for articulation and diction. Performed on one note, changing consonants. Chant: Bra-bre-bri-bro-bru; Dra-dre-dre-dre-dru.
Vra-vra-vri-vra-liar; Mra-mre-mri-mro-mru; Gra-gra-gri-gro-gro; etc. Exaggerate consonants, grass.
Di-uh.
Jazz chant imitating black tunes. "The Negro's Cry." Chanting helps you tune in pop-jazz manner of performance. The movement of the melody from bottom to top. Chant: Die-die-die-ee-ah.
I-e-e.
Chant for consolidating and combining a high vocal position and singing “on the yawn”. The sound “I” is taken on a smile, and then the position of the mouth is translated “to the dome” or “yawn” - I - A-ha-ha;
E - E-he-he; And - Y-hy-hy.
Do-re-mi-fa-sol.
Tutorial for diction and articulation. Movement of 5 and 9 steps along the major scale is used. Chant: Do-re-mi-fa-sol-fa-mi re (2 times)
Do-re-mi-fa-sol-la-si-do-re-do-si-la-sol-fa-mi-re-do. You can sing, increasing the tempo or at different tempos (according to your level of preparation).
A-e-i-o-u
A chant singing 3 steps (do-re-mi-re). For a smooth connection of vowels a-e-i-o-u.
Mo-a, mi-a.
Chant for smoothly connecting the vowels o and a. Do-re-mi...
Chanting for the development of articulation.
Chant:
Do-re-mi-do-re-mi... Do-mi-do...
Chant for mode-tonic orientation (Major-Minor).
Chant: Do-re-mi-do-mi-do-mi-do.
Vocalises.
Vocalises develop a smooth transition from vowel to vowel - Legato. Promote the development of vibrato and other vocal techniques. They are performed mainly on the sound “A” and “O”. Other vowels can also be used. On high notes, it is recommended to make the sound while smiling.
Eeyore.
Chanting for the development of vocal mobility, training in singing “on the yawn”. It is sung on the sounds T - B. The sound “I” is taken
“in the dome” and is translated into the sound “Y”.
A-m-o-i-e.
Singing the Italian Bel Canto. Start chanting from high notes down. Develops flight and mobility of the voice. Chant: A-a-a-a-mo-o-o-o-re-e-e-e-e.
Do-do-di-do.
Chant for developing range and diction. Sing with anchor points. Chant: Do, do-di-do, do-di-do, do-di-do-di-do-di-do, do-di-do, do-di-do, do-di-do-di- do-di-do.
TEN COMMANDMENTS OF THE SINGER.
l.Do not strive to surprise - strive to enchant.
The point is not to “hit” a note (-How great!), but to touch the soul of the listener (-How good...-). Do you sing so that others can listen to you? Do you strive for enchanting singing?
2. Don't shout!
No one will fall in love with screaming!.. They admire singing when the voice flows, when the singer controls it, now strengthening it, now weakening it according to at will. Does your voice flow?.. Do you know how to restrain it, first of all, to sing barely audible, fading (piano - pianissimo)?..
Moreover, don’t shout over others!.. You are not a rooster!.. Take care of your vocal apparatus!.. Take care of your vocal apparatus like the apple of your eye, from an early age!.. Another question is, what is more necessary - the eye or the larynx!..
have you noticed this?.. Do you know that most singing misfortunes come from trying to give a voice “with all one’s strength.”
3. Don't be distorted.
Give me the opportunity to look at you while you sing!.. Don’t get filled with blood! "Don't puff yourself up." Don't stick your eyes out!.. Don't twist your mouth. Especially - don’t be pathetic - don’t make you tremble for yourself (“- My God, will he hit, will he reach this note?”) or forgive you (“- God be with him! What can we take from him?”) and so on.
Don’t coarse the sound (“don’t bass”) and don’t thin it out (don’t refine it)! Don't reach too high or too low! Leave your voice the way it is naturally!..
And don’t get too ready to sing: don’t lower your head, don’t draw your necks in, don’t be a “beech,” don’t make an angry face, don’t clench your fists, don’t get up “on your tiptoes,” don’t get into a “pose”!
