And poetry is embraced by music. Female singing voices

1. Which word has forty vowels?

Answer: magpie

2. What is the name of the sign that turns the word seed into a family?

Answer:dividing soft sign.

3. Read aloud a poem by I. Selvinsky. Can a person who does not know the Russian language guess what it is about? Why?

Pair of drums
Pair of drums
Pair of drums
Bila
Storm.
Pair of drums
Pair of drums
Pair of drums
Bila
The battle!

Answer:Any person, even without knowing the Russian language, will understand that we are talking about drumming. The poet uses sound writing here.

4. Listen to the sound of S. Marshak's poem "Rain".
Through the blue sky
The roar of thunder passed
And again everything is silent.
And a moment later we hear
How fun and fast
All over the green leaves
On all iron roofs,
On flower beds, benches,
By buckets and watering cans
Cheerful rain knocks.
Determine with what combinations of sounds and their repetition the poet conveys the roar of thunder and the sound of raindrops.

Answer:roar of thunder - r - gr -
The sound of raindrops is a repetition of the preposition -po.

5. What words will you get if you read the following words from the end to the beginning, taking into account the sounds, not the letters:
log, goal, hatch, ice, steam?

Answer:count, log, sack, roofing felt, arap.

6. Explain why A.S. Pushkin in "The Tale of dead princess and about the seven heroes" rhymes:
"White-faced, black-browed, Such a meek disposition"?

Answer:According to the rules of modern Russian literary language the word of such is pronounced as such.

7. Read an excerpt from R. Rozhdestvensky's poem "An Exercise in Phonetics." What feature of vowel sounds is emphasized in it?

We are vowels
We are vowels
Hunky-eyed and domineering.
We are at your first cry.
At the front.
And in the market.
In "Hurrah!"
And in "Help!"
On the stage.
On the grave.
in misery
And in anger...
We are like a foundation in a word.
Scream if you're scared
Scream if it hurts...
We are in the wildness of football,
When - a blow and - past.
When they yell:
"On we -s -s-lo -!"
We are torn from the larynx,
And don't swallow us.
We don't want to go back.
We are vowels.
We are the truth.

Answer:The poem emphasizes that when pronouncing vowels, air passes through the mouth freely. Vowels consist only of a voice, they can be extended. “By swallowing vowels, we deprive our speech of sonority and make it slurred.

About the sound of the word

One day I happened to attend a class literary circle, where - in the words of Mayakovsky - a certain professor "taught the hammerers anapaests." True, these were not the hammerers that Mayakovsky speaks of, but young students, and it was not the professor who taught her anapaests, but the modest leader of the circle. But the essence of the matter does not change. In search of so-called alliterations, young people selected examples from Mayakovsky, Yesenin, Balmont, Lermontov, Blok, Bagritsky, Bryusov, Aseev, Tikhonov, Selvinsky ... Does it matter which poet to quote, as long as he is suitable for an example!

Apparently, the members of the circle liked this game, and they vyingly quoted:

It was more difficult for Pushkin to find such a one hundred percent example of the use of alliteration, except perhaps:

The hiss of foamy glasses
And punch flame blue.

It's time, my friend, it's time! The heart asks for rest.

But after all, these are just separate lines, and not a whole poem, permeated with the same sounds. However, zealous "alliterators" also walked through Pushkin's poems. The head of the circle was pleased with his students, and I remembered the apt epigram of Robert Burns - "When visiting a rich estate":

Our lord shows everyone
Great property...

So the eunuch knows his harem,
Knowing no pleasure.

It is unlikely that such an external and formal study art form contributes to the understanding of poetry. Even the nature and meaning of alliteration is difficult to understand by tearing random lines from poetry and separating form from content.

Can we talk about the sound of this or that word, about its beauty and harmony in isolation from the meaning? Only Chekhov's midwife Zmeyukina could revel and flirt with the word "atmosphere", not really knowing what it means.

Take, for example, the word "cupid". In French, it means "love", and in Russian, only the winged god of love is called by this name. With us, it smacks of literature, of the 18th century, and sounds somewhat sugary and archaic, or even derisively: "amorous affairs."

But the same word "Amur" seems to us quite different when it refers to the mighty, full-flowing Siberian river. There is nothing sweet and flirtatious in the name of the river. It is severe and majestic. There is something Asian, Mongolian in it, as in the name "Timur".

