“SO GOOD!”

1. How good it is! The sun is shining!

How good! The butterfly is flying!

How good! Run on the meadow!

How good! Collect flowers!

2. How good it is! Dolphins are swimming!

How good! Eat tangerines!

How good! Swim in the lake!

How good! Make people smile!

3. How good it is! Rain over the fields!

How good! Sing a song with mom,

How good! To be needed by someone!

How good! Live together with everyone!

Georgy Struve - A friend with us

1. A friend is with us - a friend is with us,
Together - together
Sing it up - start it up
A song! - a song!
And then - and then
The sun is the sun
Smiles at us from above,
And then - and then
Bright - bright
Flowers will bloom all over the Earth.

Chorus:
Together we will build a house,
Together we will plant a garden,
Let's sing this song together.
Everyone knows that we are together,
Everyone knows that we are together,
Together we are always more interesting!

2. Birds of us - birds of us
Called - called
Behind you - behind you
In the distance - in the distance,
But then - but then
Who - who is it
Will he walk on the grass barefoot?
But then - but then
Who - who is it
Plant a garden and build a house?

3. Let the Earth - let the Earth
Spinning - circling,
Children are all - children are all
They are friends - they are friends.
We then - we then
Fast - fast
We'll grow mushrooms in the rain.
We then - we then
Home - home
Earth common house let's call it.

Reader of songs for kindergarten

accompanied by piano

Music: S.V. Krupa-Shusharina
Poems: M. Druzhinina
"Phoenix", 2009
Series: Reader of pedagogical repertoire

The collection is addressed to preschool musical workers, vocal studio teachers working with preschool children
and younger school age

Part 1. MY FAMILY songs about mom, dad, grandma - about the whole family and family holidays.
Kindergarten
Birthday
Mommy Mommy
Grandmother
Mom's holiday
Portrait of an aunt
Grandfather
My sister
Big brother
We once asked dad
Mom and son went to the store
Murka the cat
Puppy
Sad fish
Boy and cactus
White snow
Happy New Year!

Part 2. GAMES AND TOYS
Dollhouse
Bathing a doll
Friend visiting
Monkey fashionista

Part 3. WHAT IS ON OUR STREET? songs about animals
Hippopotamus in the museum
Porcupine and barbershop
Parrot at the post office
The cow goes to the hospital
Elephants in the studio
A cockerel and a chicken go to the pharmacy
Teddy bear in the library
Goose Choir
At the monkey's bakery

Part 4. COUNTING SONGS
Musical counting rhyme 88
Carnival rhyme 90
Christmas tree counting 92
Clown counting 94
Bird count 96
Berry counting 98
Nut counting 100
Carousel counting 102
Flower rhyme 105
Mushroom count 108
Insect counting 111
Fishing rhyme 114
Car counting rhyme 117
Sports counting rhyme a 120

Part 5. TRANSPORT. TRAFFIC RULES will help you become familiar with transport and traffic rules in song form.
In the yard
Look at the traffic light
How to cross the road?
Motorcycle and bicycle
On a green scooter
Passenger car
Tram
Trolleybus
Bus, minibus and metro
Fire engine
"Police"
"Ambulance"
Truck
Concrete mixer
Watering machine

Little songs for toddlers (sing along) music. etc. G. Vikharevoy

Mice, lyrics. and music G. Vikharevoy

Submitting your good work to the knowledge base is easy. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Children'srepertoireHowmeansdevelopmentvocalabilitieschildrenjuniorschoolage

singingschool vocal ability

Introduction

We all love songs, “Songs are the soul of the people,” we hear from musicians. And indeed, a song accompanies a person always and everywhere, in all occasions of life. When a baby is born, the mother sings lullabies to him. The child grows up a little and begins to sing various children's jokes, songs, and rhymes. And in adult life there are even more songs. Children also sing in kindergarten and school. And in music classes, and at holidays, and on a walk, and while playing.

Without song there would be no music. As composer Dmitry Borisovich Kabalevsky said, it is one of the three “pillars” on which music rests.

The song is given great value, since it is difficult to overestimate the impact a good song has on a person, especially when sung among friends, relatives, and close people. Today this is becoming very relevant, because if earlier many good songs became “folk”, there was a large repertoire of children’s songs, but now the content level of the songs is often extremely primitive, and few good songs are written for children. But children today love and want to sing! Question about musical repertoire, on which the development of children is built, is very important and acute.

Having studied the necessary literature on this issue, it was revealed contradiction between the existing requirements of the educational standard of primary and basic general education for the development of vocal abilities of children of primary school age and the lack of criteria for selecting a song repertoire for vocal lessons. During the theoretical study, a problematic question arose: what are the criteria for selecting a song repertoire for the development of vocal abilities in children of primary school age.

To solve this problem, the object and subject of the course research have been determined:

Object - the process of development of vocal abilities in children of primary school age.

Item - children's repertoire as a means of developing the vocal abilities of children of primary school age.

Target course research: to determine the features of selecting a song repertoire, taking into account the development of vocal abilities of children of primary school age.

To achieve this goal, the following tasks have been identified:

1) To study the characteristics of the vocal abilities of children of primary school age

2) Determine the criteria for selecting a song repertoire for children of primary school age

Course research methods:

by search stages:

· material selection method

· method of directed transformation according to the level of penetration into the essence:

empirical:

· theoretical literature study:

· analysis and synthesis

by function:

· explanation

1 . Peculiaritiesdevelopedand Iabilitieschildrenjuniorwstakeage

1.1 Educational meaning singing , his role V musical development junior schoolchildren

Singing is the performance of music using a singing voice. Differing from spoken speech in the precision of pitch intonation, singing is one of the most striking and expressive means of musical art.

In singing, as in other types of performance, a child can actively demonstrate his attitude towards music. Singing plays an important role in musical and personal development.

Only through activity do perception, memory, thinking, sensations improve, knowledge is acquired, new needs, interests, emotions arise, and abilities develop. Consciousness and purposefulness are required in any activity. A child’s consciousness is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, evaluate actions, actions, etc.

Expressive performance of songs helps to experience their content more vividly and deeply, to evoke an aesthetic attitude towards music, to surrounding reality. By becoming familiar with the cultural musical heritage, the child learns the standards of beauty and appropriates the valuable cultural experience of generations. Repeated perception of works gradually guides the child in identifying thoughts, feelings, and moods that are important to him, expressed in artistic images, and in content that is meaningful to him.

In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music and acquire skills. Singing fulfills the child’s musical needs, since he can perform familiar and favorite songs at will at any time.

Singing is closely related to the general development of the child and the formation of his personal qualities. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable positive effect on the physical development of children.

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the moods and mental state of another person, which are reflected in songs.

The formation of musical abilities is inextricably linked with mental processes. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressive meaning, understands the structure of the song, and compares the music with the text. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music.

The impact on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing. Physiologists have established the influence of music on the human body.

PC. Anokhin, studying the influence of major and minor modes on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person’s state during work and rest, stimulate or calm him. Correct posture affects even and deeper breathing. Singing develops coordination of voice and hearing, improves children's speech. Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice.

1.2 Peculiarities musical hearing And vote children junior school age

Musical hearing is a person’s ability to perceive and reproduce sounds, as well as internal fixation of them in consciousness, that is, their reproduction.

Under "musical ear" in broad meaning This term is understood as pitch hearing, in its manifestation in relation to a single-voice melody it is called melodic. It “has at least two bases - modal feeling and musical auditory perceptions. In this regard, we can talk about two components of melodic hearing. The first of these can be called the perceptual, or emotional, component... The second component can be called the reproductive, or auditory"

The perceptual component, according to P.M. Teplov, is necessary for full perception and recognition of the melody, which arises on the basis of an emotional criterion. Thanks to the reproductive component, the melody is reproduced, indicating the presence of more or less developed auditory ideas.

The basis of melodic hearing is a feeling, which is the ability to distinguish the modal functions of melody sounds, their stability, and their attraction to each other.

Many years of musical and pedagogical practice have confirmed that children’s ear for melody develops mainly through singing and playing musical instruments. It is in singing that the level of development of the reproductive component of melodic hearing is diagnosed.

Modern research (K.V. Tarasova) allows us to identify six stages in the formation and development of a child’s ability to intone a melody with his voice.

First stage, the initial stage, is characterized by the fact that intonation in the generally accepted meaning of this word is practically absent: the child simply pronounces the words of the song in a certain rhythm, more or less coinciding with the rhythm of the song sample offered to him.

On second stage You can already recognize the intonation of one or two sounds of the melody, based on which the entire song is sung.

On third stage the general direction of movement of the melody is intoned.

Fourth stage differs from the previous one in that, against the background of the reproduction of the general direction of the melody, a fairly “pure” intonation of its individual segments appears.

On fifth stage The entire melody is intonated “purely”. These five stages were identified in conditions of singing with piano accompaniment.

On sixth stage There is no need for accompaniment: the child intones the melodic pattern relatively correctly without accompaniment.

Reproductive The component of melodic hearing in question, which can be interpreted as the ability to actively and relatively number (“correctly”) reproduce a melodic pattern in the voice, is formed in most children between four and seven years of age. Significant progress in the development of this ability in the fourth year of life leads to a smoother course of this process in the future.

In general, assessing the situation according to its generalized, summary indicators, we have to state that in most children, the purity of intonation (i.e., the development of reproductive hearing) remains very low today, and this despite the fairly large amount of time devoted to singing on musical instruments. classes in schools. Perhaps one of the reasons here is the absence in the practice of mass musical education of special and targeted work on developing children's singing voice. Voice production, significantly facilitating the process of vocalization for children and relieving the difficulties of auditory-vocal coordination, can help increase the range of a child’s singing voice and the development of his melodic ear.

Regarding perceptive component of melodic hearing, then its elementary manifestations, preceding the formation of a modal sense, can be diagnosed by the following signs: recognition by the child of a familiar melody; identification of the presented melodic image with the original; revealing, with more or less obviousness, a feeling of tonic; understanding the pitch and interval relationships between the degrees of the scale.

The perceptual component of melodic hearing in its elementary manifestations is intensively formed until the fifth year of life, and it is in the fourth year that a significant leap in its development occurs. In subsequent years, at further stages of ontogenesis, it develops less actively. It must be added to this that the perceptual component in its proper meaning- as the ability to distinguish modal functions of melody sounds - is formed only in the conditions of specially directed and appropriately organized musical classes.

Of fundamental importance is the age stage (junior school), when qualitative leaps in the child’s development of both the perceptual and reproductive components of melodic hearing occur over time. This can be explained by the fact that at the specified age in the system musical ear based on the intonation of the melody with the voice, a new formation arises - actually pitch hearing. Its appearance serves as the basis for the formation and further development of the so-called hearing. The latter, in turn, can serve as the basis for the lifetime formation of absolute pitch.

So, melodic hearing develops in ontogenesis as a single integrative system, which is characterized by interaction perceptual and reproductive components; their formation proceeds from elementary to increasingly complex components.

The development of children’s ear for music, and above all its main, pitch “component,” largely depends on the direction and organization of those types of musical activities that are a priority in this case. These, as already noted, primarily include singing - one of the main and most natural types of musical activity of schoolchildren.

About the need early initiation A.E. Varlamov, an outstanding composer and teacher, one of the founders of the Russian vocal school, spoke at one time about correct vocalization. He believed that if you teach a child to sing from childhood (naturally, while observing all the necessary precautions), his voice acquires flexibility and strength, which are difficult for an adult. This idea is confirmed by modern pedagogy. Interesting techniques were proposed that could facilitate the formation of a singing sound, develop correct breathing, purity of intonation of a singing sound, develop correct breathing, purity of intonation, clarity of diction (N.A. Metrov, E.S. Markova, E.M. Dubyanskaya, etc.) . In preschool music pedagogy, a number of studies have been carried out that have revealed internal relationships in the process of developing musical ear and singing voice, proving the significant role of auditory-vocal coordination in the development of musicality in children.

However, despite the apparent interest in these issues, the method of forming a singing voice in children remained generally undeveloped, which negatively affected their musical development. Experts have repeatedly noted the low level of auditory-vocal coordination in younger schoolchildren, pointing to the dull sound of children's singing voices and unsatisfactory intonation.

Noting this gap in the system of children's musical education, researcher K.V. Tarasova came to the conclusion that it was necessary to develop a special technique for staging a children's singing voice. It should be based on the consistent development of the two leading parts of the singing process, as a result of which the sound becomes positionally high, resonant and flowing with the breath (“flight”).

The position on the need to identify leading links arose in connection with the great complexity of managing the singing process, which, as is known, requires the mandatory coordination of many systems participating in it, thereby placing high demands on the organization of attention and control over singing actions. IN childhood, which is characterized by a low level of voluntariness and a small amount of attention, tasks associated with self-regulation of the singing process become practically unresolved if the leading links of this process are not found.

In addition, the author came to the conclusion that the voices of children already at primary school age are divided into at least three natural types - high and low, each of them has a characteristic timbre coloring, as well as its own pitch and primary ranges . Dividing a children's choir into specific groups corresponding to the specified types of voices, as well as carrying out singing work adequate to the specifics of these voices, leads to significantly higher results in the musical-auditory, vocal and general musical development of children.

This position has special meaning for the system of mass musical education of children, since in most choral groups of kindergartens up to the present day there is no difference between the voices of the singers. As a result, for some children the tonality, tessitura and range of the songs performed are suitable, but for others they are not. The quality of music performance suffers and, even worse, children's voices suffer.

No less important is the statement about the need to carry out initial stage work on staging a child's singing voice within the primary range in singing practice, the voice most often goes down, only then up. The desire of some teachers and choirmasters to artificially expand the range, in particular to increase its upper “segment,” can lead to negative consequences(including diseases of the child’s singing apparatus).

The rule for teachers, kindergarten teachers and parents should be: refusal from formation sound own vote in communication with children. Preschoolers and primary schoolchildren are known to be prone to imitation, and if an adult speaks or sings loudly, children also begin to force the sound of their voices, which is extremely undesirable in all respects.

The quiet, flowing, silvery sound of a child's voice can be considered as a kind of aesthetic standard. It is necessary to strive for its achievement in the real practice of musical, including singing, education of children.

The voices of children are significantly different from the voices of adults. This difference is especially noticeable between the voices of boys and men. Children's voices have a high, head-like sound. In terms of the content of overtones, they are poorer than the voices of adults, especially at primary school age, but they have a special silveriness and lightness. Although the voices of children are inferior in strength to the voices of adults, they are distinguished by great sonority and “flight”. Timbre properties such as silveriness and sonority give children's voices a special charm. The qualitative differences between children's voices are associated with the anatomical and physiological characteristics of the vocal apparatus and the entire growing child's body.