Sing simpler, calmer! Can you sing as naturally as you speak? Will they say about you that you sing “playfully”, as if singing “doesn’t cost you anything” (“he sings to himself, he bursts into song!..”)
5. Don't be too short of breath!
Don't waste your energy in vain!.. Breathe in calmly, without raising your shoulders! Fill your chest with air in moderation!.. And once filled, breathe with your stomach!.. Do you watch yourself, feel yourself when you breathe calmly (preferably while lying down)? Do you know how to inhale, hold your lower ribs tightly, and inhale with your stomach?..
6. Don't strain your stomach!
You need it for a long and uniform (without jolts!) exhalation. Remember: when you inhale, your stomach noticeably protrudes forward, and when you exhale, it “bulges” deeply inward!.. Is this conceivable if your stomach is like a drum?..
7. Put down your tongue!
Your tongue does not dare to be hard and stand with a hump, closing the throat!.. On the contrary: the singer’s tongue is soft and lies flat (often “boatlike”.) Try to do the following: yawn sweetly, but with your mouth closed!.. When the yawn is “successful”, - then, without changing anything, carefully and slowly open your mouth and look in the mirror - how flat your soft (unstressed) tongue lies and how clearly your throat is visible. So show it to the doctor!.. So show it to yourself while singing - check yourself!.. You won’t sing “with your throat”!
8. Don't sing with your cat!
Don’t lose your resonator!.. Don’t tear your mouth “to the ears.” Keep your mouth shut! Try to open it beautifully (oval) and in moderation!..
And sing richly, with air. Unlearn how to get off with just your lips and play
them! Don’t dramatically change the shape of your mouth with each new note!..
Can you sing up and down fast scales (on any vowel) like this?
(if the mouth would not “Jerk” to the sides, but would open slightly as needed solely due to the falling off of the lower jaw?..
9. Don't choose vowels! Love them all equally!
Love with strong love, pronounce them clearly, distinctly and precisely, so that they do not “blur” and turn into others - “undefined”! Most of all, love the vowels “I”, “U”, “Yu” on all notes of your voice! Woe to you if you don’t know how to sing the words: “hallelujah”, “soul”, “love”, “dear”, “storm”, “fierce” and so on. And you sing instead of them: “alleloia”, “dosho”, “leble”, “native”, “bore”, “letoe”...
Practice singing vowels and consonants accurately at any pitch! Distinguish between three different “Es”: 1. Narrow, as in the word “day”, 2 Wider, as in the word “light”,
3. The widest, open, as in the words: “whole”, “perfect”.
Hone and “sharpen” the vowel “Y”, compare it with “I”, to do this, sing one word after another: “to love”, “to forget”, “to shed”, “to become known”, “to reconcile”, “to dig”, “ thread”, “whining”, etc. or combinations of words like: “my dreams”, “have you heard”, “have you sighed”, etc.
10. Don't sing according to notes! Sing it by heart!
A singer with sheet music in his hands is like an actor looking at a book - he doesn’t know the role! He cannot charm!.. Have you noticed that the notes interfere with the performance?.. Do you strive to quickly memorize what you sing and part with the notes?
BIBLIOGRAPHY.
2. “Methodology of vocal work in a children's variety studio” T.V. Ohomush
3. “Methodological development for the training course “Vocal Ensemble” by A.I. Rudneva
5. “Chants and exercises” by L.P. Derevyanina
6. “Chants and vocalises for staging a singing voice” by P. Bakhutashvili.
7. “Ways to track the results of the implementation of the Vocal training course program” by I. I. Vavilova
8. “Methods of tracking the results of the implementation of the “Choreography” training course program” I.V. Malysheva.
Description of material: the outline of an open vocal lesson I presented is designed for working with young children (5-7 years old). Topic of the lesson: “Magic massage.” This material is offered to additional education teachers and music directors in kindergartens.
Health is not everything, but without health everything is nothing
(Socrates)
TOPIC: “Magic massage”
TARGET: To increase the adaptive capabilities of the child’s body by becoming familiar with the types of massage used in vocal classes.
TASKS:
Educational: teach how to perform hygienic and vibration massages.
