Preparation for the performance, in addition to the actual constant and regular training of the vocal apparatus, consists in the competent selection of the repertoire corresponding to the vocal level of the singer. At the initial stage, as a rule, a repertoire that is simple to perform is chosen - folk songs, romances of the middle register, which do not require much tension of the ligaments, so that the singer can think not about HOW he should sing, but about WHAT he should sing, that is, he thought in images of the work, but not distracted by the technical side of the issue. The singer grows as a musician-performer and as a vocalist, first of all, on the right repertoire.

The work chosen for the student must always correspond to the level of his musical development, vocal and performing training. Artistic pedagogical material requires special attention to the gradual and consistent increase in the difficulties of works. This applies equally to musical difficulties, as well as to vocal and performing difficulties. Especially destructive for the voice of the student is the repertoire, which is overwhelming in terms of vocal and technical terms. Irrational-chosen works can delay the student's vocal growth and even bring direct harm.

The use of a repertoire that is convenient for the voice contributes to the coordination of the work of sound-producing elements, including those that are not subject to consciousness. Folk songs are especially useful at the first stage of learning. They have many advantages and are primarily comfortable for the voice.

Folk song is the basis in music and in singing. Folklore was appreciated by the greatest musicians. Passed down orally from generation to generation, folk melodies seem to be filtered by voices and concentrate elements of convenience for singing. They eliminate what contradicts the mass nature of the voices and exceeds their average capabilities. Folk songs are diverse in character, built, as a rule, on a small range, which is very convenient for beginners. Their tessitura is very moderate. The intelligibility of words, the couplet form of the structure, the ease of memorizing the musical texture allow the student to easily combine the vocal-technical and performing aspects of the performance of the work. They are both simple and extremely expressive.

The style of performance of Russian songs requires simplicity, naturalness, sincerity, good communication of the text. The verse form makes the beginning singer find his own nuance in each verse, which diversifies the performance.

The great Russian opera singer Maksakova Maria Petrovna found “her own intonation, drawn out, sometimes fervent, but always ennobled by feminine softness ... it is a subtle, non-pressurized humor. The singer painted each verse so intonation, with such a unique expression she said “Eh!” That each time it sounded different, depending on the shades of the story, but always with the attitude of the heroine to her lover.

Lemeshev says about the Russian song: “The Russian song is full of lyrical depth and poetry. The people have polished it for centuries, and therefore in its melodic and poetic images there was nothing accidental, superficial, cheap. Pure, high human feelings crystallized in the beauty of her melodies, and she demands from the singer the same purity, scale and sincerity of performance.

Romances by such authors of the pre-Glinka period as Bulakhov, Varlamov and others, as well as later ones, including the Soviet period, based on poems by famous poets in the performing sense require a very careful attitude to the verbal text, a well-developed sense of style. They are simple, melodious, mostly have a couplet form, which makes them similar to Russian folk songs, but at the same time they have a more developed musical side. Written in a convenient tessitura, they do not capture a wide range of sounds, they are easily accessible in terms of their musical language and the requirements that they place on the vocals of novice singers. They are simple, they must be performed sincerely, without going beyond the framework of naturalness, immediacy.

According to Sergei Lemeshev, “Beautiful singing implies naturalness, sincerity of expressing feelings. The singer must feel as if his whole being is singing. But do not force the sound, do not try to show it more than it is released to you by nature.

Lemeshev wrote that in his work on the image of this or that work, and Stanislavsky worked a lot with the singers of his opera studio on romances “Stanislavsky proceeded from the principle of internal justification of this or that mise en scene, and not visual effect. He understood that the singer's well-being, his correct psychological adjustment, would always lead him on the right path to the stage image, help him expressively sing important and vocally difficult parts of the part. . Thus, we come to the conclusion that when choosing a repertoire for a novice singer, it is necessary to take into account his temperament and individuality, not only of the vocal apparatus and the degree of its development, but also the psychological aspects of his character. For example, a slow person, phlegmatic by nature, will find it difficult at the beginning of his training to correctly perform a perky, buffoonish song that requires dashing prowess in his performance. For such a student to perform at a concert, it is better to choose a work that is calm, lyrical, measured in form and content.

When choosing pieces for a concert, it is better to think over their sequence in the concert program in advance. First, a work that is lighter in terms of vocals is put on, for development, and then, more difficult in terms of voice and performance.

Preparation of the selected piece of music

“Classes on a piece of music are recommended to be conducted in two ways: on the one hand, working on the artistic performance of the piece, and on the other hand, working on it purely technically, that is, as if redesigning this work into vocalization.”

Based on the topic of our study, we would like to focus on the musical and artistic side of the preparation of works and omit the purely technical side of voice production. We want to focus on working on the artistic and performing means of expressing the work. These funds include:

Clear diction and correct articulation, and as a result - delivering a legible vocal word to the viewer;

intonation and phrasing.

Work on diction

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.

A good singing word, i.e. the ability to naturally pronounce the verbal text of a work, combining it with good vocality of all vowels, is an indispensable condition for professional singing, and for most singers it is the result of a lot of work. A good delivery of the word, its true emotional coloring, naturalness are necessary for a professional singer.

In order for the text of a vocal phrase in a work to be natural, well heard by the public, each singer must know the patterns that determine the basic qualities of a good vocal speech.

Vocal speech should be: legible, i.e. have good diction clarity; natural, to the extent that vocals allow it; expressive, i.e. contain elements that make up the expressiveness of speech; vocal, i.e. built on equal vocal vowels.

Professional singing requires a clear message. An extremely unpleasant impression is created by the unclear pronunciation of words. No matter how talented and musical the performer is, no matter how wonderfully beautiful his voice is, his singing will not make the proper impression if it is not dictionally clear. If the listener strains his hearing in order to understand the meaning of the words that the singer sings about, then he no longer fully perceives the beauty of the voice and expression, but focuses on catching the word. The inability to understand the word irritates the listener, and the impression from the performer is sharply reduced. Unclear diction is a great shortcoming of the singer, a technical imperfection in the education of the voice, which can always be eliminated.

“Vocal diction, like the art of singing, contains two elements: creative and technical. The creative element is the artistic distribution of the semantic content (weight) of the word, depending on the artistic tasks assigned to it, on the idea and meaning of the work being performed. The technical element of diction is the ability to sing vowels cleanly, fully and clearly pronounce consonants. The flow of vowels should not be disturbed by consonants wedged into it. All vowels in singing should sound clean, clear, and their "vocal core" should not undergo noticeable changes when they change.

Diction - i.e. the intelligibility of words depends, as in speech, on the clarity and intensity of the pronunciation of consonants. The speed and clarity of pronunciation of consonants must be carefully monitored from the very first lessons, when works with text are given, paying special attention to consonants that are at the end of words. A very common mistake of inexperienced singers is eating consonants at the end of the word that concludes the phrase. If the consonant sound is at the end of the phrase, then along with the end of the sound, the singer also weakens the articulation of the consonant, as a result of which it is pronounced sluggishly and does not reach the listener. It is necessary to immediately teach the singer to actively and clearly pronounce the consonants at the end of the words.

Lemeshev about diction: “I'll start with the elementary - with diction. How often do singers, especially opera singers, suffer from fuzzy, weak diction. Often there are artists with expressive voices in terms of sound coloring, which convey the mood well. But what they sing remains known only to them and the prompter ... Sometimes you can justify yourself by saying that, they say, the orchestra drowns out; but some manage to pronounce the words so well that they cannot be understood even when the orchestra is silent ... The fact is that by nature not everyone is equally endowed with the ability to clearly and clearly pronounce words. And you need to work on diction.”

K.S.Stanislavsky perceived the art of speech as an art no less complex than the art of singing. He often said: "A well-spoken word is already singing, and a well-sung phrase is already speech."

To achieve good results, it is necessary to work on improving the articulatory apparatus, to develop its technical capabilities. The appendix contains several exercises for practicing the quality of vocal diction according to the book by E.M. Pekerskaya "Vocal primer".

This page contains a list of songs that people most like at holidays, events, celebrations - anniversaries, weddings, wedding anniversaries, corporate parties, birthdays. Exactly, basically on this principle I teach them. If very often they ask me to perform a song, but I don’t know it, I immediately learn it.

Popular, VIA, funny, for dancing, romances, gypsy and others.

Not indicated, which I perform into the microphone using electronic text (not by heart). There are ten times more of them than in the list below.

You can listen to the songs in my performance by going to the pages Yuri Kuznetsov sings.

By nature I have a very good memory. With pleasure I will learn and sing at your holiday any song that you or your guests like.

ROMANCES

fireplace sparks

Your eyes are green

Under the caress of a plush blanket

Don't leave, stay with me

Burn, burn, my star

Pair of bays

Fragrant bunches of white acacia

Only once in a lifetime meeting

Enchanted, bewitched

Moscow golden-domed

Shaggy bumblebee

Black eyes

Two guitars behind the wall

Don't wake her up at dawn

The chrysanthemums in the garden have faded long ago

And I thought you were happy

I will never forget you

Foggy morning

Get away, don't look

The Long Road

I met you

Coachman, drive to Yar

And in the end I will tell

Gray hair (And we have not grown old at all ...)

Bells (The ringing of bells is heard from afar ...)

There was a carriage at the church

The reeds rustled, the trees bent

Don't leave, my dear

My fire shines in the fog. (Old gypsy romance)

Vain words (Malinin)

Good night gentlemen (Leps)

Romance of the General of Blackness (Alone again in bed half asleep) Alexander Rosenbaum

Capricious, stubborn (Old Russian romance)
Do not repeat (And for what and for what I fell in love with you)

fireplace sparks

Happy

List of songs for anniversary, birthday.

I spend a variety of anniversaries 60, 50, 65, 70, 55, 80, 45, 30 and others. Men and women. In order to make it easier for me to understand what to sing at your celebration, please send me a list of those musical compositions that you and your loved ones like the most. And they will definitely sound at your holiday in my performance.

At the celebration, I ask the guests "what do you want to listen to?", "what will we sing together?". But any impromptu is good when it is prepared in advance.

You can record any song or even a whole disc for the hero of the day at the studio. At the beginning of this album, say that you wish the hero of the occasion and think about him. Such a gift will be very valuable and unforgettable.

Anniversary ditties.
I sing and the great singer Zarina.

Dedicated to the beloved woman.
This woman.

List of songs dedicated to the anniversary, birthday:

Happy birthday. (Everything today is only for you.) Irina Allegrova.
Happy Birthday. (My friend, all your friends congratulate you.) Nadezhda Kadysheva.
Wish. (I want songs to sound, so that a glass is filled with wine.) Vakhtang Kikabidze.
My years are my wealth. Vakhtang Kikabidze.
Wish. (So ​​that they live up to a hundred years, so that they do not know grief.) Elena Vaenga.
Song of the crocodile Gena. (Let run clumsily.)
And the years fly. (Our years fly like birds.)
There is only a moment. (It is he who is called life.) Oleg Anofriev.
Evening table. (For the power that the waves carry to the fullest.) Alexander Rosenbaum.
Duck hunting. (My father and mother taught me.) Alexander Rosenbaum.
Shores. (Between them is the river of my life.) Alexander Malinin.
I am 50 today. (And this is not the evening.)
How young we were. (How sincerely they loved, how they believed in themselves.) Alexander Gradsky.
That's lovely. (That we are all gathered here today.) Oleg Mityaev.
A lonely man over 50. (Life goes on quietly, but gnaws lightly, but does not bite.) Dmitry Vasilevsky.

Dedicated to women.

For you my woman. (I raise a glass. Today is your birthday.) Mikhail Sheleg.
Birthday girl. (We gathered to celebrate your birthday.) White day.
Ay. (I would like to give you a song. Everything is insignificant in comparison with you.) Alexander Rosenbaum.
I can't have you on your birthday. (Give expensive gifts.)
Enchanted bewitched. (You are my precious woman.) Mikhail Zvezdinsky.
You are my only one. (There is no other such.) Yuri Vizbor.
The Volga river flows. (Among the ripe bread, among the white snows.) Lyudmila Zykina.
I wish you. (Out of 1000 stars, one is the brightest.) Igor Surukhanov.

RUSSIAN FOLK SONGS

Through the wild steppes of Transbaikalia

From behind the Island to the midline

You are my dear

Oh, frost, frost

A young Cossack walks along the Don

Oh yes you pour

I will go out into the street

Went to the fair uhar-merchant

Lady, Gypsy, Yelets (chastushki)

Once upon a time I was sailing

Am I to blame

In the moonlight (ding-ding-ding...)