The larynx in children is located high. It is approximately 2 - 2.5 times smaller than the larynx of adults. The cartilages of the larynx are flexible, soft, and not fully formed. Therefore, the children's larynx is elastic and highly mobile. The muscles of the larynx are poorly developed. Children's vocal folds are short, narrow and thin. In the thickness of the vocal folds in a child under five years of age there are no vocal muscles; their place is taken by loose connective tissue and glands; there are only muscles that bring the vocal folds together. By the age of five, individual muscle bundles of the vocal muscles are noticeable. From this time on, their gradual development begins.

In most children seven to eight years old, the voice is still insignificant, so there is no reason to specifically work on its development; it develops as the correct skills are acquired with an easy, quiet sound, calm breathing, clear words and well-pronounced vowels and consonants.

In children of primary school age, when singing, the vocal folds vibrate only with their elastic edges and do not completely close; voice formation throughout the entire range follows the falsetto type, the voice consists of only one register - the head. The vocal muscles are underdeveloped and the vocal range is limited. At this age, children's voices have approximately the same range within the first octave. Children have difficulty playing the extreme notes of the range, especially “C”.

In general, falsetto voice formation is typical for younger schoolchildren. Their respiratory muscles are still weak, their lung capacity is small, and therefore their voices are smaller than those of older children.

The vocal mechanism of children is very elastic and pliable. The sooner healthy sound production skills are instilled in a child, the sooner the relationship between voice and hearing is established.

HygieneAndsecuritychildren'svotes

The development of a child's voice depends on how correctly the singer uses it. In this regard, it is necessary on the basic principles that disrupt the normal functioning of the vocal organs. Often, beginning singers sing in a tessitura that is unusual for their voice: high or low. Those with high voices adapt to low voices and sing works for these voices. It also happens the other way around. Very often, beginning singers, trying to increase their range, practice the upper notes on their own, without knowing how to use it. Children are especially guilty of this.

During singing, all organs involved in voice formation are involved in active work. They bear a significant neuromuscular load. The situation is aggravated by the fact that at first there is still no clear coordination in the work of individual bodies. Insufficient or excessive activity of some organs can lead to overstrain or disruption of the functioning of other organs. This, for example, happens in the absence of breathing support, when the normal functioning of the muscles of the larynx and, in particular, the vocal folds is disrupted, they become overstrained and fatigue sets in.

Fatigue is common among beginning singers. Therefore, the training regimen with them should be built taking into account this feature. The first individual lessons should not exceed 20 minutes with a short break after 5 - 10 minutes of singing. Natural endurance varies from person to person, and each individual case must be approached individually. At the first sign of fatigue (by the feeling of the singer or by the sound of his voice), the lesson must be stopped. As endurance develops, individual classes are gradually lengthened to 30 - 45 minutes with 2 - 3 breaks of 5 - 10 minutes each during this time.

All changes that occur in a singer’s body affect his voice in one way or another. General health sometimes determines the ability to practice singing. For all chronic diseases that cause general weakness, malaise and lethargy, singing lessons will not be effective. The voice sounds good only when the singer is healthy, cheerful and in a good mood.

Thus, successful operation and accuracy of sound reproduction when singing is possible with full coordination of musical ear and voice, and protection of the child’s voice.

1.3 Psychological peculiarities junior schoolboy

Junior school age...corresponds to years of study in primary school. Preschool childhood is over. By the time a child enters school, as a rule, he is already both physics and psychologically ready for learning, prepared for a new important period of his life, to fulfill the diverse demands that the school places on him. Psychological readiness is also considered from the subjective side. The child is psychologically ready for schooling first of all, objectively, i.e. it has the level of psychological development necessary for starting training. The sharpness and freshness of his perception, curiosity, and vividness of imagination are well known. His attention is already relatively long and stable, and this clearly appears in games, in drawing, modeling, and basic design. The child has acquired some experience in managing his attention and organizing it independently. His memory is also quite developed - he easily and simply remembers what particularly amazes him, which is directly related to his interests. Now not only adults, but also he himself is able to set a mnemonic task for himself. He already knows from experience: in order to remember something well, you need to repeat it several times, i.e. empirically masters some techniques of rational memorization and memorization. The child’s visual and figurative memory is relatively well developed, but all the prerequisites for the development of verbal and logical memory are already there. The efficiency of meaningful memorization increases. By the time a child enters school, his speech is already quite developed. It is to a certain extent grammatically correct and expressive.

As we see, by the time children enter school, their capabilities are great enough to begin their systematic education. Elementary personal manifestations are also formed: by the time they enter school, children already have a certain perseverance, can set more distant goals and achieve them (although more often they do not complete things), make their first attempts to evaluate actions from the standpoint of their social significance, they are characterized by the first manifestations of a sense of duty and responsibility.

Everything said concerned the child’s objective psychological readiness for schooling. But the other side should also be emphasized - subjective psychological readiness, desire and desire to study at school, a kind of readiness for new forms of relationships with adults. Of course, here too there are very large individual differences.

When a child enters school, his entire way of life changes dramatically, his social status, position in the team, in the family. His main activity now becomes teaching, the most important public duty- the duty to study, to acquire knowledge. And teaching is serious work that requires a certain amount of organization, discipline, and considerable volitional efforts from the child's side. More and more often you have to do what you need to do, and not what you want. The student joins a new team in which he will live, study, develop and grow up.

From the first days of school, a basic contradiction arises, which is the driving force of development in primary school age. This is a contradiction between the ever-growing demands that educational work, the collective place on the child’s personality, on his attention, memory, thinking, and the current level of psychological development, the development of personality traits. Requirements increase over time, and the current level of psychological development is constantly being brought up to their level.

Many years of research by psychologists have shown that old programs and textbooks clearly underestimated the cognitive capabilities of younger schoolchildren, and that it is not rational to stretch the already meager educational material over four years. The slow pace of progress and endless monotonous repetition led not only to an unjustified loss of time, but also had a very negative impact on the mental development of schoolchildren. New programs and textbooks, much more meaningful and in-depth, place significantly greater demands on the psychological development of younger students and actively stimulate this development.

Educational activities in the primary grades stimulate, first of all, the development of mental processes of direct cognition of the surrounding world - sensations and perceptions.

The possibilities of volitional regulation of attention and its management at primary school age are limited. In addition, the production attention of a junior schoolchild requires short, in other words, close, motivation.

Involuntary attention is much better developed at primary school age. The beginning of schooling stimulates its further development. Everything new, unexpected, bright, interesting attracts the attention of students by itself, without any effort on their part.

An age-related feature of attention is its relatively low stability (this mainly characterizes students in the 1st and 2nd grades). The instability of the attention of younger schoolchildren is a consequence of age-related weakness of the inhibitory process. First-graders, and sometimes second-graders, do not know how to concentrate on work for a long time; their attention is easily distracted.

Memory in primary school age develops under the fusion of learning in two directions - the role and specific weight of verbal-psychological, semantic memorization (compared to visual-figurative) increases, and the child masters the ability to consciously manage his memory and regulate its occurrence (memorization, reproduction, recollection).

The child begins school with concrete thinking. Under the influence of learning, there is a gradual transition from knowledge of the external side of phenomena to knowledge of their essence, reflection of essential properties and characteristics in thinking, which will make it possible to make new generalizations, the first conclusions, give the first analogies, and build elementary conclusions. On this basis, the child gradually begins to form concepts that, following L.S. We call Vysotsky scientific (in contrast to everyday concepts that a child develops on the basis of his experience in non-targeted learning).

At primary school age, the foundation of moral behavior is laid, moral norms and rules of behavior are learned, and the social orientation of the individual begins to take shape.

Thus, when working with children, you need to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal-choral skills , principles And methods vocal training

A skill is a partially automated way of performing an action that is a component of the act of singing.

PJewish installation. The term singing attitude is understood as a set of mandatory requirements that contribute to proper sound production. The singing attitude consists of many external techniques and skills. In choral singing, it is usually recommended to stand (or sit) straight, but not tensely, without slouching, and smartly. A straight and collected position of the body, even support on both legs, freely lowered arms, an expanded chest, the head held straight, not tense, is considered the correct position of the body. When sitting, you should not cross your legs, as this restricts breathing. The mouth in singing serves as a “bell” through which the vocal sound receives its direction, so the main position of the mouth should be wide and open. The palate serves as an important resonator. Thanks to the raised palate, a rounded sound is formed (the palate is a kind of specific “dome”). Most of the initial exercises for developing a singing attitude (especially with younger children) are aimed at organizing the correct position of the body and vocal apparatus. This is important in rehearsal work choir, as they set young singers up for work and strict discipline.

Singing attitude is directly related to skill singing breathing. Vocal pedagogy considers thoracic breathing as the most appropriate for singing, as well as options for shifting thoracic and abdominal breathing depending on the individual characteristics of the singer. Thoracic breathing involves, when inhaling, an expansion of the chest in the middle and lower parts of it with a simultaneous decrease in the dome of the diaphragm, accompanied by an expansion of the anterior wall of the abdomen. When developing correct breathing skills in children, it is necessary to ensure that the shoulders do not rise when inhaling, which would indicate that the children are using shallow, so-called clavicular breathing.

Breathing is usually considered in its three constituent elements: inhalation, momentary breath-holding and exhalation. Inhalation should be done without making noise. Holding your breath directly mobilizes the vocal apparatus to begin singing. The exhalation should be completely calm, without any hint of forceful “pushing” of the air taken into the lungs.

Do not overfill the chest with air. When working with a choir, it is appropriate to recommend taking a breath, as if feeling delicate aroma flower, and exhale so that the flame of a candle located near the mouth does not move. It is extremely important to develop in young singers the ability to use their breath economically, “in order to obtain a large supply of sound and, moreover, the best quality with the least amount of air.”

The concept associated with singing breathing is singing supports, which is the result of the correct organization of breathing, sound production and resonance of the voice, and the interaction of all components. The support provides the best quality of singing sound, its energy, composure, elasticity, accuracy, flexibility, flight.

The nature of singing breathing is reflected in the nature of the sound of the singer's voice. Smooth, calm, light breathing helps achieve a beautiful, light sound. Hard, tense breathing gives rise to a hard and tense sound. When excessive breathing pressure is applied to the ligaments, they lose their elasticity. With all the freedom of breathing, it should maintain a feeling of muscle elasticity and energetic movement. Teachers usually closely monitor the breathing process of singers and if, due to excessive effort, children interpret the concept of “breathing support” as actually hard breathing, they are sure to correct the incorrect execution of the respiratory process, sometimes even changing the terminology. The pedagogical position in finding the correct musculoskeletal sensations is important here. An economical and uniform exhalation is necessary for performing smooth, widely sung melodies. Singing at the lower end of your range requires the most air. When performing the upper sounds, the least amount of breath is consumed. It should be remembered that the pressure of the air column cannot be increased. This leads to harshness and loudness, and also causes the sound to be too high. When performing fast passages and technical, moving melodies, breathing should be light, but very active. In choral singing, simultaneous breathing is the basis for the simultaneity of sound attack and introduction. Equally necessary is uniformity in the supply of breathing and its volume. Resumption of breathing by all singers should be carried out at the moments established and noted in the parts. Usually they coincide with the boundaries of constructions, phrases, and caesuras in musical and poetic texts. In cases where the duration of a phrase exceeds the physical capabilities of the singing voice, chain breath. Basic recommendations for chain breathing:

· Do not inhale at the same time as the person sitting next to you;

· Do not inhale at the junction of musical phrases, but only, if possible, in the interior of long notes;

· Take breath quickly and imperceptibly;

· Blend into the overall sound without accent, with a soft attack (beginning) of the sound, intonationally accurate;

· Listen sensitively to the singing of your neighbors and the general sound;

No less important in singing is skill sound processing, the main requirements for the formation of which should be the following:

· Before its occurrence, sound must be formed in the mental auditory representations of schoolchildren;

· The sound of an attack is carried out with intonation precision, without glissando.

Of the three types of sound attack, the main one is considered to be soft, creating conditions for the elastic work of the ligaments. A solid attack, in which the glottis closes tightly before the exit begins, and an aspirated attack, in which the vocal cords close after the exit begins, are extremely rare in the singing of younger schoolchildren. As a rule, a firm attack can be recommended for a child prone to lethargy and inertia, and conversely, an aspirated attack is better for an overly active student.

Formation skill articulation involves the formation of a timbre relationship between vowels, the main condition of which is the desire to maintain a stable position of the larynx when singing different vowels.

Children of primary school age have an uneven timbre. This is mainly due to the “variegation” of vowels. In order for them to sound smooth, children must constantly strive to maintain a high pitch (position) across all sounds of the singing range. For this purpose, singing and vowel exercises are used. U, Yu, as well as songs with a descending melody movement, great attention Vocal education focuses on vowel sounds ABOUT. Singing exercises and melodies for vowels ABOUT,Yo Helps produce a round, beautiful sound. Sounds require special rounding AND(he is brought closer to the sound Y),A(closer to sound ABOUT), E(closer to sound E).

The correct formation of the singing sound is also facilitated by the manner of pronouncing words - diction. In this case, pronunciation in singing is based on the general rules of orthoepy.

The basis of singing is vowel sounds. They develop all the vocal qualities of the voice. The beauty of timbre depends on the correct formation of vowels.

One of the specific features of singing diction is the “transfer” of the last consonant sound in a syllable to the beginning of the following syllable, which ultimately contributes to the length of the vowel sound in the syllable. At the same time, the role of consonants should not be diminished at all, since otherwise careless pronunciation will complicate the listener’s perception.

Concept ensemble means artistic unity, consistency of all components of performance. Due to the specificity of tasks in singing, ensembles are distinguished between dynamic, rhythmic and timbre. A prominent master of choral singing, P.G. Chesnokov, determining the conditions for singing in an ensemble, believing that the singer needs to be as balanced in sound strength as possible and merge in timbre with his party, the parties need to be balanced in the choir, and the conductor needs to regulate the strength and color of the sound as individual singers and entire parties.

Work on the ensemble in choral singing of junior schoolchildren is made difficult by a lack of attention and endurance. Thus, V.S. Popov noted: “There will definitely be a boy or girl in the group who suddenly starts singing louder than others, or speeding up the tempo, or, finally, just looking away, disconnecting from the creative process.”