Developmental: to promote the development of singing skills using health-saving technologies, based on age characteristics children.
Educational: to form ideas about health care, careful attitude to yourself and to your young body.
Health-improving: creating a system for the prevention and correction of children’s health through teaching methods: breathing exercises according to the method of A.N. Strelnikova, hygienic and vibration massages, vocal exercises, speech therapy exercises (tongue twisters), articulatory gymnastics, games.
Equipment, teaching material:
Piano, musical equipment, music staff, headdresses with the names of notes, reproductions of fine art paintings, musical works classical and modern trends.
LESSON PLAN:
1. Organizational moment.
2. Repetition of the material covered.
3. Study new topic.
4. Consolidating a new topic.
5. Creative part.
6. Summing up the lesson.
PROGRESS OF THE CLASS:
1. Organizational moment (2 min.)
Teacher: Hello my friends! Are you all here today?
Children's response (checking those present)
I am very glad to see you, and I hope you also came to class in a good mood. Moreover, today you and I have a very interesting topic: “Magic massage” And so that nothing overshadows our lesson, I want to remind you what you need:
· be polite and careful in class;
· Do not turn on or touch any equipment yourself.
· Do not insert pens, hairpins, paper clips or other foreign objects into the outlet.
· Do not use electrical appliances if the wire is damaged.
2. Repetition of the material covered (10 min.)
Teacher: Guys, please tell me the notes that you know.
(children's answer: do, re, mi, fa, sol, la, si). Right! And now we will find ourselves in a fairy tale, where each of you will be a note. I will be the note - DO, and you...
Each child wears a headdress that corresponds to a certain note.
Teacher: Well, you have already turned into notes. All notes live in a house - a staff. On the stage you see a staff of music. But it's empty. Each note has its place in the house, but which one? Come on, show the notes where your place is in the house.
Children take turns standing near the staff and showing where each note is located.
Teacher: My dear notes! Please remind us what young vocalists must do in order to sing notes well.
(children's answers)
Teacher: That’s right, do vocal exercises, breathing and speech gymnastics, and let’s not forget about the series of exercises “The Adventure of the Tongue.” To do this, we will carry out a special setup. Are we in a good mood? (children's answers)
Teacher: Sit comfortably, close your eyes (children sit on chairs in a semicircle). We are ready to start our vocal lessons. Take a deep breath and exhale (children repeat this exercise 2-3 times). Open your eyes, take another deep breath and exhale. We start our lesson with a group of exercises “The Adventure of the Tongue”
We raise the tongue to the nose and lower it to the chin (the lower part of the tongue is stretched and the muscles of the lower jaw are strengthened), repeat each exercise 10 times
We roll the tongue into a tube and inhale through the nose, and exhale through the tongue tube (exercise for firmness of form)
Lick the upper and lower lips clockwise and then counterclockwise (tongue mobility exercise)
Teacher: You guys are doing great. We continue our work and move on to the development and strengthening of the articulatory apparatus. And I have a question for you. What is it and why do we need it? (children's answer). You answered my question absolutely correctly. We move on to the next series of exercises:
Pull the upper jaw down and return it to its original position
Pull the lower lip forward and then hide it under the upper lip
We stretch our lips forward and make movements up and down, left and right
Using elongated lips, make circular movements in different directions.
Exercise "Kiss"
We stretch our lips wide in a smile so that all the teeth are visible.
Exercise "Fish"
Exercise "Machine"
Teacher: We have completed the first block of exercises and to move on to the next one, I want you to relax as much as possible while sitting on your chairs. With our eyes closed we listened to Claude Debussy’s classic work “Moonlight” (children listen to music in silence).
