Musical repertoire of a cover band is a playlist of prepared non-author compositions.
These songs are popular at events and are performed in a certain arrangement by cover bands. Cover band is musical group, who performs non-author compositions in individual style. Often such groups are booked to liven up any event, adding some zest to it and take advantage of the opportunity to hear your favorite songs live
One of the main mistakes of the repertoire when choosing songs!
What kind of compositions will be played at the celebration depends on the customer. The mood of the client and the impression of the musical design in general will depend on how competently the repertoire of the event is compiled. In our case, we approve it in advance on the eve of the scheduled date. But! There is one nuance that the client forgets about. Its taste may differ from the taste of guests at the holiday. What to do in this case? We have found a solution to this issue and offer you to choose from 250 songs cover band repertoire favorite songs. This list is then adjusted and approved with the client.
What distinguishes a complete and high-quality playlist:
- the presence of popular compositions (most often these are American, French, Italian world and domestic hits);
- the best songs of different times (from the 70s-80s to our time);
- the presence of separate, so-called women's compositions, songs from cartoons and movies, and even war or post-war songs.
Before you book a band, it's worth listening to recorded performances or videos of live performances. This will give confidence in the high-quality performance of certain necessary hits. This will also help you understand what style a particular tribute band plays and whether it is suitable for this particular celebration.
The professional cover band has at least 80 hits in its repertoire.
What styles of compositions can a cover band's repertoire include?
The customer's chosen songs can be completely different in style and genre. From jazz compositions and romances to eccentric rock and roll and Latin. It is important to know in what arrangements the musical group will perform your favorite tunes. We don't experiment much with arrangements, since the listener may not like the new arrangement at all. People are used to a certain sound and the new arrangement makes it a new song.
Professional cover bands work with the following musical styles:
- jazz and even symphonic jazz;
- rhythm and blues;
- rock and rock and roll;
- pop and rap directions;
- lounge and hot jazz:
- as well as disco and hip-hop.
Don't forget about the songs of the 20th century that can be heard in modern arrangements by professional cover bands.
What musical repertoire is at what celebration?
In our practice, the customer himself fills out the playlist that he wants to hear at his party. The songs are taken from the proposed repertoire, which can be downloaded directly from the site.
Our group leader often tells customers which songs people respond to best. Considering 10 years of experience, this is not so difficult to do:
- for a wedding– cheerful solemn songs about love and family;
- for birthdays (anniversaries)– congratulatory compositions in honor of name days;
- for a corporate event– a collection of compositions liked by the majority;
- jazz performance– thematic events.
Of course, for a large and rich program, the repertoire of the celebration itself is filled with both favorite compositions and worldwide hits. As a rule, between cover band repertoire for a wedding and the birthday repertoire there is a slight difference.
Examples of musical repertoire for a wedding
One of our cover band’s programs for a wedding:
- The Baseballs - Umbrella
- Yuri Antonov - Flying gait
- Boney M. - Sunny
- Shocking Blue - Venus
- Queen - We will rock you
- Whitney Houston - I will always love you
- Whitney Houston - I Wanna Dance with Somebody
- Maroon 5 - She will be loved
- James Brown - I Feel Good
- THE BEATLES - Can't buy me love
- End of the film - Alice
- Zveri - Districts and blocks
- Christmas tree - On a big Balloon
- Tina Turner - Simply Te Best
- Viagra - I Got Another
- Black Eyed Peace - Let's Get It Started
- Kelly Clarkson - Stronger
- IOWA - Smile
- Gagarina - The performance is over
- Bon Jovi - It's My Life
- Pharell Williams - Happy
- Bravo - Leningradsky Rockn - roll
- Bravo Moscow Beat
Examples of musical repertoire for corporate events
One of the Elim’s Band cover programs at a corporate party:
- Jessie J - Price tag
- Agutin - On the lilac moon
- Iowa - Beats the Beat
- Bravo – Moscow beat
- Elvis Presley – A little less conversation
- Glorya Gaynor – I will survive
- Iowa - mom
- The baseballs – umbrella
- Robin Schulz – Sugar
- Animals – Districts and blocks
- Leningrad - Exhibit (On Louboutins)
- Antonov – With a flying gait
- Earthlings – Grass near the House
- Rihanna - We found love
- Clean Bandit - Rather be
- Christmas tree - Draw me the sky
- Leprechauns - Hali Gali
- Madcon - Beggin
- Zucchero - Baila Morena
- Adriano Celentano - Suzanna
- Kristalinskaya – it’s snowing
- Whitney Houston - I will always love you
- Bon Jovi - It's My Life
- Michel - Telo ai se eu te pego
Invite a cover band to a corporate event in Moscow!
Selecting a repertoire for a beginning singer is difficult, but very important task, which stands in front of the teacher. Success largely depends on how methodically competent and creatively expedient it will be implemented. individual lessons, dynamics of identification and revealed development creative potential student, his development in singing ability.
The main vocal and pedagogical repertoire for a beginning singer can be vocalises, ancient arias (arioso, arietta, etc.), simple romances, folk songs and works of songwriters (songs from films, musical theater productions, etc.). ).
Work on the repertoire should help identify:
- - creative individuality of the student,
- - to reveal the originality of his unique “I”,
- - educate aesthetic taste and form a feeling artistic measure when performing,
- - to form the foundations of vocal and technical skills in a beginning singer.
Classical vocalises by F. Abt, N. Vaccai, G. Seidler, J. Concone, W. Lutgen can provide significant assistance at the first stage of a singer’s training. During their performance, the main attention can be directed to sound formation and sound management, the formation of basic technical elements, without which further work on the work is impossible - the development of singing breathing, sound support, a sense of resonance, singing, cantilena or fluency, etc. When working on vocalises great value plays a role in controlling muscle tension and purity of intonation.
Vocalises are a good transition material from exercises to works of art with text for all students. They are written with a specific pedagogical task that must be solved in each individual case (sing a certain interval, grace note, gruppetto, syncopation, etc.). A teacher, when choosing a vocalise for his student, must analyze it from the point of view of the difficulties it contains, and first of all pay attention to the tempo at which it must be sung, the rhythmic difficulties and trace the melodic line.
Performing vocalizations will help to the young singer Finally, it is easier to understand and analyze a musical phrase and musical form, which are the basis for the performance of any work.
Works of art, wisely selected, are the main means of educating a singer. However, such performing genres as aria, romance, folk song, which have their own specific features, contribute in different ways to the formation of a singer in the process of his training. Let's look at them in a little more detail to create a more complete description.
Aria-- this is the most complex solo vocal form. As a rule, it is part of a large vocal-symphonic work and is a complete solo episode that can be performed completely independently. Less common are arias written by composers specifically, in the form of a musical piece for an instrument or the voice of a singer. The aria requires the singer to be especially attentive to the work in which it is included.
The singer-performer of the aria must be able to create the image of the hero, while maintaining all the details, strokes and maintaining a certain dramatic situation of the work. These requirements apply to other solo genres operatic literature, performing the functions of an aria, such as arietta, arioso, cavatina (other names of solo operatic aria genres are often found, such as rondo, solo, couplets, romance, monologue, song, letter, dreams, tears, legend, etc.).
Aria in to a greater extent than other vocal genres, it promotes mastery of the vocal-performing side of learning, as well as vocal-technical techniques of singing.
At the beginning of a singer’s training, as a rule, one should, if possible, avoid including vocal-pedagogical ariatic material in his educational repertoire, with the exception of those works of this genre that are not difficult. Most works of an ariotic nature are difficult to perform and require a certain vocal and performing maturity. In any case, in the vocal pedagogical literature it is almost impossible to find the ariot material for basses, baritones, contraltos and mezzo-sopranos necessary for the initial period of a singer’s training. And only such an educational and pedagogical repertoire is available in very limited quantities for soprano and less for tenor.