Singing in an ensemble is closely related to choral structure - precise intonation in single-voice singing (horizontal structure) and polyphonic singing (vertical structure).

When working on tuning difficulties, you should adhere to the rules of intonation of the scale degrees.

The method of vocal training is based on general didactic and special teaching principles inherent in music pedagogy. The leading ones among the general pedagogical principles of teaching are: the principle of educational teaching, scientific character, consciousness, connection with life (with practice).

Principle educating training is very important, its goal is the comprehensive development of the individual. The educational nature of vocal training is associated with the principle of its scientific nature, which comes from objectively existing phenomena of the singing process, from the patterns of their interrelation. In vocal pedagogy, the scientific principle is especially important. Until recently, singing training was carried out in a purely empirical way (“sing as I sing”). This led to a subjective, scientifically unfounded interpretation of various phenomena of singing voice formation (such as, for example, the dogmatic requirement for all singers to have a low larynx position, regardless of the type and nature of the voice, which was refuted by scientific data). Compliance principle scientific character in vocal training at the Faculty of Music and Pedagogy, it acquires special significance. If the vocal values ​​and skills of the future music teacher do not correspond to objective data, he will not be able to successfully teach singing to schoolchildren and correctly influence the development of their vocal apparatus. Modern scientific information about the singing voice and the process of voice formation ensures the implementation of the scientific principle of vocal training.

As a future music teacher, it is essential to acquire scientifically proven, practical vocal knowledge and skills as consciously as possible. To this end, the student must have a good understanding of the essence of each vocal phenomenon (singing register, attack, breathing, etc.) and the practical value of the skills being acquired. So, when mastering a singing breath, he must know how such a breath differs from the usual one, what qualities it is characterized by, how it is performed, and what its effect on singing phonation is.

Consciousness in vocal training is inextricably linked with an understanding of the reasons for the formation of various sound qualities. It is important to know what the correct sound is and be able to reproduce it, while having a good idea of ​​what needs to be done for education desired value. The future teacher also needs to understand the reasons for the formation of undesirable sound qualities (throat, nasal, hoarse sounds) and ways to eliminate them. The discovery of cause-and-effect relationships between the phenomena of the singing process is based on the analysis of the reproduced sound (effect) and the technology of voice formation (cause), which in its essence constitutes the Vocal-methodological training of the future singing teacher.

Knowing how to form various qualities of a singing sound, the characteristics of the sound of schoolchildren’s voices, and the operation of their vocal apparatus helps the student master the ability to bring the sound of his voice closer to the sound of children’s voices. Deeply conscious mastery of one’s voice allows the student to quickly master the techniques of bringing his voice closer to the voices of children by removing chest resonance, lightening the voice, reducing the strength of the sound, and switching to folds. The connection between individual vocal training at the music pedagogical faculty with practice and with school is also expressed in the development of such special skills in future music teachers as performing a song to one’s own accompaniment and singing without accompaniment.

On principle scientific character learning is based on the principle of feasible difficulty. Without knowledge of the process of voice formation, methods of acting on it, without a clear understanding of the level of musical, vocal-technical and artistic development of the student, it is impossible to determine what is feasible for him in each specific period of training. The correctness of determining the level of development of a student depends on relying on the necessary objective scientific data.

The principle of feasible difficulty is closely related to the principle of gradualness and consistency legitimized in vocal pedagogy. Graduality and consistency presuppose a mandatory progression from simple to complex, from easy to difficult when developing singing skills and mastering educational material(exercises, vocalizations, works of art with text). The feasible difficulty in vocal training gradually rises steadily as the student learns and develops his abilities. And the optimality of increasing its level is ensured by strict adherence to the rule of gradual complication of Vocal-technical and artistic skills and their competition.

Principle feasible difficulties replaced didactics with the principle of accessibility of education, which is quite natural. The principle of feasible difficulty includes the accessibility of learning; it clarifies the meaning of this concept. In Soviet didactics, accessibility is understood not as ease, but as a measure of the feasible difficulty of learning.

The personality of each student is purely individual: each has its own special psychological make-up, character, volitional qualities, expressed to one degree or another musical abilities. The general position of pedagogy on an individual approach to the student becomes important in individual vocal training. Among other things, in a solo singing class, the need to take into account the peculiarities of the sound of each student’s voice and voice formation, which are determined by the peculiarities of the structure and operation of his vocal apparatus, comes to the fore. Each new student for a teacher-vocalist turns out to be a unique task, which he has to solve, flexibly refracting and combining methods and techniques of pedagogical influence.

In Soviet music pedagogy, it is fundamental principle unity artistic and technical aspects of training. This principle, special to music pedagogy, is extremely important when teaching solo singing. For a singer, unlike other instrumental musicians, his instrument is located within himself, it is part of his body. When learning to sing, the organs of the vocal apparatus are specially adapted to perform singing tasks and have their own function. Functional connections are established between them, dynamic stereotypes are created, that is, a “singing instrument” is formed and tuned. It should be taken into account that a significant part of the vocal apparatus and, above all, the larynx, is not directly subordinate to our consciousness. Many organs of the vocal apparatus are controlled indirectly through the idea of ​​sound, through the auditory organs, which influence the motor centers associated with singing. The idea of ​​a singing sound, the nature of the sound is determined by its emotional content, musical and semantic expressiveness, which significantly influence the functioning of the vocal apparatus and the establishment of its function.

The method of teaching singing is based on general didactic and special vocal methods. In the solo singing class at the Faculty of Music and Pedagogy, it is extremely important not only to highly qualified use of these teaching methods, but also to familiarize future music teachers of secondary schools with them, taking into account the specifics of their use when working with children.

The explanatory and illustrative method consists of providing teachers with ready-made information about singing sound and voice formation. It includes traditional methods: explaining through spoken word and demonstrating (demonstration) professional vocal sound and the way the vocal apparatus works to create that sound. The explanatory and demonstrative method is aimed at conscious perception, comprehension and memorization of the reported information.

The explanatory and illustrative method in vocal teaching is closely combined with the reproductive method, which consists of students reproducing and repeating the singing sound and methods of operation of the vocal apparatus in accordance with the explanation and demonstration of the teacher. Such reproduction and repetition is specially organized by the teacher and turns into an activity aimed at improving the actions performed with the help of educational material: a system of exercises. Vocalizations, vocal works. As a result, students form and develop vocal skills. Thus, the use of both described methods is a necessary condition for the formation of vocal skills and knowledge in the field of singing voice formation.

But both of these methods contribute little to the development of the student’s creative abilities. In this regard, the use of partially search, or heuristic, as well as research methods is of great importance, and the first of them is the initial stage of the second.

The heuristic method is introduced as vocal, technical and artistic skills are mastered. It consists in the fact that the teacher outlines and organizes the students’ implementation of individual search steps. Often this is a task to find the character of the sound that corresponds to the vocal work being mastered. The teacher guides the student to complete the task, helping him to clearly determine the emotional and semantic content of the vocal work. Based on the identified content, the student attracts, updating his existing knowledge and skills, forms the desired sound, motivates its qualities.

The research method is considered as a way of organizing the student’s search and creative activity. In the context of teaching solo singing, this method is used at later stages of training and mainly comes down to students’ independent analysis of musical and poetic texts, the emotional content of the mastered work of art, and the search for vocal means of expressiveness. To create your own performance, interpretation of the work. Considering the specifics of music learning, it would obviously be more correct to call this method creative.

Thus, the basis of expressive singing, the formation of hearing and voice are vocal and choral skills. A prerequisite for successful work is their strict adherence and implementation. With the help of the principles and methods of vocal training, the student not only acquires knowledge about singing voice formation and develops and improves his vocal-technical and artistic skills, but also develops his voice, performing abilities, musical and aesthetic taste, mental abilities: memory, observation, thinking, imagination, speech, moral feelings,

2 Peculiaritiesselectionsongrepertoire

2.1 General methodological provisions By organizations vocal-choral work With juniors schoolchildren

The purpose of organizing vocal and singing work at the first stage of children’s acquaintance with the art of music is to develop the physiological and psychological basis of the performer’s singing culture. A.N. Karasev believed that “the first way to get acquainted with musical material there is listening to others, and this listening, depending on how they sing in front of the child, should have an impact on the future musical development of the child.” The basis of such mastery of culture is children's predisposition to imitation. Therefore, it is pedagogically appropriate for children to listen to the teacher’s voice. Listening to the teacher's voice gradually develops stability of auditory attention in children. Already at the first acquaintance with children, the teacher should, in a playful way, diagnose the level of development of musical ear and singing abilities of the students. Based on the data obtained, children should be taught in parallel in three intonation groups. The first group consists of children with a range of at least a sixth, intoning a melody without the support of an instrument, singing calls, with a natural sound. The second is children with a somewhat limited range, unstable intonation. The third group includes “Gudoshnikov”.

The cause of poor intonation may be the following: dislike of singing, shyness, general apathy or excessive activity, lack of coordination of hearing and voice, diseases of the vocal cords, physiological disorders of the auditory system, weakness of auditory attention, muscle tightness. If the cause of poor intonation is not related to physical pathology, for many students the problem of pure intonation, as a rule, is solvable provided that classes are systematic and constant pedagogical control.

Similar documents

Physiological and psychological characteristics younger schoolchildren and their influence on educational activities. Basic vocal skills that are formed in the singing of children of primary school age. Vocal exercises as a means of developing vocal skills.

course work, added 01/19/2011


Features of socialization of children of primary school age. Implementation of social and pedagogical conditions for the development of children's creative abilities in additional education institutions. Visual activities as a means of developing abilities.

course work, added 10/09/2014


Forms of manifestation of power abilities. Factors that determine the level of development of strength abilities. Sensitive periods for the development of strength abilities. Features of the cardiovascular and respiratory systems in children of primary school age.

course work, added 12/08/2013


Features of the development of children of primary school age, in particular movement coordination. Types and methods of developing coordination abilities. Analysis of the influence of physical and gymnastic exercises on the level of coordination abilities of children 7-9 years old.

thesis, added 02/17/2010


Age characteristics development of children of primary school age. The problem of forming the concept of set in children of primary school age in the scientific literature. Lesson development and didactic games on teaching children of primary school age.

thesis, added 09/08/2017


Characteristics of primary school age. Basic exercises that develop the accuracy of differentiation of muscle efforts. The use of outdoor games in the classroom physical culture to increase the level of coordination abilities of school-age children.

course work, added 04/23/2015


Features of the process of developing creative abilities in the system of additional education for children. A program for the development of creative abilities and cognitive activity of children of primary school age in the Almaty Palace of Schoolchildren.

thesis, added 12/13/2011


Principles of development of creative abilities in children of primary school age. The purpose of musical and aesthetic education in secondary school. Development of creative abilities of schoolchildren in music lessons. Exploring their creative potential.

course work, added 01/16/2015


Peculiarities physical education children with poor health. Specifics of perception, development of memory and attention of children of primary school age with speech impairments. Results of a survey of cognitive abilities in children with speech impairments.

thesis, added 09/14/2012


Objectives of physical education of school-age children. The importance of coordination abilities in movement control. Anatomical and physiological features of the development of children of primary school age. Basic techniques for developing coordination abilities.

Objectives and content of training

On third year In life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the adult’s singing, singing along with the endings of musical phrases and intoning individual sounds.
The goal is to develop and strengthen children’s initial singing intonations. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.
On fourth year In life, children’s singing voice sounds stronger, they can sing a simple song. Some children even develop loudness.
When forming a singing sound, the teacher makes sure that children sing in a natural voice, without tension in the range re-mi-la first octave.
A large place in the younger groups is given to working on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words and teach correct pronunciation.
Children of this age find it difficult to sing at a general tempo: some sing slowly, others sing too quickly. The teacher must constantly monitor this, teaching them to sing collectively.
By the end of the year, a child in the first junior group can sing simple songs together with an adult.
By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with musical accompaniment and without it.
These tasks are solved with the help of a song repertoire, including simple, melodic, easy-to-breathe songs of a short range.
Children of the third year in the songs “Cat” an. Alexandrova, “Bird” by T. Popatenko sing along only the final phrase, which is most convenient for initial intonation:
[Slow] [Moderate]

They can sing the Russian folk song “Bunny” in its entirety, since it is built on a repeating motif:
[Lively]

In the second younger group, the tasks gradually become more complicated, and songs of a wider range are performed. (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:

[At the pace of a march]

[Slowly]

Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by A. Filippenko, “Playing with a Horse” by I. Kishko).

Song repertoire

In the second younger group, the song repertoire expands significantly. Social themes are more represented here (“Machine” by T. Popatenko, “Planes” by M. Magidenko, “Young Soldier” by V. Karaseva), natural phenomena (“Winter” by V. Karaseva, “Rain” - Russian folk song, adaptation of T . Popatenko), songs for the Day of March 8th (“Pies” by A. Filippenko, “We Love Mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.

Methodical techniques

Let's consider methodological techniques, used in singing work with children of the third year of life. The main thing is emotional, expressive
performance of a song by a teacher. To do this, you need to think carefully and convey the features of the song, its character, and mood. When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song.
In addition, gaming techniques are used. For example, I know the guys with the song “Cat” by An. Alexandrova, the teacher shows the toy and after singing says: “The cat is asking for milk.” “Meow, meow,” he hums and asks: “How does a cat ask for milk?” This encourages the children to sing the last phrase with him.
While learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active ones and helps the more timid ones with his participation.
Once the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Christmas Tree” by T. Popatenko, the children clap to the words “yes-yes-yes,” and when singing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet.”
In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.

The most active ones begin to sing immediately. Gradually everyone turns on.
Working on drawn-out singing requires special attention, since many children sing in a patois. The teacher sings long sounds expressively. Children follow this example.
In the process of learning to sing, it is necessary to hear each child and note his performance. Those who sing well are encouraged to sing in a group for all the children; those who intonate poorly should be taught separately to teach them to “adapt” to the singing of an adult.
If a song contains an interval that is difficult to perform, it can be sung on any syllable. The lyrics of the song are absorbed along with the melody, only the most difficult words are repeated separately.
At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher.
When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

Methods of music education in kindergarten: “Preschool. education”/ N.A. Vetlugina, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. N.A. Vetlugina. - 3rd ed., rev. and additional - M.: Education, 1989. - 270 p.: notes.

And the day begins with a call

Music by A. Adamovsky,

words by V. Bedny

It’s hard for us to forget our trips and meetings,

A tender warm fire near the river.

It will take a while for your hand to get used to the handle.