So the sound of a word is inextricably linked with its semantic meaning.

What is common between the Russian word "sol" and a musical note?

There is not the slightest salty aftertaste in the name of the note, although in its transcription and sound it completely coincides with the name of the mineral.

Nobody thinks about a cannon when they say the name of the greatest Russian poet. Meanwhile, the same surname, if it is worn by some few people famous Ivan or Stepan Pushkin, much more like a cannon. (However, great poet to some extent, he also helped his namesakes to get rid of the association with the word "cannon".)

The sounds that make up the poet's surname have acquired a new quality because a new autonomous concept, a new integral image, has arisen in the minds of millions of people. And depending on this new meaning and new image, we perceive the very sounds of the name "Pushkin" in a new way. It sounds loud to us, like his glory, joyful, majestic and simple, like his poetry.

Any real writer, and the poet in particular, subtly feels the inseparability of the meaning and sound of the word. He loves the very sounds of words, reflecting the whole real world and imprinted so much human feelings and sensations. He uses sounds not by chance, but with selection, giving preference in each given case to one sound over another.

Let us recall an excerpt from Pushkin's poems:

Oh, how sweeter you are, my humble!
Oh, how painfully happy I am with you,
When, bowing down to long prayers,
You surrender to me, tender without rapture,
Bashfully cold, my delight
You barely answer, you don’t heed anything ...

It can be said with confidence that all these ten "m" and nine "l" were chosen by the poet not by chance, but also not artificially, not intentionally.

These are not Balmont verses, like:

Uncharmed black shuttle...

The musical basis of these Pushkin alliterations was, most likely, the word "darling" ("sweeter"), from which the fragment of the poem cited here begins, so rich in the sounds "m" and "l".

The simple and gentle epithet "dear" attracted the poet not only with its melodic charm, but also with the deep and wonderful meaning that the people who created it attached to this caressing word.

Then exile and grave,
Unhappy! will you be ready
Buy at least the word of a sweet maiden,
Even the slight noise of her steps.

In various poems by Pushkin, this word sounds in a wide variety of intonations and shades.

She is sweet, I will say between us,
Storm of the court knights ...

AT last time your image is cute
I dare to mentally caress ...

Know at least the sounds
It used to be, dear to you ...

And visit the empty fields
The forests, recently so dense,
And the shore, dear to me ...

Thus, there is reason to believe that it was the word "dear" that suggested to Pushkin all these "m" and "l" in the lyrical passage we quoted ("Oh, how sweeter you are, my humble!").

Words that contain "m" and "l" ("prayers", "listen", "more painful") were not chosen by the poet out of panache.

The penetrating lines of Pushkin's poems are least of all like needlework, like a deliberate, artificial selection of sound colors.

The poet so strictly and restrainedly uses these or those sound combinations, the so-called "instrumentation". that many readers reciting his poems do not even notice the sounds prevailing in this or that poem.

While reading "Count Nulin", well-known experienced actors paid so little attention to the completely obvious and obvious non-randomness of the repetition of the sound "l" in digression poems.

This "l" - sometimes soft, sonorous "l", then more solid and deaf "l" - as if breaks into the verse along with the long-awaited bell, which is mentioned in the poem.

It looked like it was going to snow...
Suddenly the bell rang.

Who lived for a long time in the wilderness of sad,
Friends, he probably knows himself
How far the bell is distant
Sometimes our hearts are touched.
Isn't a friend coming belated,
Comrade of youth, daring? ..
Isn't she?.. My God!
Closer, closer... my heart is beating...
But past, past the sound rushes
Weaker ... and fell silent behind the mountain.

This is, undoubtedly, the same bell that the poet so impatiently waited for in solitude, in exile, in his "dilapidated shack."

The bell rings loudly, loudly, in the line where the soft "l" is repeated three times:

How far the bell is far away...

And the last “l” in the final line of the lyrical digression sound very weakly, deafly, somehow remotely:

Weaker ... and fell silent behind the mountain.

If the reader does not care, does not strike the heart with the line "How strong is the distant bell," then this speaks of his deafness, of his indifference to the word. For such a performer of poetry, the word is only a service term, devoid of image and sound coloring.

Unfortunately, there are many people who perceive the word as a service term among readers, and even among writers.