Peddlers

The bell rings in unison

Oh, in the meadow, in the meadow

How did the soldier serve?

How would the Volga - mother

When I worked at the post office as a coachman

My joy lives

Steppe and steppe all around

It was a long time ago, seventeen years ago

Who needs it (In the middle of a grandmother, in the middle of Lyubka, in the middle you are mine, gray dove)

Charming eyes

We walk through the village (We distribute gifts. Who has a son, who has a daughter)
My cup

Nadezhda Kadysheva. "Golden ring".
A stream flows. (The stream runs.)
I got drunk drunk.
They plucked a rose. (I met a rose, it bloomed.)
There was a carriage outside the church.
Collective farmer. (On the mountain there is a collective farm, under the mountain there is a state farm.)
There are so many golden lights. (On the streets of Saratov.)
Bird cherry sways under the window. (Showering her petals.)
Here's someone coming down the hill. (Probably my dear is coming.)
Old maple. (Knocks on glass.)
How my mother wanted me. (Yes, for the first to give.)
Wide river. (Love is cursed.)
Charming eyes. (You charmed me.)
The moon turned crimson. (Let's go for a ride, pretty girl.)
The postal troika is rushing. (Along the Volga mother in winter.)
Evening call, evening Bell. (So ​​many thoughts he suggests.)
Thin rowan. (What are you standing swaying.)
There is no better color. (When the apple tree blossoms.)
Hasbulat is good. (Your saklya is poor.)
It is not the wind that bends the branch. (Not Dubravushka makes noise.)
Felt boots. (The old ones are not hemmed)
Light. (The girl escorted the fighter to the position.)
On the Murom path. (There were three pines.)
Lilies of the valley. (You brought me today.)
Oh snow snow. (White blizzard.)
On the field on the clean. (Why are you hot, why are you beautiful.)
It's raining outside. (Water from a bucket.)
Katyusha. (Apple and pear trees blossomed.)
Oh Samara town. (I'm restless.)

In the moonlight

Ukhar merchant

SONGS ON POETRY BY SERGEY ESENIN

Above the window is a month

I do not regret, do not call, do not cry

The golden grove dissuaded

Maple you are my fallen

Letter to mother (You are still alive, my old lady...)

I have one fun

Weaved out on the lake

I'm a Moscow mischievous reveler

I have never been to the Bosphorus

Moscow (Mongol Shuudan)

mother's letter

SONGS ABOUT HOMELAND

I will pray for holy Russia (Hierodeacon Theophilus)

I will go out at night in the field with a horse.
Corner of Russia, father's house. (Pesnyary) Music by Shainsky.

Russian Field. (Yan Frenkel) From the film "New Adventures of the Elusive."

I drank birch sap in the spring forest. (Mikhail Nozhkin). From the movie "Resident's Mistake"

Call me quietly by name. (Lube).

A song about a distant homeland. (I ask at least for a while). From the movie Seventeen Moments of Spring.

Where does the Motherland begin. (Mark Bernes) Matusovsky's words.

Birch sap (Just bloom under the snowfield on time). Pesnyary.

I love you Russia! My dear Russia! (Mikhail Nozhkin. David Tukhmanov.)

March - "Farewell of the Slav"Written in 1912.

Song about the Motherland. (The sun is shining in the clear sky.)

Why do birch trees make such a noise in Russia. (Nikolai Rastorguev and Sergey Bezrukov.) From the TV series "Plot"

I will go out into the field at night with a horse.

Migratory birds are flying. (I don’t need the Turkish coast and I don’t need Africa.)

Oh, you are a wide steppe.

Clean ponds. (Igor Talkov).

Our toast. (Let's drink for the Motherland, let's drink for Stalin, let's drink and pour again.) Song of the war years.

Crane. (Although the land is warmer there, but the homeland is nicer.) Mark Bernes.

Russian anthem.

SONGS ABOUT MOSCOW

Moscow golden-domed

Moscow windows

Moscow Nights

My dear capital, my golden Moscow

Alexandra (film "Moscow Doesn't Believe in Tears")

Moscow. The bells are ringing

I walk around Moscow
Moscow (I love this elm city). Sergey Yesenin.
The best city of the Earth (These words about you Moscow). Magomaev Muslim.
Song of the old cabman (Only spring morning will burst over Moscow). Leonid Utyosov.
Ah Arbat my Arbat (Bulat Okudzhava)

SONGS ABOUT PARENTS

parental home. (Lev Leshchenko) "The parental home began."

Let us pray for our parents. (Soso Pavliashvili).

Letter to mother (You are still alive, my old woman). But the words of Sergei Yesenin.

Talk to me mom.

Dear mother. (Mom, dear mom, how I love you).

Dear old people. Igor Sarukhanov.

House overlooking the garden. Brothers Radchenko.

SONGS ABOUT FRIENDSHIP

Song about a friend. (When you fell off the rocks, he moaned, but held on.) Vladimir Vysotsky.

Friendship. (That our tenderness and our friendship is stronger than passion, more than love.)

Friends song. (There is nothing better in the world than friends wandering around the wide world.) The Bremen Town Musicians.

Song about a friend. (A friend is always ready to give up a place in a boat and a circle.)

If with a friend went on the road. (What is snow to me, what is heat to me when my friends are with me.)

For friends. (I raise my glass.) Vladimir Chernyakov.

LOVE SONGS

Enchanted, bewitched

You are my only one (Yu. Vizbor)
My love is alive like the scarlet color of mountain ash. Sergei Drozdov.

For me, you are not more beautiful

Ah, what a woman

Those eyes are opposite. Obodzinsky.

Please. (I want to please you today). Anatoly Dneprov.

Scarlet dawn. (Scarlet lips. You are my long-awaited love). Brothers Radchenko.

Eastern song. (Does it rain warmly). Valery Obodzinsky.

Singarella. (The anvil groans loudly, since the girl is in my hands).

Lyrical (Here are the paws of the firs...) V. Vysotsky

White swan on the pond

For lovely ladies

And I thought you were happy

I raise my glass

Honey can you hear me

My clear asterisk ("Flowers")

Outside the window bullfinches (Trofim)

My wealth (Yu. Antonov)

Esmeralda (Notre Dame de Paris)

Bouquet (A. Barykin)

Mole (I met a girl, crescent eyebrow...)

Beloved, sleep

I wish you from a thousand stars (I. Sarukhanov)

Mirror (Yu. Antonov)

Because you can't be beautiful like that ("White Eagle")

My only one (F. Kirkorov)

I love you to tears. (I will cover our bed with white rose petals). Alexander Serov.

I miss you (Trofim)

Natalie
Without you (S. Mikhailov)
Everything for you (S.Mikhailov)
Queen of inspiration (S.Mikhailov)
Three wishes
At the bridge
Lastly, I will say
I would only know that you live somewhere (O. Mityaev)
Guitar
I want to marry you
bells
You dreamed in the spring ("Pesnyary")
Draw yak missyachna
I asked ash
Wait, I'll turn on the light for a minute
Young
Shaggy bumblebee
The first love
This woman
Oriole
City of Sochi (Trofim)
For you my woman
Ay (Rosenbaum)
Pigeons kiss on the roof
Don't go stay with me
I met you
Ivushki
Let's get high
Smoke of menthol cigarettes
My joy lives
White birch
Let's go for a beautiful ride
There by the cherry orchard
Black eyes
Black eyebrows, brown eyes
Turquoise, gold rings
Ukhar merchant
Weaved on the lake the scarlet light of dawn
My dear forest sun
Kalina (Rada Rai)
Marjanja (M. Shufutinsky)
Two extinguished candles
Candles
When I met you, the bird cherry blossomed
That evening I did not drink, did not sing (Vysotsky)
Trouble (Pugacheva)
two roses
Wasted words
Do not put salt on my wound
I'll take you to the tundra
Where the maple makes noise
White motor ship
On that highway
Purple Haze
Lanfren lanfra
Your eyes are green
Under the caress of a plush blanket
sailor
Once upon a time I was sailing
Let's drink to love
Thank you for your son and daughter
Tenderness
You wake me up at dawn
Poplars
fireplace sparks
Once a year the gardens bloom
Dress
swan fidelity
Indian summer is noisy
Knives not sharpened
sorcerer
Let's get high
I'm ready to kiss the sand
Gate
Only time
Foggy morning
go away don't look
You are my dear
I got drunk drunk
I'll go out into the street
Am I to blame
Peddlers
The boat sailed on the sea
Black eyes
Who made you like this
The snow is spinning
free duck
Cornflowers in the field
Seagulls at the stern
Bonfires are burning far away
White mists float
A couple lived in the same city
I have to live with you all my life at least once (Vizbor)
Thank you for the day, thank you for the night (M. Boyarsky)
Lonely lilac branch
Beloved woman

Sweetheart (Nepara)

For love (Lubavin)

My love

Gone are the sunny days

You tell me cherry

Good morning darling (Mityaev)

You and I are two banks of the same river (Rada Rai)
My beloved woman (Timur Temirov)
Sweet dream - on a white blanket of January. (Here it is the long-awaited summer to spite fate).
You are my tenderness. Nargiz Zakirova. (You are my heart, you are my miracle)

Pigeons kiss on the roof

WEDDING, WEDDING ANNIVERSARY

Wedding. (Give love to each other). White Eagle.
Wedding. (This wedding sang and danced). Magomaev.

Wedding ring

We wish you happiness

Listen, mother-in-law, dear friend, help ...

Be healthy, live richly

Why do brides cry

I want to marry you

The first love

Wedding (V. Korolev)

Invite your father to a white dance (I. Demarin)

Daughter (Kobzon)
I love you to tears. Alexander Serov.
Silver weddings. (And 25 silver Aprils surround you like sons). Valentina Tolkunova.
Golden wedding. (Grandmother next to grandfather).

I want to marry you

WAR SONGS

Officers (O. Gazmanov)

From the heroes of bygone times (film "Officers")

Dark night

Eh, roads

Rota goes to heaven

In the dugout

Let's wave without looking (film "Shield and Sword")

Where does the Motherland begin?

The last fight, it is the most difficult one (film "Liberation")

Darkie

Three tankers

The armor is strong and our tanks are fast

Tanks roared across the field

Artillerymen, Stalin gave the order

Let's go for ... ("Lube")

Far away across the river

How did the soldier serve?

Do not think about seconds down (film "17 Moments of Spring")

I ask at least not for long (film "17 Moments of Spring")

Kombat ("Lube")

Victory Day

Song of the 10th Airborne Battalion (film "Belorussky Station")

Farewell Slav

Cranes (Sometimes it seems to me that the soldiers ...)

Sineva (Song of the paratroopers)

Alyosha (Does the powder turn white in the field ...)

I'll get up before dawn today

The girl escorted the fighter to the position

The division went forward through the valleys and hills

No need to be sad, gentlemen officers

Cuckoo (Blue berets)

Lord officers blue princes

A couple lived in the same city

Battalion Intelligence (Blue Berets)
Officers' wives
He did not return from the battle. V. Vysotsky.
Walk slowly. (In the early sunny morning she saw off). Adrenalin.
A couple lived in the same city. (Oh, you women are unfaithful to their husbands, the husband is at the front, and you are here for a walk). Songs of the war years.

Farewell Slav

SONGS FOR PILOT

It's time to hit the road. (Rainy evening.) From the film Heavenly Slow-moving.
Because we are pilots. (We are friends, migratory birds. Well, the girls later.)
The main thing guys, do not grow old with your heart. (Under the wing of the plane.) Soviet song.
The plane is my pectoral cross. (The sky is blue.) And Dolsky.
Phantom. (My phantom is gaining altitude with a roar like a white arrow on a spread wing.)

SEA SONGS. FOR SAILORS.

Beyond the fog. (Blue sea, only the sea astern.)
Farewell beloved city. (Let's go to sea tomorrow.)
Goodbye rocky mountains. (And the waves groan and cry.) The war years.
Treasure stone. (Cold waves rise like an avalanche) Sevastopol. Black Sea Fleet.
Tired submarine. (The boat is compressed by wild pressure.
The sea spread wide. (And the waves rage in the distance.)
Varangian. (Our proud Varangian does not surrender to the enemy.)
Sea. (The sea is a bottomless world.) Yu Antonov.
Blue eternity. (O sea, sea, take me to distant distances.) Muslim Magomayev.
By the sea, by the blue sea. (Vacations of love.)

