Municipal budgetary educational institution

Additional education for children "Center for Children's and Youth Creativity"

Municipal formation Krasnoperekopsk urban district

Republic of Crimea

methodicaldevelopmentopenlessons

« Development vocally - singing skills variety

performance in ensemble »

(using combined technologies:

gaming and technology of collective creative activity)

for students of the middle group (9-12 years old) of the vocal ensemble "Magnolia"

MBOU DOD "Center for Children's and Youth Creativity"

Prepared by Belkina Natalya Viktorovna,

additional education teacher

first qualification category

vocal ensemble "Magnolia"

Krasnoperekopsk

Explanatory note

Lesson topic:"Development of vocal and singing skills of pop performance in the ensemble"

The lesson is held in the vocal class at the MBOU DOD "Center for Children's and Youth Creativity" under the program "I want to sing beautifully", in the middle group of the ensemble (9-12 years old).

Lesson type: educational and practical, complex.

The form: conversation, game training.

Technologies and methods

Technology:

communicative;

cooperation;

• health-saving.

Methods:

pedagogical methods: dialogue, explanatory and illustrative, game, theatricalization, conversation;

organizational methods: group, work in pairs.

Target: development of ensemble singing skills and artistic taste, teamwork skills and the formation of self-organization and creative activity skills.

Tasks:

to form a steady interest in the training material;

develop special musical abilities;

to form performing skills, develop independence, initiative and improvisational abilities;

promote a strong desire to work in a team;

educate the ability to take care of their health.

Methodological base

This lesson is based on the concept of N. E. Shchurkova’s personality-oriented orientation and technology of the game, communication and cooperation (founded by the teacher - innovator Shalva Aleksandrovich Amonashvili), the training of speech singing by the American teacher Sett Rigz and the educational program of additional education for children “I want to sing beautifully” .

Distinctive features of this lesson

Positive emotional impact of music and an atmosphere of goodwill on the child, which contributes to the creation of a favorable psychological climate;

the time of activity of children is comparable to the activity of the teacher;

communication style is interactive;

the lesson is built on the principle of consistency and complexity;

summing up is carried out in the form of reflection;

is aimed at developing social and communicative competence, and in particular: accepting the value of each other as a person, developing partnerships

Benefits of this development

With the help of this development of the lesson, the selection of training vocal exercises, you can effectively influence the group of children, developing unison performance, correct incorrect extraction of sounds when singing, help children relax and communicate freely in a group of peers.

Necessary equipment and materials

The lesson uses audio and video equipment, visual aids, notes. Sunbeams for distribution to children, cardboard sunbeam, balloons, markers.

Expected Result

Creation of a friendly atmosphere;

correct execution of breathing and articulation exercises;

clear unison sound in the ensemble;

strengthening the skills of correct singing through exercises and game training;

accepting any child as a partner;

Lesson plan:

I. Organizing time

Greeting, music screensaver.

II. goal setting

Repetition of the material covered, announcement of the goal, motivation.

III. main stage

1. Educational training:

warm-up;

chants;

gamerhythm.

2. Practical part of the lesson

conversation, acquaintance with the basic concept of "ensemble";

analysis of the song, work with the text;

IV

Reflection "Sunny Bunny".

Summarizing.

Optimization and encouragement from the teacher.

Lesson progress:

I.Organizing time

Hello children. I am very glad to see you in class today. It’s spring outside our window, the sun is warming up warmer, and in our class today it should also become warmer and brighter from your smiles. The sun's rays shine not only through the window, but will be a reward to everyone for your efforts.

II. goal setting

In the last lesson, we sang vowel sounds. Tell me, please, what is a "shutter" and how does it work when singing in a pop manner? (children's answer is “curtain”, this is the position of the lips when singing, position is maintained throughout the entire process of singing). How are vowels sung, what other vowel sounds do they approach in the manner of singing? (and - a, and - oh, a - and,

a - o, y - o, y - a, o - a, o - and, e - a, e - and).