And the day begins with a call.

We sit at our desks, sighing furtively.

The teacher will say: “Open your notebooks!

You haven't been paying attention this morning,

Stop dreaming, it’s time to study.”

Chorus: Summer is ending

Autumn is near

And the day begins with a call.

Where did you spend your summer holidays?

How you did it, write about it.

The handle is obedient to the hand and light...

We haven't even heard the bell since class.

We will describe everything: and how at the halt

After the hike we were homesick,

And how we dreamed of meeting soon

School friends near the classroom doors.

Chorus.

School anthem

Our school is wonderful and there is no better school in the world.

Every year, children study there in two shifts.

Here they dance and sing, they play KVN

The children all live together and gain knowledge.

Chorus: Viva to all teachers!

Viva to the glorious students!

Glory to our school,

The most beautiful of all, the most beautiful!

“City of Hopes” (the anthem of the city of Polysayevo)

There is a good town in which I live,

Where the sun stream pierces the blue,

Where the birds shout at dawn: “It’s time, it’s time!”

Where children rush to school again in September.

Chorus:

Who called you that - Polysayevo,

Is Polysayevo the city of Hope?

There are many cities with their own flight and rhythm,

And someone says hundreds of tender words to them.

They live in the radiance of days, akin to centuries,

But they envy your youth!

Chorus: Above the earth there is a dawn glow,

The light wind is transparent and fresh,

It’s good that you exist - Polysayevo,

Polysayevo is the city of Hope!

The afternoon is blue again, the umbrella will open to the sky,

Let your mining horizon be wider.

Let the clouds float like swans in the distance,

And the poplar fluff touches the ground.

Chorus: Above the earth there is a dawn glow,

The light wind is transparent and fresh,

Have a bright life for you - Polysayevo,

Polysayevo is the city of Hope!

School morning, hello!

Music by Yu. Chichkov,

words by K. Ibryaev

Again, again the usual worries

In the morning we are taken to a noisy classroom.

And somewhere they are building miracle starships

And they draw star maps for us.

Chorus: School morning, hello!

My cheerful class, hello!

Boundless distances

You are opening for us!

White fogs are melting over the school,

The dawn is burning at the tip of the pen.

And somewhere in the sea the captains are waiting for us,

And somewhere in the workshop the craftsmen are waiting for us.

Chorus.

The bells ring, lessons change,

And with them time moves forward.

But still we are rushing him again -

Our native land awaits us, young people.

Chorus.

First school bell

Music by Yu. Chichkov,

words by M. Plyatskovsky

First school bell

Calls me back to class -

This means the noisy summer is over.

On the first day of September,

Giving children joy,

This happens every time.

Chorus: The school year has come again

Again the desk is waiting for someone.

It's time, it's time, guys, to open

The whole world is like a new notebook!

The classroom walls are bright,

The tables smell like paint,

Golden autumn looks out the windows.

And in front of everyone

Leaves in the school garden

They circle quietly, flying smoothly.

Chorus.

Always unnoticed

Our years are rushing by,

But they will not be able to forget forever -

The very first call

The very first lesson

And friends and classmates' faces.

Chorus.

The sparrow is sad

Words by G. Ladonshchikov

Sparrow, little sparrow, in a gray coat,

Why are you sitting there, ruffled, or are you not happy about winter?

I will answer you, my old friend -

All my neighbors moved south

All my neighbors moved south.

The field is empty, the river is quietly sleeping,

The leaves have flown from the maples and willows,

The distant sun began to warm weakly.

I still don’t want to fly anywhere.

I know that the blizzards will sing and circle here,

But I can’t survive separation from my homeland,

But I cannot survive separation from my homeland.

Autumn walk

The radiant sun laughs tenderly.

A fluffy cloud from the sky will smile.

I tied a motley, colorful scarf,

Autumn ran merrily along the path. 2 times

I picked up a yellow leaf on the fly

And she let a light breeze flow into the open space.

Quietly, quietly, slowly, the leaves are falling...

Autumn

Words and music by E.V. Skripkina

Our sun began to disappear,

He covered himself with clouds and went to bed.

The raindrops sing a song,

Golden autumn is calling to visit us. 2 times

Everything around is flooded with golden rain,

We will admire the autumn day.

Yellow leaves are spinning and flying.

And they dance the bright dance “Falling Leaves”. 2 times

Grasshopper Orchestra

Music by K. Magus,

words by L. Litvina.

In the silence of the forest I heard

To the sound of the strings swaying

Aspen leaf.

Quiet melody

It enchants and calls.

She calls for a long journey,

Exciting flight. 3 times

Chorus: The grasshopper orchestra plays quietly.

That music makes everything around freeze.

What a pity that summer is saying goodbye to me

And I, at least for a moment, forget about it.

The hot summer is leaving

To distant lands.

And the quiet one will go with him

My melody.

Little musicians

They will finish their concert.

The artist will come autumn

And he will open his easel. 3 times

Chorus.

Yellow leaves

Music by R. Pauls,

words by J. Peters,

lane I. Shaferana

We can't live in this world,

We can't live in this world,

No loss, no loss.

It seemed that summer would not pass,

It seemed that summer would not pass,

And now, and now...

Chorus: Yellow leaves are circling over the city,

With a quiet rustling they fall at our feet.

And you can’t hide from autumn, you can’t hide...

The leaves are yellow, tell me what you are dreaming about?

The leaf sticks to the window,

The leaf sticks to the window,

Golden, golden.

Autumn showers the earth,

Autumn showers the earth,

Beauty, beauty.

Chorus.

And even if it rains often,

And even if it rains often,

These days, these days.

Maybe they were created for happiness,

Maybe they were created for happiness,

Both them and them.

Chorus.

Autumn song

Music and lyrics by K. Magus

Autumn is no longer summer,

But it's not winter yet...

And be offended by it

Still, it's not worth it to us.

Autumn - the coolness of the night,

Morning light fog.

Just don't be sad

Sitting in cozy houses.

Chorus: May spring have merry drops,

In winter the prickly blizzard howls,

Let it flow on a summer day

That warm mushroom rain,

But only, only autumn is golden.

But only, only autumn is golden...

Autumn gives us gifts -

Paints of various colors.

The sun is still bright

Shines on the roofs of houses.

If there is a rain cloud

Suddenly appears in the sky

There will be a ray of sun nearby -

Your most devoted friend.

Chorus.

Hello teacher!

Music by G. Portkov,

words by V. Suslov

Once again, golden autumn will appear exactly on time.

In the morning, at exactly eight o'clock, the bell will ring again.

Hello, teacher, hello!

Look around, do you see how much

The big-eyed ones immediately suddenly became quiet?

There will be dictations again, six cases again.

The days will flash past the window without stopping.

The second shift is leaving - notebooks are waiting at home...

No matter how hard you try, days, hours, minutes are not enough.

You should have answers to any question,

Young friends must keep secrets seriously.

You're big and smart! If you're tired, it doesn't count

Only then will each of us understand how difficult it is for you.

Before you know it, you will see them off on their way.

In a dozing, quiet school, you might feel a little sad.

But look around furtively, whose is there stuck to the glass?

A tightly pressed, slightly freckled, new snub nose?

Thank you teachers

Music by Yu. Chichkov,

words by K. Ibryaev

Not beyond the seas and forests

Wizards live now.

They come to school with us

Or rather, a little earlier than us.

Plucking yellow leaves

They always bring with them

And they generously give us spring.

Chorus: Our teachers!

Thank you from the bottom of my heart!

There will always be earth

Your work makes it beautiful!

Our teachers

Thank you very much!

We rediscovered with them,

And the starry world, and the distance of the earth.

They inspired us with a dream,

Hearts were lit with courage.

Who stands in the tundra, the city of the sun,

Changes the eternal path of the river?

Of course, these are their pets;

Of course, their students.

Chorus.

We understand, we see for ourselves,

How dear our friendly class is to them,

How difficult it is for them to be with us,

And how even more difficult it is without us.

Is it snowing, is autumn rustling,

Plucking yellow leaves

They always bring with them

And they generously give us spring.

Chorus.

Teachers have no time to grow old

Smoothly the red leaves fly

In the blue squares of school frames

First-graders are leafing through the primer again

The sun's ray jumps across our desks

Having fun winking at us

We are growing quickly, which means

There is no time for teachers to grow old (repeated).

Pulls us away from the school threshold

To new construction sites, to star ships

There is so much more we need to know

There is no time for teachers to grow old (repeated).

The huge world has become ours

inheritance,

The path before us is wide and straight.

Next to the never-ending childhood

There is no time for teachers to grow old (repeated).

School song

Music by M. Ferkelman,

words by G. Pagirev

How long ago on a fine autumn day

We've arrived at school, guys!

How long has it been since we started our first lesson?

Fresh flowers have been brought!

Chorus: May the years separate us

But we'll be back here.

Home school, the beginning of roads,

Never forget you!

Good people teach us to be smart.

We finish the class after the class.

Let's say thank you to the one

Who spares no effort for us.

Chorus.

Here we learned perseverance in work,

It will come in handy more than once;

And the school teacher is always and everywhere

He will remain a friend to us.

Chorus.

Teachers

Music by Yu. Chichkov,

words by M. Plyatskovsky

Streams ring and years roll like melt water,

And we are growing up, and we really want romance!

For you we will forever be girls and boys. 2 times

Someday the hour will come - we will fly away in all directions.

And the dream will open long roads for us.

Teachers, you will remain in our childhood forever,

It’s not for nothing that, when saying goodbye, they say to you: “Goodbye!” 2 times

And may we be able to forget the marks in the diaries without difficulty,

And school breaks and small holidays.

Teachers, you will remain in our childhood forever,

We love you - your quiet ones and your pranksters. 2 times

We dream of snowy taiga and young cities,

With slight sadness, you are still losing us to them...

Teachers, you will remain in our childhood forever,

And this means – you remain in our memory! 2 times

My Russia

Music by G. Struve,

words by N. Solovyova

My Russia has long braids,

My Russia has light eyelashes,

My Russia has blue eyes -

Russia, you are very similar to me.

Chorus: The sun is shining, the winds are blowing,

Showers are pouring over Russia,

There's a colorful rainbow in the sky -

There is no more beautiful land.

For me, Russia is white birches,

For me, Russia is morning dew,

For me, Russia, you are the most precious thing.

How much you look like my mother.

Chorus.

You, my Russia, will warm everyone with warmth,

You, my Russia, can sing songs,

You, my Russia, are inseparable from us,

After all, our Russia is me and my friends.

Chorus.

Will there still be...

Music by E. Hank,

words by I. Shaferan

The teacher gives us tasks with X's,

The candidate of sciences even cries over the problem.

Chorus: Will it still happen?

Will it still happen?

Will it still happen?

And we have a problem: writing again.

Leo Tolstoy did not write such a thing when I was my age.

I don’t go anywhere, I don’t breathe ozone.

I'm working on the synchrophasotron on the pipe.

Chorus.

For some reason they began to put more and more workload on us.

Nowadays, the first grade in school is like an institute.

I go to bed at twelve, I don’t have the strength to undress.

I wish I could become an adult right away, take a break from childhood.

Chorus.

From what, from what...

Music by Yu. Chichkov,

words by Y. Khaletsky

Are our boys done?

From freckles

And firecrackers made from rulers

And batteries

From what, from what, from what

Are our girls done?

From flowers

And bells

From notebooks

And glances at each other

Our girls are done. 2 times

From what, from what, from what

Are our boys done?

From springs

And pictures

From glass

And blotters

Our boys are done. 2 times

From what, from what, from what

Are our girls done?

From handkerchiefs

And glomeruli,

From riddles

And gummies

Our girls are done. 2 times

New Year is a fun holiday

New Year is a joyful holiday,

This is the best carnival.

Even an adult here is a prankster,

After all, he visited it as a child.

Chorus: And childhood is a fairy tale.

And a fairy tale is a miracle.

Yes, life itself is a story,

And in it we are just people,

Cheerful, funny,

Serious at times

We are children, passionate

Great game!

New Year brings joy

Adults, children, old people.

New Year is a fairy tale prank,

Given to us, to us.

Chorus.

New Year

New Year, New Year,

New Year, New Year.

The New Year is already coming,

New Year's holiday is coming.

On New Year's Day, on New Year's Day,

On New Year's Day, on New Year's Day

The children stood up in a round dance,

The Christmas tree lights up.

Chorus: Santa Claus will come today

And he will bring gifts,

On this New Year's holiday

The Snow Maiden will sing for us.

And he will spin in a round dance

From the fun of the kids.

Let the New Year not go away,

Never goes away!

Santa Claus, Santa Claus,

Father Frost, Father Frost

Brought us snow and frost,

And a big, big bag of gifts.

Santa Claus, Santa Claus,

Santa Claus, Santa Claus,

Don't freeze the guys' noses,

Let them feel hot from the fun.

Chorus.

Carnival

Carnival means masks, smiles,

These are songs accompanied by magic violins,

This is joy, this is laughter,

This is a holiday success,

This is great fun for everyone.

Chorus: We dance and sing.

And we are really looking forward to surprises.

Stand in a circle with us.

You are my friend and I am your friend.

We are now best friends forever.

Carnival is a wonderful holiday,

There are funny songs here,

Here - balloons,

There's room for play here,

The winner here in the game is both me and you.

Chorus.

New Year's carnival

Music and lyrics by V. Fadin

Snow stars paint eyelashes,

They shine brightly in the sun.

We love to have fun at holidays,

We love funny guys!

A holiday for us means new meetings

Faithful and good friends.

Music, jokes, lit candles...

Let it be more fun for everyone.

Chorus: Waltz, waltz, New Year's waltz, -

Dreams in every snowflake!

We believe that happiness is in any weather

It will fly to us like a bird!

Spinning, spinning at the carnival

Masks of magical friends.

And who dances and sings in this hall, -

It's like they've become more mature.

Princes and princesses pass by,

It's like something out of a fairy tale...

No, we will not forget the shine of round dances,

These wonderful minutes!

Chorus.

Blue frost

(VIA “Singing Guitars”)

The blue train rushes through the blue night,

Not for the blue bird, I'm coming for you o-o-o

Following you like a blue bird.

You, the wind, know everything

Chorus: Blue, blue frost......

Blue, blue oh-oh-oh

The clouds will sway and float back

Just to plunge into the blue eyes oh-oh-oh

Only in your eyes can I plunge oh-oh-oh

I can only plunge into your eyes!

I am only looking for her dream, she is the only one I need!