Romance- This is the most developed vocal-song form. Romance plays a big role in the development and formation of a singer; it contributes mainly to the artistic and expressive side of learning, instilling in the singer specific techniques of chamber style performance.
Romance should be considered as a synthesis of three types of arts: poetry, singing and instrumental music, organically fused with each other. Romance requires the singer to have sufficient musical, artistic, vocal and technical training. This is especially true of the romances of Tchaikovsky, Rachmaninov and Rimsky-Korsakov, which are very difficult in vocal and technical terms, since they contain complex intonation and melodic turns and subtle touches of artistic and expressive singing, requiring high skill from the performer. Therefore, the teacher should not start training the singer to include in the repertoire unbearable and complex works this genre. During this period of training, it is most advisable to use the romances of Varlamov, Titov, Gurilev, Dargomyzhsky, Alyabiev, Bulakhov, Dubuk. The main thing is that their tessitura, vocal-rhythmic pattern, and dynamic range do not cause difficulties for the beginning singer.
Song represents the most democratic, widespread and mass genre of vocal literature. It, like the romance and aria, contributes to the development of the singer’s musical performance skills. But the song requires simpler means of expression, accessible to many performers, while maintaining all its artistic values. Thanks to this, the song is a very useful genre of vocal and pedagogical repertoire, especially at the beginning of a singer’s training.
There are many songs - classical, ancient, modern - of a heroic, dramatic and lyrical nature, which represent excellent pedagogical material for the education of a novice singer and the development of his voice.
Among the repertoire of this genre, such works as Budashkin’s “Nastenka’s Song” (from the movie “Nastenka’s Song”) can be considered appropriate. Scarlet flower") or Dunaevsky "On the meadows-glades".
Particularly useful art material for training a singer is - folk song. It contains invaluable riches of content, feelings, moods and images. Its value lies in the fact that, firstly, it carries characteristic features musical culture of the people to which she belongs, and thus makes the performer imbued with these characteristics. And secondly, being for the most part a simple work accessible to many performers, a folk song is built on natural melodic intonations and turns of music, which in vocal and pedagogical practice contributes to the proper development of the singer’s voice.
Folk songs are of great importance in the process of educating a singer-musician, as they have a highly ideological, wise content, variety and diversity of melodic structures based on national characteristics folk art.
Thus, all genres of vocal pedagogical literature, which have their own specific characteristics, serve one common goal - the goal of educating and training the singer.
The task of selecting a repertoire in music schools and universities is to a certain extent facilitated by the presence of developed programs for solo singing, including repertoire lists. These lists are compiled for all types of voices by course. It is very important that students do not sing an inflated repertoire, as is often the case in practice. This leads to the fact that young, immature voices lose the freshness of timbre, and a hoarseness and pitching appear in the voice. If a piece is too difficult, the student, as a rule, tries to perform it and begins to force the sound, which is completely unacceptable.
It is useful for a teacher to use a reader of the vocal pedagogical repertoire in his work. Such works, time-tested in practice, exist. For example, anthologies compiled by E. Milkovich, S. Fuki and K. Fortunatova, G. Aden; “Children's Album” by P. Tchaikovsky, “Album for Youth” by Schumann; collections for beginners edited by M. Agin (“Repertoire of a beginning singer”, “ Vocal music old masters" in three volumes).
The situation with performing music is very difficult. modern composers. Unfortunately, they do not understand that the ear of a beginning singer, or even a university student, is not prepared for new harmonic turns, for complex language new music. Being offended that their works are rarely performed is not a way out of the situation. You need to carefully think through the tessitura of a new work, its rhythmic features, and not write, for example, a work where the range is for baritone at the bottom, and tenor at the top, etc. Works written without taking into account features singing voice, can cause undoubted harm, or in best case scenario will lie “on the shelf” for a long time.
Once again, I would like to remind you that the pieces that make up a student’s individual plan should be accessible to him from both a vocal-technical and artistic-performing point of view. At the same time, the repertoire performed by the student should contribute to professional development and creative growth student, to ensure the disclosure of his creative individuality in the process of developing singing skills. When performing an artistic and didactic analysis of works, it is necessary to evaluate:
- - range of composition;
- - dramaturgy and image of musical intonation, artistic sense creative tasks;
- - predominant level of musical tessitura;
- - the degree of dramatic saturation of the musically intoned image
- - the opportunity for the student to implement musically intoned dramaturgy of the composition;
- - interaction of musical and poetic texts;
- - features of the ensemble of instrumental and vocal parts
In the middle of the century before last, at the dawn of Russian conservatory education, A.G. Rubinstein published lists of works recommended for teaching in classes solo singing, which served as a guide for the selection of the pedagogical repertoire. By providing the student with vocal and technical equipment, these works contributed to the identification and disclosure of his vocal texture and performing talent in the process of developing singing skills. Unfortunately, today a beginning singer can sometimes perform the aria of the Snow Maiden, Carmen, Lensky or even Herman.
Preparation for a performance, in addition to the actual constant and regular training of the vocal apparatus, consists of the competent selection of a repertoire that corresponds to the singer’s vocal level. On initial stage as a rule, a repertoire that is not difficult to perform is selected - folk songs, romances of the middle register, which do not require much strain on the ligaments, so that the singer can think not about HOW to sing, but about WHAT to sing, that is, he thinks in images of the work, and is not distracted by the technical side of the issue. The singer grows as a musician-performer and as a vocalist primarily on a properly selected repertoire.
The work chosen for the student must always correspond to his level musical development, vocal and performing training. Artistic pedagogical material requires special attention to the gradualness and consistency of increasing the difficulties of works. This applies equally to musical difficulties, as well as to vocal and performing difficulties. A repertoire that is vocally and technically overwhelming is especially detrimental to a student’s voice. Irrationally selected works can retard a student’s vocal growth and even cause direct harm.
The use of a repertoire convenient for the voice helps to coordinate the work of sound-producing elements, including those that are not subject to consciousness. Folk songs are especially useful at the first stage of learning. They have many advantages and are primarily comfortable for the voice.
Folk song– basis in music and singing. Folklore was appreciated by the greatest musicians. Passed down orally from generation to generation, folk melodies as if filtered by voices and concentrated in themselves elements of convenience for singing. They filter out that which contradicts the mass nature of the votes and exceeds their average capabilities. Folk songs are varied in character, built, as a rule, on a small range, which is very convenient for beginning performers. Their tessitura is very moderate. Clarity of words, couplet form of structure, ease of memorization musical texture allow the student to easily combine the vocal-technical and performing aspects of performing a piece. They are both simple and extremely expressive.
The style of performing Russian songs requires simplicity, naturalness, sincerity, and good delivery of the text. The verse form forces the beginning singer to find his own nuance in each verse, which diversifies the performance.
Great Russian opera singer Maksakova Maria Petrovna found “her own intonation, drawn-out, sometimes perky, but always ennobled by feminine softness... Maksakova conveyed a simple verse song about a sweetheart who brings a gift as a woman’s story about her life, about her personal feelings, coloring all this with a subtle, alien any pressure with humor. The singer colored each verse with such a unique expression and said “Eh!” with such a unique expression that each time it sounded different, depending on the shades of the story, but always with the heroine’s attitude towards her lover.”
Lemeshev says about Russian song: “Russian song is full of lyrical depth and poetry. The people have been polishing it for centuries, and therefore in its melodic and poetic images there was nothing left that was casual, superficial, or cheap. The beauty of her melodies crystallizes pure, high human feelings, and she demands from the singer the same purity, scale and sincerity of performance.”
