Development of a round sound in vocal lessons. Thesis: The development of vocal and choral skills in secondary school students in music lessons. vocal exercises. General rules for their implementation

In timbre, almost all the qualities of the voice are enclosed. A beautiful, properly designed timbre is an indicator of the full and most perfect work of the vocal apparatus. The timbre of the voice (fr. timbre - bell) is a psychoacoustic characteristic of the voice, determined by a combination of factors: the formant structure of the spectrum; the degree of severity of noise components, non-harmonic overtones; modulation processes, attack and attenuation of the voice signal. The timbre of the voice is perceived synthetically as a specific coloration of the voice, which makes it possible to distinguish people (without seeing them) by their voices, even if the pitch, loudness, and duration of these voices are the same.

For a teacher working with a student, the initial task is to educate and improve the timbre. It must be remembered that this special quality should never be sacrificed for the sake of loudness or the ability to "hit" a higher note. In the academic style of singing, the timbre is formed on the basis of a mixed type of voice formation, when "the vocal cords vibrate neither in a purely chest nor in a purely falsetto type, and in their vibrations both chest and falsetto mechanisms of work are simultaneously present." Moreover, "the nature of mixing should be dictated not so much by the teacher's taste as by the individual characteristics of the vocal apparatus of each student." In connection with the latter, for the formation of natural mixed voice formation among singers, the form and system of vocal exercises used and their skillful use by the teacher are of particular importance. Experience shows that, when educating a singer, first of all, taking care of the quality of the timbre, it is possible to achieve success in identifying and developing all other qualities of his voice and vocal speech.

Many singers, either by nature or as a result of previous singing, come to the class with certain flaws in the timbre of their voice. Vicious timbres can be corrected in whole or in part as a result of proper education of the voice.

The vicious timbres include, for example, trembling, throaty, clamped, nasal, hoot-like, etc. The disadvantages of the timbre associated with the violation of vibrato. Vibrato is a slight vibration of the voice that accompanies singing voice formation and is absent in speech. Vibrato decorates the timbre and gives the voice a lively, quivering, expressive character. If the vibrato is performed too often, then the listener perceives it as a “lamb” in the voice, if it is too rare, then the impression of a swinging voice is created. The intense work of the larynx immediately affects the nature of the vibrato. When finding a more correct, less tense state of the larynx during phonation, the quality of vibrato also improves. Among the masters of vocal art, vibrato is distinguished by great evenness and constancy. This is perceived by our hearing as stability, certainty of sound formation. The larynx of such singers works freely, without unnecessary tension, which gives rise to an even vibrato. For inexperienced singers, the larynx is tense, it works unstable, so their vibrato is unstable, uneven. Such a voice does not flow to the ear, it has an indefinite, unstable character. In children, with their falsetto manner of voicing, vibrato is usually poorly expressed.

The degree of mastery of a beautiful vibrato, the possibilities of correcting its defects are always limited by the natural data of the individual. The teacher should be able to understand the voice of the student and, if there are certain vibrato defects, purposefully bring up the voice in the right direction.

Problems of training specialists in the system of primary and secondary vocational education.

Under the forced sound of the voice, one should understand not just loud singing, but one in which the vocal apparatus works with obvious overvoltage. Gradually, as a result of forced singing, the timbre is erased and the vibrato begins to break. Forcing is difficult to correct, but with constant systematic work on the voice, in most cases it is possible to achieve the return of its lost qualities. To do this, you should work hard on the quality of the singing tone, excluding for a while everything that can push the singer to a forced sound. Removing unnecessary stress on exercises, vocalizations and later on a properly selected repertoire, one can gradually achieve significant improvements in voice formation. Starting to work on removing the force, it should be remembered that getting rid of it does not come immediately, but is achieved by gradually training the vocal apparatus in the sense of softening the voice and finding more natural-sounding notes. You can not immediately transfer the singer who is forcing to a lighter sound, otherwise the voice may “take off from the support”, lose its professional sound.