Teacher: Let's continue the lesson with vocal warm-up. Why do you need a vocal warm-up? Or maybe it’s not at all necessary to sing at every lesson? (pupils' answers). That's right guys. It is mandatory to sing at every lesson, as the vocal cords become stronger and grow. We acquire the skill of correct pronunciation of a word in a song. Voice like anyone else musical instrument requires correct setup. Proper singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture affects even and deeper breathing. Singing develops coordination of voice and hearing, improves children's speech. Singing with movements forms good posture and coordinates walking. Therefore, the manner of sound production plays a huge role in the positive orientation of the individual during singing: the sound is sent into space, the lips stretch into a smile. The sound produced by a smile becomes bright, clear and free. As a result of constant training of a smile, the quality of sound is transferred to a person’s personality. Soon the outer smile becomes an inner smile, and already singing people look at the world and other people with a smile. Let's smile at each other and continue our lesson. Let's start with the chants:
Exercise No. 1
On one note we sing ma-e-i-o-u (ascending movement along chromatism)
Exercise No. 2
We sing syllable-by-syllable “I sing” using the sounds T53 with a downward movement.
Exercise No. 3
According to the ascending and descending chromatic movement we sing da-da-da-da-da-da-da-da.
Exercise No. 4
We sing syllable-by-syllable “The night was shining” using the sounds T53 with a downward movement.
Exercise No. 5
We sing “Here I go up, here I go down”
Exercise No. 6
Do-re-do; do-re-mi-re-do; do-re-mi-fa-sol-fa-mi-re-do. The chant is sung upward in chromaticity.
Exercise No. 7
We sing the syllables “We are coming” using the sounds T53 with a downward movement.
Exercise No. 8
According to the sounds of T53, with an upward movement, we sing da-de-di-do-doo; bra-bra-bri-bro-bru; za-ze-zi-zo-zu.
Teacher: We always end the block of chants with tongue twisters. Why do we need tongue twisters? (pupils' answers). Absolutely right. Tongue twisters liberate the speech apparatus.
Exercise No. 9
We sing the tongue twister “Sasha walked along the highway and sucked on a dryer.”
Exercise No. 10
We recite the tongue twister “The mouse washed the bear with the cone”
Exercise No. 11
We pronounce the tongue twister “The tiger cub roared loudly r-r-r-r.
3. Studying a new topic (20 min.)
Teacher: We have repeated all the exercises you are familiar with and are ready to start a new topic. And it’s called “Magic Massage”. Have you ever had a massage? (pupils' answers). You are absolutely right, massage comes in different forms, including for vocalists. Today we will introduce you to hygienic and vibration massages. These exercises are simple, but very necessary when practicing vocals. Are you ready for new exercises? (pupils' answers).
Hygienic massage exercises:
1. Using the fingers of both hands, make light strokes, from the middle of the forehead to the temples.
2. Using the fingers of both hands, we make light strokes from the middle of the nose along the wings of the nose, along the maxillary sinuses up to the temples.
3. Relaxed lips (mouth slightly open). From the middle of the upper lip down to the corners, massage index fingers both hands alternately. The lower lip is massaged in the same way, only upwards.
4. Chin - perform active tangential movements left and right.
Teacher: We got acquainted with hygienic massage. And for the resonators to work well, it is necessary for all vocalists to perform the following vibration massage exercises.
Vibration massage
1. Forehead - perform light tapping with the highest sound “m”.
2. Maxillary sinuses - perform light tapping, lowering the pitch of the “m” sound.
3. Upper lip - perform light tapping, lowering the pitch of the “v” sound.
4. Lower lip - perform light tapping, lowering the pitch of the “z” sound.
5. Upper back and chest - perform light tapping, lowering the pitch of the “m” sound.
Teacher: Thanks a lot. Now remind me what exercises we haven’t done yet today? (children's answers). Right. Breathing exercises. After all, we really need them before starting vocal lessons, because if you don’t take your breath before you start singing, the sound won’t sound as it should. Now, we will do breathing exercises. Make sure that your shoulders do not rise while inhaling. Remind me what rules need to be followed when performing these exercises (students’ answers and performing the exercise together with the teacher “Pendulum”, “Pump”, “Cat”, “Rolls”).
4. Pinning a new topic (5 min.)
Unexpectedly for all the children, Shapoklyak enters the hall. Humming a song.
Teacher: Who are you? What are you doing here?
Shapoklyak:
Who helps people
He's wasting his time.
Good deeds
You can't become famous
Ha ha ha ha.
I am old woman Shapoklyak.