Today we will do exercises that will help us sing in an ensemble. We continue to improve our vocal skills, so that later we can please ourselves and others with the right singing.

Teacher: Why should we please others?

Children's answer.

Teacher: Can you be happy alone? Will there be more happy people in the world if you make someone else happy?

Children's answer.

Today your joy is a ray of sunshine. If the sun has one ray, will it shine brightly? What if we give joy to others? Will the sun shine brighter? (the sun will have more rays, it will be able to shine very brightly).

III.Main stage

1. Warm up

Chinese breathing exercises (Chinese slow music).

Facial muscle training, articulatory warm-up ( fast music).

Exercises for training singing breathing.

2.Chanting

During the chants, the teacher pays attention to the correct setting of the lips. "Shtorochka" should work with any sound.

How are the lips positioned while singing the sound "A"? ( children's answers) Maintain position while singing all the vowels. While singing the highest sounds, imagine that you need to pronounce the sound while standing on the roof of a multi-story building so that the sound goes down. If you want to sing a very low sound, you need to imagine that you are singing from a well in order to direct the sound upwards.

1. - A - I - U - IU - IU - A - singing on a major triad.

The teacher monitors the position of the speech apparatus while singing vowels.

2. - BRA - BRE - BRI - BRABREBRIBROBRU.

work with the sound P, change the first sounds STRA, GRA, BRA.

3. - I SUMMER - A - Yu - octave, jump.

The upper note sounds soft and imperceptible, the lower sounds are taken correctly and brightly.

4. - Vibration of the lips, relaxation, singing to an extended triad The exercise is done in order to relax the lips, to prepare for the execution of tongue twisters.

5. Singing the tongue twister “The bull is stupid, the bull’s white lip was stupid ».

Work in pairs, convey the tongue twister first in a whisper, then sing, speak only with your lips, without sound.

Teacher: Why do we pay so much attention to singing in class? ( to freely take the highest notes in the song, to hear each other, then to sing harmoniously and speak the lyrics well).

3. Igrorhythm

Now we will do exercises that will help us keep the rhythm of any work together. They must be carried out clearly and amicably,

1. ON THE PO-LA-NOT AT THE RE-KI / VERY EVIL-E-KO-MA-RY,

we walk we clap

ONE, TWO, DON'T YAY, / FAST-RE-U-BE-GUY.

We step we clap

2. Work in pairs "Mirror", improvisation.

On a given account, come up with a rhythmic pattern. The one standing opposite must repeat it after the other.

3. And now let's sit down and listen to the birds singing (cuckoo, flycatcher, owl, warbler), (1 -2 min) ( audio recording of birds)

Bird trills are also music, they have their own melodies and their own rhythm. Try to say with the help of rhythmic claps, which bird song did you like the most? ( improvised children's answers)

Turn.

2.Practical part of the lesson

1. Conversation

Tell me, please, why do we sing and do breathing exercises at the beginning of our lesson? ( the teacher summarizes the answers)

That's right, in order to train the diaphragm so that there is enough breath to finish and start a phrase in a song together in order to sing correctly. Why do we have to do everything together? ( because we are an ensemble, a collective).

Ensemble (French) -

mutual consistency, harmonious unity of parts;

artistic consistency of performance;

a group of performers acting as a single artistic group.

What bands do you know?

What is the difference between ensemble singing and solo singing?

What is the difficulty of ensemble singing?

We just need to sing everything correctly, do everything together and amicably, because we are a team!

2. Analysis of the song, work with the text

The teacher distributes to the children the words of the song "Balaganchik" by V. Ososhnik, see Appendix No. 2). The children know the song.

Questions for the lyrics:

Why is the song called "Balaganchik"?

What picture comes up when you listen to the song?

How many verses are in the song? How many choruses?

What is the nature of the song? (children's answers).