The tightness of the sound is usually combined with a throat tone, therefore, in essence, we are talking about a single drawback, the essence of which is the incorrect operation of the glottis. With the correct functioning of the larynx, it seems that the singer's throat is wide open and the sound goes on, as if not hitting anything along the way. With a clamped or throat sound, it seems that the throat is compressed, and the sound, as it were, is squeezed out, passing through the larynx with a certain effort. The best remedy for tightness is an aspiratory attack, which reduces the closing phase of the vocal cords and brings the larynx into better coordination with the breath. An inspiratory attack should be given as a technique, for a certain time, then moving on to a soft attack, which should be used constantly in a voice prone to constriction, to a throaty sound.

Nasal sounds ("nasal").

If the soft palate is lowered, the air freely enters the nasal cavity, and the tongue arched like a hump narrows the volume of the oral cavity as much as possible and prevents the free passage of air in the mouth, which is often the case with people singing upper notes, then all sounds acquire a clearly audible nasal overtone. This is the so-called arrogance. The development of the mobility of the soft palate is very important for the singer. A good degree of activity of the soft palate contributes to obtaining a rounded covered sound of vowels, maintaining an even exhalation, creates the conditions for natural resonation of sounds and eliminates unwanted nasal overtones (“twang”).

The main exercise for training the raising of the soft palate is the formation of the correct position of the yawn. Yawn, closing your lips, while remembering the correct position of the vocal apparatus for the next exercise. At the same time, the jaws are open, the lips are closed, the soft palate is raised, the larynx is slightly lowered. It is good to imagine at the same time that there is a hot potato in the mouth, but so that it does not fall out, the lips are pulled together into a bun. Practicing the development of the muscles of the pharynx is a long process and can sometimes take 3-5 months. Vicious overtones in the timbre of the voice arise from a violation in the work of various departments of the vocal apparatus. The teacher should work on their correction, knowing the reason for this or that shortcoming. The timbre can be significantly improved if the teacher correctly deals with the shortcomings. "Swing", "lamb" in the voice, as well as its beep-like character, are associated with vibrato violations, so all the teacher's attention should be directed to relieving excess tension in the neck muscles, releasing the larynx. Throat timbre, sound clamping come from excessively active closing work of the vocal cords. The teacher will do the right thing if he temporarily relaxes their excessively tight closure. Forcing has a destructive effect on the voice, causing the appearance of "pitching" and a noticeable deterioration in timbre. Changing the saturation of the sound, light repertoire, moving exercises are helpers in the fight against forcing. Although the timbre is largely determined by the natural properties of the vocal apparatus, it can change under the influence of work on the voice. Working on the timbre of the voice is a central task in the production of the voice. The ability to form the timbre of the voice is one of the most important professional skills.

The complex nature of the singing process and the interconnected formation of all singing skills, as well as all the qualities of musical hearing, attention, and thinking. Characterization of the periods of formation of the singing voice and basic singing skills (breathing, expressiveness and purity of intonation, diction and articulation, technical mobility of the voice, timbre of sound, purity of the unison, etc.), content, methods and results.

Choral singing is a complex art that requires a certain amount of automation. singingtricks. The more perfect the singer is in technique, the more he can concentrate on artisticintentcomposer. Therefore, the development singingskills is one of the current issues vocalpedagogy. Working out vocally-choralskills can only be carried out successfully if it is closely connected with the development musicalhearing students. Auditory control makes it possible to establish whether the reproduced sound corresponds to its preliminary representation, its internal "hearing" by students. A necessary condition for the development of singing skills is exercise, that is, purposeful repetition in order to improve these skills. The whole process of developing vocal and choral skills is a fine selection of the most appropriate for each specific case. tricksperformance. At the initial stage of classes, students are working on educating the basic vocal and choral skills in their elementary form: maintaining the correct, natural position of the body, as well as the head and hands while singing, taking a deep breath without raising the shoulders and gradually exhaling economically, opening the mouth freely, simultaneously the beginning of singing, the length of the sound.

In the process of further work, we gradually consolidate, deepen and improve these skills - we develop lower costal-diaphragmaticbreath, which requires maintaining the inhalation position of the chest and expanding the lower ribs, we are working on the correctness of the sound, extensionrange, beauty of timbre, flexibility, mobilityvote, subtle and varied nuanced.

The so-called “muscular feeling” is of great importance for the development of vocal and choral skills. This refers to the sensations that arise during singing and which are the result of irritations emanating from the muscles and ligaments involved in the process. voicing. These sensations help the selection of the necessary performingfunds in singing. "Muscular feeling" in combination with a previously audible sound causes the formation performingskillsandtricks, which give singingsound necessary artisticcoloring.