And music is embraced by poetry

Akmola oblysy bilim baskarmasynyn zhanyndagy

MKҚҚ "Shchuchinsk kalasy, pedagogical college"

GKKP "Pedagogical College, Shchuchinsk"

under the department of education of the Akmola region

(lecture-concert)

Prepared by:

Pryamosudova G.V.

Antonova O.V.

Purpose: To form musical culture, attach to vocal art.

Familiarize yourself with the history of the creation of works, the program value,

Develop associative thinking ear for music,

Cultivate a love for music and vocal creativity.

Equipment: musical equipment, presentation projector, piano, LED illumination spotlights.

Event plan:

1. Concert numbers

"Barcarolla"

"Butterfly Song"

"Don Quixote Serenade"

"Song of Youth"

"Star Waltz"

"The couplets of Thomas and Philip"

"Do You Remember"

"Natasha's Arioso"

"Listen how the sounds are crystal clear"

"Have you heard"

"Table"

Conclusion.

At the top of Olympus high mountain Greece, in the magnificent palaces live the Gods and .... muses. They are the daughters of Zeus himself and each of them has its own unique divine abilities.

Greek Muses- these are nine sisters, patrons of the arts and sciences. The Muses were portrayed as young and beautiful women. They had a prophetic gift and favored creative people: poets, artists, artists, encouraging and helping them in their activities in every possible way. However, for special offenses, the muses could deprive them of inspiration.

(Poems sound against the musical background, the Muses come out in dance)

Terpsichore attracts with cithara, owning a storm of feelings,
With a plectrum in his hand, Erato enchants with both word and gesture,
The songs of the heroic times in the book are kept by Calliope,
The stars of heaven are studied by Urania, the sky is rotation,
Expressing everything with gestures, Polymnia praises the heroes.

Clio of the past times of the case broadcasts to posterity,
Melpomene a tragic cry spits out sorrows,
Pleases Thalia with a joke, a cheerful word and conversation,
Euterpe sings a sweet song with a reed flute,

Euterpe- Good evening, Dear friends! I am Euterpe, the patroness of lyric poetry and music!

Erato- And I am the muse of Erato, the patroness love poetry!
Today we will talk to you about a miracle. About the miracle that lives next to us.
You cannot touch it with your hands, but you can see and hear it. It can make us cry and laugh.... It has a soul and a heart.
Euterpe-This miracle is born here and now, in this hall....
And his name is music! (Turning to Erato) I think you will agree with me - there is no such poet who would not think about how his poems sound. Many of them would not object to setting their poetic works to music, because the melody of a poem in the heart of a poet is always in tune with his mood and feelings.

Erato- I totally agree! "A musician must be a poet, and a poet must be a musician"

Probably, poetry, music and the poet's soul are connected together, and such unity can inspire the creation of interesting poetic images. Thus, the inspirer very often is the image of love. The composer Offenbach, who composed the opera Tales of Hoffmann, did not remain indifferent to love poetry. Sounds duet from this opera "Barcarolla"

1.Number: "Barcarolle" performed by Oksana Antonova and Dina Kozhagulova, accompanist Olga Sharaeva

Erato- The wind is barely audible
Linden sighs by the garden....
Sensitive music lives everywhere -
In the rustle of grasses, in the noise of oak forests -
You just need to listen.

(referring to Euterpe) - What musical lyrics! Is not it?!

Euterpe Indeed, poetry and music have a lot in common. But the most important thing that unites music and poetry is the soul. The poet Raysky so figuratively conveyed the beauty of nature in his poem that the composer Vekerlen, admiring the beauty of his poetic language, wrote music for his work and called his work “Butterfly Song”

2.Number "Butterfly Song" (animation with butterflies) The song performed by Alina Vaksova sounds. Concertmaster Olga Sharaeva

Euterpe-(walking around the stage with a piece of paper and a pen)

Blank sheet paper, music line ...

the sounds of the entire universe in my thoughts ...

Give me strength, God, to hold it.

To convey the beauty of consonances to people!

"Lyric poetry can only be compared with music" Music clarifies and opens it. Does poetic word deeper in meaning and easier to understand.

Erato(approaching Euterpe) - And when poetry reaches its highest beauty, it approaches music. Conversely, the strongest poetic works can be created under the influence of music. Oh those knights...