Teacher: Why did you come to us?
Shapoklyak: Even though I am an old woman, or rather a woman of respectable age, I still know how to sing and what to do for it. Now I'll tell you. Want to? (children's answers). So, listen to me carefully and write it down in your notebooks. It is necessary to eat sweets before class and skip classes regularly. Breathe through your mouth...
Teacher: Shapoklyak, you're confusing something. The guys already know everything. How to maintain vocal hygiene. They regularly attend all classes and enjoy doing all the exercises shown by the teacher. Really, guys? Come on, tell old lady Shapoklyak what we learned in class today.
(children's answer)
Shapoklyak: And, really, you know a lot. Apparently my information is out of date. Guys, can you give me some good song sing. Do you agree?
Children: We agree. We will sing you the song “Balloons”.
5. Creative part (4 min.)
Children sing the song: “Balloons.”
Shapoklyak: What a great fellow you are. Now I know for sure that you can sing correctly, and now I can calmly go home. But remember that my Rat - Lariska is watching you. Study well, perform, win competitions and maybe you will become real artists. Goodbye.
Shapoklyak leaves.
6. Summing up the lesson (4 min.)
Teacher: Well, it's time for us to return from the fairy tale.
The teacher removes the children's hats.
Teacher: I'm very proud of you guys. Our lesson is coming to an end. I hope that you learned a lot today and that you had fun in class. If this is really the case, attach smiling notes to our stave, and if not, then sad ones.
Children attach notes.
Teacher: Thanks guys. Until the next lesson.
Used Books.
1. Dubrovskaya S.V. Strelnikova’s famous breathing exercises. - M.: RIPOL classic, 2008.
3. Zhavinina O., Zats L. Musical education: searches and finds // Art at school. - 2003. - No. 5.
4. Morozov V.P. The art of resonant singing. Fundamentals of resonance theory and technology. - M., 2002.
5. Psychotherapeutic encyclopedia. - SPb: PETER, 2000.
6. Razumov A. N., Ponomarenko V. A., Piskunov V. A. Health of a healthy person. - M., 1996.
Municipal budgetary educational institution
Additional education for children "Center for Children's and Youth Creativity"
Municipal entity Krasnoperekopsk urban district
Republic of Crimea
Methodicaldevelopmentopenclasses
« Development vocally - singing skills variety
execution V ensemble »
(using combined technologies:
gaming and technologies of collective creative activity)
for students of the middle group (9-12 years old) of the vocal ensemble "Magnolia"
MBOU DOD "Center for Children and Youth Creativity"
Prepared by Belkina Natalya Viktorovna,
additional education teacher
first qualification category
vocal ensemble "Magnolia"
Krasnoperekopsk
Explanatory note
Lesson topic:“Development of vocal and singing skills in pop performance in an ensemble”
The lesson is held in a vocal class at the MBOU DOD "Center for Children and Youth Creativity" according to the program "I want to sing beautifully", in middle group ensemble (9–12 years old).
Type of lesson: educational and practical, comprehensive.
Form: conversation, game training.
Technologies and methods
Technologies:
health-saving.
communicative;
cooperation;
Methods:
pedagogical methods: dialogue, explanatory-illustrative, playful, theatrical, conversation;
organizational methods: group, work in pairs.
Target: development of ensemble singing skills and artistic taste, teamwork skills and the formation of self-organization skills and creative activity.
Tasks:
to form a sustainable interest in the training material;
develop special musical abilities;
to form performing skills, develop independence, initiative and improvisational abilities;
promote a strong desire to work in a team;
develop the ability to take care of your health.
Methodological basis
This lesson is based on the concept of N. E. Shchurkova’s personality-oriented orientation and technology of play, communication and cooperation (founded by the innovative teacher Shalva Aleksandrovich Amonashvili), the training of speech singing by the American teacher Sett Riggs and educational program additional education for children “I want to sing beautifully.”