You, the wind, know everything

Will you tell me where is she, is she, where is she?

Chorus: Blue, blue frost...

Blue, blue oh-oh-oh

Blue, blue frost lay on the wires

In the dark blue sky there is a blue star oh-oh-oh

Only in the sky, in the sky dark blue o-o-o

Only in the sky, in the dark blue sky.

Father Frost

Oh, what a good, kind Santa Claus!

He brought us a Christmas tree from the forest for the holiday.

Chorus: The lights sparkle, red, blue.

It’s good for us, Christmas tree, it’s fun with you!

We decorated the Christmas tree in festive attire,

The stars on the Christmas tree are shining merrily.

Chorus.

The Christmas tree sparkles with golden rain

Santa Claus, come quickly - we are waiting!

Chorus.

Herringbone

Come on, Christmas tree, brighten up, sparkle with lights.

We invited guests to have fun with us.

Along paths, through snow, through forest lawns

A long-eared bunny came galloping to our holiday,

A long-eared bunny came galloping to our holiday.

And behind him, look, everyone, is a red fox.

The fox also wanted to have fun with us.

A clumsy bear waddles,

He brought honey and a big pine cone as a gift,

He brought honey and a big pine cone as a gift.

Come on, Christmas tree, brighten up, sparkle with lights,

So that the paws of the animals dance on their own,

So that the paws of the animals dance on their own!

On New Year's Eve!

Music by N. Zaritskaya

On New Year's Eve, like in a fairy tale,

Full of miracles.

The Christmas tree is hurrying to catch the train,

Leaving the winter forest.

And the stars shine brightly

And they dance in a circle.

Chorus: On New Year's Eve, on New Year's Eve

On New Year's Eve,

On New Year's Eve, on New Year's Eve

On New Year's Eve.

Little funny guys like snowflakes

They fly, they fly, they fly.

And songs are everywhere

Sounds funny.

The wind whistles

The blizzard sings...

Chorus.

Snowflakes

Music by V. Shainsky

Chorus: Snowflakes are falling from the sky

Everything is lower, everything is lower.

Drifts of fluffy snow

Higher, higher.

Steps of the passing year

Everything is quieter, everything is quieter,

And the New Year's song

Getting closer, getting closer.

The calendar leaves will fly off,

There will be a leaf left.

On the last evening of December

The magic time will come...

The clock will strike twelve times

And Santa Claus will come

And he will take us with you

Happy New Year.

Chorus.

A fairy tale will greet us at this hour,

Under the forest Christmas tree

And will never leave us again

Neither in summer nor in spring.

And a miracle awaits us ahead

Both jokingly and seriously...

Come and visit soon

Come to us, Grandfather Frost!

Happy New Year!

Music and lyrics by L. Olifirova

Kind and mysterious

Naughty and fabulous

The holiday is like a snowball

He rolled into our house.

He brought us a Christmas tree

The snow was swept away with a broom,

Called me to a good fairy tale

And he gave a ball.

Chorus: Happy New Year to all friends!

Happy New Year to all guests!

The Christmas tree waves its branches,

Dad, mom, children are dancing

And there is no holiday in the world more fun, more fun!

Oh, what a New Year it is!

There's a lot of trouble with him,

A lot of fuss

But me and you

We love to decorate the Christmas tree,

And receive gifts,

And laugh and joke,

And call your family!

Chorus.

Father Frost

Music by M. Partskhaladze,

words by L. Kondratenko

The New Year is knocking on our door

Old Grandfather Frost -

It sparkles with snowflakes,

It is overgrown with icicles.

Santa Claus, Santa Claus -

It is overgrown with icicles. 2 times

Grandfather has a bag behind his back,

Not a bag, but a whole cart!

It contains toys and candy

Good grandfather brought it.

A whole cart, a whole cart

Good grandfather brought it. 2 times

Our house smells like tar.

New Year is coming.

And a cheerful grandfather at the Christmas tree

He dances with us.

On New Year's Day, on New Year's Day

He dances with us. 2 times

Snowflake

When a young year comes and the old one goes into the distance,

Hide a fragile snowflake in your palm and make a wish.

Look with hope into the blue night and squeeze your palm tightly,

And ask, make and wish for everything you dreamed of!

Chorus: Everything will be possible in the New Year

Will fulfill your dream in an instant,

If the snowflake doesn't melt

In your palm, it won't melt

While the clock strikes 12, while the clock strikes 12.

When a new year comes and the old one goes away

Any dream can come true - this is such a night!

Everything will calm down and freeze around on the eve of new days

And suddenly the snowflake will turn into a firebird in your hand!

Chorus.

Christmas trees

The New Year is already creeping through the doors

Let's believe in the New Year

Come on, people, let's love him so much

And New Year, New Year will reciprocate!

Chorus: Christmas trees are rushing around the city

Happiness is spread to people

Christmas trees, oh so much happiness

What are we going to do with him!

It's almost here, New Year is coming soon!

Let's forgive each other in the New Year,

Come on people, we'll be a little kinder

And the New Year, New Year will be a little kinder!

Chorus.

Look, fireworks are burning - New Year!

People laugh at you and me on New Year's Day!

Come on people, we'll be a little happier,

And the New Year will be a little happy!

Chorus.

How are you doing?

An old, old fairy tale about endless love.

I'll draw a smile on a beautiful postcard

And I’ll send it to you - catch it!

Chorus: How are you doing? Do you believe in dreams?

Are you wearing a T-shirt with Che?

Who falls asleep there on your shoulder instead of me?

How are you doing?

Anyway, you know, it's mine best winter...

And rockets fly in the sky, and the world starts from scratch.

Happy New Year and I wish you with all my heart

Don't freeze without me.

Chorus.

And although I’m a little offended, I believe it wasn’t all in vain.

I just think I won’t wake you up so early

Until the second of January.

Chorus.

Snowdrop

Music by R. Pauls,

words by A. Kovalev

Sun, shine boldly

Heart, beat hotly,

To replace the blizzards, the singing of streams began to flow.

Rainbow, you become related to the arable land,

Light up everything around.

And tender snowdrop,

Like a fearless warrior,

Storm the slope and take it.

Chorus: What power in the spring rays,

How young their shine is, how dear to the heart.

Once upon a time here, in the snows of the military,

The snowdrop has grown - a peaceful world.

Through the ice a messenger of hope

You're making your way, snowdrop.

Spring, please, send some more warmth, -

It's time for snowdrops.

Sun, shine boldly

Heart, beat hotly,

To replace the blizzards

The singing of streams gushed out.

Thaw, caress the roots,

Touch a snowdrift by accident,

And tender snowdrop,

Submissive only to spring,

Look at me and find out...

Chorus.

Will!

Little boy, little boat,

Made from notebook paper

He swam and soon drowned at the turn,

but the dream did not drown with him 2 times

If you really want it, you will achieve it,

And the boy dreamed of anchors,

The boy became a captain

And for a long time it has not been rocked by paper seas. 2 times

Chorus: It is necessary, it is necessary, it is necessary, everywhere, everywhere, everywhere

We must, we must, we must, we must believe in a miracle

Talk everywhere, everywhere, everywhere, everywhere

Instead of whether I will or not - I will, I will, I will!

Where are you, where are you, where are you, gray-eyed boy

Captain of the toy boat

Why, like your boat, they all float, float after me

My old dreams. 2 times

If you really want it, you will achieve it

And the boy dreamed of anchors,

The boy became a captain

And for a long time it has not been rocked by paper seas 2 times

Chorus.

Stop, whoever is coming!

Bench - outpost,

The groove is the border,

And we, border guards,

Brave people.

No matter how the enemy lurks,

No matter how the enemy tricks,

But he won’t sneak through to us,

But it won’t come to us.

Chorus(2 times):

Stop! Who's coming?

Stop! Who's coming?

No one will get past

No one will pass!

Someone's sneaking

In the bushes by the well,

Crawling carefully

In the grass by the gate.

He sneaks cleverly

And he will be captured

But he won’t sneak through to us,

But it won’t come to us.

Chorus.

The games are over

And childhood will fly by,

Let's get things done

The turn will come.

We will stand guard

Russian border,

And the enemy will not get through,

The spy won't get through.

Chorus.

Brave soldiers

Music by A. Filippenko,

words by T. Volgina

The brave soldiers are marching with songs,

Eh! Left! Left! They go with songs,

And the boys run after them happily.

I want boys to serve in the army,

Eh! Left! Left! Serve in the army.

I want the boys to accomplish a feat.

Brave boys, there is no need to bother,

Eh! Left! Left! There is no need to bother.

You will also go to serve in the army.

We will vigilantly guard the borders!

Eh! Left! Left! Guard vigilantly.

We will stand guard over the Motherland!

My army

Slender rows under a clear sky -

These are our glorious regiments.

Ranks: tankers and artillerymen,

Pilots, gunners and sailors.

Chorus: My army is strong, strong,

My army is brave, brave,

My army is proud, proud.

This song is about my army.

Our army is the strongest

Our army is the bravest

Our army is the proudest

And the holy protector of children!

You were furious and fearless,

And the earth burned under you.

You fought bravely and the enemy's banners

They fell under the walls of the Kremlin.

Chorus.

You have become a secret dream,

My dear army.

I'll grow up and become a military man,

I will be strong, brave, proud!

Chorus.

About you and me

It has always been like this at all times

In hot boy dreams:

The stirrups of the horses ring invitingly

And the wind whistles in the sails!

The roads to the north and south are calling us

And the steppe feather grass surf.

We will be everywhere, comrade and friend,

Where we are missing you and me!

Chorus: Place your palm on your palm and say:

“Friendship shines on us like a compass on the road!”

If a friend is nearby, even trouble is not a problem.

In the most difficult hour, friendship will help us out!

Boys, you are a brave and faithful people.

And the fact that they are small is not a problem!

The saddled horse is waiting at the gate again

At all times, as always!

Our lucky star is calling us

And the expanse of blue sky,

And we will certainly rush there,

Where you and I are missing.

Chorus.

Blades sparkled in distant battles.

We are the children of those stormy years!

The combat regiments have become legends -

Only the memory remains of them.

The boys are again called by their dreams,

The trumpeter doesn't play the end call!

And there is latitude and longitude on earth,

Where we are missing you and me!

Chorus.

Goodbye boys

Music and lyrics by B. Okudzhava

Oh, war, what have you done, vile one:

Our yards have become quiet,

Our boys raised their heads

They have matured for the time being

They barely loomed on the threshold

And they left, after the soldier the soldier...

Goodbye boys! boys,

Try to go back.

No, don't hide, be tall

Don't spare any bullets or grenades,

And you don’t spare yourself, and yet

Try to go back.

Oh, war, what have you done, vile one?

Instead of weddings there are separations and smoke.

Our girls' dresses are white

They gave it to their sisters.

Boots - well, where can they go?

Yes, green wings...

Don't give a damn about the gossipers, girls.

We'll settle the score with them later.

Let them chatter that you have nothing to believe in,

Why are you going into a war of rewards...

Goodbye girls! Girls,

Try to go back.

Afghanistan

"I'm leaving!" - the boy said to her through sadness,

“Just wait, I’ll definitely come back!”

And he left without meeting the first spring

He came home in a soldier's zinc coffin.

The mother is crying and the father is standing like a shadow

For them he was, for them he was still a youth

And how many of them are there without taking the first step in life?

They came home in soldiers' zinc coffins.

Once upon a time he was walking with a girl

He gave her flowers and played the guitar for her,

And even at the moment when white snow fell,

He wrote that girl's name in blood.

The wind will scatter, and there will be gray smoke above the grave

That girl is already kissing someone else,

The girl who promised: “I’ll wait!”

The snow melted, the name disappeared from the snow.

He didn't live until dawn until dawn

He fell into the snow and closed his homeland with his chest

Fell in the snow, not in the days of war, but in a time of peace

And for him, the dawn of spring has gone out forever!

(repeat verse 1)

It's good to be next to mom

It's getting dark and the moon has risen,

Mom lit the lamp on the table.

We sit in silence

And my mother reads to me. 2 times

We read about forest animals,

They will talk about funny, mischievous bunnies.

It's good to be around her

With my dear mother. 2 times

Mom will say: “It’s dark outside.

All the bunnies have been sleeping for a long time..."

I'll smile at mom

I’ll cuddle up to her like a little bunny. 2 times

Solar drops

Music by S. Sosnin,

words by I. Vakhrusheva

In the yard the icicles were crying,

They melted under the rays of the sun,

Blue tears dripped

And they left a thawed patch.

Chorus: Ding-dong, ding-dong, ding-dong!

Droplets and peas are dancing,

And on the March thawed patch

He stretched out his hands to the sun

Small blue flower.

Chorus.

And the icicles jingle cheerfully,

And the spring drops sing.

This sunny song -

Congratulations to our mothers.

Chorus.

Essay about spring

Music by Y. Dubravin,

words by N. Protorova

The snow is melting on the school roof,

A ray of sunshine on the window.

We write in our notebooks

Essay about spring.

Here is a starling on a thin branch

Cleans his feathers

And they rush with a ringing song

Blue-eyed streams.

Chorus: This always happens in March -

Joy flies into our classroom.

Sunny bunny on the desk

Teases each of us. (3 times)

The chime of a drop is heard

All the guys, be quiet.

We write in our notebooks

Essay about spring!

Why, we don’t know ourselves

We are looking forward to your call.

And across the sky with sails

Clouds float by.

Chorus.

Flocks of birds above the clouds

Floating in the heights

All nature writes with us

Essay about spring...

Mother

The moon shines in the clouds,

There's silence on the street

From all troubles and insults

Only mom is awake and sad.

The door will open in the morning,

She will open it, believe me!

Believe me, only mom will open it.

From all troubles and insults

She keeps it day and night, 2 times

Only mom is awake and sad.

And if trouble comes,

She will always help

Only your mother can help you.

From all troubles and insults

She keeps it day and night, 2 times

Only mom is awake and sad.

Kind words

Music and lyrics by T. Bokach

Many songs have been sung about mommy.

We are warmed by kindness, like the sun.

We just want it again and again

Say our kind word to mom.

Chorus: We will call you the best

Gentle sunshine, ray of sunshine.

We will call you the cutest,

Kind, gentle, very beautiful.

No matter how many words I say about you,

But this will still not be enough.

To tell about my love for my mother,

Words on this earth are hardly enough.

Chorus.

Song about grandma

Music by A. Filippenko

Grandma has a lot of trouble with us -

Grandma makes us sweet compote.