In the process of vocal and choral exercises, an important point is the correct balance between working on a particular skill or technique and combining these skills into a single complex. expressivefundsartisticperformance. The correct selection of exercises helps to develop and consolidate each element individually, as well as to consolidate the complex of these skills and abilities in their totality. It must be borne in mind that exercises cannot be reduced only to working on individual skills, since this will lack the necessary connection and coordination between them. However, an exclusively holistic approach to resolving tasksvocallearning: to teach everything at once, without fixing individual elements of voice formation. This leads to a lack of technical clarity in the work. voice-formingapparatus.

How should this problem be solved in the vocal education of students? Artsinging requires mastery of complex artistically-technicalelements. This is achieved by fixing the attention of students on a specific vocal and technical task. At the same time, purposeful, gradually becoming more complex musical material of the exercises will help to consolidate certain skills.

Special exercises and chants are selected according to the level singingdevelopment students and gradually become more difficult in the learning process. For example, when offering cantilena exercises, we deliberately simplify other elements of musical expression, select a small chant with a simple rhythm, smooth melodic pattern, at a moderate tempo and medium tessitura. Thus, we create the most favorable conditions for developing the length of the sound. Working in the choir ensemble in two and three voices, we offer exercises without text (with a closed mouth or for syllables) so that students can focus as much as possible on balance and clarity of sound choralparties.

Firstcondition in the work on vocal and choral exercises is the education of a conscious attitude of students to those educational tasks that are set in the process of classes. At the beginning of learning choral singing, schoolchildren, more than in the process of further work, need visual explanations from the teacher. Gradually, as a result of conscious learning and rational repetition, they already independently apply the acquired skills. Enough certain conductor'sgesture the leader of the choir, the corresponding facial expressions, even the look, and the whole choralteam consistently and clearly responds to his request.

Secondcondition system of exercises is a gradual and consistent complication of learning tasks. In the process of exercises, it is necessary to go from simple to more complex, from understandable, accessible to more difficult. Any new exercise should be connected with the previous one, rely on it and help move on, that is, exercises are selected in accordance with singingpreparation and the possibilities of this choir.

Thirdcondition system of exercises is to take into account the characteristics of the process of education skills. This process goes from the perception and assimilation of the rule to the ability to apply it, to the consolidation of this skill, to the gradual acquisition of the skill.

New song, new exercise, new task when repeating known material, new methodicalreception in consolidating skills, the emotionality of the leader - all this helps to maintain activity, attention, interest in the process of working on the formation of singing skills. At the initial stage of work, it is especially important to interest students in the very subject of study - the art of singing.

It is necessary to show all the charm, richness, diversity of this kindart to arouse in students the desire to master it. This will help to instill in them perseverance, perseverance and diligence in teaching choral singing. Fourthcondition- Coverage of a whole range of tasks, their diversity. The concentration of exercises around a certain artistically-technicaltasks leads to the acquisition of the corresponding skill. However, one should not keep students' attention on any one task for too long: this tires the children and distracts them from other tasks.

For example, it is known that singing1egatabout considered the basis vocalart. The development of melodious, lingering skills is one of the main tasks in vocal pedagogy. However, if this task is not combined with the development of lightness, mobility of the voice, with the skills singingpop1egato, this can lead to the formation of a heavy, massive sound, devoid of the necessary flexibility and expressiveness. Fifthcondition system of vocal and choral exercises is the need for regular and consistent work. The irregularity of classes, a large time gap between them lead to the loss of skills. Random or infrequent singing lessons will never lead to the mastery of the complex art of singing, which requires a lot of hard and consistent work.

When selecting the most effective methods of vocal work with children, one should rely on the experience of progressive methodologists of the past and present.

Among the well-known methodological techniques for the development of hearing and voice, the following can be distinguished.