Distinctive features this lesson
The positive emotional impact of music and an atmosphere of goodwill on the child, which contributes to the creation of a favorable psychological climate;
children's activity time is comparable to the teacher's activity;
communication style is conversational in nature;
The lesson is built on the principle of consistency and complexity;
summing up is carried out in the form of reflection;
aimed at developing social and communicative competence, and in particular: accepting each other’s value as individuals, developing partnerships
Advantages of this development
With the help of this development of a lesson and selection of training vocal exercises, you can effectively influence a group of children, developing unison performance, correct incorrect production of sounds when singing, help children relax and communicate freely in a group of peers.
Necessary equipment and materials
The lesson uses audio and video equipment, visual aids, notes. Sunbeams for distribution to children, a sunbeam made of cardboard, balloons, markers.
Expected Result
Creating a friendly atmosphere;
correct performance of breathing and articulation exercises;
clear unison sound in the ensemble;
strengthening the skills of proper singing through exercises and game training;
accepting any child as a partner;
Lesson plan:
I. Organizing time
Greeting, musical background.
Preparatory exercises.. Goal setting
Repetition of the material covered, announcement of the goal, motivation.
III. Main stage
1. Educational training:
warm-up;
chants;
gaming rhythms.
2. Practical part of the lesson
conversation, acquaintance with the basic concept of “ensemble”;
song analysis, work with text;
IV
Reflection “Sunny Bunny”.
Summarizing.
Optimization and encouragement from the teacher.
Progress of the lesson:
I.Organizing time
Hello children. I am very glad to see you in class today. It’s spring outside our window, the sun is warming up, and our class today should also become warmer and brighter from your smiles. The sun's rays shine not only through the window, but will also be a reward to everyone for your efforts.
Preparatory exercises.. Goal setting
In the last lesson, we sang vowel sounds. Tell me, please, what is a “curtain” and how does it work when singing in a pop style? (children’s answer is “curtain”, this is the position of the lips when singing, the position is maintained throughout the entire singing process). How are vowels sung, what other vowel sounds are they similar to in the manner of singing? (and - a, and - oh, a - and,
a - o, u - o, u - a, o - a, o - i, e - a, e - i).
Today we will do exercises that will help us sing in an ensemble. We continue to improve our vocal skills so that we can please ourselves and others with the correct singing.
Teacher: - Why do we need to please others?
Children's answer.
Teacher: - Can you be happy alone? There will be more happy people in the world if you please someone else?
Children's answer.
Today your joy is a ray of sunshine. If the sun has one ray, will it shine brightly? What if we give joy to others? Will the sun shine brighter? (the sun will have more rays, it will be able to shine very brightly).
III.Main stage
1.Warm up
Chinese breathing exercises (Chinese slow music).
Facial muscle training, articulatory warm-up ( fast music).
Exercises for training singing breathing.
2.Chants
During the chants, the teacher pays attention to the correct positioning of the lips. The “blind” should work with any sound.
How are the lips positioned when singing the sound “A”? ( children's answers) Maintain position while singing all vowels. While singing the highest sounds, imagine that you need to say the sound while standing on the roof of a multi-story building so that the sound goes down. If you need to sing a very low sound, you need to imagine that you are singing from a well in order to direct the sound upward.
1. - A – I – U – IU – IU – A – singing according to a major triad.
The teacher monitors the position of the speech apparatus while singing vowels.
2. - BRA - BRE - BRI - BRABREBRIBROBRU.
work with the sound R, change the first sounds STRA, GRA, VRA.
3. - I LETA – A – Y – octave, jump.
The top note sounds soft and imperceptible, the lower sounds are taken correctly and brightly.
4. - Vibration of the lips, relaxation, singing on an expanded triad The exercise is done to relax the lips and prepare them for performing tongue twisters.
5. Singing the tongue twister “The bull has a dull lip, the bull’s white lip was dull” ».
Work in pairs, convey the tongue twister first in a whisper, then sing it, speak only with your lips, without sound.
Teacher: Why do we pay so much attention to chants in class? ( to freely take the most high notes in a song to hear each other, so that later they can sing harmoniously and speak the lyrics well).
3. Game rhythms
Now we’ll do some exercises that will help us keep the rhythm of any piece together. They must be carried out clearly and amicably,
1. ON THE POLYA-NE BY THE RIVER / VERY Evil KO-MA-RYS,
let's walk clap
ONE, TWO, DON'T ZOW, / SOON-RE-E U-BE-GUY.