What is the tempo of the song? ( children's answers).

Show, please, with the help of claps the rhythm of the verse and chorus.

Look at the lyrics. Read the first sentence. What is the most important word in the first sentence? Maybe it's just a few words? ( children's answers) Children can name several key words in a phrase. Help children make logical stresses in a sentence.

“When the BLOWING SINGS outside the windows, the old HOUSE opens the doors for us”

Sing a phrase with logical stress. In order not to put unnecessary stress in a phrase, it is better to mix vowels in non-keywords. The phrase should look like this:

When outside the windows a snowstorm sings winds the door of an old house - consonants and vowels are highlighted, clearly pronounced when singing.

The applause of the mix does not, here EchoskAzokChildhood you no longer live.

We will get a creaky chest, and lift the lid on the NAME of the STUK.

preludijuv yugis Play The Musician Ant,

on thin ropes

Give markers to highlight stressed vowels and clearly distinguishable consonants. The work is done together with the teacher, in the future - this is homework.

ensemble singing

Teacher: - Let's try to perform a song taking into account stressed words, vowels, highlighting consonants at the end of phrases.

Teacher: - Well done! You are doing everything right, and most importantly - together. Now get into pairs and sing the song as if you were telling each other the story. Remember expressive performance. Do not forget about the position of the lips while singing, listen to each other, try to keep the ensemble.

Children sing to each other, at the end those whose friend sang correctly raise their hands. If there are children who were not praised by friends, the teacher finds positive moments in their performance, and also gives an assessment.

Let's learn the chorus parts.

First, we sing the first part with accompaniment, then we learn the part of the second voice.

We connect the parties first without music, carefully listening to each other.

And now you need to sing a song, as if you are performing at a spring concert - together, harmoniously, all together as an ensemble! If it doesn't work, sing again.

Well done boys. I see that you have tried very hard, and you have a wonderful ensemble!

IV. The final stage of the lesson

Now we will stand in a circle, I will pass a sunbeam around in a circle, and you will say what you liked most about the lesson, tell us what feelings you had during the lesson, how you feel, and how you think it turned out Are you an ensemble today or do you need to try harder ( children's answers)

It is very important for us to work TOGETHER in class, because each of us individually is a ray, and together we are the sun. The teacher distributes sunlight to all children. The rays are glued to the sunbeam, it turns out the SUN. ( Sounds recording of the song performed by the ensemble "Barbariki")

"If a friend does not laugh,

You turn on the sun for him

You turn on the stars for him - it's simple.

And when it is necessary, all friends will be there,

To turn on the sun or the stars for you"

Goodbye, children.

Literature:

A. N. Petrova "Stage speech", M., "Art" 1981

I. P. Kozlyaninova "Stage speech" M., "Art" 1976

E. S. Zenovich "Dictionary of foreign words and expressions" M., "AST Publishing House" 2003

E. O Yaremenko “Program and methodological materials. Music "M.," Bustard "2001.

O. Daletsky, Literary and musical almanac "Youth stage", "The art of teaching singing", No. 5 - 6, 2007.

http://alekseev.numi.ru songs and music for children's groups

http://proekt-obrazovanie.ru (EOR in various areas. A piggy bank of presentations on the subjects of Art, traffic rules, Music, etc.)

APPENDIX №1

Chinese breathing exercises.

It helps to focus on one's feelings, develops imagination, adjusts attention, relaxes muscles, creates a positive attitude. Can be done lying down if conditions permit.

Inhalation counts as one, two, three. The exhalation is twice as long, i.e. 1.2.3.4.5.6. Inhalation and exhalation occur calmly, without straining.

"Spring"

inhale - We imagine that our body is a spring. It stretches all the way to the sky.

Exhale - The spring is compressed as tightly as possible. In this case, the body does not move, everything happens only in the imagination.

"Stone, Cloud"

inhale - the body turns into a light weightless. cloud,

Exhalation We turn to stone. The stone is very heavy, the whole mass presses on the floor.