Romances by such authors of the pre-Glinka period as Bulakhov, Varlamov and others, as well as later ones, including the Soviet period, based on poetry famous poets in a performance sense they are very demanding attentive attitude to the verbal text, good developed sense style. They are simple, melodious, and mostly have a verse form, which makes them similar to Russian folk songs, but at the same time they have a more developed musical side. Written in a convenient tessitura, do not cover a large range of sounds, are easily accessible in your own way musical language and according to the requirements they place on the vocals of beginning singers. They are simple, they must be performed sincerely, without going beyond the boundaries of naturalness and spontaneity.
According to Sergei Lemeshev, “Beautiful singing presupposes a natural, sincere expression of feelings. The singer should feel as if his whole being is singing. But don’t force the sound, don’t try to show it as greater than what nature gave you.”
Lemeshev wrote that in his work on the image of a particular work, and Stanislavsky worked a lot with the singers of his opera studio on romances, “Stanislavsky proceeded from the principle of internal justification of this or that mise-en-scène, and not the visual effect. He understood that the singer’s correct well-being, his correct psychological attunement, would always lead him to the right way to the stage image, will help him sing expressively important and vocally difficult parts of the part.” . Thus, we come to the conclusion that when selecting a repertoire for a beginning singer, it is necessary to take into account his temperament and individuality, not only of his vocal apparatus and the degree of its development, but also the psychological aspects of his character. For example, a slow person, phlegmatic by nature, will find it difficult at the beginning of his training to correctly perform a perky, clownish song that requires dashing prowess in its performance. For such a student to perform at a concert, it is better to choose a piece that is calm, lyrical, measured in form and content.
When choosing works for a concert, it is better to think about their sequence in advance. concert program. First, a piece that is easier in vocal terms is staged for development, and then a more difficult one in vocal and performance terms.
Preparing the selected piece of music
“It is recommended to conduct classes on a piece of music in two ways: on the one hand, working on artistic performance work, and on the other hand, working on it purely technically, that is, as if redesigning this work in vocalization."
Based on the topic of our research, we would like to focus on the musical and artistic side of the preparation of works and omit the purely technical side of voice production. We want to focus on working on the artistic and performing means of expressing the work. These means include:
Clear diction and correct articulation, and as a result - the delivery of a legible vocal word to the viewer;
Intonation and phrasing of the work.
Working on diction
Our word, addressed to the audience either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium.
A good singing word, i.e. the ability to naturally pronounce the verbal text of a work, combining this with good vocality of all vowels, is an indispensable condition for professional singing, and for most singers it is a consequence great job. Good delivery of the word, its true emotional coloring, naturalness are essential for a professional singer.
In order for the text of a vocal phrase in a work to be natural and well heard by the public, every singer must know the patterns that determine the basic qualities of good vocal speech.
Vocal speech must be: intelligible, i.e. have good diction clarity; natural, to the extent that vocality allows; expressive, i.e. contain elements that make up the expressiveness of speech; vocal, i.e. built on equal vocal vowels.
Professional singing requires clear delivery of words. An extremely unpleasant impression is created when words are pronounced unclearly. No matter how talented and musical the performer is, no matter how wonderfully beautiful his voice is, his singing will not make the proper impression if it is not clear in diction. If the listener strains his ears in order to understand the meaning of the words that the singer is singing about, then he no longer fully perceives the beauty of the voice and expression, but concentrates on catching the word. The inability to understand a word irritates the listener, and the impression of the performer decreases sharply. Unclear diction is a big drawback of a singer, a technical flaw in voice training, which can always be eliminated.
“Vocal diction, just like the art of singing, contains two elements: creative and technical. The creative element is the artistic distribution of the semantic content (weight) of a word depending on the artistic tasks assigned to it, on the idea and meaning of the work being performed. The technical element of diction is the ability to sing vowels clearly and fully and clearly pronounce consonants. The flow of vowels should not be disrupted by consonants interjecting into it. All vowels in singing should sound clean, clear, and their “vocal core” should not undergo noticeable changes when they are changed.”
Diction – i.e. The intelligibility of words depends, as in speech, on the clarity and intensity of the pronunciation of consonants. The speed and clarity of pronunciation of consonants must be carefully monitored from the very first lessons, when works with text are given, paying special attention to the consonants that come at the end of words. Very common mistake for inexperienced singers, this is eating the consonants at the end of the word that concludes the phrase. If a consonant sound is at the end of a phrase, then along with the end of the sound the singer weakens the articulation of the consonant, as a result of which it is pronounced sluggishly and does not reach the listener. It is necessary to immediately teach the singer to actively and clearly pronounce the consonants at the end of words.
Lemeshev about diction: “I’ll start with the elementary – with diction. How often do singers, especially opera singers, suffer from unclear, weak diction? It is not uncommon to find artists with voices that are expressive in sound color and convey mood well. But what they sing remains known only to them and the prompter... Sometimes you can justify yourself by saying that the orchestra is drowning out; but some manage to pronounce words so well that they cannot be understood, even when the orchestra is silent... The fact is that by nature not everyone is equally endowed with the ability to pronounce words clearly and clearly. And you need to work specifically on your diction.”
K.S. Stanislavsky perceived the art of speech as an art no less complex than the art of singing. He often said: “A well spoken word is already singing, and a well sung phrase is already speech.”
To achieve good results, you need to work on improving the articulatory apparatus and developing its technical capabilities. The appendix contains several exercises to improve the quality of vocal diction based on the book by E.M. Pekerskaya "Vocal primer".
Modern teachers in music schools they are often faced with the fact that a teenager does not want to sing this or that song or romance, and all attempts to convince him to change his mind lead to complications and conflicts. Often, a teenager not only refuses to perform a romance that he does not like, but may even stop going to school altogether. music school. To properly understand this issue, you need to take everything into account age characteristics teenagers You will learn about them in this article.
Age characteristics of a teenager
This age is characterized not only by increased vulnerability, but also by the desire to impress. He wants to appear bright, spectacular and beautiful, to be appreciated and approved, and the less love he receives in his environment, the more acute this feeling. He also becomes sensitive to ridicule, so it is important for him that the romance that he will sing from the stage emphasizes him favorably strengths as a vocalist and as a person. Therefore, in order to choose the right repertoire for him, you need to take into account such age-related characteristics of the teenager as:
- Striving for efficiency. When performing a romance, a teenager wants to feel not just a performer, but a star. To do this, his repertoire must be interesting, conveying feelings familiar to the teenager himself and corresponding to his perception.
- Fear that he will be judged or laughed at. It is also characteristic of adolescence, therefore, if there are places in a vocal work that are incomprehensible to him and cause embarrassment, he can simply refuse to perform it and decide that “he does not need classical vocals, since the works there are uninteresting.” And here you also need to be careful when selecting the repertoire.
- Having new interests. In adolescence, a boy or girl may decide that no one needs the classics and that he would rather study pop vocals or even choose dancing. You can maintain interest only with a bright and understandable repertoire, the content of which will help the teenager open up. Beautiful arrangements will also have a significant effect, allowing the teenager to feel like a popular star on stage.
- When choosing works about love, you need to consider age characteristics of a teenager, or more precisely, his perception. Much depends on your specific character and temperament. There are boys and girls who perceive light works, without strong drama. And some, on the contrary, are already in early age can perfectly convey the character of the heroine Carmen. So a vocal teacher should pay attention to a particular teenager’s ideas about love in order to choose a repertoire that will be understandable to him and will help him open up.
