What are instrument timbres. Methodical development of an open lesson on musical literature "Timbres of musical instruments of a symphony orchestra

Many singers at the beginning of their vocal journey find it interesting to understand the key theoretical terms of this profession (there is timbre among such concepts). The timbre of the voice determines the tone and color of the sound heard during sound reproduction.

It is very difficult to learn vocals without special theoretical knowledge; without them, it can be difficult to evaluate your own vocal or just speech data and skillfully correct them.

To determine this characteristic of your voice, you first need to understand in general what a timbre is. This term is understood as how and how much the voice is colored in the process of speech or singing, its individual characteristics, as well as the warmth of the sound being pronounced.

The lead tone and overtone (a specific shade of the lead tone) determine the sound of the voice as a whole. If the overtones are saturated (bright), the spoken sound will have the same qualities. The interaction of tone and corresponding overtone is a purely individual voice characteristic, so it is very difficult to meet two people with the same tonalities.

• anatomical shape of the trachea;
• trachea size;
• the volume of the resonator (resonator - cavities in the human body that are responsible for amplifying sound - the oral and nasal cavities, as well as the throat);
• tightness of the vocal cords.

The psychological state, like all these anatomical characteristics, determines which voice sounds at a given time. That is why the timbre can be used to judge the state of a person, as well as his well-being. This characteristic is unstable - a person can change his tone arbitrarily.

• posture of a person;
• speed of pronunciation of words;
• fatigue.

The tonality becomes less clear if the speaker is tired or pronounces all the words very quickly. With a twisted posture, a person also breathes incorrectly. How speech will sound depends on breathing, so posture cannot but affect the timbre of the voice.

Voice Types

When a person has a calm, measured timbre of voice, his speech becomes harmonious, “correct” for others. Not everyone has this quality developed from childhood. Any initial timbre of the voice can become pure if it is properly trained.

At the professional level, singers are taught to control the emotional component of speech and the frequency of sounds. To master such skills, it is enough to turn to a person who understands vocals or the production of a classical tone of voice.

There are different types of timbres. The simplest classification takes into account gender and age characteristics - that is, the tone is male, female, childish.

• mezzo-soprano;
• soprano (high singing tone - soprano is divided into coloratura, lyric, dramatic);
• contralto (singing low female voice).

• baritone;
• bass (male low voice, subdivided into central, melodious);
• tenor (high singing tone in men, subdivided into dramatic, lyrical).

Children's keys:

• alto (higher than tenor);
• treble (sounding like a soprano, but typical for boys).

• soft;
• melodic;
• nice;
• metal;
• deaf.

Stage keys (it is important that this is typical only for singers):

• velvet;
• gold;
• copper;
• silver.

• cold;
• soft;
• heavy;
• weak;
• solid;
• hard.

All these characteristics are not final - the same singer can change them arbitrarily during training.

What can affect tone

There are several factors that can change the timbre of a person's voice spontaneously. These include:

• puberty (as a result of growing up, a person’s tone changes, becoming stronger, rougher; it is impossible to stop this process, the sound will no longer be the same as it is at an early age);
• colds, hypothermia (so with a cold, a sore throat and a cough may appear, the tone during this period changes, becomes more hoarse, deaf, low voices predominate during a cold);
• chronic lack of sleep, emotional overstrain;
• smoking (with prolonged smoking, the timbre of the voice gradually becomes lower, rougher);
• chronic alcohol use (alcohol irritates the vocal cords and transforms the voice into a low and hoarse voice).

Almost all factors can be eliminated. That is why it is better to give up bad habits, try to avoid stress and not smoke in order to keep the tone of speech as pure as it is initially.

Is it possible to change the tone

The voice timbre is not laid genetically, and therefore can be corrected during classes with a vocal specialist. The anatomical qualities of the ligaments (these are folds in the region of the sound-producing center) cannot be changed conservatively by a person, since they are laid anatomically from the moment the genetic qualities are formed. For this, there are special surgical operations, during which the defects that have arisen are corrected.