"Point, Universe"

inhale - we are spreading all over the universe, as long as the imagination is enough.

Exhale - the body "shrinks" into a small point.

"Jug"

Our body is a jug, it is filled with clean cool water, and muddy water pours out.

Inhale - a pitcher is filled with water,

Exhale - water pours out.

At the end of the gymnastics, inflate the balloon, exhaling all the air into it.

Articulation workout.

Work in pairs.

Smiled at each other, showed piglet. ( repeat several times)

Pigs are very fond of frolicking, pronouncing the sounds "U - I". At the same time, the lips work like a sign language interpreter.

Exercise "Horse" - clattering tongue.

The lips resist the tongue.

Exercises for training singing breathing

"Inflate the Ball"

Standing straight, back straight, take a short intense breath through the nose, “into the stomach”, while the stomach should protrude forward like a ball. The exhalation with the sound “s” is long, as long as the breath is enough (feel how the breath rests on the diaphragm).

"Swing the tummy»

Work with the abdominal muscles, regardless of breathing. The abdomen protrudes, collapses.

« Shooting Sounds»

Without sound, with force, pronounce the sounds P, T, F, S. PPPP - TTTT - FFFF - SSSS. The exercise is performed with acceleration. After the effective implementation of the exercise, the throat “colds”.

« Raise your feather"

Imagine that a feather is flying above you. Blow up so it doesn't fall.

"Blow out the candle"

The teacher stands in front of the children.

Imagine that my hand is a candle. Having taken in air, you need to send it in such a way as to blow out this candle.

Application №2

"Balaganchik"

music and sl. V. Ososhnik

When a snowstorm sings outside the windows,

The old house opens the door to us.

He calls with applause,

Here is the echo of childhood fairy tales

Doesn't live anymore.

Get a squeaky chest

And let's lift the lid.

Musician play the prelude of the blizzard,

But Pierrot cries

Pierrot is crying

Fun, fun in the booth.

Let's throw coals in a cold fireplace,

Let's sit by the fire and talk.

Let's get a dusty album

As before, a noisy holiday will meet the old house.

Get a squeaky chest

And let's lift the lid.

Play the prelude of the blizzard, musician,

On thin strings, all the dolls will line up.

But Pierrot cries

Cold, cold little fingers.

Pierrot is crying

Fun, fun in the booth

Application №3

Singing vowel sounds

I (A) O (A)

I (O) O (I)

A (I) E (A)

Open lesson on pop vocal Mamonova Olga Vitalievna.

Lesson topic: various methods of work on vocal technique.

The purpose of the lesson: To reveal and substantiate various methods of working on vocal technique in pop vocals.

Tasks: 1) identify the differences between pop and academic vocals

2) Determine the sequence of exercises

3) Practically visually show the performance of exercises by children of different ages and levels of training.

Introduction. Similarities and differences between academic and pop vocals.

There are 20 vocalists in my class from 4 to 18 years old. Of these, this year 4 people were exhibited at an international competition and won prizes there. In the course of our lesson, I will show how I work on voice production with both toddlers and adult students. Since we will talk about pop vocals, I would like to clarify the difference between the genres of academic and pop vocals.

academic vocals - the old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, with a symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the sound delivery.

pop vocal

Pop singing combines many song directions, unites the entire palette of vocal art. Pop vocal, first of all, means singing from the stage, but the concept of pop vocal, as a rule, is associated with light and easy-to-understand music. In pop vocals, you can hear both folk motives and elements of jazz, it is also an author's song and elements of rock music. Pop vocals differ from academic vocals in a more open and more natural sound. However, singing skills, correct position and sound support are just as necessary in pop vocals as in academic. We conclude: In pop and academic vocals there are absolutely different tasks, absolutely different sound formation, but the need to achieve sound support on breathing is the same for everyone.