- A clear manifestation of character. It is when a teenager begins to be stubborn, show character and show himself that one can see what his temperament and perception of the world around him is. Usually at this time an already formed character with its own characteristics begins to appear. Some become bright and flirty, an imp in a skirt, while others turn into a dreamy, glamorous girl, tender and vulnerable. Based on these features, it is worth selecting works. You shouldn't make Carmen out of a prude and vice versa. It is better that the character traits of a teenager are manifested in the work, then it will be easy for him to perform it.
How does a teenager’s perception influence the choice of repertoire?
When choosing a romance, it is worth analyzing its content and thinking about whether it will fit into the perception of a teenager. There are romances that sound good sung by a mature man. They contain words about deep dramatic love, about years that flew by unnoticed. They should not be given to a teenager, as they will not be able to convey his mood, emotions and character. But a teenager will be able to convey songs and romances about first love, falling in love, tenderness or, on the contrary, betrayal, if they correspond to his perception. Also, the romance should effectively show the teenager himself. For example, the romance “I loved you” will sound beautiful when performed by a teenager who takes failures lightly and is not inclined to dramatize the situation. For a vulnerable and withdrawn teenager, this romance will evoke melancholy both for himself and for the listeners. Therefore, when choosing a repertoire, it is worth taking into account the teenager’s perception and his formed character.
How to create the image of a teenage vocalist
The main secret of how to create the image of a teenage vocalist is to advantageously present his features to the public. Anything can be played beautifully. Is your teenager short-tempered and impatient? He should choose a repertoire where he can beautifully present his unbridledness. Is he reserved? Lyrical romances that are not too emotional in nature are what you need. Does your teenager have a cheerful disposition? Moving romances or, on the contrary, dramatic works will sound light and beautiful from him. After this, it is worth thinking about his image, costume and message that he will have to convey to the audience during the performance. Compose complete image lessons will help you acting skills. It’s these little things that make up the image of a teenage vocalist.
How to choose a repertoire for a teenager
- Be sure to let the future performer listen to the recorded romance or song. Although composers did not write works for this age, romances and songs for boys and girls should be in the arsenal of any teacher.
- Look and analyze the text. Think about how it might be of interest to a teenager. Interesting repertoire For a teenager it is always easier to perform than to sing something that you don’t like.
- How does he show a teenager? Is he really like that? Girls should not sing male romances and vice versa. They don't need to look funny on stage.
- Romances and songs for girls and boys shouldn't be tragic. Interesting repertoire for teenagers should be positive and, if possible, optimistic.
Examples
« Autumn leaves» Makrousova;
"Return to Sorrento"
Caccini "Ave Maria"
This page contains a list of songs that people like most at holidays, events, celebrations - anniversaries, weddings, wedding anniversaries, corporate parties, birthdays. It is basically on this principle that I teach them. If very often they ask me to perform a song, but I don’t know it, I immediately learn it.
Popular, VIA, funny, for dancing, romances, gypsy and others.
Not indicated, which I perform into a microphone using electronic text (not by heart). There are tens of times more of these than in the list below.
You can listen to songs performed by me by going to the pages Yuri Kuznetsov Sings.
I have a very good memory by nature. I will be happy to learn and sing at your celebration any song that you or your guests like.
ROMANCES
Fireplace sparks
Your eyes are green
Under the caress of a plush blanket
Don't go, stay with me
Shine, burn, my star
A pair of bays
White acacia fragrant clusters
Meetings only happen once in a lifetime
Enchanted, bewitched
Moscow golden-domed
Hairy bumblebee
Black eyes
Two guitars behind the wall
Don't wake her up at dawn
The chrysanthemums in the garden have long since faded
And I thought you were happy
I will never forget you
Foggy morning
Move away, don't look
Dear long
I met you
Coachman, drive to Yar
And finally I will say
Gray hair (And you and I haven’t aged at all...)
Bells (You can hear the ringing of bells from afar...)
There was a carriage at the church
The reeds rustled, the trees bent
Don't leave, my darling
My fire shines in the fog. (Ancient gypsy romance)
Vain words (Malinin)
Good night gentlemen (Leps)
Romance of the General of Blackness (Alone again in bed, half asleep) Alexander Rosenbaum
Capricious, stubborn (Ancient Russian romance)
Don’t keep saying (And why and why I fell in love with you)
Fireplace sparks
Happy
List of songs for anniversary, birthday.
I celebrate a variety of anniversaries: 60, 50, 65, 70, 55, 80, 45, 30 years and others. For men and women. In order to make it easier for me to understand what to sing at your celebration, please send me by email a list of the musical compositions that you and your loved ones like best. And they will definitely be performed at your celebration.
At the celebration, I ask the guests “what do you want to listen to?”, “What should we sing together?” But any impromptu is good when it is prepared in advance.
You can record any song or even a whole disc for the hero of the day in the studio. At the beginning of this album, say that you wish the hero of the occasion and are thinking about him. Such a gift will be very valuable and unforgettable.
Anniversary ditties. Dedicated to my beloved woman. List of songs dedicated to anniversary, birthday: Happy birthday. (Everything today is just for you.) Irina Allegrova. Dedicated to the woman. My woman for you. (I raise my glass. Today is your birthday.) Mikhail Sheleg. RUSSIAN FOLK SONGS
Through the wild steppes of Transbaikalia Because of the Island on the rod You are my darling Oh, frost, frost A young Cossack walks along the Don Oh, yes, pour it I'll go outside A rogue merchant was going to the fair Lady, Gypsy, Yeletskaya (ditties) Once upon a time I was sailing by sea Am I to blame IN moonlight(Ding-ding-ding...) Peddlers The bell rings loudly Oh, by the meadow, by the meadow How did a soldier serve? As if the Volga is mother When I served as a coachman at the post office My joy lives on Steppe and steppe all around It was a long time ago, seventeen years ago Who needs it (In the middle, Grandma, in the middle, Lyubka, in the middle, you are mine, blue dove) Charming eyes We walk through the village (We hand out gifts. Some have sons, some have daughters) Nadezhda Kadysheva. "Golden Ring". In the moonlight Uhar merchant SONGS TO THE POEMS OF SERGEY YESENIN