The origin of sound begins in the larynx, but the final formation and giving it a timbre occurs in the resonator cavities (oral, nasal, throat). Therefore, various adjustments to the setting and tension of certain muscles can also affect the timbre.

How to identify and change the tone

Due to the lack of special knowledge, it can be difficult to determine the timbre of a voice at home, one can only assume it. For an accurate determination, you should contact a vocal specialist or use a special spectrometer.

The spectrometer determines the timbre of the voice most reliably. The device analyzes the sound pronounced by a person, at the same time classifying it. The device has a sound amplifier and a microphone - the spectrometer divides the sound into elementary components with the help of filters and determines the height of their sound. More often, the device reacts to consonant letters (enough to analyze those three consonant letters that sounded first in speech).

Spontaneously, the tone changes only during adolescence - at the same time, a person ceases to use his speech potential, since most of it goes to control the sound being pronounced - intonation or volume. Sometimes the tone and timbre changes under stress, but this happens less often.

How to hear your real voice

A person cannot objectively determine the timbre of a sound in himself due to the fact that he hears himself differently than others hear. Sound waves travel inside and are therefore distorted in the inner and middle ear. The technique captures the real sound that others hear, which is why it is sometimes difficult to recognize it on the recording.

You can also take 2 sheets of cardboard (sometimes they take a stack of sheets or a folder), and then attach to both ears. Paper shields sound waves, so when pronouncing words in this position, a person will hear a real sound, since this shielding affects the audible tone of voice.

The timbre of female and male voices is an important characteristic of voice and speech for singers. It also matters to ordinary people. The timbre can be corrected with specially selected exercises or gymnastics, since it is often not quite correct for an ordinary person.

The timbre of a musical instrument is determined by the material, shape, design and vibration conditions of its vibrator, various properties of its resonator, as well as the acoustics of the room in which this instrument sounds. In the formation of the timbre of each particular sound, its overtones and their ratio in height and volume, noise overtones, attack parameters (the initial impulse of sound production), formants, vibrato characteristics and other factors are of key importance.

When perceiving timbres, various associations usually arise: the timbre specificity of sound is compared with organoleptic sensations from certain objects and phenomena, for example, sounds are called bright, shiny, matte, warm, cold, deep, complete, sharp, rich, juicy, metal, glass; auditory definitions are also used (for example, voiced, deaf, noisy).

A scientifically substantiated timbre typology has not yet developed. It has been established that timbre hearing has a zone nature.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be distinguished, contrasts can be strengthened or weakened; change of timbres is one of the elements of musical dramaturgy.

Very extensive banks of new (mostly artificially synthesized) timbres have been created today in the field of electronic music.

see also

Literature

• Nazaikinskiy E., Pags Yu., Perception of musical timbres and the meaning of individual sound harmonics, in the book: Application of acoustic research methods in musicology, M., 1964.
• Garbuzov N., Natural overtones and their harmonic meaning, in the book: Collection of works of the commission on musical acoustics. Proceedings of the HYMN, vol. 1, M., 1925.
• Garbuzov N., Zone nature of timbre hearing, M., 1956.
• Volodin A., The role of the harmonic spectrum in the perception of pitch and timbre of sound, in the book: Musical Art and Science, issue 1, M., 1970.

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See what "Timbre" is in other dictionaries:

Timbre, a [te] ... Russian word stress

timbre- timbre, and ... Russian spelling dictionary

timbre- timbre/... Morphemic spelling dictionary

- (fr.). The tone of the same tone on different voices or instruments. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. TEMP is a shade of sound of the same tone on different voices or instruments. ... ... Dictionary of foreign words of the Russian language

- [te], a; m. [French. timbre] The characteristic coloring of the sound, given to it by overtones, overtones, in which the sounds of the same pitch differ from each other. Pleasant, low t. Various timbres. T. voice, instrument. ◁ Timbre, oh, oh.… … encyclopedic Dictionary