Warm hats need to be knitted,

Tell us a funny story. 2 times

Grandma works all day long.

Grandma, dear, sit down and rest!

We will sing you our song... 2 times

My dear grandmother and I live together!

For my beloved grandmother

Music and lyrics by T. Bokach

For my beloved grandmother

I'll sing now.

I want to tell everyone

How I love her.

Affectionate, dear.

And nowhere in this world

There is no other like it.

Every day she holds my hand

Leads me to the garden

Knits warm socks,

Sings me songs.

Chorus.

ABC

Music by A. Ostrovsky,

words by Z. Petrova

If you want to know a lot,

Must learn.

Chorus: ABC, ABC

Everyone needs

We need to write letters

Neatly in line.

We need to remember them

No mistake, exactly.

Chorus.

Books can tell

About everything in the world.

Adults and children.

Chorus.

Fairy tales travel around the world

Fairy tales travel around the world

Night harnessed to a carriage.

Fairy tales live in the clearings,

They wander around in the fogs at dawn.

And the prince will love Snow White,

And Koshchei’s greed will destroy him.

Let the evil do cunning tricks,

But good still wins!

Having illuminated the world with miracles,

Fairy tales fly over the forests,

They sit on the windowsill,

They look out of the windows like into a river.

And the fairy will rescue Cinderella,

Gorynych the Snake will no longer exist.

Let the evil do cunning tricks,

But good still wins!

Fairy tales are with me everywhere,

I'll never forget them

It's worth closing my eyelashes,

In an instant Sivka-Burka will dream.

And the month will shine clear

In the eyes of Vasilisa the Beautiful.

Let the evil do cunning tricks,

But good still wins!

A fairy tale goes through the forest

Music by S. Nikitin,

words by Yu. Moritz

A fairy tale goes through the forest,

Leads the tale by the hand.

A fairy tale comes out of the river,

From the tram, from the gate.

What kind of round dance is this?

This is a fairy tale round dance.

Fairy tale - clever and charming

He lives next to us.

Chorus: To, to, again

Good defeated evil

To good, to evil

Convinced me to become good.

Ah, behind me and behind you

Fairy tales run around in a crowd.

Favorite fairy tales

Sweeter than any berry.

In a fairy tale, the sun is burning,

Justice reigns in it.

The fairy tale is clever and charming,

The path is open to her everywhere.

Chorus.

Rainbow

Music by O. Yudakhina,

words by V. Klyuchnikov

Mushroom rain under the mountain

I wet the grass,

And there's a rainbow in the sky

He gave it to us all.

Chorus: Rainbow, rainbow, don't rush home

Rainbow, rainbow, stay above the ground.

Rainbow, rainbow, bright wing,

Rainbow, rainbow, how bright it is with you!

If only we could have a rainbow

Run quickly

And pick up bouquets

Sunbeams!

Chorus.

Rainbow is a beauty

Where can I find you?

Are you far through the forest?

Ways to reach you?

Chorus.

Music

Music by G. Struve,

words by I. Isakova

I want to see the music

I want to hear music.

What is this music?

Tell me quickly.

Bird trills are music

And the drops are music,

There is special music 2 times

In the quiet rustle of branches.

You see, the maple leaf is spinning,

Quietly spinning to the music

You see, the cloud in the sky is frowning -

There will be rain music.

Both the wind and the sun,

And the clouds and the rain,

And for a small grain 2 times

It has its own music too.

Childhood is me and you

Music by Yu. Chichkov,

Words by M. Plyatskovsky

Childhood, childhood, childhood is light and joy,

These are songs, these are friendships and dreams.

Childhood, childhood, childhood are the colors of rainbows,

Childhood, childhood, childhood – it’s me and you!

Chorus: All people on the big planet

Should always be friends.

Children should always laugh

And live in a peaceful world!

Children should laugh

Children should laugh

Children should laugh

And live in a peaceful world!

Let only the dawns burn brightly,

On a starry night, let the fields sleep peacefully...

Childhood, childhood is not in vain warmed with kindness,

Childhood, childhood is your tomorrow, Earth!

Chorus.

Childhood, childhood, childhood is the summer wind,

The sail of the sky and the crystal ringing of winter.

Childhood, childhood, childhood - this means children,

Children, children, children - that means us!

Chorus.

"Wait a minute"

From the movie "Last Vacation"

music by P. Aedonitsky,

words by I. Shaferan

Here we will find every house,

At least blindfold yourself.

Somewhere around that corner

Childhood flies into the distance.

Chorus: Wait, wait, leave forever,

You bring, bring, bring us here sometimes...

My childhood, wait, don’t rush, wait!

Give me a simple answer: what's ahead?

Something happened suddenly

On this day, at this hour,

Like a good friend

Leaves us.

Chorus.

The dawn will hurry.

There will be snow, there will be rain.

Only the past years

You won't come back again.

Chorus.

This will never happen again

Clouds look out the school window,

The lesson seems endless.

You can hear the feather creaking slightly

And the lines fall on the piece of paper.

Chorus:

In puddles of blue glass ice...

The invisible look of surprised eyes

And the words are a little vague.

After these words for the very first time

I want to turn the whole world upside down.

Chorus: First love...Snow on the wires...

There is a flashing star in the sky.

Doesn't repeat, doesn't repeat,

This will never happen again! 2 times

The song of rain rolls like a stream.

Green winds rustle.

Jealousy for no reason, arguments about nothing -

It felt like yesterday.

Chorus: First love... Sounding years...

In puddles of blue glass ice....

Doesn't repeat, doesn't repeat,

This will never happen again! 2 times

With us, friend!

Music by G. Struve,

words by N. Solovyova

With us, friend! With us, friend! Together! Together!

Start singing! Start singing! A song! A song!

And then, and then the sun, the sun

Smiles at us from above.

And then, and then bright, bright

Flowers will bloom all over the Earth.

Chorus: Together we will build a house,

Together we will plant a garden,

Let's sing this song together.

Everyone knows that we are together,

Everyone knows that we are together,

Together we are always more interesting!

The birds called us, the birds called us

Behind you, behind you in the distance, in the distance,

Will he walk on the grass barefoot?

But then, but then who? Who?

Plant a garden and build a house?

Chorus.

Let the Earth, let the Earth circle! It's spinning!

All children, all children are friends! They're friends!

We then, we then quickly, quickly,

We'll grow mushrooms in the rain.

We are then, we are then home, home

Let's call the earth a common home.

Chorus.

At least take a peek...

Music by E. Krylatov,

words by Yu. Entin

On this on white in the world!

We got a lucky but difficult ticket,

We are children of the twentieth century.

Heavenly heights, ocean floor,

Secrets will be revealed one day.

Life is interesting and fun for us, but...

But I still want it, I want it terribly!

Chorus: At least take a peek

Look into the coming century!

And I would like to find out what kind of fate

And I would like to find out what kind of fate

They are waiting for you, waiting for you, man!

What's missing, what's missing

On this on white in the world!

Sometimes we don’t see the light behind the clouds,

Sometimes the dawn is invisible

Nowadays it’s funny to be offended,

Goodness will be found in everyone

But I still want it, I want it terribly.

Chorus.

What's missing, what's missing

On this on white in the world!

Everywhere there is a trace of the past

And we are responsible for today

We are destined to build a house with you.

In tomorrow they will remember yesterday.

Life is interesting and fun for us, but...

I want it so much, I want it, I want it so badly.

Chorus.

Our school country

Music by Yu. Chichkov,

words by K. Ibryaev

Don't spin the colorful globe,

You won't find it there

That country, a special country,

Which we sing about.

Our old planet

Everything has been studied for a long time,

And this country is big -

Always a “blank spot”.

Chorus: Let no trains go to this country,

This is the first time our mothers have brought us here by the hand.

In this ringing, cheerful country

They greet us like new residents,

This country is always in my heart!

To a new class, like to a new city,

We come every year

A tribe of young dreamers,

Restless people.

So we have to fly and sail again

Across that endless country

To unexpected discoveries,

For graduation in the spring.

Chorus.

Here we sometimes hear

In the quiet rustle of pages

The wind of wanderings turns the globe,

Waving its wing to us

In that country, a special country,

Which we sing about.

Chorus.

Song about holidays

Music by V. Golikov,

words by N. Maznin

Vacations, holidays -

The desired time

That's why it's so much fun

We all shout - hurray!

Chorus: Hooray! Hooray!

Holidays - hurray!.. 2 times

Hooray! happy salute

All day in the yard.

And the ball and slippers,

And to the jumping ropes - hurray!..

Chorus.

Hooray! walks in the forest

With a basket in hand!

Hooray! waist-high grass

And boats on the river!

Chorus.

Hooray! simple pure

And songs around the fire!

Chorus.

Turn

Music by A. Pakhmutova,

words by N. Dobronravov

Never, you understand, never

No star burned so close.

This is the light of passing years,

This is risk, speed, intelligence.

Chorus: Our goal is ahead, ahead!

Convince me of victory

So that there is no fear in the soul

On a sharp turn like fate.

Our life, our thought, our pain

And love's incorruptible password -

There were so many hopes and worries!

The last round remains...

Chorus.

Not for a year, not for two - forever.

Our star lights up.

Someone will understand our sincerity

And he will risk following us...

Chorus.

Planet of Childhood

Music by A. Zhurbin,

words by P. Sinyavsky

We will remember more than once

That good planet

Where with the rays of the eyes

There are dawns,

Where are the sunny dreams?

Where are the star paths?

Where in the songs are heard

Laughs and sadness.

Chorus: Mysterious fairies walk along the streets,

And the knights carry briefcases behind the fairies.

And the calls splash with a crystal melody,

And the first verses are warmed by the first secret.

They believe in magic here

Here they are friends with miracles.

All fairy tales come true

They come to visit themselves.

There are no clouds visible here,

It's crowded with smiles here.

Under the sail of spring

The planet of childhood is flying.

Chorus.

Friendly song

Music by A. Zhurbin,

words by P. Sinyavsky

The mood in our class is excellent,

We don't know what a personal matter is -

We divide all matters equally among everyone,

And that is why success comes to us.

Chorus: Everyone knows, everyone knows, everyone knows

What we live in the world is interesting,

Because with us, because with us,

Because we have a friendly class!

We are with tips to share experiences

We’re not used to even whispering in class,

Because for any of the changes

Let's look at both the problem and the example.

Chorus.

And carefully design the cheat sheets

The guys and I don’t have to at all.

It’s better to just learn everything you need,

And get an excellent mark.

Chorus.

We are leaving childhood

Music by A. Zhurbin,

words by P. Sinyavsky

We are leaving childhood

We are leaving childhood

Because in childhood

Has its own magic, 2 times

Because in childhood

It has its own magic. 3 times

We are leaving childhood

We are leaving childhood

Waiting for new ones

Stranger miracles.

And childhood tries 2 times

Create a kingdom

Where are the handsome princes

They will meet princesses. 3 times

We are leaving childhood

We are leaving childhood

And someday again

Let's bring back our fairy tales

If in the mirror of childhood

We want to look twice

Through colored glass,

Forgotten in it.

We are leaving childhood... 3 times

Song about friendship

You, me, you and me,

You, me, you and me...

It's great to have friends in the world.

The Earth would probably fall apart

If everyone lived alone, they would have been in pieces long ago

The Earth would probably fall apart.

You, me, you and me,

You, me, you and me

We'll go around the Earth, then we'll head to Mars.

Maybe by the orange river

There are already sad people there

Because we've been gone for too long.

You, me, you and me,

You, me, you and me...

No one will ever separate us.

Even if we part

Friendship remains forever. 2 times

Friendship with us remains forever.

§ 6. Methods of introducing young children to singing
Development of initial singing manifestations in first year A child’s life begins with the fact that the baby is taught to listen to the singing of an adult and respond to it with the sounds of his own voice, humming.

Therefore, the basis of the methodological techniques of musical education is the impact of expressive singing intonation, the warmth and sincerity of which evokes an emotional response in children.

The teacher, humming a song, leans towards the child and thereby attracts his attention, evokes imitative intonations and creates a joyful mood in him. When working with older children, showing toys is used to identify interest in singing.

On second year in life, children are already beginning to pronounce and

Page 98
chant sing along The teacher teaches individual sounds and the endings of a musical phrase. The education and training program in kindergarten sets the teacher the task of encouraging the child to sing along with an adult, reproducing individual intonations.

Songs that reflect images that are close and understandable to children (birds, dolls, etc.) help solve this problem. Their correct selection makes it possible to gradually complicate tasks. If in the song “Bird” by M. Rauchwerger children can mark the end of the song with the exclamation “Ay,” then in the song “Yes-da-da” by E. Tilicheeva they sing along with a short musical phrase on the repeating syllable “da-da-da.”

While teaching children, the teacher invites one or the other child to join in singing, repeat a separate sound exclamation, intonation. The main method of developing children’s singing expressions at this stage is to imitate the singing of an adult.

Arousing interest in the song and a desire to sing it, the teacher uses play techniques and uses a toy. For example, in the song “Vodichka” by E. Tilicheeva, children, together with an adult, perform movements according to the text of the song. An expressive performance of a song evokes an emotional response in children and a desire to sing.

Repeating the song several times, the teacher invites the most active children to sing along with him. Their example has positive influence on the more timid.

Individual singing with each child is of great importance for musical development at this age. This allows you to identify the more active ones and unite them into a small group.
^ Song repertoire
The song repertoire for children of the first junior group is small. However, it reflects holidays (“To the Parade” by Y. Slonov, “Holiday” by T. Lomova, “Christmas Tree” by T. Popatenko), images close to children (“Bird” by T. Popatenko, “Bug” by V. Karaseva), songs about children (“That’s how big we are,” “Yes, yes, yes” by E. Tilicheeva). In songs, children sing along with short musical phrases.

^ Stimulating onomatopoeia is one of the prerequisites for the development of singing intonations in children.
§ 7. Methods of teaching singing to children of primary preschool age
^ Objectives and content of training
On third year In life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the adult’s singing, singing along with the endings of musical phrases and intoning individual sounds.

The goal is to develop and strengthen children’s initial singing intonations. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.
Page 99
On fourth year In life, children's singing voice sounds stronger; they can sing a simple song. Some children even develop loudness.

When forming a singing sound, the teacher makes sure that children sing in a natural voice, without tension in the range re-mi-la first octave.

Much attention is given to working on diction in younger groups. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words and teach correct pronunciation.

Children of this age find it difficult to sing at a general tempo: some sing slowly, others sing too quickly. The teacher must constantly monitor this, teaching them to sing collectively.