There is a month above the window I don’t regret, I don’t call, I don’t cry The golden grove dissuaded Maple you are my fallen one Letter to mother (You are still alive, my old lady...) There's only one thing left for me to do Woven on the lake I'm a Moscow naughty reveler I've never been to the Bosphorus Moscow (Mongol Shuudan) Letter to Mother SONGS ABOUT THE MOTHERLAND I will pray for Holy Rus' (Hierodeacon Theophilos) I'll go out into the field with my horse at night. Russian Field. (Jan Frenkel) From the movie "New Adventures of the Elusive." I'm in spring forest drank birch sap. (Mikhail Nozhkin).From the film "Resident's Mistake" Call me quietly by name. (Lyube). A song about a distant homeland. (I ask, at least for a little while). From the film Seventeen Moments of Spring. Where does the Motherland begin. (Mark Bernes) Words by Matusovsky. Birch sap (Only under the snowfield to bloom on time). Pesnyary. I love you Russia! My dear Rus'! (Mikhail Nozhkin. David Tukhmanov.) March - "Farewell of the Slav" Written in 1912. Song about the Motherland. (The sun is shining in a clear sky.) Why do birch trees make so much noise in Russia? (Nikolai Rastorguev and Sergei Bezrukov.) From the series "Plot" I'll go out into the field with my horse at night. Migratory birds are flying. (I don’t need the Turkish coast and I don’t need Africa.) Oh, you wide steppe. Chistye Prudy (Igor Talkov). Our toast. (Let's drink to the Motherland, let's drink to Stalin, drink and pour again.) Song of the war years. Little Crane. (Even though the land is warmer there, the homeland is miles away.) Mark Bernes. Anthem of Russia. SONGS ABOUT MOSCOW Moscow golden-domed Moscow windows Moscow evenings My dear capital, my golden Moscow Alexandra (film "Moscow Doesn't Believe in Tears") Moscow. The bells are ringing I'm walking around Moscow SONGS ABOUT PARENTS
Parents' house. (Lev Leshchenko) “The parental home has begun.” Let's pray for the parents. (Soso Pavliashvili). Letter to mother (You are still alive, my old lady). But the words of Sergei Yesenin. Talk to me, mom. Dear mother. (Mom, dear mother, how I love you). My dear old people. Igor Sarukhanov. House with windows to the garden. Radchenko brothers. SONGS ABOUT FRIENDSHIP A song about a friend. (When you fell from the rocks, he groaned, but held on.) Vladimir Vysotsky. Friendship. (That our tenderness and our friendship stronger than passion, more than love.) Song of friends. (There is nothing better in the world than having friends wander around the world.) Bremen Town Musicians. A song about a friend. (A friend is always ready to give up his place in the boat and circle.) If you go on a journey with a friend. (What do I care about snow, what do I care about heat when my friends are with me.) For friends. (I raise my glass.) Vladimir Chernyakov. SONGS ABOUT LOVE Enchanted, bewitched You are the only one for me (Yu. Vizbor) For me there is no one more beautiful than you Oh, what a woman These eyes are opposite. Obodzinsky. To please. (I want to make you happy today). Anatoly Dneprov. Scarlet dawn. (Lips are scarlet. You are my long-awaited love). Radchenko brothers. Eastern song. (Is it raining warmly). Valery Obodzinsky. Singarella. (The anvil groans loudly, since there is a girl in my hands). Lyrical (Here are the paws of the fir trees...) V. Vysotsky White swan on the pond For lovely ladies And I thought you were happy I raise my glass Honey, can you hear me My clear star ("Flowers") Bullfinches outside the window (Trofim) My wealth (Yu. Antonov) Esmeralda (Notre Dame de Paris) Bouquet (A. Barykin) Mole (I met a girl, a crescent eyebrow...) Darling, sleep I wish you from a thousand stars (I. Sarukhanov) Mirror (Yu. Antonov) Because you can’t be beautiful like that (“White Eagle”) My only one (F. Kirkorov) I love you to tears. (I will cover our bed with white rose petals). Alexander Serov. I miss you (Trofim) Natalie Sweetheart (Nepara) For love (Lyubavin) My beloved Sunny days have disappeared You tell me cherry WITH good morning beloved (Mityaev) You and I are two banks of the same river (Rada Rai) Pigeons kissing on the roof WEDDING, WEDDING ANNIVERSARY
Wedding. (Give love to each other). White eagle. Wedding ring We wish you happiness Listen mother-in-law, dear friend, help... Be healthy, live richly Why are brides crying? I want to get married to you First love Wedding (V. Korolev) Invite your father to a white dance (I. Demarin) Daughter (Kobzon) I want to get married to you WAR SONGS Officers (O. Gazmanov) From the heroes of bygone times (film "Officers") dark night Eh, roads The company goes to heaven In the dugout Let's wave without looking (film "Shield and Sword") Where does the Motherland begin? The last battle, it is the most difficult (film "Liberation") Dark-skinned girl Three tankers The armor is strong and our tanks are fast Tanks rumbled across the field Artillerymen, Stalin gave the order Let's get... ("Lyube") Far away across the river How did a soldier serve? Don't think down on seconds (film "17 Moments of Spring") I ask, at least not for long (film "17 Moments of Spring") Battalion Commander ("Lube") Victory Day Song of the 10th Airborne Battalion (film "Belorussky Station") Farewell of a Slav Cranes (Sometimes it seems to me that soldiers...) Sineva (Song of the Paratroopers) Alyosha (Does the powder turn white in the field...) I'll get up before dawn today The girl accompanied the fighter to the position The division marched forward through the valleys and hills No need to be sad, gentlemen officers Cuckoo (Blue Berets) Gentlemen officers blue princes There lived a couple in the same city Battalion Reconnaissance (Blue Berets) Farewell of a Slav SONGS FOR PILOTS
It's time to hit the road. (On a rainy evening.) From the film Heavenly Slow Walker. SEA SONGS. FOR SAILORS.
There behind the fogs. (Blue sea, only the sea astern.) AFGHAN SONGS In a black tulip (A. Rosenbaum) Orders are not for sale COSSACK SONGS Love, brothers, love Are you waiting, Lizaveta Black Maria Oh, it's not evening, it's not evening A young Cossack walks along the Don Only a Cossack bullet (A. Rosenbaum) And there are platbands on the window (A. Rosenbaum) On the Don, on the Don horses roamed (A. Rosenbaum) Old Man Ataman (Chizh) The brave centurion Oh, by the meadow, by the meadow Unharness your horses, boys. Oh, Galya, young Galya Not for me Love, brothers, love UKRAINIAN SONGS
You fooled me Bird power No one's month Ridna my mother Chervona rue Nese Galya water Black eyebrows, brown eyes There by the cherry blossom garden Black eyebrows, brown eyes At the cherry orchard SONGS Belarus. (My youth is Belarus). I dreamed about you in the spring Belovezhskaya Pushcha You make noise, you make noise over me, biarosas SYABRY And I'll go to bed. JEWISH SONGS Hawa nagila Tum-balalaika Jewish tailor. (Quiet as in heaven) GEORGIAN SONGS
ARMENIAN SONGS Sirun, Sirun GYpsy SONGS Hairy bumblebee Black eyes Two guitars behind the wall Tell me your fortune, gypsy Nane tsokha (from the film "The Camp Goes to the Sky") Prihayape Kayo Berge Shatritsa (Ay, yes, yes, yes, yes, yes) Turquoise gold rings I love Gypsy Ian Song of Yashka the Gypsy (film "The Elusive Avengers") Not evening Honey, can you hear me Oh, the young boy has been on a spree Coachman, drive to Yar Mama Sokolovsky Choir near Yar Oh, I got chills Velichalnaya (He came to us, he came to us) Gray hair (And no matter how much you and I have not aged...) Singarella My fire is shining in the fog I'll tell you how I lived with the gypsies Marjanja Gypsy love Blue poppies Yes-Luda-La I'll bring you flowers Zakhachkirna Nane tsokha Marjanja (gypsy) SONGS ABOUT ODESSA Scows full of mullet. (Brought Kostya to Odessa.) SPANISH SONGS Besame mucho Ma guitar (film "Desperado") Banderas ITALIAN SONGS
About salt mio SONGS FROM THE REPERTOIRE