- [timbre], timbre, husband. (French timbre). The characteristic coloring imparted to the sound of an instrument or voice by overtones, overtones. Soft tone. Sharp tone. Cello, violin timbre. The vowel sounds of speech differ from each other in ... ... Explanatory Dictionary of Ushakov

timbre- a subjectively perceived feature of sound in the form of its color, associated with the simultaneous impact of different-frequency sound vibrations that make up a complex sound. Dictionary of practical psychologist. Moscow: AST, Harvest. S. Yu. Golovin. 1998.… … Great Psychological Encyclopedia

timbre- A definition commonly used in psychoacoustics. Timbre is an attribute of auditory sensation, in terms of which the listener can judge the extent to which two sounds, presented in a similar way and having the same loudness, differ. Technical Translator's Handbook

- (French timbre) ..1) in phonetics, the coloring of sound, determined by the position of formants in the frequency spectrum of sound2)] In music, the quality of sound (its coloring), which makes it possible to distinguish sounds of the same height, performed on different instruments or different ... Big Encyclopedic Dictionary

TIMBRE- TEMBR. A qualitative characteristic or a specific coloration of a sound, in the physical sense, representing a certain combination of tones. T. is characteristic of musical sounds, for the sounds of human speech. Existing languages ​​differ in T. like ... A new dictionary of methodological terms and concepts (theory and practice of teaching languages)

TIMBRE- timbre, sound quality that allows, at the same pitch, to distinguish the sounds of individual musical instruments, the sounds of the voices of different people, etc. The timbre is due to the presence of overtones in the composition of the sound and is determined by the relative intensity ... ... Big Medical Encyclopedia

Books

• A set of tables. Physics. mechanical waves. Acoustics (8 tables) , . Educational album of 8 sheets. Article - 5-8665-008. wave process. longitudinal waves. transverse waves. Periodic waves. Reflection of waves. standing waves. Sound waves. Sound pitch...

(Presentation for the lesson "Voices - musical colors")

"Timbres - musical colors"

(development of a lesson for grade 6)

Target: Formation of the need to communicate with music through artistic and creative activities.

Tasks:

educational- To acquaint with the variety of timbres of a symphony orchestra

Educational - To educate musical taste, performing culture, listening culture; create a sense of personal responsibility for the result of joint work

Developing - Develop skills, abilities, ways of musical and creative activity (choral singing, vocal and instrumental improvisation)

Lesson problem: Why can timbres in music be called musical colors?

Lesson type: Lesson of discovering new knowledge

Teaching methods:

Verbal-inductive (conversation, dialogue)

Music making method

The "participation" method

Dive Method

Forms of study: collective, group

Material for the lesson: Johann Strauss "Rose Waltz of the South""; ON THE. Rimsky-Korsakov Symphonic Suite "Scheherazade"; I. Strauss "Polka - pizzicato"; P.I. Tchaikovsky's "Neapolitan Dance" from the ballet "Swan Lake"; I.S. Bach Suite No. 2 "Joke"; G.A. Struve "A friend is with us!"; reproduction of A. Lyamin's painting "Waltz"; poem by the Japanese poet Hitakara Hakushu "Ton.ton.ton"

Lesson equipment: a computer , projector, screen, musical instruments (piano, xylophone, metallophone, drum, darbuka, bells, clavis, boxes, maracas, triangle), 3MP3 player, colored pencils, cards with musical instruments

Terms, concepts: pizzicato, image, mode, tempo, dynamics, timbre

During the classes.

Introduction to the lesson:

Musical greeting.

W: Guys, we just greeted each other. How was our greeting?

D: Joyful, light and beautiful.

U: And if you mentally take paints, brushes and draw a greeting as a picture - what colors will prevail in it?

D: yellow, red...

W: Look around - the world is full of colors, it is multi-colored. Remember the spring garden, summer meadows, autumn forest, winter sparkle of snow. Yes, we are surrounded by a colorful world, artists have learned to express it on canvas - with the help of paints, but in music? What will be the colors in music, what will help us to play and sing a multi-colored world?

SLIDE #1

The theme of our lesson: "Timbres - musical colors."

Each lesson involves the repetition of the known, the discovery of the new. What would you like to learn new things to learn?

D: Why timbre is called musical colors, to find out how different instruments sound.

T: That will be the purpose of our lesson.