AFGHAN SONGS

In a black tulip (A. Rosenbaum)

Orders are not for sale

COSSACK SONGS

Love, brothers, love

Are you waiting, Lizaveta

Black Raven

Oh, it's not evening, it's not evening

A young Cossack walks along the Don

Only a Cossack bullet (A. Rosenbaum)

And on the window there are platbands (A. Rosenbaum)

Horses roamed on the Don, on the Don (A. Rosenbaum)

Old Man Ataman (Chizh)

Centurion bold

Oh, in the meadow, in the meadow

Unharness, lads, horses

Oh you Galya, young Galya

Not for me
Oh, oh, oh, don't be afraid of me.

Love, brothers, love

UKRAINIAN SONGS

You pissed me off

bird strength

Nichyako mysyachna

Ridny my mother

Chervona Ruta

Bring Galya water

Black eyebrows, brown eyes

There by the cherry tree, by the garden

Black eyebrows, brown eyes

By the cherry blossom garden

PESNARY

Belarus. (Youth is my Belarus).

You dreamed of me in the spring

Bialowieza Forest

You make noise, make noise over me byarozy
Vologda.
Father's house. (Corner of Russia father's house).
Our favourites. (Do not offend your loved ones with reproaches).
Birch juice. (Only the snowdrop will bloom on time).
Thrushes. (You have heard the thrushes singing).
I can't help it.
Half an hour before spring.
Listen mother-in-law.

Syabry

And I'll lie down.
Olesya. (Lives in the Belarusian woodland).

JEWISH SONGS

Hava Nagila

Tum-balalaika

Jewish tailor. (Quiet like heaven)
Buy cigarettes. (Come infantry and sailors)
Couplets about Jews. (There are only Jews around)

GEORGIAN SONGS

ARMENIAN SONGS

Sirun, Sirun

GYPSY SONGS

Shaggy bumblebee

Black eyes

Two guitars behind the wall

Tell me, gypsy

Nane tsokha (from the film "The camp goes to the sky)

Prihayape

Cayo berge

Marquee (Ay, yah, yah, yah nay)

Turquoise gold rings

I love Gypsy Jan

Song of Yashka the Gypsy (film "The Elusive Avengers")

Not evening

Honey can you hear me

Oh, the young boy went on a spree

Coachman, drive to Yar

Mommy

Sokolovsky choir at Yar

Oh yes it's chilly

Magnificent (He came to us, came to us)

Gray hair (And not how much you and I have not grown old ...)

Singarella

My fire in the fog shines

I'll tell you how I lived with the gypsies

Marjanja

gypsy love

blue poppies

Da-Luda-La

I will bring you flowers

Zakhachkirna
Give lu dai la (Gypsy ditties)

Nane tsokha

Marjanja (Gypsy)

SONGS ABOUT ODESSA

Scows are full of mullet. (He brought Kostya to Odessa.)
Smells like the sea. (And the moon hangs over the spar itself.) Mikhail Shufutinsky.
Ah, Odessa. (Pearl by the sea.)
By the Black Sea. (There is a city that I see in a dream.) Leonid Utyosov.

SPANISH SONGS

Besame mucho

Ma guitar (film "Desperate") Banderas

ITALIAN SONGS

About myo salt

SONGS FROM THE REPERTOIRE

M. Shufutinsky

Left bank of the Don

Khreshchatyk

Knives not sharpened

Jewish tailor

Zoya wrote me a letter

Two extinguished candles

Singarella

My Soul Hurts

Tanya is a youngster

A bottle of wine

There lived a violinist (Cry, my violin, cry...)

Candles (Burning, candles are crying...)

Muscovite

I'll tell you how I lived with the gypsies

Marinochka, Marina

For lovely ladies

Marjanja

And for the last, yes for five

Palma de Mallorca

Y. Antonov

Mirror (I look at you like in a mirror)

Ah, the white ship

My wealth (Again the month ascended the throne)

For me, you are not more beautiful

Dreams come true

flying gait

20 years later

Anastasia

The roof of your house (We are all in a hurry for miracles)

At birches and pines. (Autumn is quietly wandering. Is it all gone).
From what (I was recently loved and sweet)

Alexander Rosenbaum

Evening feast (Let's raise this cup)
Duck hunting (Walk like a walk, shoot like a shoot.)
Capercaillie (On the current)
Come join us for a bite.
Prophetic fate (Field, field.)
Yesaul is young. (I dozed off under the alder tree.)
Dream in hand. (Dappled gray horse.)
Cossack (Under the evening dawn.)
Waltz Boston.
Violinist Monya. (Hello guests.)
Cab. (The day is so good.)
On the Don On the Don (Horses run.)

Song of the Jewish tailor. (Quiet as in paradise.)
Black Tulip. (In Afghanistan, in a black tulip.)
Ay. (I would like to give you a song).
GOP stop. (We approached from around the corner.)
Ninka. (Like the picture.)
Bunny. (Zoika wrote me a letter.)
Classmates. (My classmates, classmates.)
On Odessa, on the Maidan. (Noise commotion.)
Pintail. (Duck is free.)
From call to call. (I served my time.)
My Odessa. (Smells like the sea.)
Conversation in the hotel. (Wait a minute, I'll turn on the light in the room for a minute).

Oleg Mityaev

Summer is a small life. (Look at what a beautiful house you live in.)
Good morning darling.
(You are my dear.)
Frenchwoman. (She is the same Muscovite as she was.)
Neighbor. (Knives not sharpened.)

Vladimir Vysotsky

Vertex. (Here you are not a plain.)
Song about a friend. (If a friend turned up suddenly.)
Hunting for wolves. (I'm torn from strength from all tendons.)
Lyrical. (Agree at least to paradise in a hut.)
Horses are picky. (Slightly slower horses.)
Road history. (I came out tall and face.)
Bathhouse. (Heat a bathhouse for me, hostess.)
Police protocol. (Consider our way we drank a little.)
He did not return from the battle. (Why isn't it right?)
TV dialogue. (Oh Wan look what clowns.)
The one who was with her before. (That evening I did not drink or sing.)
The song is a fairy tale from evil spirits. (In the protected and dense Russian forests of Murom.)
Indian summer. (Maples painted the city.)
At the cemetery. (And everything is calm in the cemetery.)
Crystal house. (If I am rich as the king of the sea.)
I carried my misfortune. (In spring on ice.)
My graying love. (In Kolyma where the tundra and taiga are all around.)
Oh where was I yesterday. (I only remember that the walls are with wallpaper.)
Royal shooter - about a wild boar. (In a kingdom where everything is quiet and harmonious.)

When we met. (Bird cherry blossomed.)
My gypsy. I dream of yellow lights. (Eh, one more time.)
Paradise apples. (I will die someday.)
For me, the bride will cry honestly. (Others will sing all the songs for me.)
Soldiers of the group center. (Across the scorched plain.)
I do not like. (I don't like any time of the year when cheerful songs are not sung.)
I'm on the lookout. (I hold on to my pocket.)

lyrical

Yuri Vizbor

You are my only one. (I don't have another one.)
My darling. (The sun of the forest.)
Guitar bend. (It's great that we are all here today.)
Seryoga Sanin. (Then takeoff, then landing.)
They tell me. (I can live with you at least once all my life.)
Dombai waltz. (Skis are standing by the stove.)
If I get sick. (Make me steppe.)
Alexandra. (Moscow was not built in a day.)

Bulat Okudzhava

Georgian song. (I will bury a grape seed in warm soil.)
Your honor, lady luck. (Nine grams in the heart.)
Song of the 10th airborne battalion. (We will not stand up for the price.)
Cavalier guards. (The age is short.)
Take your overcoat, let's go home. (And you and I are a brother from the infantry.)
Prayer. (Lord, give you to everyone what he does not have.)

Sergey Trofimov (Trofim)

Bullfinches. (Bullfinches outside the window.)
Sochi city. (Skewer for cognac.)
I miss you. (As an apostle through holy torments.)
Pigeons. (My barefoot childhood.)

Stas Mikhailov
Everything for you. (In my destiny there is only you.)
Without you. (Forgive me dear.)
Queen of inspiration. (All my poems are about you.)
White birch. (I love you.)
Heaven. (Give strength to the tramp.)

Muslim Magomaev
Heart in the snow. (Roads distant arrow.)
Wedding. (Sang and danced.)
The best city on earth. (These words are about you Moscow.)
Queen of beauty. (You are happiness in life, my love.)
Nocturne. (Thank you.)

Alexander Malinin

Lieutenant Golitsyn. (Do not lose heart.)
Shores. (Between them is the river of my life.)
Fun. (I have one fun left.)
Romance of General Black. (Alone again in bed half asleep.)
Gulba. (The icons are gold.)
Vain words. (Splash witchcraft.)
in the Cape Town port. (The crew was released ashore.)
Prayer. (Where can I get the strength to fall out of love.)

Y. Loza

Igor Talkov

Clean ponds. (Each of us has places in the world.)
Former podesaul. (Left to fight.)
Summer rain. (Started early today.)

Vyacheslav Dobrynin

Do not put salt on my wound. (Don't speak out loud.)
Who told you. (No, I can never stop loving you.)
Farewell to all train stations. (They go to a distant place.)
You'll see. (How unlucky am I)
Everything I have in my life. (The world is not simple.)
You don't dream of me. (I'm too.)

Vakhtang Kikabidze

My years are my wealth. (Let my head be gray.)
Wish. (I want the songs to sound.)
Bottoms Up. (If the toastmaster asks you.)
I wander drunk. (But it's not the wine's fault.)
Seeing love. (Half an hour before the flight.)

Grigory Leps

Natalie. (From you and from fate I can not escape.)
A glass of vodka on the table.
Good night gentlemen. (And angels will fly over your house.)
The best day. (It's still great to be alive.)

Alla Pugacheva

Million Scarlet roses. (Whoever is in love with a serious person will turn your life into flowers.)
This world is not invented by us.
Not renounce loving. (You can give everything for this.)
Bolshak. (Well, how can one live without love in the world.)
Trouble. (Looking for me in the world.)
Goodbye, Summer. (Again the birds gather in flocks.)
I want summer to never end. (The whole earth is warmed with warmth.)

Lumbering

I will buy you a house. (White swan on the pond.)
Bird Market. (Birds in a cage, and a crow in the wild.)
10 commandments. (I was resurrected from boredom.)

Ivan Kuchin

In the tavern. (Let's drink to our friends for our faithful.)
A man in a padded jacket. (And on the white snow he left the chase.)

M. Gulko

Enemies burned their home

schoolgirl

I haven't seen my mother in such a long time

Blue skies of Russia

One victory (song of the tenth airborne battalion)

Odessa Mishka

Why are you married

If I get sick

Behind the fog

Lord officers

SONGS FROM VIA'S REPERTOIRE

"Gems", "Funny Guys", "Blue Guitars"

For me, you are not more beautiful

This never happens again

I'll take you to the tundra

I won't come to you

Clear bright eyes

When we are silent together

Alyoshka's love

Time Machine. (Andrey Makarevich.)

Turn. (We made a promise to ourselves.)
Blue bird. (We walked like this.)
Puppets. (The faces of the erased paint are dull.)
Bonfire. (Everything will hurt.)
While the candle is burning. (There are days when you give up.)
Three windows. (I forgot about storms and thunderstorms.)

"DDT"

"Flowers"

My star is clear

We wish you happiness

"Blue bird"

Where the maple makes noise
My love is alive like the scarlet color of mountain ash (Sergey Drozdov)

"LUBE"

There, beyond the mists

Call me softly by my name

Why do birch trees make such a noise in Russia

I will go out into the field at night with a horse

Everything again

Through the tall grass

Sunday. (Konstantin Nikolsky.)

Musician. (Violinist. Hung up his frock coat. Musician on the back of a chair.)
Night bird. (What one sings about in autumn silence.)
The forgotten song is carried by the breeze. (God, that was a long time ago.)
When you understand with your mind. (That you are alone in the world.)

Michael Krug
Come to my house. (My doors are open.)
Vladimir Central. (North wind.)
Katia. (The matchmakers came to the father.)
Kolschik. (Give me domes.)
Silence. (Oh, how I long for unfamiliar hands and devilishly pleasant and moist lips, feminine tenderness.)
Pie girl. (How warm it was. What brought you and me together?)