Hearing development techniques aimed at the formation of auditory perception and vocal-auditory representations:

Auditory concentration and listening to the teacher's display for the purpose of subsequent analysis of what was heard;

Comparison of different versions in order to choose the best one;

The introduction of theoretical concepts about the quality of singing sound and the elements of musical expressiveness only on the basis of the personal experience of students;

Using children's musical instruments to activate auditory attention and develop a sense of rhythm;

Repetition of individual sounds behind the instrument in order to learn how to distinguish the pitch from the timbre of not only the voice, but also the musical instrument;

Singing "along the chain";

Modeling the pitch with hand movements;

Reflection of the direction of the movement of the melody with the help of a drawing, diagram, graph, hand signs, musical notation;

Tuning for key before singing;

Oral dictations;

Delaying the sound of the choir on individual sounds along the conductor’s hand in order to build a unison, which forces students to focus their auditory attention;

Isolation of particularly difficult intonation turns into special exercises that are performed in different keys with words or vocalizations;

In the process of learning a piece, change the key in order to find the most convenient for children, where their voices sound best;

Written and oral tasks for the analysis of vocal performance;

Extracting sounds from harmonic intervals and chords and playing them in chorus in melodic and harmonic versions, etc.

representation "in the mind" of the first sound before it is played aloud;

vocalization of the singing material with a light staccato sound to the vowel “U” in order to clarify the intonation during the attack of the sound and during the transition from sound to sound, as well as to remove the forcing;

vocalization of songs on the syllable "lu" in order to equalize the timbre sound, achieve cantilena, perfect phrasing, etc.;

the development of an active piano as the basis for educating a child's voice;

when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals, on the contrary: the lower sound should be performed in the position of the upper one;

expansion of the nostrils at the entrance (or better - before inhalation) and maintaining them in such a position when singing, which ensures the full inclusion of the upper resonators, with this movement the soft palate is activated, and the elastic tissues are lined with elastic and firmer, which contributes to the reflection of the sound wave during singing and, consequently, sound cutting;

targeted control of respiratory movements;

pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of sound support on breathing;

silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;

pronunciation of the words of songs in a singsong voice at the same height in slightly elevated voices in relation to the range of the speech voice; At the same time, the attention of the choristers should be directed to stabilizing the position of the larynx in order to establish a speech voice;

speech recitation, allowing voice modulation in height, however, subject to a stable position of the larynx; this declamation is considered as a transitional stage between articulatory tensions in speech and specifically vocal ones; expressive reading of the text is one of the ways to create bright and vivid images in the imagination of children arising from the content of the work, i.e. a method of developing figurative thinking, which underlies the expressiveness of performance;

finding the main word in the meaning of the phrase; inventing a name for each new verse of the song, reflecting the main meaning of the content;

variability of tasks when repeating exercises and memorizing song material due to the method of sound science, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

comparison of songs that are different in character, which determines their sequence both in one lesson and in the formation of concert programs.

The main methods of psychological and pedagogical influence on students:

creative tasks and questions that stimulate the mental activity of students and create search situations for them;

recording the basic rules of singing on posters;

constant encouragement of children to self-control and self-esteem in the process of singing;

organization of competitions in the lesson between individual children, groups or classes as a game moment that increases interest in classes;

humor as a way to evoke positive emotions, increasing the efficiency of students in the classroom;

various individual tasks and drawings on the theme of the songs performed to enhance the emotional responsiveness of children to music;

approval, encouragement by the teacher of the success of students in order to stimulate their interest in classes;

the use of breathing exercises and light physical exercises during the rehearsal, which relieves static muscle tension, improves blood circulation, and restores working capacity;

formation of the personal and social meaning of singing activity.

The use of a set of these methods and techniques should be focused on the development of the basic qualities of the singing voice of children by stimulating, first of all, auditory attention and activity, consciousness and independence.

The differentiation of the qualities of the sound of the voice and the elements of musical expressiveness, as well as the actual vocal performance, is based on the use of all types of mental activity of students. Even the representation of a sound "in the mind" before it is reproduced by voice is a complex mental process that requires analysis and generalization, attention, muscle memory, etc.

The implementation of this approach to the development of a child's voice is provided by the teacher's knowledge of the voice capabilities of children from birth to the onset of the mutational age and understanding of the tasks of vocal work for each stage of education.

In singing practice, the term vocal ear is used and this concept is more extensive than musical ear. Vocal hearing - helps to distinguish different shades, nuances, colors in voices and the ability to determine which movement of muscle groups causes this or that change in sound coloring.