3. Number "Serenade of Don Quixote" performed by Dmitry Logunov. Concertmaster E. Zinchenko

Erato- Songs can be very different in character and performed anywhere. This is the most democratic genre of music. Music sounds everywhere: on holidays, accompanies theatrical performances and even in movies. Listen to the "Song of Youth" by composer Babaev from the movie "The Cunning of Old Ashir"

4. Number "Song of Youth"" from the film "The Cunning of Old Ashira" K-r A Babaev sl. Kara Seytlieva rus. Text by G. Registan. Spanish Aiganym Zhusupbekova conc. O. Sharaeva

Erato- But after all, Andrei Avanesovich Babaev wrote music not only for films, he worked in many vocal genres, and how many composers considered the waltz a high standard of music.

Euterpe- Not enough has been said about Waltz!
For two centuries in a row
At parties and carnivals
His outfit didn't fade!

A lot has been said about the waltz!
He is sung in songs and poems!
And so many dances would not have happened,
BUT better than waltz right no!

Erato-Let's invite the young Muse to the stage, who will perform for us

"Star Waltz" by Andrey Babaev on verses by Kharitonov

5. Number "Star Waltz" Performed by Kozhagulova Dina. Concertmaster Yu Ermakova

Dina - I sang a song for you, but vocal music also includes: romance, and works for the choir, opera, operetta ....

Erato - (interrupting) For example, an operetta ... Translated from Italian means "Little Opera". Many operettas, or, as we often call them, musical comedies, have been created Soviet composers.

Logunov D. and Kaharmanov S. come out to the music - (movements in dance)

Logunov-Would you like to listen to verses from the operetta?!

Kaharmanov-Thomas

Logunov- and Philip

Muses- Please!!! (clapping hands)

6. Number "Verses of Thomas and Philip" from the operetta "Free Wind" performed by Logunov D. and Kakharmanov St. Concertmaster E. Zinchenko.

Kaharmanov- We are leaving, but the music of the operetta remains

(A. Akimov and R. Loginova enter the stage with words to meet each other)

R. Loginova- They take away the spirit - domineering sounds,
They are intoxicated with painful passions,
In them is the voice of weeping separation,
They are the joy of my youth.

A. Akimov- An excited heart stops,
But I have no power to quench my anguish.
The insane soul languishes and desires...
And sing, and cry, and love ..

7. Number "Do you remember" A. Akimov and R. Loginova. Concertmaster E. Zinchenko

Erato- If an operetta is a small opera, then what is a big opera?!

Euterpe- This is the most monumental genre vocal music. Composers often draw the plot from literature and poetry. The characters of the heroes are most fully revealed in solo numbers (aria, arioso, arietta, cavatina, monologue).

Now we will hear the beautiful "Natasha's Arioso" from Dargomyzhsky's opera "Mermaid".

8. Number "Natasha's Arioso" performed by Anna Fomina. Concertmaster Y. Ermakova

Euterpe- Do you know what the stage dialogue in the opera corresponds to musical ensemble. And there are ensembles ... ... .. duet, trio, quartet, quintet (they go out in turn).

A. Sadvokasov and B. Ibraev)

B. Ibraeva - When you hear a simple song
When you eat it yourself
One breath with her you breathe
And you walk with her.

A. Sadvokasova - Listen to the birds chirping.
Listen to the wave sing.
Like rain knocking on your window
Music is heard everywhere

Erato- Chorus of Bell Boys from the opera The Magic Flute by W. A. ​​Mozart

9. Number "Listen to how the sounds are crystal clear." Performed by Anara Sadvokasova and Bayargul Ibraeva. Concertmaster Y. Ermakova

Euterpe-(standing at the piano) I touch the key with my hand - filling my heart with music ... (sits down at the piano, plays)

Erato- duet of Olga and Tatyana "Have you heard" from P. I. Tchaikovsky's opera "Eugene Onegin" to the verses of the brilliant poet A. S. Pushkin.

11. Number "Did you hear" Oh. Antonov and G. Pryamosudov

G. Pryamosudova- Two great artists! genius poet A. S. Pushkin and great composer P. I. Tchaikovsky ... and their immortal creation - the opera "Eugene Onegin". Each number of this opera is a masterpiece.

O. Antonova- And one more prime example to that - "Onegin's Arioso"

12. Number "Arioso Onegin" performed by Akimov A. Concertmaster E. Zinchenko.

Erato- The song is the most ancient and most common today musical genre. They say about the song that she was born together with a person. Song different from others artistic compositions doesn't sound long.