Let's walk and clap
2.Work in pairs “Mirror”, improvisation.
Create a rhythmic pattern for a given count. The person standing opposite must repeat it after his friend.
3.Now let’s sit down and listen to the birds singing (cuckoo, flycatcher, owl, warbler), (1 -2 min) ( audio recording of bird voices)
Bird trills are also music, they have their own melodies and their own rhythm. Try saying using rhythmic clapping, which bird song did you like best? ( improvised children's answers)
Turn.
2.Practical part of the lesson
1. Conversation
Tell me, please, why do we sing and do breathing exercises at the beginning of our lesson? ( the teacher summarizes the answers)
That's right, in order to train the diaphragm, so that you have enough breath to finish and start a phrase in a song together, in order to sing correctly. Why do we need to do everything together? ( because we are an ensemble, a team).
Ensemble (French) –
mutual consistency, harmonious unity of parts;
artistic consistency of execution;
a group of performers performing as a single artistic group.
What ensembles do you know?
What is the difference between ensemble singing and solo singing?
What is the difficulty of ensemble singing?
We just need to sing to everyone correctly, do everything together and in harmony, because we are a team!
2. Analysis of the song, working with the text
The teacher distributes to the children the words of the song “Balaganchik” by V. Ososhnik (see Appendix No. 2). The children know the song.
Questions about the lyrics:
Why is the song called “Balaganchik”?
What picture appears when listening to the song?
How many verses are there in the song? How many choruses?
What is the nature of the song? (children's answers).
What is the tempo of the song? ( children's answers).
Please show the rhythm of the verse and chorus using clapping.
Look at the lyrics of the song. Read the first sentence. What word in the first phrase is the most important, key? Maybe it's a few words? ( children's answers) Children can name several key words in a phrase. Help children make logical stresses in sentences.
“When the Blizzard sings outside the windows, the old HOUSE opens its doors to us”
Sing a phrase with logical accents. In order not to place unnecessary stress in a phrase, it is better to mix the vowels in non- keywords. The phrase should look like this:
When a snowstorm sings outside the window and the door of the old house opens, consonants and vowels are highlighted, clearly pronounced when singing.
APPLAUSE for the Mixed Mind, here the EchoskAzok of Childhood no longer lives.
Let's take out the chest, and lift the lid on the KNOCK.
preludeviewyugisplaymusicianANT,
on the Little Faithful Girls all the Whisk in the ROW.
Provide markers to highlight stressed vowels and clearly distinguishable consonants. The work is done together with the teacher, and in the future it is homework.
Ensemble singing
Teacher: - Let's try to perform the song taking into account stressed words, vowel sounds, highlighting the consonants at the end of phrases.
Teacher: - Well done! You are doing everything right, and most importantly, together. Now stand in pairs and perform the song as if you were telling the story to each other. Remember expressive performance. Don’t forget about the position of your lips while singing, listen to each other, try to maintain the ensemble.
Children sing to each other, at the end those whose friend sang correctly raise their hands. If there are children who were not praised by their friends, the teacher finds positive aspects in their performance and also gives an assessment.
Let's learn the chorus parts.
First we sing the first part with accompaniment, then we learn the part of the second voice.
We combine the parts first without music, listening carefully to each other.
And now you need to sing a song as if you were performing at a spring concert - amicably, harmoniously, all together as an ensemble! If it doesn't work, sing again.
Well done boys. I see that you tried very hard and you have a wonderful ensemble!
IV. The final stage of the lesson
Now we will stand in a circle, I will pass a sunny bunny around the circle, and you will tell me what you liked most about the lesson, tell me what feelings you had during the lesson, how you feel, and how you think it turned out Are you an ensemble today or do you need to try harder ( children's answers)
It is very important for us to work TOGETHER in class, because each of us individually is a ray of light, and together we are the sun. The teacher distributes sun rays to all children. The rays are glued to the sunbeam, the result is the SUN. ( A recording of a song performed by the “Barbariki” ensemble is playing.)