BEST SONGS OF ALL TIME

Moscow Nights

Russian field

How many good girls

Friendship (When with a simple and gentle look...)

By the blue sea

There is only a moment

Hope (Unfamiliar star shines...)

Why is my heart so upset

And the years fly by

I love you life

There is nothing better in the world

Song of an old cabman (L. Utyosov)

Black cat

Wonderful neighbor

We wish you happiness

under the wing of an airplane

Purple Haze

Here under a strange sky

crimson ringing

Far away across the river

Queen of beauty

Candles (Autumn night outside the window...)

white snow

lonely accordion

Ryabinushka (Evening with a quiet song...)

Here's someone coming down the hill

Blossomed under the window ...

There are so many golden lights on the streets of Saratov...

Daisies hid

My village

From afar, the Volga River flows for a long time

Suddenly, like in a fairy tale, the door creaked

For you my woman

I met a girl, crescent brow

Lanfren-lanfra

Bouquet (A. Barykin)

green-eyed taxi

Sailor (And when the pitching is on the sea ...)

Dark mounds sleep

I raise my glass

I'll take you to the Tundra

From the Vagants (In the French side...)

scarlet dawn

You can't hide from the people in the village

Trouble has green eyes

parental home

People meet, people fall in love

How delightful evening in Russia

Sharmanka (N. Baskov)

The city that does not exist (I. Kornelyuk)

Moscow, the bells are ringing

Mirror (Yu. Antonov)

Call me softly by my name ("LOVE")

Coward does not play hockey

Song about Shchors

Talk to me mom

Tenderness

The river runs in the fog melts

Have you heard the thrushes sing

If with a friend went on the road

All will pass

At the edge of the forest

Blue frost

You wake me up at dawn

Thank you son, thank you daughter

Ural mountain ash

God save the king

Once a year the gardens bloom

Bear, Bear, where is your smile

Village (Now I consider myself urban ...) (S. Belikov)

That's what happens when you fall in love...

Dress (Nothing to wear, whatever you say...)

Galina lives in this house

swan fidelity

bells

Indian summer

Bird cherry sways under the window

Bears got lost

Former podesaul (Talkov)

New Year (Serduchka)

There is no better color

Good mood

From Dawn to Dawn (Dan Spataru)

Tell me cherry (Kirkorov)

Good mood

Siberian frosts (Kuzmin)

Wanderer (V. Presnyakov)

Blossomed bird cherry

buttercup flowers

blue poppies

I remember the stars blue

Traveling Artists

goldfish

The mice got lost. Yard songs with guitar.

Nichyako misyachna "Only old men go to battle"

Tanks rumbled across the field "In war as in war"

From the heroes of bygone times "Officers"

Cavalry guards, the century is not long "Star of captivating happiness"

Your Honor "White Sun of the Desert"

Cursed Thoughts "Five Evenings"

Horses walk over the river "Bumbarash"

Scows full of mullet "Two fighters"

Dark night "Two fighters"

Friendship "Summer Evening in Gagra"

Three tankers "Tractor"

Migratory birds are flying "Cold summer of '53"

Song about a friend "Vertical"

Here you are not a plain "Vertical"

Dark mounds sleep "Big life"

It's time to go, on the road "Heavenly slug"

From people in the village ... "It was in Penkovo"

Don't Think Down Seconds "17 Moments of Spring"

I ask at least not for a long time "17 moments of spring"

Trouble has green eyes "Dangerous Friends"

Lanfren-lanfra "Midshipmen forward"

The city that does not exist "Gangster Petersburg"

Shaggy Bumblebee "Cruel Romance"

And finally, I will say ... "Cruel romance"

Not the evening "Dowry"

Honey, you hear me "Dowry"

Wait, locomotive "Operation Y"

Oh, by the meadow, by the meadow "Wedding in Malinovka"

You are waiting, Lizaveta... "Alexander Parkhomenko"

Love, brothers, love "Alexander Parkhomenko"

I'm in the spring forest... "Resident error"

From Dawn to Dawn "Songs of the Sea"

About hares "Diamond Hand"

Birch sap "Real guy"

Our service is both dangerous and difficult "Experts are investigating"

Again the month ascended the throne "Take care of women"

Ma guitar (Banderas) "Desperate"

Artillery march "6 p.m. after the war"

Suddenly, like in a fairy tale ... "Ivan Vasilyevich changes his profession"

Bad Luck Island "Diamond Arm"

Kurochkin's couplets "Wedding with dowry"

Song about a friend (If there is only one joy for all) "The way to the pier"

Why didn't you meet me "Different Fates"

RUSSIAN CHANSON

Murka. (You are my little moray.)
The cherries are ripe. (In Uncle Vanya's garden.)
Taganka. (Why did you ruin me.)
Wait, locomotive. (Conductor press the brakes.)
Vanino port. (I remember that Vanino port.)
Take me, cabbie. (Pour her a darling to take away the whim.) Alexander Novikov.
In Kolyma. (Where is the tundra and taiga around.)
Ushanochka. (And I'll pull the earflap deeper.) Gennady Zharov.
Pigeons are flying over our area. (How I would like to fly away with pigeons to my native land.)
The share of thieves. (Here is such a share of thieves.)
My grandmother smokes a pipe. Garik Sukachev.
On the tundra, on the railroad. (Where the Vorkuta-Leningrad train rushes.)
Testimony of an innocent. (I leaned back, which bazaar is the station.)
The night is moving. (Lanterns swing and the owl hit with its wing.)
Suitcase. (Come on, put your suitcase away.)
A trilogy about an old grandmother. (Grandma is healthy and dreams of surviving the raid.) Arkady Severny and Grisha Berbe.
Railway station. (I'll go to the railway station today.) Garik Krichevsky.

Anniversary of a woman - songs about female beauty, about love, songs for women.

Anniversary of a man. Songs for men, about friendship, favorite works.

Anniversary of the company, corporate holiday, anniversary of the enterprise - songs about the profession, professional songs.

City holiday - city day, songs about Moscow, cities.

Special repertoire for Victory Day, May 9, Defender of the Fatherland Day February 23, international holiday March 8, Valentine's Day, Shrovetide, Christian holidays, Russian Independence Day, Christmas.

Retro parties. Hits of the 60s, 70s, 80s, 90s Popular songs of Soviet artists and VIA, Disco of the 80s.

Evenings who are over 30, over 40 - dance hits.

Concert performances in restaurants, clubs, boarding houses, rest houses.

You can continue listening to songs on the pages Yuri Kuznetsov sings.

Selection of a repertoire for a beginner singer is a difficult but very important task that a teacher faces. The success of individual lessons, the dynamics of revealing and revealing the development of the student's creative potential, his formation in singing ability largely depend on how methodically competently and creatively expedient it will be carried out.

The main vocal and pedagogical repertoire for a beginner singer can serve as vocalises, ancient arias (ariosos, ariettas, etc.), simple romances, folk songs and works of songwriters (songs from films, musical and theatrical productions, etc. ).

Work on the repertoire should help to identify:

• - creative individuality of the student,
• - reveal the originality of his unique "I",
• - educate aesthetic taste and form a sense of artistic measure in performance,
• - to form the basics of vocal and technical skills in a novice singer.

The classical vocalizations of F. Abt, N. Vakkai, G. Zeidler, J. Conkone, V. Lutgen can be of great help at the first stage of a singer's training. In the course of their performance, the main attention can be directed to sound formation and sound science, the formation of basic technical elements, without which further work on the work is impossible - the development of singing breathing, sound support, a sense of resonation, singing, cantilena or fluency, etc. When working on vocalizations, the moment of control over muscle tension and the purity of intonation is of great importance.

Vocalises are a good transitional material from exercises to works of art with text for all students. They were written with a specific pedagogical task that must be solved in each individual case (singing a certain interval, grace note, groupetto, syncopation, etc.). The teacher, choosing a vocalization for his student, must analyze it from the point of view of the difficulties it contains, and, first of all, pay attention to the tempo in which it must be sung, rhythmic difficulties and trace the melodic line.

The performance of vocalizations will help the young singer finally understand and analyze the musical phrase and musical form, which are the basis for the performance of any work, more easily.

Artistic works, wisely selected, are the main means of educating a singer. However, such performing genres as aria, romance, folk song, which have their own specific features, contribute to the formation of the singer in the process of his training in different ways. Let's take a closer look at them for a more complete description.

Aria is the most complex solo vocal form. As a rule, it is part of a large vocal-symphonic work and is a complete solo episode that can be performed completely independently. Less common are arias written by composers on purpose, in the form of a piece of music for some instrument, or the voice of a singer. The aria requires the singer to be especially attentive to the work in which it is included.

The singer-performer of an aria must be able to create the image of a hero, while maintaining all the details, touches and maintaining a certain dramatic situation of the work. These requirements also apply to other solo genres of operatic literature that perform the functions of an aria, such as arietta, arioso, cavatina (other names of solo opera-arioso genres are often found, such as rondo, solo, couplets, romance, monologue, song, letter, dreams, tears, legend, etc.).

Aria, to a greater extent than other vocal genres, contributes to the mastery of the vocal and performing side of learning, as well as the vocal and technical techniques of singing.

At the beginning of a singer's training, as a rule, one should, if possible, avoid including vocal-pedagogical ariose material in his educational repertoire, with the exception of those works of this genre that are not difficult. Most of the works of an ariose nature are difficult to perform and require a certain vocal and performing maturity. In any case, it is almost impossible to find the ariose material for basses, baritones, contraltos and mezzo-sopranos necessary for the initial period of a singer's training in vocal pedagogical literature. And only such an educational and pedagogical repertoire is available in a very limited amount for the soprano and less for the tenor.

Romance- This is the most developed vocal-song form. Romance plays an important role in the development and formation of the singer, it contributes mainly to the artistic and expressive side of education, instilling in the singer specific techniques of the chamber style of performance.

Romance should be considered as a synthesis of three types of arts: poetry, singing and instrumental music, organically merged with each other. Romance requires sufficient musical, artistic, vocal and technical training from the singer. This is especially true for the romances of Tchaikovsky, Rachmaninov and Rimsky-Korsakov, which are very difficult in terms of vocal and technical terms, as they contain complex intonational and melodic turns and subtle touches of artistic and expressive singing that require high skill from the performer. Therefore, the teacher should not be at the beginning teaching the singer to include unbearable and complex works of this genre in the repertoire.During this period of training, it is most advisable to use the romances of Varlamov, Titov, Gurilev, Dargomyzhsky, Alyabyev, Bulakhov, Dubuc. The main thing is that their tessitura, vocal-rhythmic pattern, and dynamic range do not cause difficulties for an aspiring singer.

Song is the most democratic, widespread and mass genre of vocal literature. She, as well as a romance and an aria, contributes to the development of the singer's musical and performing skills. But the song requires simpler means of expression accessible to many performers, while maintaining all its artistic values. Thanks to this, the song is a very useful genre in the vocal and pedagogical repertoire, especially at the beginning of the singer's education.

There are many songs - classical, ancient, modern - heroic, dramatic and lyrical in nature, which are excellent pedagogical material for educating a novice singer and developing his voice.

Among the repertoire of this genre, such works as Budashkin's "Nastenka's Song" (from the movie "The Scarlet Flower") or Dunayevsky's "On Meadows-Glades" can be considered appropriate.

A particularly useful artistic material for training a singer is - folk song. It contains an invaluable wealth of content, feelings, moods and images. Its value lies in the fact that, firstly, it carries the characteristic features of the musical culture of the people to which it belongs, and thus makes the performer imbued with these features. And secondly, being for the most part a simple work accessible to many performers, a folk song is built on natural melodic intonations and turns of music, which in vocal and pedagogical practice contributes to the correct development of the singer's voice.

Folk songs are of great importance in the process of educating a singer-musician, as they have a highly ideological, wise content, a variety and diversity of melodic constructions based on the national characteristics of folk art.

Thus, all genres of vocal pedagogical literature, having their own specific features, serve one common goal - the goal of educating and training the singer.

The task of selecting a repertoire in music schools and universities is to a certain extent facilitated by the presence of developed programs for solo singing, including repertoire lists. These lists are compiled for all types of votes by course. It is very important that the students do not sing an inflated repertoire, as is often the case in practice. This leads to the fact that young, fragile voices lose their freshness of timbre, there is a hoarseness and pitching in the voice. If the work is of excessive difficulty, the student, as a rule, trying to perform it, begins to force the sound, which is completely unacceptable.