To work on the setting of breathing, there are various exercises that we use.

1) Stand up straight, chin parallel to the floor. Place your hands on your lower ribs and inhale so that they expand at the same time, puffing up your stomach. (ball inflated) You need to breathe into the lower ribs, stomach, corners of the lungs (back). To feel it, you can bend over, resting your hands on the table. At the same time, the breath should be combined: with a parted mouth and nose, immediately forming a “yawn.” (raised soft palate) The corners of the lips should be slightly raised to open the upper teeth. (This position is just different from the academic one)

To feel exactly where the support of the sound is, you can "cough", or slowly blow out the letter "c". For younger children, this may not be very clear, so you can simply ask the child to "push"

They do everything...

2) To strengthen and develop the respiratory system, there is a system of breathing exercises by Alexandra Nikolaevna Strelnikova. Its main idea is that we breathe in resistance mode. In this case, the respiratory muscles have to work more actively.

(Shows Nastya)

palms

Shoulder straps

Cat

Embrace your shoulders

Pump

Hug your shoulders + pump

head turns

Ears

Pendulum

rifts

front steps

back steps

Work on vocal technique.

The sound must be sent to the teeth, but often the sound enters the nose. This means that the nasal passage is not blocked. Through the exercise, we pull the upper palate up, lowering the lower jaw as much as possible.

To achieve a "yawn", you can practice on the "snake" exercise. We take a breath and imitate a bite of a huge apple.

To feel the natural expansion of the larynx, you can do this exercise: loosely close your nose with two fingers and inhale through your mouth, and exhale through your nose. 5-7 times. You will feel the ease of breathing and the readiness of the formation of a yawn.

We sing with the kids on a simple exercise, with a hand showing:

"I step up, I step down" (Ksyusha)

While the child is small, there is no way to work on all vocal skills, as with older children, so we take simple, uncomplicated songs with a small range to work, gradually expanding it. At the same time, work on the purity of intonation, staging of breathing and expressiveness of performance.

Ksyusha sings "Cloud". We work on the right breath, try to open our mouth correctly and hold out all the long notes to the end.

At the very beginning of working with a child, you need to determine his working middle. (There is a low voice, but the timbre is light) To do this, you need to ask the child to sing any note that is convenient for him while breathing. As a rule, this will be the working middle. Kids don't make mistakes...

Let's find a working middle for Sony.

We start with this note chanting.

1) First we sing on one note, with our mouth closed (from small to large)

Mmmm - closed mouth. The sky is raised, the teeth are open, the lips are closed.

3) now on one note, with your mouth open...

Ma, me, mi, mo, mu - we strive to sing in one position

Bra, bra, bree, bro. bru

We sing all the vowels as if we were forming the letter “a”. It turns out approximately in one position. Be sure to pay attention to the clarity of the pronunciation of consonants at the beginning of a syllable. The quality of the subsequent vowel depends on how actively the consonant is formed.

It is very important that at the moment of singing, the children do not stand in a rack. We move, while singing, bend over and wave our arms.

Pop singing means singing into a microphone. Therefore, due attention must be paid to this skill. The microphone must be held so that the sound hits it directly, and not at an angle. Otherwise, frequencies will be cut and the sound will be distorted. You can not take the microphone to the side. Keep it all the time in a single position so that the volume and strength of the sound do not change.

To develop and consolidate this skill, we do the following exercise: How to draw geometric shapes in the air with a microphone. First separately, then together with the singing of chants.

Yana sings. Let's find its working middle:

Yaa-aa-aa-aa-aa-aa-aa-aa-a

5) To achieve a lighter sound:

Ree-ee-ee-ee-ee-ee-ee-ee-ee

Mii-ii-ii-ii-ii-ii-ii-ii-i

6) 3 notes in a row on vowels: (Lena sings)

Yaaaaaaaaa

7) Yaa-aa-aa-aa-a

Mii-ii-ii-ii-i

All consonants: e, e, and y. sing in position "a"

8) There must be an exercise to warm up the tip of the tongue and lips. (Nastya) First, you can talk tongue twisters.