By the end of the year, a child in the first junior group can sing simple songs together with an adult.

By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with or without musical accompaniment.

These tasks are solved with the help of a song repertoire that includes simple, melodic, easy-to-breathe songs of a small range.

Children of the third year in the songs “Cat” an. Alexandrova, “Bird” by T. Popatenko sing along only the final phrase, which is most convenient for initial intonation:

[Slow] [Moderate]

They can sing the Russian folk song “Bunny” in its entirety, since it is built on a repeating motif:

[Lively]

In the second younger group, the tasks gradually become more complicated, and songs of a wider range are performed. (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:
[At the pace of a march]

Page 100

[Slowly]

Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by A. Filippenko, “Playing with a Horse” by I. Kishko).
^ Song repertoire
In the second younger group, the song repertoire expands significantly. Social themes are more represented here (“Machine” by T. Popatenko, “Planes” by M. Magidenko, “Young Soldier” by V. Karaseva), natural phenomena (“Winter” by V. Karaseva, “Rain” - a Russian folk song, arranged by T. Popatenko ), songs for March 8th (“Pies” by A. Filippenko, “We Love Mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.
^ Methodical techniques

Let us consider the methodological techniques used in singing work with children of the third year of life. The main thing is emotional, expressive

performance of a song by a teacher. To do this, you need to carefully think through and convey the features of the song, its character, and mood. When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song.

In addition, gaming techniques are used. For example, introducing the children to the song “Cat” by An. Alexandrova, the teacher shows the toy and after singing says: “The cat is asking for milk.” “Meow, meow,” he hums and asks: “How does a cat ask for milk?” This encourages the children to sing the last phrase with him.

While learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active ones and helps the more timid ones with his participation.

Once the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Christmas Tree” by T. Popatenko, children clap to the words “yes-yes-yes,” and when singing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet.”

In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.
Page 101
The most active ones begin to sing immediately. Gradually everyone turns on.

Working on drawn-out singing requires special attention, since many children sing in a patois. The teacher sings long sounds expressively. Children follow this example.

In the process of learning to sing, it is necessary to hear each child and note his performance. Those who sing well are encouraged to sing in a group for all the children; those who intonate poorly should be taught separately to teach them to “adapt” to the singing of an adult.

If a song contains an interval that is difficult to perform, it can be sung on any syllable. The lyrics of the song are absorbed along with the melody, only the most difficult words are repeated separately.

At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher.

When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.
§ 8. Methods of teaching singing to children of the middle group
Objectives and content of training
In the fifth year of life, children emotionally perceive and empathize with the different moods of songs. Preschoolers already have a certain musical training. They developed some singing skills, strengthened their voices, and increased their range somewhat (re-si first octave), breathing became more organized, the pronunciation of individual sounds and words became more accurate. This allows you to expand the range of singing skills.

First of all, we need to teach children to sing naturally and without tension. The teacher constantly works on this skill, showing an example of a soft, relaxed melodious sound. At the same time, the skill of correct, timely breathing and the ability to sing a musical phrase to the end develops. Attention is also paid to correct pronunciation: the content of the song, the meaning of unclear words are explained, and the expressiveness of the literary text is emphasized. At the same time, articulation is developed in classes; children are taught to actively open their mouths while singing.

The development of the skill of harmonious collective singing, which is expressed in the ability to simultaneously begin and end a song, requires great attention. At this age, children still have a tendency to get ahead of the singers or lag behind them. The teacher teaches how to maintain a general tempo in singing and perform simple musical shades in accordance with the content of the work.

Experience from best practice has shown the need for training in unaccompanied singing, which should be mastered as early as possible. The easiest songs that are easy to sing from are
Page 102
become the property of children, and they successfully use them in their independent activities.

The program provides for the development of children's musical hearing. The child is taught to listen to the vocal intonation of the teacher of his comrades, which will subsequently help everyone sing in harmony in a common choir. When teaching singing, educators systematically work on developing children’s sensory abilities, since they can already distinguish sounds in pitch located at a fairly wide distance (octave, sixth).

By the end of the year, five-year-old children should master the following program skills: sing expressively, with a natural sound, without tension, drawlingly, take a breath between short musical phrases, pronounce words clearly, correctly, start and finish a song together, correctly convey a simple melody. Sing in harmony within re-si first octave, listen to the voices of others, distinguish sounds by their height, sing with and without instrumental accompaniment.
^ Song repertoire
The topics of the song repertoire are more diverse than in younger groups. In accordance with this, funds are also enriched musical expressiveness in songs for children of this age. The bright imagery of the music in such songs as “Building a House” by M. Krasev, “Diesel Locomotive” by Z. Kompaneitsa, “Airplane” by E. Tilicheeva is interesting and accessible to them. The world of natural phenomena is also revealed to the child in poetic Russian folk songs.

The song program repertoire corresponds to the voice characteristics of children 4-5 years old. The songs have a small range, short musical phrases. But increasingly, different endings to identical musical phrases appear in them (“Kitty” by V. Vitlin, “We Sang a Song” by R. Rustamov). This feature must be taken into account when learning songs.
^ Methodical techniques
Methodological techniques are aimed at children mastering singing skills. Working on correct (clean) intonation and sound formation, the teacher constantly exercises the children, remembering that even if 2-3 children sing incorrectly, this reduces the quality of the collective performance. When starting to learn a song, you should perform it with piano accompaniment, and then without it. Children of this age sing better and intone more accurately when they hear an adult perform. If it is difficult for children to perform any melodic turn, it is advisable to practice this separately. If the child cannot cope with the task, you should work with him individually before or after the lesson.

The following technique is also widely used in practice: a small group, sometimes soloists, alternately perform each musical phrase in a song. Alternate introductions activate children's auditory attention. You can also do this: the whole group of Children sings the chorus, and the soloists sing the chorus. What is the benefit of this technique? Children listening to friend
Page 103
friend, they inevitably record the quality of workmanship and note inaccuracies. The element of competition makes you want to sing better, more accurately. This activates your ear for music.

Mastering the skill of drawn-out singing is achieved by demonstrating correct performance by the teacher himself and using figurative comparisons: “Let’s sing drawn-out, pulling the melody like a thread.”

The development of this skill is also helped by the technique of performing a melody without words on syllables ending with vowels (la-la-la). We must remember that each work has its own characteristics, requiring the teacher to creatively search for pedagogical techniques.

The following exercises help develop the singing voice: small chants, consisting of 2-3 sounds, are performed in all sorts of convenient syllable combinations (doo-doo-doo, da-da-da, la-la-la, ku-ku, au-au) at various levels of the scale, gradually expanding the singing range, taking into account the individual capabilities of the children. Such exercises are useful in every lesson. It is especially useful to sing unaccompanied when the child can perform a small song on his own. Moreover, the child controls the quality of singing in one way or another by hearing. You can give figurative tasks that require distinguishing sounds by height. For example, distinguish the voice of the “mother bird” (to first octave) from the voices of the “chicks” (to second octave) in E. Tilicheeva’s song “Big and Little Bird”. 1 This gradually brings us closer to understanding pitch.

In the process of learning to sing, the prerequisites for certain creative manifestations should be developed. “Come up with and sing a lullaby (dance song) to the doll,” says the teacher, holding a toy in his hands. The child improvises a simple melody.

Learning songs requires consistency in teaching in the classroom: preliminary musical analysis works, definition of program skills, clarification of pedagogical techniques. Let's follow the sequence of tasks when learning the song “Drummer” by M. Krasev. This is a cheerful, marching song, built on characteristic intonation moves of a figurative nature.

At the first lesson, the song is performed with piano accompaniment, the rhythm of the chorus simultaneously depicts a “drum” (Tra-ta-ta, tra-ta-ta, give me the sticks). In the second lesson, the lead of the song is performed by the teacher, and the easier chorus is performed by the children. In the third lesson, children learn the beginning of the song, which contains a difficult melodic turn corresponding to the words “At the window on the wall.” The teacher trains the children in reproducing this intonation, asking each one in turn: “Where does the drum hang?” The children sing: “At the window on the wall.” In the fourth lesson, children who perform well sing the chorus, and the rest sing the chorus. In subsequent classes
Page 104
the guys sing the song without accompaniment, march to it, and play along with themselves on the drum.

At the end of the year, it is necessary to check the acquisition of singing skills, the development of voice and hearing, and the quality of song performance in order to find out:

can every child sing familiar songs with piano accompaniment. In this case, the following techniques are used: each child is invited to sing one verse of a familiar song at his own request, to remember what other songs he has learned;

what is the quality of the collective (choral) sound: can children sing clearly enough (not out of tune), at a consistent tempo, accompanied by an instrument, but without an adult singing. Children begin to sing after a musical introduction, the teacher listens carefully and, at the end, notes the shortcomings. The song is performed a second time - the teacher watches as the children try to correct their mistakes;

Can children identify sounds of different pitches: octave, seventh, sixth. Techniques: children are asked to find out who sings first: “mother bird” (low sounds on one note) or “chicks” (high sounds on one note).
§ 9. Methods of teaching singing to children of the senior group
Objectives and content of training
The content of the singing training program is based on the same principles as in the previous group. The increased capabilities of children make it possible to introduce them to a wider range of ideas about life phenomena through songs. This increases the cognitive role of singing.

The general development of a child in the sixth year of life and the strengthening of his physical strength influence the improvement of the vocal apparatus. The skills that were worked on in previous kindergarten groups are refined and reinforced.

While working on sound formation, the teacher makes sure that the singing is relaxed. However, the nature of the sound acquires significant differences; children are taught to sing naturally, smoothly, melodiously, agilely, easily, ringingly. By developing singing breathing and diction, children are taught to control themselves, correct mistakes, regulate the strength of their voice, and pronounce all sounds and words distinctly and clearly.

Constant attention is paid to developing clear singing. As practice shows, there are 5-6 guys in a group who sing low and inaccurately. They should be given individual lessons. The sound quality largely depends on the singing setup.

The expressiveness of singing is facilitated by the implementation of musical shades, nuances, as well as a sense of ensemble, i.e. consistency in the use of singing skills.

The child’s voice is strengthened, the singing range is determined -
Page 105
re-si first octave and to second (this sound is rarely found in the song repertoire). Constant attention is paid to developing hearing, the ability to hear and distinguish between correct and incorrect sounds.

IN senior group Preliminary work begins to prepare for school. This is expressed in the development of auditory self-control, sensory abilities that allow children to identify and reproduce sounds of varying heights (within fifths, fourths, thirds) and duration (marking them with soft claps). In addition, children develop the skill of independently singing simple songs without accompaniment, and more difficult ones with partial help from a teacher - the skill of collective singing accompanied by a piano without the help of adults. Children should not just learn songs, but memorize them, know them well and be able to perform those previously learned.

By the end of the year, they acquire the following skills: sing expressively without tension, smoothly, with a light sound, take breath between musical phrases, pronounce words clearly, simultaneously begin and end a song, correctly convey the melody, sing moderately loudly and moderately quietly at different tempos with the teacher unaccompanied and independently accompanied by an instrument, sing collectively and individually in a convenient range re-si first octave to second, remember and perform learned songs, notice with your ears correct and incorrect singing, sounds of different heights and durations. Maintain correct posture while singing. All this gives the singing expressiveness and spontaneity.
^
The song repertoire helps solve these problems, primarily taking into account their educational and educational purpose, which allows children to express their attitude to our Soviet reality.

The song teaches children, allows them to acquire skills, develop musical abilities, an ear for melody, and a singing voice. When teaching smooth, stress-free singing, the teacher can turn to songs such as the Russian folk “Bai, Kachi-Kachi” or “Let’s go through the raspberries to the garden” by A. Filippenko. The skill of a light, moving sound is well acquired when learning cheerful, lively song melodies “Blue Sleigh” by M. Iordansky, “Song about the Christmas Tree” by E. Tilicheeva.

To develop singing breathing, songs are used in which the length of musical phrases is uniform. However, when developing this skill, it is necessary to include songs that have some asymmetry in construction. For example, in the song “Geese and Goslings” by An. Alexandrov alternates long and short phrases: “Geese and goslings in the forest. VHa-ha-ha!V The red ones put on stockings V Ga-ha-ha!V, etc. 1
Page 106
Clear, distinct pronunciation requires prolonged singing of vowels: “The spring has come, oh, the red has come” - and very clear underlining of the consonants, especially at the beginning and end of the words: “I am very glad today, my brother brought the drum " In the senior group, work continues on accurate vocal intonation (clean singing). This will be helped by songs that have many stable sounds of convenient melodic moves, for example, “Blue Sleds” by M. Iordansky, and songs where there are more difficult intervals, for example, “Geese-goslings” by An. Alexandrova.

Dynamic and tempo changes in songs for children 5-6 years old are not very diverse, but require precise execution and compliance with all the composer’s instructions.
^ Methodical techniques
Methodological techniques are always aimed at developing the singing voice, ear for melody, and teaching skills. Before the singing began, the children ate

chanting exercises based on individual sounds: "ku-ku" (minor third),"le-le" (prima), or Russian folk songs “Bai, kachi-kachi”, “Chiki-chiki-chikalochki”, etc. Their systematic repetition develops the skill of pure intonation. Exercises for hearing development are also used: “musical echo” (the child reproduces a given sound).

To develop the first musical-auditory ideas about pitch and rhythmic relationships, the comparison method is used: the same musical phrases are performed, having different endings, and children are asked to identify higher and lower sounds.

In another case, two sounds (intervals in a song) are compared. These tasks should captivate children and be imaginative or playful.

Children acquire initial information about music while learning songs: they learn about the nature of the sound (singing, abrupt), tempo of performance (slow, agile), dynamics (louder, quieter). Children use this information in their answers, talking about the content of the song and the nature of its sound.

The sequence of work on learning songs in the senior group of kindergarten is approximately the same as with children in the middle group. Having analyzed the song, the teacher sets himself a new task at each lesson, for example, he trains the children in the difficult melodic progression of the song, in performing dynamic or tempo shades, and achieves a melodious or moving sound. Two or three songs are performed at each lesson. Initially, vocal chants and exercises that develop hearing are usually given. Then a new song is learned, which requires more focused attention. After this, a song is performed that is familiar to the children, but requires work on its expressiveness. In conclusion, the children sing their favorite and well-known songs.