It is useful for a teacher to use an anthology of the vocal and pedagogical repertoire in his work. Such works, time-tested in practice, exist. For example, readers compiled by E.Milkovich, S.Fuki and K.Fortunatova, G.Aden; "Children's Album" by P. Tchaikovsky, "Album for Youth" by Schumann; collections for beginners edited by M. Agin (“Repertoire of a Beginning Singer”, “Vocal Music of the Old Masters” in three volumes).

The situation with the performance of music by modern composers is very difficult. They, unfortunately, do not understand that the ear of a novice singer, and even a university student, is not prepared for new harmonic turns, for the complex language of new music. To be offended by the fact that their works are not performed enough is not a way out. It is necessary to carefully think over the tessitura of a new work, its rhythmic features, and not write, for example, a work where the baritone range is at the bottom, and the tenor is at the top, etc. Works written without taking into account the peculiarities of the singing voice can bring undoubted harm, or at best they will lie “on the shelf” for a long time.

Once again, I would like to remind you that the works that make up the student's individual plan should be accessible to him both from the vocal-technical and artistic-performing points of view. At the same time, the repertoire performed by the student should contribute to the professional development and creative growth of the student, to ensure the disclosure of his creative individuality in the process of developing singing skills. When making an artistic and didactic analysis of works, it is necessary to evaluate:

• - composition range;
• - dramaturgy and the image of musical intonation, the artistic meaning of creative tasks;
• - predominant level of musical tessitura;
• - the degree of dramatic saturation of the musically intoned image
• - the possibility of the student's realization of the musically intoned dramaturgy of the composition;
• - interaction of musical and poetic texts;
• - features of the ensemble of instrumental and vocal parts

In the middle of the century before last, at the dawn of national conservatory education, A.G. Rubinshtein published lists of works recommended for passage in solo singing classes, which served as a guideline for choosing a pedagogical repertoire. Providing the vocal and technical equipment of the student, these works contributed to the identification and disclosure of his vocal texture and performing talent in the process of developing his singing skills. Unfortunately, today a beginner singer can sometimes perform the aria of the Snow Maiden, Carmen, Lensky or even Herman.

Modern teachers in music schools are often faced with the fact that a teenager does not want to sing this or that song or romance, and all attempts to convince him lead to complications and conflicts. Often a teenager refuses not only to perform a romance that he does not like, but may even stop going to a music school. To properly understand this issue, you need to take into account all the age characteristics of adolescents. You will learn about them in this article.

Age features of a teenager

This age is characterized not only by increased vulnerability, but also by the desire to impress. He wants to seem bright, spectacular and beautiful, to be appreciated and approved, and the less love he receives in his environment, the sharper this feeling. He also becomes sensitive to ridicule, so it is important for him that the romance that he will sing from the stage favorably emphasizes his strengths as a vocalist and as a person. Therefore, in order to choose the right repertoire for him, you need to take into account such age characteristics of a teenager as:

1. Strive for efficiency. Performing a romance, a teenager wants to feel not just a performer, but a star. To do this, his repertoire must be interesting, conveying feelings familiar to the teenager himself and corresponding to his perception.
2. Fear of being judged or laughed at. It is also characteristic of adolescence, therefore, if there are places in a vocal work that are incomprehensible to him and cause embarrassment, he can simply refuse to perform it and decide that "he does not need classical vocals, since there are uninteresting works." And here you also need to be careful when choosing a repertoire.
3. Having new interests. In adolescence, a boy or girl may decide that no one needs the classics and it would be better for him to do pop vocals or even choose dancing. You can keep interest only with a bright and understandable repertoire, the content of which will help the teenager open up. Beautiful arrangements will also have a considerable effect, which will allow a teenager to feel on stage no worse than a popular star.
4. When choosing works about love, you need to consider age characteristics of a teenager, more precisely, his perception. Much depends on the specific character and temperament. There are boys and girls who perceive light works, without strong drama. And some, on the contrary, already at an early age can perfectly convey the character of the heroine Carmen. So a vocal teacher should pay attention to the ideas about love of a particular teenager in order to choose a repertoire for him that will be clear to him and help him open up.
5. A clear display of character. It is when a teenager begins to be stubborn, show character and show himself, you can see what his temperament and perception of the world around him are. Usually at this time, an already formed character with its own characteristics begins to appear. Someone becomes bright and flirtatious, an imp in a skirt, and someone turns into a dreamy glamorous girl, tender and easily hurt. Based on these features, it is worth choosing works. You should not make Carmen out of a modest woman and vice versa. It is better that the character traits of a teenager appear in the work, then it will be easy for him to perform it.

How does the perception of a teenager affect the choice of repertoire

When choosing a romance, it is worth analyzing its content and considering whether it will fit into the perception of a teenager. There are romances that sound good performed by a mature man. They contain words about deep dramatic love, about the years that flew by unnoticed. They should not be given to a teenager, as he will not be able to convey his mood, emotions and character. But songs and romances about first love, falling in love, tenderness, or, on the contrary, betrayal, a teenager will be able to convey if they correspond to his perception. Also, the romance should effectively show the teenager himself. For example, the romance “I loved you” will sound beautifully performed by a teenager who is easy to relate to failures and is not inclined to dramatize the situation. For a vulnerable and withdrawn teenager, this romance will evoke longing both for himself and for his listeners. Therefore, when choosing a repertoire, it is worth considering the perception of a teenager and his formed character.

How to create the image of a teen vocalist

The main secret of how to create the image of a teenage vocalist is to profitably present his features to the public. Anything can be beautifully played. Teenager is short tempered and impatient? He should choose a repertoire where he can beautifully present his wildness. Is he closed? Lyrical romances that are not too emotional in nature are what you need. Is the teenager a fun-loving person? Mobile romances or, on the contrary, dramatic works will sound easy and beautiful with him. After that, it is worth considering his image, costume and the message that he will have to convey to the audience during the performance. Acting lessons will help you create a holistic image. It is from such trifles that the image of a teenage vocalist is formed.

How to choose a repertoire for a teenager

1. Be sure to let the future performer listen to the romance or song in the recording. Although composers did not write works for this age, romances and songs for boys and girls should be in the arsenal of any teacher.
2. Look and analyze the text. Think about what a teenager might be interested in. An interesting repertoire for a teenager is always easier to perform than to sing something that you don’t like.
3. How does he portray a teenager? Is he really like that? Girls should not sing male romances and vice versa. They don't need to look funny from the stage.
4. Romances and songs for girls and boys doesn't have to be tragic. An interesting repertoire for teenagers should be positive and as optimistic as possible.

Examples

"Autumn Leaves" by Makrousov;

"Return to Sorrento"

Caccini "Ave Maria"

Pakhomova Natalya Vasilievna
Job title: choral teacher
Educational institution: MBOU DO DSHI №4
Locality: city ​​of Kursk, Kursk region
Material name: methodical development
Topic:"Selection of vocal repertoire for children's art school"
Publication date: 17.09.2017
Chapter: additional education

Municipal budgetary educational institution

additional education

« Children's Art School No. 4 in Kursk»

Methodical development

"Selection of a vocal repertoire for children's art school students"

Compiled by:

teacher DSHI №4

in the class of choral disciplines

Pakhomova Natalya Vasilievna

annotation

This development is devoted to the problem of selecting a vocal repertoire

for DSHI students. The pedagogical conditions for the selection and

mastering the repertoire in the vocal class of the children's art school, as well as

personal teaching experience.

INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Selection

vocal

repertoire

students

problem

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

classroom of children's art schools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Experience in the selection of vocal repertoire in a children's

art schools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

CONCLUSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

APPENDIX . . . . . . . . . . . . .

Introduction

One of the negative trends of our time is the significant

d e r e c t i o n

in cultural

space

highly artistic

vocal music. The dominance of base products of mass culture and

need

raise

quality

consumed

spiritual

cause an increase in interest in the problems of musical and aesthetic

personality development.

Questions

musical and aesthetic

education

growing up

generations are devoted to the statements of masters of art of different times and

peoples. In the "Rules of Life for Musicians" R. Schumann wrote: "On

sweets, cookies and sweets from a child will never grow up healthy

person. Spiritual food, as well as bodily food, should be simple and

healthy. The great masters have taken sufficient care of such food; her and

stick to it."

From the point of view of D.B. Kabalevsky, it is in music with the greatest

shows

"humanity"

arts:

embodies

man, his thoughts and feelings, his perception of life. At the origins of music

human

speaking,

human movement ... ".

Vocal music is the earliest art form. Already on

the dawn of human civilization, people used the voice for sound

signals and communication. Forms of vocal music became more complex

the development of human society.

Having become an independent art, music developed in close connection with

with speech, with the word. Based on the synthesis of music and words, many

vocal genres of music: intended for solo, ensemble or

choral

performance,

escorts

accompaniment.

Literary

vocal

sound,

enriches it with meanings, shades of beauty, feelings.

Vocal education is not an end in itself, but a unique way of familiarization

personalities

values

domestic

musical

culture.

The most important factor in the musical and aesthetic development of the child is

vocal

repertoire.

vocal

repertoire

the most important

importance not only for professional vocal education, but also for

full-fledged general musical and aesthetic development of the individual.

The study

established

practices

vocal

training

students

shows

vocal teachers

basic

Attention

development

vocal and technical

singing

students.

pedagogical

potential

vocal

repertoire

performing

and cultural and educational

activities

implemented

not enough.

exist

contradictions

huge

artistic and pedagogical

potential

vocal

inadequate

implementation

capacity

process

musical-

aesthetic

education

youth,

need

musical and aesthetic development of children's art school students on top samples

world vocal culture and insufficient development of theory and

methods of selecting vocal repertoire in relation to children's school

arts.

The solution to this problem is goal research.

Selection of a vocal repertoire for children's art school as a problem

pedagogy of music education

Repertoire

"list") -

a set of works that are performed at a concert, competition or

are learned during the course.

repertoire

learning

is

the most important part of the teacher's work with the student in the vocal lesson.

Problem

vocal

education

subject

studies of scientists, physiologists, psychologists, acousticians, phoniatrist,

musicians. Various approaches to this problem are covered in the scientific and

musical and pedagogical literature.

Several stages can be distinguished in the development of a child's voice, although

There are differences in the views on this issue among various authors:

0-2 years - early childhood;

2-6 years - preschool age;

6-10 years old - primary school age;

10-12 years old - middle school age;

12 - 16 years old - senior school (pubertal) age.

age

characterized by shifts

relation

conditioned

mental

the physical condition of his body, which, of course, is reflected in his

but also from a medical point of view.

and goes through several stages of its development:

1) 5–6, 9–10 years – the youngest pre-mutation age;

2) 9–10, 12–13 years old - senior pre-mutation age, flowering of voice;

3) 12–13, 15–16 - the period of mutation, in which the child's voice acquires

postmutations.

form

artistic

culture

students

aimed at expanding the repertoire from the first year of study.

Choosing the right repertoire contributes to success

vocal performer. The repertoire must be artistically valuable,

relevant

creative

direction

performer,

interesting

diverse, pedagogically useful, conducive

artistic growth of the singer.

vocal

performance

stand out

the following

varieties

repertoire:

examination,

concert,

competitive.

repertoire:

exercises

vocalizations,

artistic

works,

executable

mastering

student

any

professional

qualities:

breath,

sound science,

sound formation, etc.).

Concert repertoire - works for performance at concerts.

most

to uncover

professional

singer, which he mastered in the educational process. For a concert piece

should fit the style, theme, etc.

Repertoire

examination

competitive

works,

executable

exam

competition.

works

show the qualities of the student acquired by him in the process of teaching vocals.

problem

repertoire

teachers,

art historians,

musicians,

performers

Varlamov

“... it is important to let young students sing only such pieces of music,

subjected

danger

lose

abilities

singing."

Egorychev in

book "Exercises for the development of vocal

technology"

wrote: "Correct

exercise,

awareness

works

Separation

isolated moments are rather conditional, since any exercise

fulfillment

vocal and technical

musical-

artistic tasks".