Le-lely lel-lely lel-lelilyolil-lely

9) Staccato legato

10) also to achieve freedom of sound, diction, and connection of various registers:

(Does Karina)

Rrrrrrrrrrr

Do Remi Fa Sol Fa Mire Do Remi Fa Sol Fa Mire Do

To salt mi to salt mi to salt mi to salt mi to ...

Do mi sol do mi sol fare si sol fare do…

11) to achieve balance, convenience. It is sung rather nasally, but not in the nose.

Nay nay nay nay….

12) the same melody:

ma ma ma ma ma maaaaaaaaa ma ma ma

13) for range extension

Yaa a yaaa yaaa aa aa, then mi ii ii ii and

Approximately from re of the 2nd octave, we pass to mi, then we open our mouth wide and send the sound to the head with force

14) for singing low notes “we suffer”. First, on one note down from to 1 octave.

oh oh oh oh oh oh

15) we connect a low note and a high one at the jump.

First a fifth, then an octave.

long breathing exercises

17) reading in one breath a long phrase. It is better to take the size HEXAMETER. This is a passage either from the Odyssey or from Homer's Iliad. We read on the raised palate. Melodious.

Performance of fragments of songs.

Ksyusha - "Cloud"

Sonya - "About the sweetheart - the king"

Yana - "The roosters sang"

Lena - "About the elephant"

Nastya - "Little Blues"

Karina - "The swans flew away"

Lesson plan

Introduction. Similarities and differences between academic and pop vocals.

Breath work. Respiratory system A.N. Strelnikova

Work on vocal technique:

sound shaping

working with a microphone

long phrase

diction

range extension

staccato legato

Performance of solo excerpts

5) Conclusion.

Conclusion.

Each teacher is free to use a wide variety of techniques and exercises to develop and strengthen the singing voice and vocal skills. The main thing is that the child feels comfortable in the classroom and moves with pleasure towards a positive result. The teacher needs to be very careful in choosing exercises and repertoire for the child, allowing them to reveal all the possibilities of this student as widely as possible. It is very important to know the measure here. You should not tire the student with long exercises, but they should not be neglected either. You need to know the characteristics of each student. Someone is better to sing from top to bottom, and someone vice versa. For class work, you can choose a work that is a little more difficult so that there is something to work on. And for a performance, it is better to take a work that is simpler, but one that can be easily performed by a child.

It is not necessary to decorate the performance with some artificial, far-fetched effects. It is better to properly analyze the music and text with the student, to understand the content and performance will naturally be filled with meaning, and hence expressiveness.

SAINT PETERSBURG STATE BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL EDUCATION FOR CHILDREN

"St. Petersburg Children's Art School No. 19"

OPEN LESSON ON SOLO SINGING

«WORK ON VOCAL BREATHING AND CORRECT SOUND PRODUCTION IN THE JUNIOR GRADES OF THE VOCAL-CHORAL DEPARTMENT AS A NECESSARY CONDITION FOR THE FORMATION OF SINGING SKILLS»

Teacher - Elizaveta Borisovna Bokova

Concertmaster - Anastasia Alexandrovna Klimanova

St. Petersburg

November 26, 2012

Introduction

This open lesson is dedicated to working on correct breathing while singing, as well as how to correctly explain and show the child the right way to sing, so that the voice always sounds loud and not strained, regardless of the registers and nuances in the vocal work.

Often, during classes, teachers forget about the importance of proper breathing, and yet it is the basis of a long and harmless use of his vocal apparatus for the singer.