Let's define what tasks we have to solve in the lesson so that our goal is achieved?

D: You need to listen to musical works, try to hear how the timbre of musical instruments makes them colorful; you need to learn to compare paintings by artists and musical works.

T: Great, that's what we'll devote our lesson to. You are good students and we have completed the part of the lesson where you were just students.

And now we will be transformed: there are very rare professions in the world, thanks to which culture is preserved and passed on to the next generations from century to century.

Let's get acquainted:

Before you - restorers - this is group number 1.

Group number 2 - art critics.

Group number 3 - musicians from the symphony orchestra.

Group No. 4 is the audience who, by subscription, came to the Philharmonic for a smart meeting dedicated to timbre in music.

Each group will perform a very important task. And I will act as a senior assistant accompanying group studies, as a moderator (leader) of a musical lecture hall and as a conductor.

(children receive cards with a task, answer questions within 3-4 minutes)

Task group number 1:

Dear restorers! A sad event happened: the picture of the contemporary artist Alexei Lyamin lost its color and name. Please restore both.

What has changed in the picture after the return of color and name?

Start your answer like this...

“We examined the painting by the artist Alexei Lyamin and decided that it should contain ___________________________________________________________________

colors because __________________________________________________________

______________________________________________________________________.

When the painting took on color, we felt that it _____________________

___________________________________________________________________________________________________________________________________________________________________________________________________________________»

Task group number 2:

Dear art critics! Look carefully at the picture of the artist Alexei Lyamin, listen to a piece of music performed by a symphony orchestra. What unites a piece of music and a piece of art? How do they differ?

(LISTENING TO HEADPHONES) I. Strauss "Waltz"

Task group number 3:

Dear musicians! Consider a photograph of a symphony orchestra. Get ready to tell everyone what a symphony orchestra is. What instruments are played in a symphony orchestra? Sort the tools into groups.

Get ready to tell how you grouped them.

Arrange the instruments as they are in the orchestra. Why do instruments occupy such a place in the orchestra?

Assignment to group No. 4

Dear viewers! We already know that music and painting are consonant. But how is the musical pattern of a poetic work constructed, especially one in which there is no rhyme? Let's try to catch the musical rhythm and play with the timbre of the voice, reading the poems of the Japanese poet Hitakari Hakoshu. Each of you has his own timbre of voice, let's make an orchestra of voices.

Read the poem rhythmically, choosing the timbre of your voice.

And now - a word to the young guardians of culture!

SLIDE #2

U: Word to the restorers:

(at this time on the screen - a picture slide). The children answer the question.

W: CONCLUSION. Thus, you felt that the picture sounded in a new way.

SLIDE #3

U: Word to you, art historians:

At this time, a color picture appears on the screen and waltz music sounds. Children answer questions .

U: Summing up your work, we can say that there are common means of expression in music and painting.

W: Word to you, musicians!

Well done, each group did a very good job!

And now it's time to visit our music lecture hall. The topic of our conversation is the timbres of musical instruments.

So, the queen of music sounds - the violin.

SLIDE #4

Listening to an excerpt from the symphonic suite by N.A. Rimsky - Korsakov "Shezerazade"

D: softly, melodiously, softly...

W: In the next piece of music, you will hear the sound of not only the violin, but also other musical instruments. Notice if the sound of the violin has changed?

Listening to an excerpt from the musical work of I. Strauss "Pizzicato Polka"

D: changed

W: What causes a different coloration of the sound?

D: from the method of extraction.

W: This method of extraction is called pizzicato. (ON THE SCREEN)

SLIDE #5

W: And now let's get acquainted with the timbres of wind instruments. In the Middle Ages, this instrument accompanied the festivities and solemn ceremonies, called the army to battle. What instrument do you think it is? Look at the screen.

D: it's a pipe.

Listening to an excerpt by P.I. Tchaikovsky "Neapolitan dance"

from the ballet "Swan Lake"

W: Choose adjectives that characterize the sound of the trumpet.

D: The sound is bright, far-flying, festive, solemn.