M. Shufutinsky Left bank of the Don Khreshchatyk Knives not sharpened Jewish tailor Zoya wrote me a letter Two extinguished candles Singarella My soul hurts Tanya is a teenager Bottle of wine Once upon a time there lived a violinist (Cry, my violin, cry...) Candles (Burning, the candles cry...) Muscovite I'll tell you how I lived with the gypsies Marinochka, Marina For lovely ladies Marjanja And for the last one, yes, a five Palma de Mallorca Yu. Antonov Mirror (I look at you like in a mirror) Ah, the white ship My wealth (Again the month has ascended the throne) For me there is no one more beautiful than you Dreams come true Flying gait 20 years later Anastasia The roof of your house (We are all in a hurry for miracles) At birch and pine trees. (Autumn is quietly wandering. Has everything really passed?) Alexander Rosenbaum Evening table (Let's raise this cup) Oleg Mityaev Summer is a small life. (Look at what beautiful house you live.) Vladimir Vysotsky Vertex. (This is not a plain for you.) Lyrical Yuri Vizbor You are the only one I have. (There is no other one like this.) Bulat Okudzhava Georgian song. (I will bury a grape seed in the warm ground.) Sergey Trofimov (Trofim) Bullfinches. (There are bullfinches outside the window.) Stas Mikhailov Muslim Magomaev Alexander Malinin Lieutenant Golitsyn. (Don’t lose heart.) Yu. Loza Igor Talkov Chistye Prudy. (Each of us has places in the world.) Vyacheslav Dobrynin Don't rub salt in my wound. (Don't talk out loud.) Vakhtang Kikabidze My years are my wealth. (Let my head be gray.) Grigory Leps Natalie. (I can’t escape you and fate.) Alla Pugacheva Million scarlet roses. (Whoever is seriously in love will turn your life into flowers.) LESOPOVAL I'll buy you a house. (White swan on the pond.) Ivan Kuchin In the tavern. (Let's drink to our friends and our faithful ones.) M. Gulko Enemies burned down my home Schoolgirl I haven't seen my mom for so long Blue skies of Russia One victory (song of the tenth airborne battalion) Odessa Mishka Why are you married If I get sick Behind the fog Gentlemen officers SONGS FROM VIA'S REPERTOIRE "Gems", "Jolly Guys", "Blue Guitars" For me there is no one more beautiful than you This will never happen again I'll take you to the tundra I won't come near you Clear light eyes When we are silent together Aleshkin's love Time machine. (Andrey Makarevich.) Turn. (We promised ourselves.) "DDT" "Flowers" My clear star We wish you happiness "Blue Bird" Where the maple makes noise "LUBE" There, behind the fogs Call my name softly Why do birch trees make so much noise in Russia? I'll go out into the field at night with my horse It's all over again Through the tall grass Sunday. (Konstantin Nikolsky.) Musician. (The violinist hung his coat. The musician hung it on the back of the chair.) Mikhail Krug BEST SONGS OF ALL TIME
Moscow evenings Russian field There are so many good girls Friendship (When with a simple and tender gaze...) By the bluest sea There is only a moment Hope (An unfamiliar star is shining...) Why is my heart so disturbed? And the years fly by I love you life There is nothing better in the world Song of the old cab driver (L. Utesov) Black cat Wonderful neighbor We wish you happiness Under the wing of an airplane Lilac fog Here under a strange sky Raspberry ringing Far away across the river Beauty Queen Candles (On an autumn night outside the window...) White snow Lonely accordion Rowanushka (Evening with a quiet song...) Someone came down the hill Bloomed under the window... There are so many golden lights on the streets of Saratov... The daisies hid My little village The Volga River flows from afar for a long time Suddenly, like in a fairy tale, the door creaked For you, my woman I met a girl with a crescent eyebrow Lanfren-lanfra Bouquet (A. Barykin) Green-eyed taxi Sailor (And when the sea is rough...) The dark mounds are sleeping I raise my glass I'll take you to the Tundra From Vagants (On the French side...) Zorka scarlet You can't hide from people in the village Trouble has green eyes Parents' house People meet, people fall in love How delightful the evenings are in Russia Organ organ (N. Baskov) The city that does not exist (I. Kornelyuk) Moscow, the bells are ringing Mirror (Yu. Antonov) Call me quietly by name ("LUBE") A coward doesn't play hockey Song about Shchors Talk to me mom Tenderness The river runs in the fog and melts Have you heard the blackbirds sing? If you go on a journey with a friend Everything will pass At the edge of the forest Blue frost You'll wake me up at dawn Thank you for your son, thank you for your daughter Ural mountain ash God save the king Once a year the gardens bloom Bear, Bear, where is your smile Village (Now I consider myself urban...) (S. Belikov) This is what happens when you fall in love... Dress (Nothing to wear, no matter what you say...) Galina lives in this house Swan fidelity Bells Indian summer The bird cherry tree is swaying under the window The bears got lost Former podesaul (Talkov) New Year's (Serduchka) There is no better color Good mood From dawn to dawn (Dan Spataru) Tell me, cherry (Kirkorov) Good mood Siberian frosts (Kuzmin) The Wanderer (V. Presnyakov) The bird cherry blossomed Ranunculus flowers Blue poppies I remember the blue stars Traveling artists Goldfish The bears got lost. Yard songs with guitar. Nichyako misyachna "Only old men go into battle" Tanks rumbled across the field "In war as in war" From the heroes of old times "Officers" Cavalry guards, the age is not long "Star of captivating happiness" Your Honor "White Sun of the Desert" Damned Thoughts "Five Evenings" Horses walk over the Bumbarash river Scows full of mullet "Two Fighters" Dark Night "Two Fighters" Friendship "Summer evening in Gagra" Three tankmen "Tractor Drivers" Migratory birds are flying "Cold Summer of '53" Song about a friend "Vertical" This is not a plain "Vertical" The dark mounds are sleeping "Big Life" It's time to hit the road, hit the road "Heavenly Slug" From people in the village... “It happened in Penkovo” Don't think down on the seconds of "17 Moments of Spring" I ask, at least for a short time, "17 moments of spring" Trouble has green eyes "Dangerous Friends" Lanfren-lanfra "Midshipmen, forward" The city that does not exist "Gangster Petersburg" Furry bumblebee "Cruel romance" And finally I will say... "Cruel Romance" Not an evening "Dowry" Honey, can you hear me "Dowry" Wait, locomotive "Operation Y" Oh, by the meadow, by the meadow "Wedding in Malinovka" Are you waiting, Lizaveta... "Alexander Parkhomenko" Love, brothers, love "Alexander Parkhomenko" I'm in the spring forest... "Resident's error" From dawn to dawn "Songs of the Sea" About hares "The Diamond Arm" Birch sap "Real guy" Our service is both dangerous and difficult "The investigation is being conducted by Experts" Once again the month has ascended to the throne "Take care of women" Ma guitar (Banderas) "Desperado" Artillery march "6 o'clock in the evening after the war" Suddenly, like in a fairy tale... "Ivan Vasilyevich changes his profession" Island of Bad Luck "Diamond Arm" Kurochkin's couplets "Wedding with a dowry" Song about a friend (If everyone has the same joy) "The Path to the Pier" Why didn't I meet you "Different Fates" RUSSIAN CHANSON Murka. (You are my little murka.) Woman's anniversary - songs about female beauty, about love, songs for women. Man's anniversary. Songs for men, about friendship, favorite works. Company anniversary, corporate holiday, enterprise anniversary - songs about the profession, professional songs. City holiday - city day, songs about Moscow, cities. Special repertoire for Victory Day, May 9, Defender of the Fatherland Day February 23, international holiday March 8, Valentine's Day, Maslenitsa, Christian holidays, Russian Independence Day, Christmas. Retro parties. Hits of the 60s, 70s, 80s, 90s Popular songs of Soviet performers and VIA, Disco of the 80s. Evenings for those over 30, over 40 – dance hits. Concert performances in restaurants, clubs, boarding houses, holiday homes. You can continue listening to songs on the pages Yuri Kuznetsov sings.
The magnificent singer Zarina and I sing.
This woman.
Happy birthday. (My friend, all your friends congratulate you.) Nadezhda Kadysheva.
Wish. (I want songs to sound and a glass to be filled with wine.) Vakhtang Kikabidze.
My years are my wealth. Vakhtang Kikabidze.
Wish. (So that they live to be a hundred years old, so that they do not know grief.) Elena Vaenga.
Song of the crocodile Gena. (Let them run clumsily.)