N. Polyakova in the article "Children's vocal repertoire: formation

personalities

musician

lists

main

components of the children's vocal repertoire: "classical miniatures,

folk and modern songs of a melodious nature, similar in style to

classical music, and vocalizations. At the same time, the author notes that "all this

material must be classified according to the degree of vocal and technical

difficulties

Repertoire

correspond

repertoire

naturally

got

reflection

exemplary

programs

additional

pre-professional

education,

approved

Ministry

culture

famous

reasons

the site does not present exemplary programs for the educational

subject "Vocal", for which teachers in the vocal class could

refer.

teachers

arts

oriented

requirements

vocal-choral

preparing

subject

pursue a common goal and solve common tasks of spiritual and moral

development of students, artistic and aesthetic education and general

culture of schoolchildren. Sample program approved by the Ministry

on "Chorus" pays special attention to the problem of repertoire.

Basic principles of repertoire selection:

1. The artistic value of the work.

2. The need to expand the musical and artistic horizons

3. Solving educational problems.

4. Classical music at the core (Russian and foreign combined with

works

contemporary

composers

folk

various genres).

5. Creation of an artistic image of a work, identification of ideological and

emotional meaning.

6. Accessibility: a) by content; b) by voice capabilities; in)

by technical skills.

7. Variety: a) in style; b) by content;

c) tempo, nuance; d) in terms of complexity.

Pedagogical conditions for the selection and development of repertoire in vocal

children's art school class

arts

directly

performs

art education and musical and aesthetic development of children and

teenagers.

last thing

pursuit

musical

education among the younger generation has significantly weakened, the problem

musical and aesthetic development is particularly relevant.

procedural

consonant

development

personality,

occupying

dominant

position

contemporary

psychology

pedagogy. So, to the main methodological principles of artistic

education include “starting learning from an early age, continuity

and continuity of different levels of art education” . The idea of ​​personality development is realized in successive relationships of all types

and types of educational institutions (kindergartens, general education

institutions

middle

professional,

postgraduate

professional

education,

institutions

additional education, including children's art schools) and

institutions of culture and art.

musical and aesthetic

development

carried out

the formation of the musical and aesthetic culture of the child.

Correct and expressive singing is an indicator of development

musical culture of the individual. Although singing is a natural factor, nevertheless

However, for a number of reasons, children recently sing less and worse.

The task of the teacher in the class is not only to develop the voice of children, but also to teach

students constantly listen to themselves while singing, analyze it all the time with

accuracy

relation

length, shading, sound strength, etc. At the same time, one should not forget about

artistic side of performance. Thus, the development of vocal

skills is the most difficult task facing the teacher-musician.

Singing performs a number of functions in terms of music education and

upbringing:

learning

performing

works

vocal

repertoire,

there is an acquaintance with diverse compositions;

Getting an idea about musical genres, development techniques;

The study of the connection between music and words in vocal works;

Mastering some features of folklore and musical language

works of professional composers.

expands

horizon

students

shapes

positive

the attitude of children to musical art, stimulates the development of interest

to music and music lessons. Singing solves the problems of hearing development and

students

shapes

definite

singing

skills necessary for expressive, emotional and meaningful

execution. As one of the most accessible types of performing

activities

develops

general education

necessary

successful

learning

emotional response to various phenomena of life, analytical skills

positive

relations

surrounding

comprehension

emotional and moral meaning of each piece of music,

through the formation of a personal assessment of the music performed.

At a children's art school where students combine singing with learning

playing musical instruments, it is vocal lessons that serve as one

factors

development

musicality

help

development

intonation

necessary

mastering

performing

art

musical

instrument,

contribute to the formation of musical skills.

The success of vocal work largely depends on various reasons.

One of them is the initial level of the general musical culture of children,

affecting the development of such psychophysical processes as perception

music, memory, verbal communication skills, emotional reactions. Other

primary vocal skills before entering art school.

process

vocal

solved

complex

vocal development of children, the most significant of them - singing installation,

work on breathing, work on articulation, work on sound, work

over the work.

Articulation, the most important part of vocal work, is closely related to

breathing, sound production, intonation, etc. With the help of a good

articulation when singing, the text reaches the listener. Articulatory

the apparatus in children, and especially younger ones, needs to be developed. Here

everything is important, everything affects the quality of performance: the ability to open your mouth when

right

arrange

break free

tightness,

tension of the lower jaw, freely place the tongue in the mouth. When singing

it is also important to sing vowels, rounding them; strive for clarity

unstressed vowels; pronounce consonants quickly and clearly.

junior

age,

We care about the quality of sonority and intonation. Make sure the kids open

mouth, did not sing through teeth or with a nasal overtone. In this case, the role

teacher display.

From young children, one cannot demand great sounding power,

minor

overload

lead

disease

singing

remember that you can not scream, talk loudly, and during ailments

you can't sing.

repertoire,

correspond

opportunities

singer. It is desirable that cantilenas predominate in the vocal repertoire.

Vocal

exercises

chanting

settings,

overcoming

technical

difficulties.

exercises

organically enter the lesson.

Work on the work. The content of the vocal work and its

character are analyzed together with the child, which contributes to the education

listening and hearing music.

having listened

verbal

"hints" (without a literary basis) in his imagination could create

musical

Gradually

getting used to

at the same time, to determine the means of expression, the form of the work.

Everything will be understood by children if you pay attention to it from the very beginning.

A child cannot sing indifferently. If he understood the song well,

introduced

art

execution

emotional and persuasive. Work on the work is in progress

in parallel with work on individual skills and abilities. the main objective

teacher

reach

performance

you just

naturalness,

to teach the child to “see” what is being performed, to sing softly, to exclude loudness.

learning

students

master

vocal

skills

master

vocal

repertoire

various

concentrate

Attention

quality

sound,

acquire

competitive and concert performances.

most

topical

significant

practice

musical

education

is

problem

formation

children's vocal-intonation skills. Despite the fact that from the success

organization of vocal-intonation work with children largely depends

the quality of the musical educational process, this area refers to

least developed in the theory and methodology of general and additional

education.

musical

education, first of all, requires the development of the creative beginning of students,

development

capabilities

music making,

formation

wide

musical outlook, aesthetic attitude to life phenomena.

By identifying a problem, it is possible to identify the main ways to solve it - these are

development of unified, evidence-based, targeted and effective

teaching.

teachers

absence

significantly

impede

children's

musical and artistic education.

Lack of stable curricula and educational programs

much

complicates

functioning

Arts:

hinders the formation of educational requirements, the development of modern

learning

propaganda

teachers,

preparing

relevant

pedagogical

creation

experience. The School of the Arts develops based on enthusiasm and initiative

heads of local bodies of culture, education and workers themselves

institutions,

trying

on one's own

develop

formulate

normative

the documents.

brewed in its own juice, including our Children's Art School No. 4 of the city of Kursk.

At the same time, our school of arts has two programs for

subject "Vocal" for choral and instrumental departments (Appendices

programs

have served

o p y t n o -

experimental work.

essential

research

definition

principles

vocal

repertoire.

The study

psychological and pedagogical

methodical

literature,

generalization

advanced

pedagogical

made it possible to identify a number of guiding principles.

The principle of combining technical and artistic in teaching.

means

repertoire

directed

harmonious development of artistic and technical qualities at the same time.

The repertoire should combine a narrowly focused set of exercises,

chants

artistic

works.

principle

decide

simultaneous

development

vocal

expressiveness.

Before starting work with a student, it is necessary to conduct a pedagogical

diagnostics,

define

technical

artistic

development.

Having determined

development

work,

are selected

relevant

exercises

Seriously

treat

repertoire, since it is necessary to find exactly that limited number

works,

able

advance

directions. A well-chosen work should be accessible

student both artistically and technically. And for this

teacher

necessary

have

sufficient

musical

material in their field of work.

L. B. Dmitriev

emphasized:

exercise,

vocalizations

artistic and pedagogical

material

is

compulsory

teacher.

correct

master

repertoire.

who knows the pedagogical repertoire and knows how to use it, has in

in their own hands a powerful means of developing a singer. Unfortunately, classes often

account for

observe

limitation

musical

material,

standardization

exercise,

vocalizations,

artistic

repertoire that can be used for pedagogical purposes. It's strong

reduces learning efficiency.

Principle

individual

approach.

student

teacher must take into account the individual

properties of each student, features of temperament, character. Often

it happens that a certain student is more suitable for lyrical

songs, and the teacher, without noticing this, gives funny, incendiary

songs and vice versa. In these cases, the student will not open up in the song, or she

he just won't be interested.

The selection of the repertoire should also take place within the framework of the decision

learning tasks.

The principles of repertoire selection are the basis of the educational and creative process in

teaching vocals to schoolchildren. Its consistent development from simple to

complex

principles

didactics

teaching and educating vocal students. Multi-genre vocal

repertoire

big

quantity

works

composers contribute to the accumulation of performing experience by students

and knowledge.

The question of selection of repertoire is the main one in the work of the performer. From

skillful selection of the repertoire depends on the growth and development of the singer. AT

first of all, you need to remember about the tasks assigned to the beginner

selected

work

sent

development

development of certain vocal skills.

Didactic

principle

gradual

consistent

development.

phased

complication

repertoire

positively

correct

apparatus

musicality.

repertoire lists of training programs and teaching aids are based

on this principle.

R epertoire

must

to be highly artistic,

wear

educational

and developing

character, correspond

age

r e b e n c a

his understanding,

correspond performing

opportunities children, be diverse in nature and content, a

it is also necessary to complicate the repertoire as necessary in order to

acquisition of certain skills.

In order to select the correct repertoire for students, it is necessary

primarily:

age

features

development

- select a repertoire based on the needs and abilities of each

guided by

requirements

repertoire

drawn up in the DSHI.

Experience in the selection of vocal repertoire in conditions

children's art school

identifying

musical,

particular

vocal,

knowledge of students, a study was conducted on the basis of Children's Art School No. 4 of the city

Kursk. The students were given a questionnaire containing 10 questions.

vocal and literary themes. The age of the respondents is 8–16 years.

The children were asked to complete a questionnaire containing the following questions:

3. What vocal works do you like?

4. What works would you like to perform?

5. What works are in your vocal repertoire?

6. What vocal performers do you know what you like best about them

repertoire?

9. What poets do you know?

10. Whose poems are the following works written on?

1) Music. S. Prokofiev "Chatterbox";

2) Music. P. Tchaikovsky "Autumn";

3) Music. G. Sviridov "Winter Evening";

4) Music. A. Varlamov "The lonely sail turns white";

5) Music. E. Krylatova "Winged swing".

The results of the survey are presented in Appendix No. 5.

to talk and express your thoughts. quite understandable and

correct answer to the question.

To the question "Why does a person need a vocal voice?" the children answered

and human experiences.

To the question "What vocal works do you like?" every child

answered in his own way. Some wrote about the nature of the works, others pointed out

vocal

repertoire

arts,

some

students like English songs, and some like Russian classics. Those.

The responses of the students are very diverse and depend on personal preferences.

To the question “What works did you want to perform?” the answers were:

modern pop songs, English songs, as well as in general, the most

known all over the world.

When asked about the content of their vocal repertoire, the children listed

mostly works that have been performed in the vocal lesson for the last year -

two. This suggests that perhaps the students do not memorize the works

previously performed by them.

When asked about which vocal performers you know, and which ones

I like the works, only one student wrote about Luciano Pavarotti,

the rest of the students wrote only about contemporary pop singers. Judging by

responses, certain conclusions can be drawn.

qualities

vocal

following:

Celebrate

quality

range,

melody,

meaning

Similar

students

holistic

ideas about what qualities a singing voice should have.

Answering the question, “What qualities of a vocal voice would you like

to develop at home?”, the beginning singers answered as follows: sonority of voice, clear

intonation, good and correct breathing, wide range, smooth

sound science.

2015 is the year of literature in Russia, in this regard it was relevant

ask the children what poets they know. The most popular were

A.S. Pushkin and M.Yu. Lermontov, as well as S.A. Yesenin and V.V. Mayakovsky.

represented

titles

famous

vocal

works

definition

works. When performing this, as well as other previous tasks,

faced

certain

difficulties.

convinces

need

improvement

process

musical and aesthetic

development of children's school students, including in vocal classes.

problem

musical and aesthetic

development

students, the experience of the teacher in the class of choral disciplines was studied

Lepeskina

Nikolaevna.

teacher - 36 years old.

T.N. Lepeskina shared not only teaching materials, but also

information about the features of the musical development of children involved in

her class. Among them are Avetisyan Arevik and Bespalova Alina.