V. P. Morozov wrote: “Vocal hearing is, first of all, not only hearing, but a complex musical vocal feeling based on the interaction of auditory, muscular, visual, tactile, and some types of sensitivity. The essence of vocal hearing is the ability to realize the principle of sound formation..»

Vocal hearing is directly related to the perception of the singing voice and reproduction.

MBOU DOD "CEV and OD"

Kingisepp

Abstract of an open lesson on the topic:

.

Teacher of additional education

General information:

The date of the: __________

Room: pop singing class

Year of study: 2nd year of study

Age: 7 years old

Topic of the open training session

Work on diction in the class of pop vocals.

Articulation as the most important condition for working on a vocal work

Place in the educational program: corresponds to the 2nd year of study

Purpose of the lesson and objectives

Target: development of the foundations of singing diction and articulation, contributing to an increase in the level of vocal performance.

Tasks:

Educational

* teaching proper singing breathing

* teaching the correct pronunciation of tongue twisters

* teaching expressive performance of musical - training material and vocal work through singing articulation, diction

Educational

Development of musical and creative abilities of the student

The development of the aesthetic culture of stage vocal performance, vocal individuality, the ability to convey the word to the listener

Development and liberation of the articulatory apparatus

Educational

Disclosure of the semantic content of the performed work, the embodiment of exciting feelings and thoughts in the song

Formation of creative self-expression, interest in individual forms of vocal performance, solo singing, concert performances.

The form of the lesson. Combined activity.

Form of organization of work. Individual.

The structure of the lesson (stages).

Introductory part. 5 minutes

Greetings. Introduction to the topic.

Main stage. 30 minutes

Practice. Training exercises.

The final stage. 4 min

Summarizing. Reflection. Homework.

VII. Content blocks of the lesson.

1. Introduction to the topic « Work on diction in the class of pop vocals ".

Articulation as the most important condition for work

over the vocal 5 minutes

2. Main stage:

Breathing exercises according to A. N. Strelnikova 5 minutes

Articulation gymnastics. 8 min

vocal exercises 8 min

Work on diction and articulation in a vocal work 10 min

3. Final stage

Summarizing 4 min

Task: remember the content of the lesson, repeat and consolidate the basic concepts, thank. Homework.

Meaning of content blocks. Their implementation systematizes the knowledge of students. The final stage (homework) motivates and develops students' independent activity.

VSh. Planned result of the lesson

Good assimilation of the material and the correct application of the acquired knowledge in practice.

The ability to emotionally expressively, with good singing breath and good diction to perform a vocal composition.

IX. Teaching methods.

Verbal, visual, search and research, practical

(conversation, performance of educational and training material, demonstration of exercises, learning and performance of a song)

X. Equipment and materials.

Class

piano

Microphone

Notebook

XI. Methodological support.

Literature:

Belobrova E. Yu. "Technique of pop vocal" methodological guide; 2004

Dmitriev L. B. "Fundamentals of vocal technique" - Moscow, Music. 1968

Egorycheva M. I. "Exercises for the development of vocal technique." Kyiv. 1980

Zebryak T. "Musical tongue twisters" - Kifara. 2006

Websites on the Internet:

1. http://www.startvocal.ru
2. http://www.musicforums.ru/vocal
3. http://www.100 vocalists. en

Visual aids. didactic material.

Presentation with an illustration on the topic.

Drawings

Abstract of the open lesson.

Topic:"Work on diction in the class of pop vocals"

Articulation as the most important condition for working on a vocal work.

Psychological conditions in the lesson: affirmation of an atmosphere of joy and goodwill in the classroom

The class includes a student of the 2nd grade of the CEV and OD Georgy Musienko.

Organizing time

Teacher (P): Hello, George! I'm glad to see you at an individual vocal lesson.

(a brief conversation with the student about the emotional state, creating an atmosphere of joy and confidence through the friendly smile of the teacher, encouraging voice intonation)

Introductory part. Introduction to the topic. 5 minutes

(P - teacher, G - student)

P: Gosh, at every lesson we learn to sing correctly and beautifully, we work on our voice, we try to learn how to master it. What is a voice?

P: What needs to be done to make our instrument sound beautiful?