U: Look: in my hands is one of the most famous wind instruments: a flute. Listen to how it sounds (the teacher plays the flute). This is an instrument for beginning musicians, and on the screen you see the flute of a symphony orchestra. Pay attention to the sound of the flute.

I.S. Bach "Joke from Suite No. 2

Q: How did the flute sound?

D: (children's answers)

U: Thank you for your active and creative participation in our lecture hall, and we are moving to the stage: now we are an orchestra, and we have a rehearsal of one of the fragments of the future lecture hall: we need to combine the timbre of the voice and the timbre of musical instruments. We have a youth orchestra, and therefore we love rhythm very much, and, therefore, percussion instruments. There are percussion musical instruments on the table - choose the instrument you like. Each of them has its own timbre: listen to the chosen instrument, how does it sound?

SLIDE №7

T: Now I ask you to show the completed work to the members of group No. 4.

U: Guys, be careful, now the adult participants will read the text of the poem, and the task of our orchestra is to match the timbre of a musical instrument to the poetic image of the poem.

ADULTS READ.

T: How many poetic images can you identify?

D: maple leaf, mountain wind, moonlight.

T: Do they sound the same or different? What tools will best convey the image of a maple leaf? (maracas, spring)

mountain wind? (plates)

Moonlight? (metallophone, triangle)

U: And now let's try together: adults read, and we voice these lines.

(CONDUCTING)

W: Thank you. We have a good creative team.

Do you think we managed to combine the timbre of the voice and the timbre of musical instruments?

(adults thank you, sit down)

U: Creating and presenting multi-colored pictures influenced by the timbre of the voice and the timbre of the instruments, can we say that the timbre is the colors in music?

Thanks for the smart answers, put down your tools and take your seat.

What is the most important thing for an orchestra?

Professionalism and talent of musicians, unity, cooperation.

T: At the beginning of the lesson, you defined what an orchestra is. Remember your feelings when working in an orchestra, and in one word say: the orchestra is ... ..

U: Do you think such qualities as co-creation, solidarity, friendship will remain important if we create an orchestra, only from voices - a choir? And how, with the help of the timbre of our voices, to convey the joy that there are real friends nearby, that together we can do many, many good deeds?

D: Sing a song together!

SLIDE #8

Performance of the song "Friend with us!" G.A. Struve

These are the colors we hear.

Look at any painting or photograph. But no picture would have turned out if it were all painted with the same paint, without shades.
Take a look at how many of them, these speaking shades.
Dozens of shades of the same color. They also have sound.
The same note, the same pitch sound, can be played by different musical instruments. And although the pitch is exactly the same, we recognize either the voice of a violin, or the voice of a flute, or the voice of a trumpet, or a human voice.
How do we do it?

Our hearing is as sensitive as our sight. Even the smallest child among many voices immediately recognizes the voice of his mother and does not confuse it with the voice of his grandmother. We recognize friends and acquaintances by the voice in the handset. You will probably immediately recognize the voices of your favorite artists and singers by the first sounds. And all together we have fun, guessing their voices in a playful mimicry of a parody artist. To achieve similarity, he changes the color of his voice, timbre.
And we recognize different musical instruments because each of them has its own sound coloring. The sound can be of the same height, but sometimes whistling, sometimes slightly ringing, sometimes smooth, sometimes rough. A string sounds different than a metal plate, and a wood pipe sounds different than a copper pipe. After all, every sound has overtones. These shades are overtones and change the “color” of the sound. The coloring of the sound is the timbre. And each musical instrument has its own.
TIMBRE- an important means of artistic expression. One and the same musical idea, depending on the timbre incarnation, can sound with varying degrees of brightness, brilliance, softness, tenderness, decisiveness, severity, severity, etc. Thus, the timbre enhances the emotional impact of music, helps to realize its semantic nuances, and ultimately contributes to a deeper disclosure of the artistic image.
Changing the timbre, widely used in instrumental compositions, often becomes an important factor in musical expression.
The initial classification of orchestral instrument timbres is their division into pure (simple) and mixed (complex) timbres.
Pure (simple) timbre - the timbre of solo instruments, as well as all unison combinations of identical instruments. Pure timbre is used both in monophony and in polyphony (for example, ensembles of accordions or button accordions, domras or balalaikas).
Mixed (complex) timbre is the result of combinations of various instruments. Used in monophony and polyphony. Such combinations are used to change the phonic qualities of voices and ensembles and are caused by expressive or formative factors.
In various compositions of the folk orchestra, the greatest unity is found in ensembles of identical instruments, as well as instruments - representatives of the same family. Balalaikas merge most organically with the domra group, because the performing techniques on domras, balalaikas, as well as on percussion instruments are based on the general principles of sound production: short sounds are performed by a blow (pluck), and long ones - by means of tremolo.
Wind instruments (flutes, oboes) merge very well with button accordions and accordions. The timbre variety of the sound of the accordion (bayan) is due to the presence of registers. Some of them received names similar to those or other instruments of a symphony orchestra: clarinet, bassoon, organ, celesta, oboe.
The farthest degree of timbre affinity and fusion of sound occurs when wind and percussion instruments are combined.
TIMBER RELATIONS of orchestral instruments and ensembles is a concept that determines the degree of their fusion and contrast while sounding simultaneously.