Avetisyan Arevik - 8 years old, 2nd grade of the Children's Art School, choral department.

arts

average

musical

vocal data. By nature, the student has good data, with regard to

hearing, rhythm, musicality. But they were very poorly developed, as in

constrained

shy

had a small range.

The teacher, seeing the good musical data of the student, became

prepare

speech

school

concerts,

it is possible to save the child from psychological constriction earlier.

In the first year of study at the Children's School of Art, Arevik in the educational, competitive and

The concert repertoire included the following works:

Vocalises

Tatarinova

"Carlson,

be friends";

M. "Final

op. "Fly

Tsokotuha";

Spadavecchia A. "Good bug"; L.c.p. "The sun was rising"; R.n.p. "In the field

birch

classes

offered

exercises

intonation skills.

Successful development of the repertoire and performance at school concerts

competition

"Crystal

nightingale"

participation),

All-Russian competition-festival "I give you wings" (I degree diploma).

In the second year of study, Arevik grew up in every sense. For half a year

managed to master the following repertoire:

Vocalises by F. Abt (1,2,); Rebikov V. "Sparrow-Sparrow"; Gladkov G.

"Plasticine crow"; R.n.p. "Crane".

school

concert

getting ready

take part in the New Year's musical fairy tale.

Participated

international

competition-festival

"Talents

borders" (diploma of the 1st degree), is preparing for the city competition "Crystal

nightingale".

In the future, the development of the following works: F. Abt Vocalise No. 7,

Beethoven

"Robin",

Arensky

forge."

We can draw the following conclusion. There is a clear growth of the student, through

repertoire

application

principle

development

simple

complex, taking into account psychophysiological characteristics (for example, Arevik

fit

works).

perspectives

development, the teacher gives the student classical works, Russian

folk songs for unaccompanied performance. As a result, for such

small

learning

liberated, she began to sing louder, louder, the range of her voice increased.

Moreover, she began to behave more confidently not only in the classroom, but also

upon entering the stage.

Bespalova Alina - 12 years old, 6th grade of the Children's Art School, choral department.

Like most children, Alina came to art school at a young age.

a six year old child. Tatyana Nikolaevna started studying from the second

The teacher noticed that Alina differs from other children in that

understanding

applies

learn to sing and puts all his efforts into it.

All the years of vocal training were based on compulsory exercises

to develop vocal skills.

formed

vocal

repertoire

learning. All works were given according to the principle from simple to complex,

necessarily in the repertoire there were Russian and foreign classics,

songs of the peoples of the world, works of Soviet and modern composers,

various

vocalizations

exercises. Principle

combinations

technical

artistic was also present in the selection of the repertoire, were taken into account

age and individual characteristics of the student.

List of repertoire for all years of study:

Tatarinova N. Vocalises (1-10); Abt F. Vocalises (1-8); Krokhmal V.

Vocalise No. 1.5; Conkone D. Vocalise No. 1,2; Nikitin T. and S. "Big secret

for a small company"; Chernyshev V. "This big world"; Pakhmutova A.

maternal

"Spring"; Glinka M. “Oh, are you a night, a night”; Mancini "Moon River";

Cui C. "Autumn"; Rebikov V. "Hello, guest - winter!"; Waltz from m/f

"Anastasia";

Khrennikov

"Lullaby

Svetlana";

Aedonitsky

“Songs are born themselves”; Schumann R. "Evening Star"; Mozart W. "Children's

Rybnikov A. "Romance of the Turtle Tortila"; Karasev P. "Mountain

peaks"; Karasev P. "In the dark forest"; R.n.p. "Like under a hill"; R.n.p. "In

there was a birch field"; A.n.p. "Rain rain, go away"; N.n.s. "Spring"; R.n.p. "Way down

according to mother, along the Volga "; R.n.p. "Thin Rowan", etc.

During the five years of study with Tatyana Nikolaevna, Alina

achieved great results. Considered one of the few best

vocal students among children's art schools of the city. Participant of the children's

Choir of Russia conducted by V. Gergiev. In the summer of 2015, she traveled for merit

to the children's camp "Artek". At the end of December 2015, she will sing with

Russian Children's Choir at a concert in the Kremlin. Takes an active part in

school

visiting

concerts.

Regularly

involved

quantity

urban,

international,

regional

vocal

competitions:

"Crystal

nightingale",

"Autumn

starfall”, “Glory, Fatherland”, “Offering to Chopin”, “Talents of the new

era”, “I am an artist”.

achieved

are based

well-chosen repertoire by teacher T.N. Lepeskina. Her experience

professional

quality,

specifically

musically and aesthetically, but not without their own efforts.

Modern

teachers

experiencing

certain

difficulties in providing pedagogical literature as a methodological

the fact that the textbooks created in previous decades have become dilapidated and largely

morally

outdated.

teachers

Internet resources,

however, even there it is not always easy to find that vocal work, which

necessary to solve specific technical and artistic problems.

arts

certain

requirements

teaching in the vocal class. Children's School of Art No. 4 in Kursk has developed programs for

subject

(Application

Programs

amounted to

choir and vocal teacher Bredikhina T.V. The programs were

The first program is designed for children with a 5 (6) years of study,

incoming

age

Brought

exemplary

repertory

foreign classics, Russian folk songs, songs of the peoples of the world, as well as

The second program is designed for children with a term of study of 7 (8) years,

entering at the age of 6-9 years. An exemplary repertoire is also given.

foreign

classic,

folk

works of contemporary composers.

In both programs there is an item called "Selection of educational

repertoire".

says: "Musical and singing

formed

slowly.

characteristic

workings

dynamic

stereotype

possessions

is

duration,

some diversity of time in the formation of various musical and singing

skills, although from the very first year of study there is a gradual formation

both each skill individually and the relationships between them.

In accordance with the curriculum of Children's School of Art No. 4, each student twice a

(academic

concert).

required

repertoire

half a year

works

performance by students, namely:

I half year

II half year

1) Vocalise or exercise (for 1st grade students);

2) A work with accompaniment;

3) A capella piece (without accompaniment).

For graduate students the following requirements:

I half year

Execution

works

prescribed

(listening for the final exam).

II half year

Final exam. The graduate performs:

1) Vocalise

2) A work with accompaniment;

3) A work with accompaniment;

4) A capella piece (without accompaniment);

5) A capella piece (without accompaniment).

requirements

teacher

refer

choice of repertoire.

In the conditions of training, improvements in singing are constantly observed.

development of each child, but significant changes in the possession of the voice,

are happening

about

planning

compiling

repertoire

necessary

take account of

minor

improvement in vocal skills.

Majority

vocal

chanting

calculated

developed

quality

vocalizations

Maybe

usage

textbooks

solfeggio.

students

older age - performing simple classical vocalizations for

Simple children's songs of modern composers are quite suitable

performance

artistic

repertoire.

vocal

opportunities and success in teaching high school children, perhaps

performance of simple works of classical and pop vocal

repertoire.

repertoire

works

students

are presented in appendices No. 3, No. 4.

Aesthetic development should be based on the idea

about music as a single art in which there is an opposition

not "light" and "serious" music, but artistic and anti-artistic

works. Therefore, in

repertoire I use: works of Russian and

foreign composers, classical composers, folk songs, songs

Soviet and contemporary composers.

Artworks

artistically

expand the musical horizons of children, solve educational problems,

classic

(Russian

foreign)

combine

works

contemporary

composers

various

folk

Necessary

create

art

works

reveal

availability

works

forget

diversity

difficulties,

nuance.

Formation

vocal and performing

culture

directly

varied

repertory

programs.

How much

interesting

available,

include

aesthetic development, so effective is the process of development

vocal and performing culture of schoolchildren. The repertoire contains

didactic basis of the educational and creative process. He can represent

interest, accessibility, visibility, systematicity and consistency,

means

learning

education,

a stimulating basis for the musical and creative development of future singers.

A measure of the correspondence of the repertoire to the interests and needs of the performers, its

multifaceted

potent

providing

organizational

social

creative tasks. The repertoire contains a substantial core,

which can become a kind of beacon for children and lead them along the path to

self-improvement, self-realization, or, conversely, put a barrier,

submerge

disappointment.

overestimate

the importance of both the formation and development of the repertoire.

Analysis of the repertoire at the didactic level allows a deeper understanding

its all-encompassing nature. Selection of works for specific study

conditioned

artistic and aesthetic

value

works,

didactic

expediency.

musical

work

entities.

Specific

musical

statement

an organic synthesis of the normative and the individual. In this duality

lies the secret of the educational and educational value of the repertoire.

Thus, the musical repertoire as the basis of educational and creative

process

organizational

defines

principles

directly

didactics

learning,

quality

study

varied

educational

material,

musical-

aesthetic development and education of students.

Conclusion

Vocal music is an integral part of the musical culture of different

process

development

emotional

responsiveness

artistic and figurative thinking and imagination in a child

arise

initial

being

interests,

needs,

preferences

holistic

orientations

personality,

constituents

personal culture.

process

research

verified

efficiency

pedagogical conditions for the formation of the vocal repertoire in the context

musical and aesthetic development of children's school students:

- the principle of consistency, involving the implementation of a comprehensive

studying

intonation

musical

art

education of the intonational culture of students;

integrity,

directed

development

holistic

perception of musical works and components of the musical language;

- the principle of the priority of domestic musical culture, native

– the principle of relying on health-saving technologies that combine

vocal-intonation work;

unity

emotional

cognitive

creative

development of students.

Constant careful work on questions of the vocal repertoire

disciplines

students.

Attentive

attitude

individual

features helps each student to gain a deeper understanding of their personal

vocal abilities, acquire their own performing image.

results

experiment

allow

talk

need

structuring

vocal

compliance

tasks

musical

education,

aesthetic

education

specifics

psychophysical development of children.

Conducted

allows

outline

some

promising

areas of theoretical and practical activities that are essential for

improvement

musical and aesthetic

development

students

Among them are the problems of continuity in the development of vocal and intonational

skills at various levels of education, as well as the education of artistry in

studying vocals at the children's art school.

Bibliography

Varlamov A.E. Complete School of Singing: Study Guide. - 3rd ed., Rev. -

St. Petersburg: Doe; PLANET OF MUSIC, 2008. - 120 p.

Vasina-Grossman

poetic

Rhythm. Part 2, 3. Intonation. Composition. - M.: Music, 1972. - 378 p.

Dmitriev, L. Fundamentals of vocal technique. - M.: Music, 1968. - 675 p.

Schumann R. About music and musicians. Collection of articles. - M .: Music, 1979.

- Vol. II-B. – 295 p.

Egorycheva

Exercises

development

vocal

Musical Ukraine, 1980. - 112 p.

1997. - 192 p.

Kabalevsky D.B. Peers: Conversations about music for youth. – M.:

Music, 1980. - 120 p.

Osenneva M.S., Samarin V.A., Ukolova L.I. Methods of working with children

vocal and choir group. – M.: ACADEMA, 1999. – 223 p.

Polyakova

vocal

repertoire:

formation

Exemplary program for the subject PO.01.UP.01. CHORUS //

Additional pre-professional general education program

in the field of musical art "choral singing" / Developer O.Yu.

Eyes.

M i n i s t e r s t v o

culture

mkrfministerstvo/department/detail.php?