"If a friend doesn't laugh,
Turn on the sun for him
You turn on the stars for him - it's simple.
And when you need it, all your friends will be there,
To turn on the sun or stars for you"
Goodbye children.
Literature:
A. N. Petrova “Stage speech”, M., “Art” 1981.
I. P. Kozlyaninov “Stage speech” M., “Art” 1976
E. S. Zenovich “Dictionary of Foreign Words and Expressions” M., “AST Publishing House” 2003.
E. O Yaremenko “Software and methodological materials. Music" M., "Bustard" 2001
O. Daletsky, Literary and musical almanac “Youth Variety”, “The Art of Teaching Singing”, No. 5 – 6, 2007.
http://alekseev.numi.ru songs and music for children's groups
http://proekt-obrazovanie.ru (EER in various areas. Collection of presentations on the subjects of Art, Traffic Regulations, Music, etc.)
APPENDIX No. 1
Chinese breathing exercises.
Promotes concentration on your sensations, develops imagination, adjusts attention, relaxes muscles, creates a positive mood. You can do it lying down if conditions permit.
Inhalation counts to the count of one, two, three. Exhale twice as long, i.e. 1.2.3.4.5.6. Inhalation and exhalation occur calmly, without straining.
"Spring"
Inhale - Imagine that our body is a spring. It stretches to the very sky.
Exhale - The spring is compressed as tightly as possible. In this case, the body does not move, everything happens only in the imagination.
"Rock, Cloud"
Inhale – the body turns into a weightless light. cloud,
Exhalation – we turn into stone. The stone is very heavy, its entire mass presses on the floor.
"Point, Universe"
Inhale – we spread throughout the Universe, as far as the imagination allows.
Exhale – the body “shrinks” into a small point.
"Jug"
Our body is a jug; it fills with clean, cool water, and muddy water pours out.
Inhale - the jug is filled with water,
Exhale – water pours out.
At the end of the gymnastics, inflate the balloon, exhaling all the air into it.
Articulation warm-up.
Work in pairs.
They smiled at each other and showed their patch. ( repeat several times)
Piglets love to frolic, uttering the sounds “U - I”. At the same time, the lips work like those of a sign language interpreter.
Exercise “Horse” - clicking your tongue.
The lips resist the tongue.
Exercises for training singing breathing
"Inflate the balloon"
Standing straight, back straight, take a short, intense breath through your nose, “into your stomach.” At the same time, your stomach should protrude forward like a ball. Exhale with the sound “s” as long as you can breathe (feel how the breath rests on the diaphragm).
“Pumping up your tummy»
Work your abdominal muscles, regardless of breathing. The stomach protrudes and collapses.
« Shooting sounds»
Without sound, with force, pronounce the sounds P, T, F, S. PPPP - TTTT - FFFF - SSSS. The exercise is performed with acceleration. After effectively performing the exercise, your throat becomes cold.
« Pick up a feather"
Imagine that a feather is flying above you. Blow up so it doesn't fall.
"Blow out the candle"
The teacher stands in front of the children.
Imagine that my hand is a candle. Having taken in air, you need to send it in such a way as to blow out this candle.
Appendix No. 2
"Balaganchik"
music etc. V. Ososhnika
When the blizzard sings outside the windows,
An old house opens its doors to us.
Calls you with applause,
Here is the echo of childhood fairy tales
Doesn't live anymore.
Let's get the creaky chest
And we'll lift the lid to knock.
Play the prelude of a blizzard,
But Pierrot is crying,
Pierrot is crying
Fun, fun in the booth.
Let's throw coals into the cold fireplace,
Let's sit by the fire and talk.
Let's get out the dusty album,
As before, a noisy holiday will greet the old house.
Let's get the creaky chest
And we'll lift the lid to knock.
Play the prelude of the blizzard, musician,
All the dolls will stand in a row on thin ropes.
But Pierrot is crying,
It's cold, cold for little fingers.
Pierrot is crying
Fun, fun in the booth
Appendix No. 3
Singing vowel sounds
I (A) O (A)
And (O) Oh (And)
A (I) E (A)