Euterpe- But in this short moment, she fulfills the mission that falls to the share of a work of art.

(Participants exit one by one)

A. Fomina-I can't live a day without music! She is in me. She is around me.

And in the singing of birds, and in the noise of cities, In the silence of grasses and in a rainbow of flowers,

A. Sadvokasova- And in the glow of dawn above the earth ... She is everywhere and forever my companion.

Everything is subject to her: joy and longing, In her - just a moment and long centuries.

B. Ibraeva-And knows how to resurrect and kill, make you fall in love and stop loving.

But how can she live without us? At least a day, half a day? At least an hour!

G. Pryamosudova- Without our thoughts and earthly joys, without trifles funny and not funny? ..

We thank her for everything! we speak, and, believing in its triumph, we create!

Euterpe- Our concert ends... Soon the sounds of music will be silent ... We will disperse. But ... Listen ... After all, music sounds in each of us ... sometimes joyful or sad, fast or unhurried, quiet like a stream or noisy like the ocean ... Each of us has her own, unique ...

Erato- And may the angels always sing in your soul! And in this hall sounds a good, kind song

13. Finale "Table" from op. "La Traviata" Performed by all participants of the concert.

Without flute, without flute, without violin,
Without the melodious nightingale.
What do these smiles mean?
What is guarding me everywhere?
Everything is permeated with music, song,
Frankness, the joy of birds.
On a warm evening in a wonderful grove
The bright moon sleeps to the music.
Everywhere music, in the noise under the maple,
In the nightingale's knees in the garden.
And in your kiss in love
And in your promise: "I will come ..."

... Star after star flew ...

I would fall asleep, but I can't help it.

Suddenly a girl nearby sang,

And songs filled the night.

Oh how sweet they sounded

From the first line to the end!

Oh, how much sadness they had,

Oh, how their hearts loved!...

The wind sings a little,
Linden sighs by the garden
Sensitive music lives everywhere, -
In the rustle of grass
In the noise of oak forests -
You just need to listen.

The stream flows loudly
Thunder falls from the sky -
This is its eternal melody
The world is filled with nature.

Your silent tears
Willow drops at the ford,
Nightingales greet the night with a trill,
The sound of branches, the song of rain,
The world is filled with nature.

Synopsis of OOD for musical education"Where is the sound hiding?"

Place of work: MDOU " Kindergarten No. 4 "Kalinka" of a combined type "of the city of Valuyki, music director
Purpose: Given methodical development will be of interest to teachers of preschool educational institutions.
Goals:
To form children's ideas about the sources of sounds, musical patterns, about the limitless variety of music. To provide an opportunity to listen to and perform musical works perfect in form, to respond emotionally to them, to convey their impressions; develop musical ability, artistic and associative thinking. Continue to teach to convey character piece of music voice, facial expressions, sound gestures, movement. To create favorable conditions for the enrichment and expansion of children's ideas about musical art, cultivate love for the beautiful.

STUDY PROCEDURE:

Musical director: What kind of guests are in a hurry to visit us? I see my guys! Come on, stand right here.
Everything is in place?
Children: Yes!
Musical director: Today guests came to our lesson, let's say hello to them.
(singing): Hello, guests!
(children sing): Hello!
Musical director: And now let's remember our musical greeting.
MUSICAL GREETINGS
Hello guys! Hello!
How are you feeling? Very well!
Let's practice! Yes Yes Yes!
We will all try! Just like always!
Let's dance and sing songs!
Please, guys, repeat after me!
(an easel in front of the children, an illustration of a musical palace, a lock on the door)
Musical director:: Guys, I received a telegram from the musical palace: the sisters of the notes were lost and silence reigned in the state. The castle is closed, what to do? I have many keys (I show: from the door, plumbing, violin), which one will open the palace? T (children choose).
Well, of course, musical treble clef, he opens the doors of music, holds the notes together.
We open. (we clean the palace, behind it - stave, signs on the camp). We put the key in the right place. Where are we to go? And here is the music map, it will help us. Let's look at the first sign, what is it? (Ears, headphones).
The first sign on the map is an ear, we really need ears,
Because we are surrounded by sounds from birth.
Guys, listen, there are different sounds around us.
LISTENING TO SOUNDS(musical instruments)
Where is the sound hiding? (in musical instruments, a tape recorder, in the surrounding nature ...)
Let's clap, what happened? The sound is hidden in the palms. Shall we march now? The sound is hidden in the floor. And listen now (I ring the keys), the sound lives in the keys.
LISTENING TO SOUNDS(THE WORLD)
Sounds are hidden in different objects, you just need to touch them and they come to life.
Let's listen to the poems that the guys have prepared for us.
1. Each sound is a piece of the world, in each sound there is a whole world,
In the sounds of my whole apartment, in the sounds - thousands of apartments!
2. In the sounds of the street is a big and huge country,
Sounds have no end and edge, in sounds - he, it, she!
3. Sounds in joy and boredom, sounds are light, and sounds are shadow,
Sounds end the day, sounds start the day!
(I remove the sign, notes are hidden behind it)
Look, that 1 note is back, what awaits us next? On the map there is a sign "Workshop of sounds", let's go there!
COMMUNICATIVE GAME "LEGS WALKED"
Legs walked straight along the path,
We had fun, met a friend.
Hello, hello, dear friend! Look around you!
You just smile at me, hug me tightly!
Here we are in the workshop. Here we will listen to how different objects sound. There are several houses in the workshop, let's get acquainted with their inhabitants.
1. Here is the first house, who lives here? (showing, children call). The guests of their Shu village live in this house. What do we see here? (sultans, paper items, spikelets, maracas). Let's hear how they sound. The inhabitants of this house speak quietly, whisper, you need to listen to hear them.
(I distribute items to several children). Let's voice a little fairy tale. (I tell a poem - children voice it).
A mouse hid in a mink-shu-shu-shu, shu-shu-shu, (sultans)
There he sits and breathes quietly - shu-shu-shu, shu-shu-shu, (sultans)
Maybe the mouse is reading there-shu-shu-shu, shu-shu-shu, (book pages)
Turning pages in a book-shu-shu-shu, shu-shu-shu, (book pages)
Maybe the mouse cooks-shu-shu-shu, shu-shu-shu, (boxes with grain)
Grains are sorted out-shu-shu-shu, shu-shu-shu, (boxes with grain)
Maybe from spikelets-shu-shu-shu, shu-shu-shu, (spikelets)
Weaves wreaths for daughters-shu-shu-shu, shu-shu-shu, (spikelets)
Quiet in the mink, the mouse is sleeping (rhythmically breathing through the nose)
Only sniffs through the nose (rhythmically breathing through the nose).
What a rustling fairy tale we got. What is the sound like? (rustling, rustling, rustling, whispering).
2. And who lives in this house? (children call: glasses, an aquarium, glass figurines, vases) What are these inhabitants made of? (from glass). You need to be very careful with these things, you need to play them quietly and easily so as not to break them. Let's hear how they sound.
Which sound? (quiet, transparent, light, light, crystal, like icicles, drops ring)
And now let's conduct an experiment: 2 identical crystal cups, listen to their sound. And now we will pour water into one of them, we will listen again. What can you say? (the sound became lower) (with a few more glasses to conduct such an experiment). This is how you can make a musical instrument - a lytrophon out of glass bottles! Now let's hear how it sounds.
(children play the lithophone)
PLAYING THE LITROPHONE
The sound was heard glassy, ​​light, light and crystal!