It is very important to explain to the child that “breathing deeply” is a myth, because the most correct, useful and natural breathing, which, by the way, all newborns and small children breathe, is not chest, but is done with the movement of the abdomen (diaphragm), as well as small (i.e., with it you don’t need to “inflate” much). It is also important to explain to the child that breathing is, first of all, relaxation, so that he does not pinch when taking air from effort (as often happens), explain that with proper breathing, there is a feeling that you take air with the stomach, and not with the lungs, and all the air goes as if immediately upon inhalation into the tummy according to sensations.

It is very important to explain to the child why such breathing is so important. It is necessary to tell him, of course, in a simplified form, that with improper, chest breathing, we take air with that part of the lungs (the upper part, in which the shoulders also rise), around which there are no muscles, and when exhaling, the air does not receive the necessary pressure, to go directly to the resonators. At the same time, our vocal cords and the muscles around them do double work - not only do they create a pitch, they also hold back and push air (because of this, vulture and frequent fatigue of the ligaments in both young and adult singers). When we take air correctly, the diaphragm, which is one of the strongest muscles in our body, gives the air the necessary “message”, and it immediately goes to the chest and head resonators, where it is already easier to control them, and there it sounds, filling our body with sound. At the same time, the ligaments quietly do their job, creating the sound we need the height. There were cases when, while a person sang, while incorrectly gaining air, he sharply turned his head - and his ligaments were torn from tension. From this example, we see how important it is to ensure that the child breathes correctly while singing, because it is very important to protect, preserve and develop this fragile instrument.

Also in our lesson we will discuss and show how to correctly direct the sound into our resonators - chest and head, and so that the sound everywhere sounds even, loud and beautiful.

At the same time, it is very important that the child sings in “his own” voice, without copying anyone, otherwise his sound may deepen and go back into the throat, which often happens when children begin to copy opera singers or their adult teachers. He will only need to copy the correct sensations, the muscle memory of the teacher, who, in turn, must understand how to explain to the children standing in front of him these sensations, correct breathing and sound extraction so that everyone, even the most restless and inattentive child understands and repeats it. Here the game, interesting images, as well as works that the teacher will give to the student, come into play in order to interest and not lose attention, to touch on the participation of the child's feelings and consciousness, which are so important during the lessons. All this will contribute to the fact that the student, using his voice correctly, will not only join the artistic culture through music, but will also create something new in music himself, will bring his own artistic value.

Goals:

• to acquaint with the concepts in singing - ensemble and system;
• to achieve stable intonation of monophonic singing;
• introduce the types of two-voice singing: the opposite movement of voices, the movement in parallel intervals canon;
• to achieve stable intonation of two-voice singing;

Tasks: educational:
teach: correct singing breathing; singing a song in unison; singing a word on a yawn; clear chanting of consonants and vowels. developing: formation of correct academic performance; development of a sense of rhythm, attention, imagination; development of auditory musical memory, singing emotionality, expressiveness, vocal articulation, singing breathing. educational: foster a culture of behavior; cultivate the ability to work in a team.

Teaching methods: conversation, comparison.

Equipment:
recording of the song "The Lion and the Barber";
cards with the words: choir - good, C-PART-E, combining parts into a single one;
score of the song "Children of the Sun" music. E. Krylatova sl. Yu.Entina;
DVD player;
minus phonogram of the song "Lunatics" muses. L. Rubalskaya, sl. B. Saveliev.

Course progress.

1. Organizational moment.

1. Greetings.
2. Checking readiness for the lesson.

2. Chanting.

We begin each lesson by rubbing our fingers. Why are we doing this? (there are points on the fingertips that are responsible for the work of all organs, we do this so that our whole body helps our ligaments when singing.)

And now let's move on to articulation gymnastics. What is the articulatory apparatus? (tongue, lips, hard and soft palate, lower jaw.)

Exercises:

1. Football (tip of tongue moves from right cheek to left)
2. We brush our teeth from the outside, from the inside.
3. The tongue draws a path across the sky inward.
4. Movement of the lips from side to side, circular movements.