And the years fly. (Our years fly like birds.)
There is only a moment. (This is what is called life.) Oleg Anofriev.
Evening feast. (For the strength that the waves carry to the fullest.) Alexander Rosenbaum.
Duck hunting. (My father and mother taught me.) Alexander Rosenbaum.
Shores. (Between them is the river of my life.) Alexander Malinin.
I’m 50 today. (And this is not evening.)
How young we were. (How sincerely they loved, how they believed in themselves.) Alexander Gradsky.
How great. (That we are all gathered here today.) Oleg Mityaev.
Lonely man over 50. (Life goes by quietly, but gnaws lightly, but does not bite.) Dmitry Vasilevsky.
Birthday girl. (We are going to celebrate your birthday.) White day.
Aw. (I would like to give you a song. Everything is insignificant in comparison with you.) Alexander Rosenbaum.
I can't do it for you on your birthday. (Give expensive gifts.)
The bewitched woman is enchanted. (You are my precious woman.) Mikhail Zvezdinsky.
You are the only one I have. (There is no other one like this.) Yuri Vizbor.
The Volga River flows. (Among the ripe bread, among the white snow.) Lyudmila Zykina.
I wish you. (Out of 1000 stars, one is the brightest.) Igor Surukhanov.
My little charm
A stream flows. (A stream runs.)
I got drunk and drunk.
They picked a rose. (I met a rose, it was blooming.)
There was a carriage at the church.
Collective farmer. (There is a collective farm on the mountain, a state farm under the mountain.)
There are so many golden lights. (On the streets of Saratov.)
The bird cherry tree is swaying under the window. (Shedding her petals.)
Someone came down the hill. (My darling is probably coming.)
Old maple. (Knocks on the glass.)
How my mother wanted me. (Yes, I’ll give it for the first one.)
The river is wide. (Cursed love.)
Charming eyes. (You charmed me.)
The month turned crimson. (Let's go for a ride, beauty.)
The postal troika is rushing. (Along the Volga to Mother in winter.)
Evening bell. (He brings up so many thoughts.)
Thin rowan. (Why are you standing there swaying.)
There is no better color. (When the apple tree blooms.)
Khasbulat is daring. (Your hut is poor.)
It’s not the wind that bends the branch. (It’s not Dubravushka who is making noise.)
Felt boots. (Old ones are not hemmed)
Light. (The girl accompanied the fighter to the position.)
Along the Murom path. (There were three pine trees.)
Lilies of the valley. (You brought it to me today.)
Oh snow snowball. (White blizzard.)
Across the clear field. (Why are you hot, why are you beautiful.)
It's raining outside. (Waters from a bucket.)
Katyusha. (The apple and pear trees were blooming.)
Oh Samara is a small town. (Worry me.)
Corner of Russia, father's house. (Pesnyary) Music by V Shainsky.
Moscow (I love this elm city). Sergei Yesenin.
The best city on Earth (These words are about you Moscow). Magomaev Muslim.
Song of an old cab driver (As soon as the spring morning breaks over Moscow). Leonid Utesov.
Oh Arbat, my Arbat (Bulat Okudzhava)
My love is alive like the scarlet color of rowan trees. Sergey Drozdov.
Without you (S. Mikhailov)
Everything for you (S. Mikhailov)
Queen of inspiration (S. Mikhailov)
Three wishes
At the bridge
Lastly I will say
I would only like to know that you live somewhere (O. Mityaev)
Guitar
I want to get married to you
Bells
I dreamed about you in the spring (“Pesnyary”)
Nichya yaka misyachna
I asked the ash tree
Wait, I'll turn on the light for a minute
Young
Hairy bumblebee
First love
This woman
Oriole
City of Sochi (Trofim)
For you my woman
Au (Rosenbaum)
Pigeons kissing on the roof
Don't go stay with me
I met you
Ivushki
Let's get high
Smoke from menthol cigarettes
My joy lives on
White birch
Let's go for a beautiful ride
There by the cherry orchard
Black eyes
Black eyebrows, brown eyes
Turquoise and gold rings
Uhar merchant
The scarlet light of dawn was woven on the lake
My dear forest sun
Kalina (Rada Rai)
Marjanja (M. Shufutinsky)
Two extinguished candles
Candles
When I met you the bird cherry was blooming
That evening I did not drink, did not sing (Vysotsky)
Trouble (Pugacheva)
Two roses
Vain words
Don't rub salt in my wound
I'll take you to the tundra
Where the maple makes noise
White motor ship
On that highway
Lilac fog
Lanfren lanfra
Your eyes are green
Under the caress of a plush blanket
Sailor
Once upon a time I was sailing by sea
Let's drink to love
Thank you for your son and daughter
Tenderness
You'll wake me up at dawn
Poplars
Fireplace sparks
Once a year the gardens bloom
Dress
Swan fidelity
Indian summer has died down
Knives not sharpened
Magician
Let's get high
I'm ready to kiss the sand
Gate
Just once
Foggy morning
Move away don't look
You are my darling
I got drunk and drunk
I'll go outside
Am I to blame
Peddlers
A boat sailed on the sea
Black eyes
Who created you like this
The snow is spinning
Free duck
Cornflowers in the field
Seagulls astern
The fires are burning distant
White mists are floating
There lived a couple in the same city
I want to live my whole life with you at least once (Vizbor)
Thank you for the day, thank you for the night (M. Boyarsky)
Lonely lilac branch
Beloved woman
My beloved woman (Timur Temirov)
A sweet dream - on the white blanket of January. (Here comes the long-awaited summer, in spite of fate).
You are my tenderness. Nargiz Zakirova. (You are my heart, you are my miracle).
Wedding. (This wedding sang and danced). Magomaev.
I love you to tears. Alexander Serov.
Silver weddings. (And 25 silver Aprils surround you like sons). Valentina Tolkunova.
Golden wedding. (Grandmother next to grandfather).
Officers' wives
He did not return from the battle. V. Vysotsky.
Hobble along slowly. (She saw off on an early sunny morning). Adrenalin.
A couple lived in the same city. (Oh, you women are unfaithful to your husbands, your husband is at the front, and you are here for a walk). Songs of the war years.
Because we are pilots. (We are migratory bird friends. Well, then the girls.)
The main thing, guys, is not to grow old in your heart. (Under the wing of an airplane.) Soviet song.
The plane is my cross on my body. (The sky is blue.) And Dolsky.
Phantom. (My phantom, like a white arrow on an outstretched wing, gains altitude with a roar.)
Goodbye beloved city. (We're leaving for the sea tomorrow.)
Goodbye rocky mountains. (And the waves moan and cry.) War years.
Treasured stone. (Cold waves rise like an avalanche,) Sevastopol. Black Sea Fleet.
Tired submarine. (The boat is compressed under wild pressure.
The sea spreads wide. (And the waves are raging in the distance.)
Varangian. (Our proud Varangian does not surrender to the enemy.)
Sea. (The sea is a bottomless world.) Yu Antonov.
Blue eternity. (Oh sea, sea, take me to distant places.) Muslim Magomayev.
By the sea, by the blue sea. (Vacation of love.)
Oh, oh, oh, don't be afraid of me.
Vologda.
Father's house. (A corner of Russia - father's house).
Our favorites. (Do not offend your loved ones with reproaches).
Birch sap. (Only the snowdrop will bloom on time).
Blackbirds. (Have you heard the blackbirds sing).
I can't do otherwise.
Half an hour before spring.
Listen mother-in-law.
Olesya. (Lives in Belarusian Polesie).