G.: correct breathing, pure intonation, correct sound production

P: That's right, it's all very important in singing. And without what we will not be able to convey the meaning and content of the vocal work to the audience? Without what will our singing be meaningless?

G: without clear diction and words

Main stage. 30 minutes.

Topic Explanation

P: Absolutely right!

Our word to the audience, either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium. Good diction is needed, that is, a clear, clear pronunciation (singing out) of all the sounds and words of the text.

Today in class we will work over a clear and correct pronunciation of words when performing a song, over diction.

The topics of our today's lesson. " Work on diction in the class of pop vocals».

So, let's begin. What do we do at the beginning of each lesson?

G. breathing exercises.

We carry out the elementsbreathing exercises A.N. Strelnikova. 5 minutes.

P. And now let's get down to the topic of our lesson.

Diction is a clear, clear, legible pronunciation (singing out) of all the sounds of the text. A person with good diction consumes air sparingly, he has no extraneous additional sounds.

P. And what does it depend on?

G. (Student's answer)

P. It depends on the activity of the speech apparatus, lips and tongue, proper breathing and articulation in general.

P. How is the formation of sounds, speech? What organs are involved in the formation of sounds?

D. (Student answer) cheeks, lips, tongue, jaws, soft and hard palate, pharynx, larynx
P. That's right, all this is called the articulatory apparatus. It includes lips, tongue, jaws, larynx with vocal cords, teeth.

The work of the organs of the articulatory apparatus is aimed at creating vowels and consonants.

Try without the participation of lips or tongue to pronounce "bull-blunt-lipped, stupid-lipped bull." ( student is trying. You see, nothing works. What conclusion can we draw?

P., G.: all organs of the articulatory apparatus must work actively

The work of the articulatory apparatus (AA) to achieve good diction is called articulation. Proper operation of AA allows you to make the voice sound beautiful.

(To do this, do not clamp the bottom the jaw, and freely lower it, the tongue should be soft, free, the soft palate - “on a yawn”, the larynx is lowered. One can imagine that there is a hot potato in the mouth, or a small plum.
To achieve good results, learn to speak and sing beautifully, you need to work on improving the articulation apparatus, develop its technical capabilities)

To do this, you need to do articulation gymnastics ..

Articulation gymnastics 8 min

The first condition for the operation of the articulatory apparatus is naturalness and activity. The simplest exercises will help us:

Articulation exercises

1. Raise the upper sponge up - 5 times

Lower the lower sponge down - 5 times

2. To activate the language. Let's move the tongue from side to side, forward, backward, right, left, circular turns in both directions, "cog", "tube". Stick out the tip of the tongue and quickly move it from corner to corner of the mouth. ("Football" - "Comb" - "Pussy") "Pendulum", "Kisses", "Teaser",

3. To activate the muscles of the lips, inflate the cheeks, release the air with a sharp "pop" through the compressed (collected into a "bundle") lips. ("Pouted - smiled")

4. Vigorously pronounce the following sounds, training:

lip muscles on consonants P - B, tongue muscles T - D,

muscles of the larynx K-G,

lower jaw into syllables Do, Yes. Du.

5. Exercise "Birdyard", which trains the "support of breathing", lips, tongue, sound direction. Without stopping, we call on all the animals: Ut-ut-ut, Chick-chick-chick, Gul-gul-gul, Kis-kis-kis.

Very good for practicing tongue twisters.

Tongue twisters are used to warm up the articulatory apparatus and activate singing diction. We will read tongue twisters at first slowly, gradually speeding up, as we successfully improve. We follow the rhythm of pronunciation. Do not forget the pace, diction (eachpatter repeated 4 times) .

Recommendations: in the tongue twister, the correct pronunciation of consonants is practiced, and work is also underway to liberate the speech apparatus. If the text of the tongue twister sounds clear, then you can shift the pace of pronunciation.

For a more active work of our speech apparatus, we will use our assistant, a cork, when pronouncing this tongue twister. We clamp it between the front teeth and say the tongue twister again. (all organs of the speech apparatus begin to work more actively)

Bull - stupid, stupid bull,

The bull's lip was blunt.

Water carrier carrying water

From under the plumbing.

Mom washed Mila with soap,

Mila did not like soap.