3. Who lives in the third house? (children call) What are all these items made of? (made of metal). That's right, these are guests from the city of Ding Dong. Let's hear how they sound.
(I distribute musical instruments and metal objects to several children, they sing)
(child): They took the instruments in their hands and everyone played together,
There are no empty seats in the hall, that's what we have ... ... an orchestra!
METAL ORCHESTRA
Children, what are the metallic sounds? (sonorous, loud, ringing, cheerful, shimmer, like a cheerful rain).
Metal sounds never get bored
They amuse the guys - the legs want to dance!
DANCE "GUELTY CLOUD"
(after the dance, the children sit on the carpet, I show them the next group of objects)
4. What do all these items have in common? (they are made of wood) That's right, these are guests from the Wooden Province, its owner is Xylophonius. Let's hear how wooden objects sound.
(several children come out, I distribute 2 objects to each - cubes, pencils, spoons), I play a rhythmic pattern on the xylophone, the children repeat)
MUSICAL AND DIDACTIC GAME "WOODPET"
Kids, what does the wooden sound sound like? (knocking, woodpecker knocking on wood, woodcutter chopping wood)
The wooden sound is this: it is knocking and dry,
Warm and crackling, quiet and rattling!
We have a lot of wooden cubes, let's play with them!
LOGORHYTHMIC GAME "CUBE" (according to K. Orff)
(children sit in a circle, each in right hand cube)
Cube, wooden cube, knock-knock-knock-knock-knock-knock,
We want to hear this sound now, this sound,
Cube, cube, wooden, don't yawn, don't yawn,
Play with us, play with us, play with us!
(during the game, the teacher brings the easel with the music card closer to the children)
We visited the music workshop, listened to different sounds.
(I open the sign, 3 more notes follow) Look, a few notes were hiding in the music workshop, they are back!
The next sign is that it is a “Sad Mask”. Can you draw such a mask? (children show). What about a fun one? (depict)
What can we advise our sad mask?
Child: If in sad mood somebody turned out
There is a proven tool to bring back the fun.
You will be joyful and kind in summer and in the middle of winter,
If you can make friends with dancing like we do!
DANCE "FUN CHARGING"
The mask cheered, and under it - notes!
There is only one sign left on the map - " Winter forest". In such weather, you can not stay without a walk. Let's go to the winter forest!
RHYTHMODECLOMATING "WE GO TO THE WINTER FOREST"
We are going to the winter forest, how many miracles are around here,
On the left is a snowy birch, on the right is a Christmas tree looking at us.
Here the hare galloped, he ran away from the fox,
The gray wolf prowls through the forest, he is looking for his prey,
We all hide now, then the wolf will not find us!
Here the bear sleeps in the den, so he will sleep all winter.
Bear-bear, stop sleeping, let's dance with us.
Bullfinches flew, how beautiful they all are,
All the snowflakes swirled and fell to the ground.
Guys, how beautiful it is in the forest! Have you ever watched snowflakes fall? (children's answers: easily, smoothly, slowly, thoughtfully, dreamily). Zimushka gave us a snow blanket as a gift, let's play with it.
GAME "SNOW COVER"
(I open the sign "Winter Forest", under it the remaining notes) So all the notes are back, each in its place. Let's name them. What are notes for? (record the melody). Who writes music? (composer). That's right, a melody is hidden in the notes, it is waiting for us to revive it, turn it into a song. (shows picture) What is this? (Crest of the Melody Queen) What does it mean? (note - you need to sing cleanly, convey the melody correctly, letter - clearly and correctly pronounce the words, heart - you need to love the song, sing emotionally).
SONG "MAGIC LAND OF MUSIC"
1. On the map magical land not to be found, never to be found
You can not get to it and walk and there is no direct way to it.
2. There everyone walks with the melody to the beat, sings something,
There, every passer-by is a little bit of a musician, which means a little magician.
3. In this country, music is heard everywhere from dawn to dark,
People there need music for happiness, this is such a country.
Children, our lesson is coming to an end, today we traveled a lot, what did you like and remember the most? (children's answers). We visited a music workshop, listened to how different objects sound, created music ourselves, voiced a fairy tale, danced, sang, played. We helped return the notes to the musical palace, now it will come to life again, music will always sound in it, and its doors will always be open to everyone.
(sing) I'll tell everyone: "Goodbye!" (up steps)
(children sing) "Goodbye!" - we say. (down steps).