In the music of the 20th century, such a characteristic of sound as timbre began to play a key role in the concept of new and in the formation of new vocal techniques. What is timbre and what are its varieties?

Timbre in music - what is this category?

"Timbre" is translated from French. as a "distinguishing mark". Timbre in music is a specific coloring of sound. If you take the same note of the same pitch or volume on different instruments, the sound will still differ significantly due to the timbre characteristics of the instrument. The same vocal parts, performed by two different vocalists, are easy to distinguish by ear due to the special timbre coloring of the voice.

The concept of "timbre" definition in music is far from the only one, but they all boil down to the fact that timbre is the same important characteristic of sound as, for example, loudness, pitch or duration. A variety of adjectives are used to describe the timbre: low, dense, deep, soft, bright, muffled, sonorous, etc.

Types of timbres according to A.N. Sohoro

Timbre in music is a multicomponent phenomenon. The famous musicologist A.N. Sohor distinguishes 4 types of timbre:

• instrumental - depends on the structural features of the instrument and the nature of the sound extraction;
• harmonic - depends on the nature of the combination of sounds;
• register - depends directly on the natural tessitura of the voice or register of the instrument;
• textured - depends on the level of density and "viscosity" of sound, acoustics, etc.

Voice timbres

Timbre in music is an important characteristic for a singing voice. Especially in the conditions of pop competition, it is important how memorable the vocalist's timbre is.

The timbre of the human voice depends primarily on the structure of the vocal apparatus. The degree of development and "training" of the vocal apparatus also has a sufficient influence on the timbre characteristics. Often, after hard work, vocalists change to a higher one, and after suffering diseases of the vocal apparatus, the timbre becomes lower.

Why are timbre characteristics important?

The need to single out one more category among the characteristics of sound - timbre - is dictated by a number of reasons. The most important of them is that the timbre (whether instrumental or vocal) helps to give the musical work the right mood, to place important accents.

When a musical arrangement is made (especially if it is an orchestration), it is simply impossible not to take into account the creative task and the timbre characteristics of the instruments. For example, it will not be possible to give lightness and airiness to the sound if you entrust the performance of a musical passage to a double bass or trombone, in which the sound timbre is distinguished by a large number of low overtones; it is impossible to achieve the effect of forcing the atmosphere using the gentle play of a harp.

The same thing happens during the selection of repertoire for the vocalist. As a rule, blues and jazz parts do not work out well for soprano or tenor performers, because this requires a dense, velvety, juicy, low timbre of sound, perhaps even with “hoarseness” - this is required by the very specifics of the genre (the smoky atmosphere of cabaret, cafes and etc.). At the same time, performers with low timbres look unfavorable in many other musical genres and performance techniques (for example, in “screaming”, which is designed just for high sonorous voices).

Thus, the timbre is the characteristic that largely determines the atmosphere of the sounding piece of music, and most importantly, it evokes certain emotions in a person about what he hears.