At the end of the year, the level of development of hearing and singing skills can be determined as follows:
Page 107
notice how each child sings and note the quality of the song performed with piano accompaniment;

establish which songs (simple) and which of the children can sing unaccompanied: showing a sample, the teacher sings himself without accompaniment, the child repeats without the help of an adult; the teacher sings along if the child does not cope with the task;

invite all children to sing a familiar, but not performed song for a long time in order to test musical memory;

give a task like “musical echo”, melodic turns vary for each child - this checks the level of coordination of hearing and voice;

check the quality of collective singing performance by inviting children to sing two songs (with instrumental accompaniment) of a different nature - calm, melodious and light, moving; this determines the sound quality;

find out how many songs from the completed repertoire children can sing with piano accompaniment.

^ Working on a certain amount of vocal and choral skills is the basis of expressive song performance.
§ 10. Methods of teaching singing to children in the preparatory group for school
^ Objectives and content of training
The content of the program is determined, as in other groups, by the tasks of musical and aesthetic education.

In solving the problems of preparing 6-7 year old children for school, the educational impact of singing, its various forms, a more active introduction to musical literacy, and the development of musical and auditory concepts are enhanced.

At school, much attention is paid to singing. Therefore, when working with children in the preparatory group of a kindergarten, the requirements for singing increase, become more complicated and come down to the following:

teach children to expressively perform songs: sing in a ringing voice, melodiously, with a light, moving sound; take your breath before starting to sing and between musical phrases, without raising your shoulders, and hold it until the end of the phrase; pronounce words clearly, pronouncing vowels and consonants correctly;

teach children independently and simultaneously start and end a song, maintain the specified tempo (speed up, slow down, strengthen and weaken the sound); accurately perform rhythmic patterns; convey the melody correctly, listen to yourself and others, correct mistakes; expressively perform familiar songs with and without instrument accompaniment; remember and sing songs learned in previous groups; determine the direction of movement of the melody up and down, distinguish between short and long sounds; know the names of notes, understand that high sounds are located on the upper lines, and low sounds are located on the lower ones;
Page 108
learn to improvise onomatopoeia (“ay”, “ku-ku”) and various songs based on acquired singing skills;

learn to sing collectively and individually, maintaining correct posture, posture (singing attitude) while singing;

Thus, the content of the program becomes more complex in comparison with the tasks that were presented to children of previous groups.

In kindergarten, it is necessary to create all the conditions for active preparation for school classes, since at school children move from singing by ear to singing by notes. The latter requires the ability to correlate sounds and notes. By analogy, we can recall the connection between oral and writing. That is why it is so important to form in a child musical-auditory ideas about sound-pitch relationships, to give some information about musical literacy and to acquaint him with the still conventional graphic symbols showing the relationship of sounds in pitch and duration.
^ Features of the song repertoire
The song repertoire includes works that are varied in content, theme, and means of musical expression: 1) songs, chants, for mastering all program singing skills;

2) small songs and exercises that prepare children for learning to sing from notes;

3) sample songs that develop children’s song creativity.

Songs that teach singing skills are selected taking into account pedagogical objectives. Such songs, different in sound nature (smooth, melodious: “Leaves are Falling” by M. Krasev, “A Birch Tree Stood in the Field,” Russian folk song; light, moving: “Merry Holiday” by D. Kabalevsky, “We Welcome May” by V. Gerchik ), are based on musical phrases that develop breathing, have a range and tessitura that are convenient for a child’s voice. Melodic line often includes difficult intonation moves; complications are found in both dynamic and tempo shades (“Mother’s Holiday” by E. Tilicheeva).

Exercises that prepare for learning from notes are used from the repertoire being learned. To make learning in this direction more successful, you can use special exercises from the Musical Primer.

1 sample songs created Soviet composers for creative tasks, do not serve for copying, but help to identify the child’s abilities, enriching him with musical impressions. This is a kind of model, based on which a child can compose and come up with his own melody that conveys the content and mood of a particular poetic text.
Page 109
Methodical techniques
Methodological techniques also meet the objectives of mastering program skills and repertoire. Let's consider methodological techniques aimed at developing singing skills.

When working on sound formation (high, light, sonorous, melodious, moving), the teacher uses his own example or the example of a well-singing child. Listening, the other children try to do the same. Imitation must be meaningful: it must be heard, compared, evaluated.

The melodiousness of the sound is helped by the correct prolonged formation of vowels: a, o, u, e, and. At the same time, the teacher trains the children in singing with vowels and syllables (“la-le”), with their mouth half-closed. It is very important to pronounce consonants accurately and clearly, especially at the end of words. In this case, chanting the syllables “ding-ding” helps.

Working on singing breathing is related to sound production. Systematic exercises and reminders are necessary.

Techniques for developing diction (correct, clear pronunciation) are dictated by the characteristics of the literary text and come down to explaining the semantic meaning of words. Each child must pronounce all words meaningfully, with good articulation. Techniques of pronouncing the text in a whisper, in the rhythm of a song and with piano accompaniment, as well as expressive reading of the text without music, are useful here. You can use the technique of emphasizing individual addresses (“Hey, stay out of the way” in the song “Winter Song” by M. Krasev) or characteristic features of the image, epithets, a clearly expressed attitude towards the characters of the song (affection, reproach, approval, etc.).

The most important skill is the correctness and purity of intonation of the melody in choral singing (tuning). All methods for developing this skill are closely related to the formation of musical-auditory concepts and auditory self-control: listening and repeating as an adult sang or played an instrument.

The following techniques can be used:

“tune in” before starting to sing; the teacher sings (strings) the first sound, and the children repeat it;

“linger” on a separate (usually the last sound of a song) sound of the melody as directed by the teacher and listen to how it sounds;

before learning songs, it is useful to perform musical chants in various keys; perform a difficult interval of the song several times, achieving accurate sound from each child;

with some children who have a wider range, it is possible to perform the song in higher keys;

remind children about the direction of movement of the melody, about higher and lower sounds, forming musical-auditory ideas;

deepen auditory perceptions using demonstrations and images of conventional signs (a bird sits high - sings higher, sits low - sings lower);
Page 110
use hand movements (elements of conducting) to show how to sing higher or lower.

Singing without instrumental accompaniment (a cappella) is of great importance. It helps to develop accurate vocal intonation, allowing you to sing at will, independently. If children find it difficult, you can use the following techniques to help the song sound coherent in the future:

involve well-singing children in the individual performance of small, simple songs without an instrument;

learn some songs without an instrument (with the teacher’s voice);

sing a familiar song with the accompaniment of an instrument, then without it, in the most difficult places, singing along with the child or playing a melody on the instrument;

When singing songs, especially folk songs, you can divide children into two subgroups: those who sing better perform the chorus or chorus (more complex).

To prevent children from lowering the key when performing a song without an instrument, it is useful to “tune” them beforehand, play a musical introduction, and, at the end of the song, a conclusion. It is also very useful to repeatedly repeat previously learned songs, accumulating a children's repertoire.

The skill of harmonious singing (ensemble) is formed through constant exercises in collective singing. At the same time, it is important to emphasize the importance of all musical shades. If children understand the meaning, feel the mood, they know why a holiday song should be sung solemnly, joyfully, and a lullaby should be sung calmly and affectionately. The main thing is that the actions of the guys are united, so that everyone feels like a member of a singing group and “matches” their voice in strength, tempo, and timbre to the overall sound.

Thus, in the methodology of teaching singing, the demonstration of expressive performance and direction occupies an important place. It should also be noted that there is a certain role of visual and motor clarity: the teacher’s facial expression, a cheerful smile or a serious expression during the performance of songs of the appropriate nature, as well as conductor’s gestures (showing with the hand a moving or smooth sound, the beginning and end of singing, the direction of movement of the melody, etc. .).
^ Teaching basic knowledge of musical literacy
A system of methodological techniques that help a child learn to sing from notes is set out in the “Musical Primer,” which shows a sequence of tasks and exercises arranged according to the degree of difficulty of the song repertoire. Vivid illustrations help to understand the tasks.

The exercises given in the first part of the primer are learned by the child by ear.

^ First task-children are taught to distinguish and sing sounds of different pitches (2-3 sounds).
Page 111
Explanations are given while listening to the exercises: “Chicks”, “Starlings and Crows”, “Confusion”. Children are told: “The chicks sing high, but the mother bird sings lower,” etc.

Gradually, the skill of identifying different sounds by pitch is developed. Exercise songs, for example “Swing”, “Echo”, are built on wide intervals (septima, sixth), and such as “Trumpet”, “Accordion”, at narrower intervals (quart, third, second).

The expressiveness of intervals is conveyed figuratively: uniform movement minor third emphasizes the character of the lullaby; repeating intervals big second imitate the tunes of a children's harmonica; energetic "jumps" on septima up and down represent the movement of a swing.

^ Swing

[Slowly]

Echo
[Moderately]

Bye-bye
[Calmly]

Sometimes it is useful to change the order of sounds. For example, in the song “Swing”, invite children to listen to the following sound:

Page 112
and this:

If at the same time children raise their hand on the word “up” and lower it on the word “down”, then the singing becomes more conscious and pure.

When the children learn to distinguish well the pitch of two sounds, they should pay attention to the fact that sometimes the pitch of the sound changes and is repeated (for example, in the Russian folk joke “Andrew the Sparrow”). While learning the song “Jingle Bells,” children look at a drawing that shows three jingle bells. Showing one bell hanging higher than the others, the teacher sings the word “ding” (si), then he draws the children’s attention to the second (middle) bell and sings “dan” (salt# ) , pointing to the third bell, which hangs lower than the others, sings “don” (mi). Then the children sing this exercise several times, simultaneously showing the image. In this way, a visual-auditory relationship is developed - if the sound is high, then the note is depicted higher.

Developing a sense of modality, children are taught to sing intervals in small songs and even independently find the tonic (the last final sound), for example, in the song “Our House” by E. Tilicheeva.

^ Second task- teach children to distinguish and sing sounds located nearby in an ascending and descending movement. So, in the song “Ladder” the guys sing a melody with the words “Here I am going up” and, looking at the drawing, show this with a movement of the hand. Perception is based on auditory, motor, and visual sensations. 1 This is how the guys get acquainted with the scale and can sing it with the name of the notes (to, re, mi, fa, sol, la, si, do).

Gradually, children will learn that sounds can “go” up and down and each has its own name, and the children will develop the ability to determine the direction of the melody.

The third task is distinguish the duration of sounds. Children learn that sounds vary in length by analogy with various phenomena (for example, whether a bell rings long or short). First, you learn exercises for comparing two sounds of different duration in the chants “The Blue Sky,” “The Month of May,” etc. The quarter note is conventionally designated by the syllable “le,” and the eighth note by “li.” The songs are performed in the following sequence: first they are played on the piano (without words), children listen and sing the desired syllable. Then, performing the sound “le”, they make a wide, smooth movement right hand to the right, and with the sound “li” -
Page 113
shorter. After this, you can sing the song with the words, while clapping the rhythm.

“Note Lotto” helps to a greater extent in mastering the pitch and duration of sounds. 1 Children listen to the songs and “lay out” cards or circles of notes on a flannelgraph in accordance with the location of a particular sound on the staff.
^ Creative tasks
Let us now consider methodological techniques that help the development of song creativity. These are mainly creative tasks that develop the ability

to improvisations. During lessons in the process of learning to sing, children are given tasks in a certain sequence. First, they find vocal intonations: they sing, calling their name or various roll calls (“Tanya, where are you?” - “I’m here.” - “What’s your name?” - “Marina”, etc.). Sample songs are widely used, including complication of creative tasks (improvisation of onomatopoeia, musical issues and answers, composing songs of a contrasting nature to a given text). Usually one of the children improvises at the suggestion of the teacher. The rest listen, evaluate, and then sing.

sing a few familiar songs (2-3) accompanied by an instrument. At the same time, the quality of singing, the nature of the sound, the purity of vocal intonation are noted;

sing a simple song without accompaniment to find out whether the child can sing correctly without the support of an adult;

sing a song in two different keys; see if the child knows how to “tune in”;

compose a musical “answer” (the teacher sings: “What is your name?” The child answers: “Svet-la-na”);

determine the direction of movement of the melody using the example of a song;

identify high and low sounds performed alternately (within fifths);

answer who sang correctly;

find out which songs from the studied repertoire the child remembers and can sing with or without the accompaniment of an instrument;

sing onomatopoeia (a small and a large cuckoo sings, a kitten and a cat meow);

sing your names using 2-3 sounds, conveying a variety of intonations;

improvise a motive of 2-3 sounds on the syllables “la-la”, each child comes up with his own motive. Children compete to see who can come up with the most songs;

play on the metallophones combinations of intonations and rhythms you have invented yourself and try to reproduce them in singing;
Page 114
compose melodies, conveying different characters in accordance with the content (“Happy song”, “Sad song”, etc.)

^ The development of vocal and choral skills, exercises for the development of hearing and voice, singing improvisations contribute to the development of versatile singing activity.

^ QUESTIONS AND TASKS
1. Talk about the educational significance of singing and provide evidence-based examples.

2. Why is it necessary to cultivate coordination of hearing and voice in the process of learning to sing?

4. Name the pedagogical objectives of teaching singing.

5. What are the program requirements for the development of musical hearing, their significance in preparing children for school?

6. Describe song creativity and the conditions for its formation in preschool children.

7. List the basic requirements for the song repertoire.

8. Tell us about the sequential learning of a song in older groups of kindergarten.

9. Give examples of techniques for teaching various singing skills.

10. Compare the methods of teaching singing to children of younger and older groups.

11. How is the achieved level of musical development and the scope of acquired singing skills of children 5-7 years old checked?

12. Analyze the development of singing skills (diction, ensemble) of children of different age groups using Table 5.

13. Give full description(analysis) of any song using the proposed scheme.

14. Analyze a song from the repertoire of one of the age groups and prove whether it meets the program requirements.

15. Sing a familiar song in different keys, transposing it by seconds, thirds up and down.

16. Sing a song in the indicated key, using an instrument, a tuning fork, determine the tonic (the main sound of the key) and the tonic triad (I, III, V degrees of the scale).

17. What methodological techniques can be used when teaching singing to children of the younger and older groups?

18. Explain three types of singing exercises for preschool children.

19. List the basic singing skills and abilities.

20. How are preschoolers prepared to learn to sing from notes?

21. Give examples of the use of verbal and visual clarity when introducing children to a new song.

22. Sing a song they know with your children and encourage them to dramatize it.

23. Observe whether children perform familiar chants and songs in their everyday life (in games, on a walk, etc.).

24. Select poetic texts (quatrains) for senior preschool children to compose singing improvisations of various types.