ID=508082&SECTION_ID=19546

Application No. 1

Application №2

Application №3

Repertoire list of works by students for 2013/14

Ryazantseva

Julia 1

(repertory

works,

1. N Tatarinova Vocalise No. 1;

2. N. Tatarinova Vocalise No. 2;

3. arr. N. Nesterova u.s.p. "Geese";

4. Arr. P.I. Tchaikovsky "Bird";

5. R.n.p. "Like under a hill";

6. R.n.p. "There was a birch in the field."

Mochkarovskaya Karina Grade 4 (repertoire list of works,

performed at an academic concert during the year)

1. N. Tatarinova Vocalise No. 10;

2. F. Abt Vocalise No. 1;

3. Music. A. Alyabyeva, sl. A. Pushkin "Winter Road";

4. Arr. R. Gunda, trans. A. Efremenkov "Cuckoo";

5. R.n.p. "Crane";

6. R.n.p. Kalina.

Vasiliev

Andrew 7

Class

(repertory

works,

performed at an academic concert during the year)

1. F. Abt Vocalise No. 1;

2. F. Abt Vocalise No. 2;

3. Music. G. Gladkova, sl. V. Lugovoy "Camping song";

4. Music. V. Reneva, sl. A. Alien "White Path";

5. R.n.p. "In the forge";

6. R.n.p. "Oh, the street, the street is wide."

Application No. 4

Repertoire list of works by students for 2014/15

Ivanova

Daria

(repertory

works,

performed at an academic concert during the year)

1. N. Tatarinova Vocalise No. 2;

2. N. Tatarinova Vocalise No. 3;

3. Music. V. Good, sl. M. Wesely "Dance";

4. Music. B. Savelyeva, sl. A. Khaita “We will survive this trouble”;

5. Arr. P. Karaseva "Mountain Peaks".

6. Arr. P. Karaseva "The grass is turning green."

Ivanova

Elizabeth 4

(repertory

works,

performed at an academic concert during the year)

1. F. Abt Vocalise No. 5;

2. V. Krokhmal Vocalise No. 5;

3. Music. A. Kudryashova, sl. I. Yavorovskaya "By the river";

4. Music. I. Franceskevich, sl. I. Bunin "Northern birch";

5. Arr. P. Karaseva "Down, along the mother, along the Volga";

6. R.n.p. "Like a godfather to a godfather."

Samokhvalova Xenia Grade 6 (repertoire list of works,

performed at an academic concert during the year)

1. I. Frantseskevich Vocalise;

2. V. Krokhmal Vocalise No. 5;

3. Music. P. Tchaikovsky, op. A. Pleshcheeva "Autumn";

4. Music. I. Franceskevich, sl. S. Yesenin "Bird cherry";

5. R.n.p. "Thin rowan";

6. R.n.p. "In the Dark Forest"

Application No. 5

Students' responses to the questionnaire

Talysheva Daria

8 years old, 3rd grade

To express my thoughts.

Kravchenko Evgeniya

12 years old, 6th grade

To express your emotions.

Sidorova

Angelina

15 years old, 6th grade

to a person

people to express their thoughts and emotions, which

we want to convey.

Panova Evelina

11 years old, 4th grade

To communicate with other people.

Korobkova Olga

16 years old, 7th grade

To express your thoughts.

Miroshnichenko

your thoughts, ideas, feelings...

Nozdrachev

Victoria

10 years old, 4th grade

To talk.

Butova Sofia

7 years old, 2nd grade

To talk and sing.

Mochkarovskaya

12 years old, 6th grade

To talk to people.

Sidorov Daniel

To speak.

10 years old, 4th grade

Question: Why does a person need a vocal voice?

Talysheva Daria

8 years old, 3rd grade

To sing cleanly.

Kravchenko Evgeniya

12 years old, 6th grade

To perform beautiful works. For

Sidorova

Angelina

Most

like

vocal works.

Panova Evelina

11 years old, 4th grade

Korobkova Olga

16 years old, 7th grade

Vocal

transmits

experiences,

suffering or joy, while singing, as well as completely

reveals the character and soul of a person.

Miroshnichenko

feelings through songs.

Nozdrachev

Victoria

10 years old, 4th grade

To sing.

Butova Sofia

7 years old, 2nd grade

To sing.

Mochkarovskaya

12 years old, 6th grade

To sing.

Sidorov Daniel

10 years old, 4th grade

To sing.

Question: "What vocal works do you like?"

Talysheva Daria

8 years old, 3rd grade

I like the piece "Baa, Baa, Black Sheep".

Kravchenko Evgeniya

12 years old, 6th grade

Sidorova

Angelina

15 years old, 6th grade

like

works

Gl and n to and,

Shostakovich, Rodion Shchedrin and Mikhail Yakovlev.

Panova Evelina

11 years old, 4th grade

Elina Chaga "Boogie-woogie", Brilliant "Muscovites".

Korobkova Olga

16 years old, 7th grade

Romances by various composers.

Miroshnichenko

12 years old, 5th grade

in my own way

beautiful...

Nozdrachev

Victoria

10 years old, 4th grade

"Winged swing", "Beautiful far away".

Butova Sofia

7 years old, 2nd grade

Fast, fun.

Mochkarovskaya

12 years old, 6th grade

Works of contemporary singers.

Sidorov Daniel

10 years old, 4th grade

Adele "Skyfall", from Titanic.

Question: “What works would you like to perform?”

Talysheva Daria

8 years old, 3rd grade

I would like to perform the work "Revived Doll".

Kravchenko Evgeniya

12 years old, 6th grade

Famous works around the world.

Sidorova

Angelina

15 years old, 6th grade

I would like to perform a romance based on Pushkin's poems "Winter

Panova Evelina

11 years old, 4th grade

Julia Parshuta "The month of May".

Korobkova Olga

16 years old, 7th grade

Celine Dion "My heart will go on".

Miroshnichenko

12 years old, 5th grade

Solo. Loya roses are dark scarlet well .. I don’t even know what else ..

Nozdrachev

Victoria

10 years old, 4th grade

d a l e k i y

On an old film.

Butova Sofia

7 years old, 2nd grade

Various English.

Mochkarovskaya

12 years old, 6th grade

I didn't think about it.

Sidorov Daniel

10 years old, 4th grade

Adele "Skyfall", from Titanic.

Question: “What works are in your vocal repertoire?”

Talysheva Daria

8 years old, 3rd grade

repertoire

Vocalise 2, "A dream is a wish you heard makes".

Kravchenko Evgeniya

12 years old, 6th grade

Music by M. Glinka, words by S. Gorodetsky "Glory";

Music by I. Dunayevsky, lyrics by M. Matusovsky “Fly,

Music by G. Sviridov, lyrics by B. Pasternak "Soul";

Pakhmutova,

Dobronravova

goodbye, Moscow";

Mendelssohn

Nekrasov

"Autumn

Muses. C. Cui, words by F. Tyutchev "Spring";

Ptichkina,

Plyatskovsky

freckles smile.

Sidorova

Angelina

15 years old, 6th grade

repertoire

works.

For example:

"Song

"Bird cherry,

"Boat," Music, "Glory," Lullaby and others.

Panova Evelina

11 years old, 4th grade

E. P a r a n i n a

« P i r a t s k i y

d e t s k i y

Giant - "Shabu-Dabu".

Korobkova Olga

16 years old, 7th grade

blue",

Varlamov

"Red

sundress",

Aedonitsky

born

Zeidler Vocalise No. 10, C. Cui "Autumn".

Miroshnichenko

Kosmachev "Song about the Elk", Konkone Vocalise No. 7.

12 years old, 5th grade

Nozdrachev

Victoria

10 years old, 4th grade

"Beautiful far away."

Butova Sofia

7 years old, 2nd grade

“Winter in the forest”, “Why does the bear sleep in winter”.

Mochkarovskaya

12 years old, 6th grade

A. Alyabyev "Winter Road", "Crane", "Cuckoo" and

Sidorov Daniel

10 years old, 4th grade

“Many-many”, vocalization No. 4, “Oh, winter winter”, etc.

Question: “What vocal performers do you know that more

like in their repertoire?

Talysheva Daria

8 years old, 3rd grade

Selena Gomez "Love you like a love song".

Kravchenko Evgeniya

12 years old, 6th grade

Vorobyov

"Crazy, Irakli" I love you very much, "

Nargiz "You are my tenderness", etc.

Sidorova

Angelina

15 years old, 6th grade

Luciano Pavarotti. His tenor is able to win the heart

callous

person.

perform

compositions

performed the usual hits, and also loved to sing chanson.

Panova Evelina

11 years old, 4th grade

Sisters Tolmacheva "Shine", Yulianna Karaulova "Stars in

the sky is burning."

Korobkova Olga

16 years old, 7th grade

Natasha James Marsh (I like all works), Dina

Garipov "What if".

Miroshnichenko

12 years old, 5th grade

Hmm.. I don't even know..

Nozdrachev

Victoria

10 years old, 4th grade

Butova Sofia

7 years old, 2nd grade

I don't know what their names are.

Mochkarovskaya

12 years old, 6th grade

I know many, too long to list.

Sidorov Daniel

10 years old, 4th grade

Adele, Basta, all songs.

Question: “What qualities of a vocal voice do you know about?”

Talysheva Daria

8 years old, 3rd grade

Clean, crisp, clear, loud.

Kravchenko Evgeniya

12 years old, 6th grade

Timbre, melody, sonority.

Sidorova

Angelina

15 years old, 6th grade

Timbre, breathing, sound science and others.

Panova Evelina

11 years old, 4th grade

Korobkova Olga

16 years old, 7th grade

Smoothness, lyricism, sensuality, clarity...

Miroshnichenko

12 years old, 5th grade

I do not even know.

Nozdrachev

Victoria

10 years old, 4th grade

Breathing, intonation.

Butova Sofia

Mochkarovskaya

12 years old, 6th grade

Sidorov Daniel

10 years old, 4th grade

Timbre, pitch, volume.

Talysheva Daria

8 years old, 3rd grade

Clean, clear, crisp.

Kravchenko Evgeniya

12 years old, 6th grade

Voice.

Sidorova

Angelina

15 years old, 6th grade

I would like to develop myself vocal qualities, such as:

breathing, range development.

Panova Evelina

Korobkova Olga

16 years old, 7th grade

Lyricism and fluidity.

Miroshnichenko

12 years old, 5th grade

Rarely take breath and take high sounds.

Nozdrachev

Victoria

10 years old, 4th grade

Sing pure sounds.

Butova Sofia

7 years old, 2nd grade

Develop such qualities to sing well.

Mochkarovskaya

12 years old, 6th grade

Sing loudly, not in the nose.

Sidorov Daniel

Question: "What poets do you know?"

Talysheva Daria

8 years old, 3rd grade

A.S. Pushkin, S.A. Yesenin.

Kravchenko Evgeniya

12 years old, 6th grade

Pushkin, Tyutchev, Lermontov, Akhmatova, Balmont, Barto,

Block, Bunin, Yesenin, Marshak, Mayakovsky, Nekrasov, Fet,

Sidorova

Angelina

15 years old, 6th grade

Alexander

Sergeyevich,

Mayakovsky, Ivan Bunin, Nikolai Zabolotsky, Marina

Tsvetaeva, Sasha Cherny, Konstantin Erberg, etc.

Panova Evelina

11 years old, 4th grade

Pushkin, Lermontov, Tolstoy, Yesenin, Tyutchev, Nekrasov.

Korobkova Olga

16 years old, 7th grade

S. Yesenin, P. Sinyavsky, A. Pushkin.

Miroshnichenko

12 years old, 5th grade

Lermontov,

Akhmatova,

Mayakovsky,

Nozdrachev

Victoria

10 years old, 4th grade

Pushkin, Lermontov.

Butova Sofia

7 years old, 2nd grade

Pushkin A.S.

Mochkarovskaya

12 years old, 6th grade

Pushkin, Lermontov, Blok, Yesenin.

Sidorov Daniel

10 years old, 4th grade

Pushkin, Lermontov.

Question: Whose poems are the following works written on?

1. Music. S. Prokofiev "Chatterbox";

2. Music. P. Tchaikovsky "Autumn";

3. Music. G. Sviridov "Winter Evening";

4. Music. A. Varlamov "The lonely sail turns white";

5. Music. E. Krylatova "Winged swing".

Talysheva Daria

8 years old, 3rd grade

1. K. Chukovsky

2. F. Tyutchev

3. A. Pushkin

4. M. Lermontov

5. don't know

Kravchenko Evgeniya

12 years old, 6th grade

1. A. Barto

2. A. Pleshcheev

3. A. Pushkin

4. M. Lermontov

5. Y. Entin

Sidorova

Angelina

15 years old, 6th grade

1. A. Barto

2. A. Pleshcheev

3. A. Pushkin

4. M. Lermontov

5. don't know

Panova Evelina

11 years old, 4th grade

1. don't know

2. Pleshcheev

4. Lermontov

5. Entin (not sure)

Korobkova Olga

16 years old, 7th grade

1. A. Barto

2. A. Pleshcheev

3. A. Pushkin

4. M. Lermontov

5. Y. Entin

Miroshnichenko

12 years old, 5th grade

1. don't know

4. Lermontov

5 I don't remember.

Nozdrachev

Victoria

10 years old, 4th grade

Butova Sofia

7 years old, 2nd grade

Mochkarovskaya

12 years old, 6th grade

1. K. Chukovsky

2. F. Tyutchev

3. A. Pushkin

4. M. Lermontov

5. don't remember

Sidorov Daniel

10 years old, 4th grade

1. don't know