Buy cigarettes. (Come up infantry and sailors)
Couplets about Jews. (There are only Jews around)
Dai liu dai la (Gypsy ditties)
Smells like the sea. (And the moon hangs just above the spar.) Mikhail Shufutinsky.
Ah, Odessa. (Pearl by the sea.)
By the Black Sea. (There is a city that I see in a dream.) Leonid Utesov.
Why (I was recently loved and sweet)
Duck hunting (Walk like that, shoot like that.)
Capercaillie (On the current)
Come visit us for a visit.
Prophetic fate(Field, field.)
Esaul is young. (He dozed off under the alder tree.)
Sleep in hand. (Dappled gray horse.)
Cossack (Under the evening dawn.)
Waltz Boston.
Violinist Monya. (Hello guests.)
Cab. (It's such a nice day.)
On the Don on the Don. (The horses were walking.)
Song of the Jewish Tailor. (Quiet as in heaven.)
Black tulip. (In Afghanistan, in a black tulip.)
Aw. (I would like to give you a song).
Gop-stop. (We came around the corner.)
Ninka. (Like the picture.)
Bunny. (Zoika wrote me a letter.)
Classmates. (My classmates, schoolmates.)
In Odessa, on the Maidan. (Noise of commotion.)
Pintail. (Free duck.)
From call to call. (I served my time.)
My Odessa. (Smells like the sea.)
Conversation at the hotel. (Wait, I’ll turn on the light in the room for a minute).
Good morning, my love.
(You are my darling.)
Frenchwoman. (She is the same Muscovite as she was.)
Neighbor. (The knives are not sharpened.)
A song about a friend. (If a friend suddenly turned up.)
Wolf Hunt. (I'm straining with all my strength.)
Lyrical. (At least agree to heaven in a hut.)
Horses are picky. (Horses a little slower.)
Road story. (I came out in height and face.)
Bathhouse. (Heat a bathhouse for me, hostess.)
Police protocol. (In our opinion, we drank a little.)
He did not return from the battle. (Why is everything wrong?)
Dialogue at the TV. (Oh Van, look at the clowns.)
The one who was with her before. (I didn’t drink or sing that evening.)
The song is a fairy tale among evil spirits. (In the protected and dense Russian Murom forests.)
Indian summer. (Maple trees painted the city.)
To the cemetery. (And everything is calm in the cemetery.)
The house is crystal. (If I am rich like the king of the sea.)
I carried my misfortune. (Spring style on the ice.)
My gray-haired love. (In Kolyma where there is tundra and taiga all around.)
Oh where was I yesterday. (I just remember that the walls have wallpaper.)
The Royal Shooter is about a wild boar. (In a kingdom where everything is quiet and orderly.)
When we met. (The bird cherry blossomed.)
My gypsy. I dream of yellow lights. (Oh once again.)
Paradise apples. (I will die someday.)
The bride will weep honestly for me. (Others will sing all the songs for me.)
Soldiers of the group center. (Across the scorched plain.)
I don't like it. (I don’t like any time of year when they don’t sing merry songs.)
I'm standing on guard. (I'm holding on to my pocket.)
My dear. (Forest sun.)
Guitar bend. (It’s great that we are all here today.)
Seryoga Sanin. (First takeoff, then landing.)
They keep telling me. (I want to live my whole life with you at least once.)
Dombai Waltz. (The skis are standing by the stove.)
If I get sick. (Bed the steppe for me.)
Alexandra. (Moscow was not built right away.)
Your Honor, Lady Luck. (Nine grams per heart.)
Song of the 10th Airborne Battalion. (We won’t stand behind the price.)
Cavalry guards. (The century is short.)
Take your overcoat and let's go home. (And you and I, brother, are from the infantry.)
Prayer. (Lord, give everyone what he doesn’t have.)
City of Sochi. (Shashlik with cognac.)
I miss you. (Like an apostle in holy torment.)
Pigeons. (My barefoot childhood.)
Everything for you. (There is only you in my destiny.)
Without you. (Forgive me, dear.)
Queen of inspiration. (All my poems are about you.)
White birch. (I love you.)
Heaven. (Give strength to the tramp.)
Heart in the snow. (Roads are a distant arrow.)
Wedding. (Sang and danced.)
The best city on earth. (These words are about you Moscow.)
Beauty Queen. (You are happiness in life, my love.)
Nocturne. (Thank you.)
Shores. (Between them is the river of my life.)
Fun. (I have one more fun left.)
Romance of General Blackness. (Alone again in bed, half asleep.)
Gulba. (There is gold on the icons.)
Vain words. (Splash some witchcraft.)
In the port of Cape Town. (The crew was released ashore.)
Prayer. (Where can I get the strength to stop loving.)
Former podesaul. (He left to fight.)
Summer rain. (Started early today.)
Who told you? (No, I will never be able to stop loving you.)
Farewell from all train stations. (They go to distant lands.)
You'll see. (How unlucky am I)
Everything I have in life. (The world is not simple.)
I don't dream about you. (Me too.)
Wish. (I want the songs to sound.)
Bottoms up. (If the toastmaster asks you.)
I'm fermenting drunk. (But it’s not the wine that’s to blame.)
Farewell to love. (Half an hour before the flight.)
A glass of vodka on the table.
Good night gentlemen. (And angels will fly over your house.)
The best day ever. (It’s very cool to be alive after all.)
This world was not invented by us.
They do not renounce lovingly. (You can give anything for this.)
Bolshak. (Well, how can you live in the world without love.)
Trouble. (Searching around the world for me.)
Goodbye summer. (The birds gather in flocks again.)
I want summer not to end. (The whole earth is warmed with warmth.)
Bird market. (The birds are in a cage, but there are crows in the wild.)
10 commandments. (I was resurrected from boredom.)
A man in a quilted jacket. (And by white snow escaped the chase.)
Blue bird. (We walked into such distances.)
Puppets. (Faces have faded colors.)
Bonfire. (Everything will hurt.)
While the candle is burning. (There are days when you give up.)
Three windows. (I forgot about storms and thunderstorms.)
My love is alive like the scarlet color of rowan trees (Sergey Drozdov)
Night bird. (What one sings about in the autumn silence.)
A forgotten song is carried by the breeze. (God, how long ago it was.)
When you understand with your mind. (That you are alone in the world.)
Come to my house. (My doors are open.)
Vladimir Central. (Northern wind.)
Kate. (The matchmakers came to the father.)
Kolshchik. (Prick me with domes.)
Silence. (Oh, how I long for unfamiliar hands and damnably pleasant and moist lips, feminine tenderness.)
Good girl. (How warm it was. What brought you and me together?)
The cherries are ripe. (In Uncle Vanya's garden.)
Taganka. (Why did you ruin me.)
Wait, locomotive. (Conductor press the brakes.)
Vanino port. (I remember that Vanino port.)
Take me, cab driver. (Pour it for her, dear, so that the whim will go away.) Alexander Novikov.
In Kolyma. (Where tundra and taiga are all around.)
Ushanochka. (And I’ll pull my earflaps deeper.) Gennady Zharov.
Pigeons are flying over our area. (How I wish I had pigeons on native land fly away.)
A thieves' share. (This is a thieves' share.)
My grandmother smokes a pipe. Garik Sukachev.
Along the tundra, along railway. (Where the Vorkuta – Leningrad train rushes.)
Testimony of an innocent person. (I leaned back, what kind of bazaar is a station.)
The night is not moving. (The lanterns sway and the eagle owl hits with its wing.)
Suitcase. (Come on, put your suitcase away.)
A trilogy about an old grandmother. (Grandmother is healthy and dreams of surviving the raid.) Arkady Severny and Grisha Berbe.
Privokzalnaya. (I’ll go to the station today.)Garik Krichevsky.