From the clatter of hooves, dust flies across the field

Three magpies chattered on a hill

Sasha walked along the highway and sucked dry

P: Well done Gosh! You did a good job with articulatory gymnastics.

Now let's get started for vocal exercises .

P. Gosh, what do you think, what are vocal exercises for, maybe you can do without them?

G. You can’t ... we must warm up our ligaments ...

P. It is imperative to warm up and sing, because the voice must be tuned. Exercise helps strengthen the vocal cords.

P. I pay attention to the correct pronunciation and singing of sounds, the exact reproduction of intonational and rhythmic patterns.

vocal exercises : 8 min

1. The sound "M" (mooing) - we pull, like a "rubber", we direct it not "into ourselves", but to the front walls of the teeth. The lips are softly closed. This exercise helps to feel the "support of the breath"

2. "Trilling lips" - when performing this exercise, you must remember to smoothly transition from the lower register to the upper one. It is also necessary to monitor the voice leading, do not forget about that.

3. We sing the vowels I, E, A, O, U. We follow the evenness of the sound (connect "pour" one vowel into another without pushing the sound), with pure intonation, correctly forming (rounding) the vowels (we fix the skills of inhalation and exhalation, aligning vowels on the same note). that the melody needs to be sung. The diaphragm and lips work. ( Cantilena singing. Cantilena - a continuously flowing sound, when the subsequent sound is a continuation of the previous one, as if "pouring out" of it).

4. On one sound - "Ma-me-mi-mo-mu, yes-de-di-do-du, ra-re-ri-ro-ru." The muscles of the lips and tongue are involved. When singing, it is necessary to monitor the clear pronunciation of consonants, but at the same time so that vowels are not shortened. You should also pay attention to the use of breathing - the exhalation should not be strong.

5. Up through the sounds of the triad to the syllables “la-le-lu”, down - stepwise movement from step 5 to 1 to the syllables “la-li-le-li-lu” - an exercise to work the tip of the tongue.

6. Within the limits of the third - “bra-bra-bri-bro-bru”. It is necessary to monitor the active and clear pronunciation of consonants, but do not shorten vowels. Attention to breathing - do not push the air along with the sound.

7. According to the sounds of the triad - “mei-mei-mei.

P: Well done. Gosh! After we have prepared our voice apparatus for work, we will start working on our song. What should be the diction in singing?

D. Legible, understandable.

P. How should the words be pronounced in singing?

G. Clearly, clearly.
P. What determines a clear, clear pronunciation?

D. From the active work of the articulatory organs (lips, tongue, soft palate, lower jaw, pharynx

Work on diction in a vocal work 10 min

P.: Gosh, in previous lessons we worked on the song "Ah, school" of music and words. V. Nachalova and your homework was to pronounce the text in front of the mirror at a pace, articulating well.

Recommendations: the song is moving. Based on this, the child should not sing sluggishly. But you can’t get carried away with a hard attack of sound, otherwise singing will turn into a conversation. The melody in singing is the main thing, so it is necessary to connect syllable by syllable.

Song work:

- Pronunciation of the lyrics in front of a mirror at a pace with good articulation.

Performance of the work. 1 verse and chorus. We work on phrases, observing the correct pronunciation of consonants and vowels, sound science, breathing. (We pronounce the consonants clearly, shortly, but without exaggeration. The vowels should be formed in the same way. The sound position should not be lost. The student's attention should be directed to the adhesion of the vowels to each other. Then the flow of consonants will be properly organized, which must be pronounced quickly and clearly)

The final stage4 min

Summarizing

P: Let's sum up the results of our lesson. Gosha, what do you think, did you manage to cope with the tasks in today's lesson?

G. (the student analyzes his work in the lesson).

P. Today we paid much attention to the development of the speech apparatus, articulation, diction. We worked on consonants and vowels in exercises, tongue twisters, worked on breathing, sound science.

What is diction in general?

G. - a distinct and competent pronunciation of sounds and words.

P. - Diction is a clear, clear, legible pronunciation (singing out) of all the sounds of the text, which depends on good articulation and proper breathing.

Homework

1. Reading tongue twisters.

2. Performing breathing exercises.

3. In front of a mirror expressively pronounce the lyrics with good diction .

Thank you for the lesson. You are a big guy today. See you!