All singing voices subdivided into women's, men's and children's. The main female voices are soprano, mezzo-soprano and contralto, and the most common male voices are tenor, baritone and bass.

All sounds that can be sung or played on musical instrument, there are high, medium and low. Musicians, when talking about the pitch of sounds, use the term "register", meaning whole groups of high, medium or low sounds.

In a global sense, women's voices sing high or "upper" register sounds, children's voices sing middle register sounds, and male voices sing low or "lower" sounds. But this is only partly true, in fact, everything is much more interesting. Within each of the groups of voices, and even within the range of each individual voice, there is also a division into high, medium and low registers.

So, for example, a high male voice is a tenor, a middle one is a baritone, and a low one is a bass. Or, another example, the singers have the most high voice- soprano, the middle voice of the vocalists is mezzo-soprano, and the low one is contralto. To finally master the division of male and female, well, at the same time, children's voices into high and low, this plate will help you:

If we talk about the registers of any one voice, then each of them has both low sounds and high ones. For example, a tenor sings both low chest sounds and high falsetto sounds, which are not available to basses or baritones.

Female singing voices

So, the main types of female singing voices are soprano, mezzo-soprano and contralto. They differ primarily in range, as well as in timbre coloration. The timbre properties include, for example, such as transparency, lightness or, conversely, saturation, voice power.

Soprano- the female highest singing voice, its usual range is two octaves (entirely the first and second octaves). In opera performances, the parts of the main characters are often performed by singers with such a voice. If speak about artistic images, then best of all a high voice characterizes a young girl or some fantasy character(for example, a fairy).

Soprano, according to the nature of the sound, is divided into lyrical and dramatic- you yourself can easily imagine that the parts of a very tender girl and a very passionate girl cannot be performed by the same performer. If the voice can easily cope with fast passages and graces in its high register, then such a soprano is called coloratura.

Contralto- it has already been said that this is the lowest of the female voices, moreover, very beautiful, velvety, and also very rare (in some opera houses there is no contralto). A singer with such a voice in operas is often entrusted with the role of teenage boys.

Below is a tablet that gives examples of opera parts that are often performed by one or another female singing voice:

Let's hear how female singing voices sound. Here are three video examples for you:

Soprano. Aria of the Queen of the Night from the opera The Magic Flute by Mozart performed by Bela Rudenko

Mezzo-soprano. Habanera from the opera "Carmen" by Bizet performed by the famous singer - Elena Obraztsova

Contralto. Ratmir's aria from the opera "Ruslan and Ludmila" by Glinka performed by Elizaveta Antonova.

Male singing voices

There are only three main male voices - tenor, bass and baritone. Tenor of these, the highest, its pitch range is the notes of the small and first octaves. By analogy with the soprano timbre, performers with this timbre are divided into dramatic tenors and lyric tenors. In addition, sometimes they mention such a variety of singers as "characteristic" tenor. "Character" is given to it by some phonic effect - for example, silveriness or rattling. The characteristic tenor is simply indispensable where you want to create the image of a gray-haired old man or some sly rogue.

Baritone- this voice is distinguished by its softness, density and velvety sound. The range of sounds that a baritone can sing is within the limits of the la large octave to the la of the first octave. Performers with such a timbre are often entrusted with the courageous roles of heroic or patriotic characters in operas, however, the softness of the voice makes it possible to reveal love-lyrical images.

Bass- the voice is the lowest, can sing sounds from the F of a large octave to the F of the first. Basses are different: some are booming, “humming”, “bell-shaped”, others are hard and very “graphic”. Accordingly, the parts of characters for basses are diverse: these are heroic, and “fatherly”, and ascetic, and even comic images.

Probably, you are interested to know which of the male singing voices is the lowest? it bass profundo, sometimes singers with such a voice are also called Octavists, since they "take" low notes from the counteroctave. By the way, we have not yet mentioned the highest male voice - this tenor altino or countertenor who sings almost calmly female voice and easily reaches high notes second octave.

As in the previous case, male singing voices with examples of their opera parts are displayed in the tablet:

Now listen to what male singing voices sound like. Here are three more videos for you.

Tenor. Song of the Indian guest from the opera "Sadko" by Rimsky-Korsakov performed by David Poslukhin.

Baritone. Gliere's romance "Sweetly sang the soul-nightingale", sung by Leonid Smetannikov

Bass. Prince Igor's aria from Borodin's opera "Prince Igor" was originally written for baritone, but in this case it is sung by one of the best basses of the 20th century, Alexander Pirogov.

The working range of the voice of a professionally trained vocalist is usually two octaves on average, sometimes, however, singers and singers have much more opportunities. In order for you to be well-versed in tessituras when choosing notes for practice, I suggest that you get acquainted with a drawing that clearly demonstrates the allowable ranges for each of the voices:

Before concluding, I want to please you with one more sign, with the help of which you can get acquainted with vocalists who have one or another timbre of voice. This is necessary so that you can independently find and listen to even more audio examples of the sound of male and female singing voices:

That's all! We talked about what kind of voices singers and singers have, figured out the basics of their classification, the size of the ranges, the expressive possibilities of timbres, and also listened to examples of the sound of the voices of famous vocalists. If you liked the material, share it on your page in contact or on your Twitter feed. To do this, under the article there are special buttons. Good luck!