Where does the singing process begin? (with breath)

Where do we send air when we inhale? (in the stomach). The body is free, the shoulders are lowered.

Exercises:

1. Inflate the balloon (inhale through the nose, fix the breath, exhale to the CCC, the air comes out, the balloon remains.)
2. A short breath into the stomach, a short exhalation to “shoo”, “quiet”.
3. Riding a motorcycle (arms extended forward, inhalation - counter-moving hands, backtack, exhalation on RRRRRRR).
4. Feet shoulder-width apart, arms at shoulder level, bent at the elbow parallel to each other. We connect the elbows inhale, elbows to the sides, bartack, body down. Exhale on "Ha".

Tongue Twisters:

1. The bull is stupid, stupid bull, the bull's white lip was stupid.
2. The ships tacked, tacked, but did not catch.
3. Duck vostrohvostachka dived and emerged, emerged and dived.
4. There is a priest on a shock, a cap on the priest, a shock under the priest, a priest under the cap.
5. As on a hill on a hillock lived 22 Yegorka. One Yegorka, two Yegorkas, etc.

The attention of the teacher should be directed to:

• muscle freedom;
• correct posture;
• active work of the muscles of the respiratory-voice support;
• the ability to take a breath and expediently distribute the exhalation;
• operation of the resonator system;
• general intelligibility of speech;
• rhythmic precision.

Text pronunciation options:

• active exhalation at the end of the phrase (patter "Bull");
• pronunciation with different intonation (surprise, joy, indignation), a change in the semantic center ("Duck");
• use of verbal action ("Pop").

1. Singing with your mouth closed. During singing to a closed sound, the development of resonators occurs.

Rising up the sounds, follow the unchanged position of the larynx.

3. Development of the correct attack.

Follow the freedom of the lips and an even filled sound when moving to the head register. The slower the vibration speed, the better.

5. Development of jaw mobility.

7. High larynx training.

Do not hold the sound of "her" in your nose. It will be quite “nasal” due to the exaggeration of the “n” sound.

3. Actualization of knowledge.

Hearing

Now we will listen to the song "The Lion and the Barber" performed by the Remake group. Pay attention to how this work is performed. Accompanied by a musical instrument or unaccompanied? Is it one-voiced or will there be several voices? What do the performers represent (imitate) with their voice? Is there a main voice or are all voices equal in sound to each other?

The song "The Lion and the Barber" sounds

So, was the work with accompaniment or a cappella? (a cappella) Is it monophonic or did it have several voices? (several votes) Are all voices equal or are there solo parts? (one voice - solo part) What was the escort role? (the role of accompaniment was performed by other voices) What they tried to portray, imitate the rest of the voices (sound of various musical instruments)

4. Motivation and goal setting

The voice is a unique musical instrument, it can portray a lot. Now we know that a lot can be portrayed with a voice. Even how many small streams flow into one river. One voice - the main one - leads the melody, the rest will have to "pour" their voice into the overall sound. But at the same time, without interrupting each other and listening to the main one. With such a harmonious, harmonious singing, you get a "full-flowing, full-sounding river." Therefore, the theme of our lesson "Sounds Living in Unity" .

Do you like to sing along? Why is it better to sing in chorus? (Hoor-good!)

What is good? When is a person good? (Then, when a person is surrounded by friends, when there is mutual understanding between people, they are connected by good relations, caring for each other. When peace and friendship reign in society, then everyone is happy.)

Read the word that is written here (C-PART-E. C-connection of PARTS in E-one).

5. Primary assimilation of educational material.

The choir consists of different voices, parties. When the group is large, it is called a choir, and when the composition of the singers is small, it is called ensemble. What is the name of singing when all members of the ensemble sing in one voice? (unison) Do we always sing in unison? (No) Each party can have its own voice, its own role. Everyone in the ensemble listens, complements and enriches each other. The voices of the singers are different, but they do not stand out. They affirm not themselves, but the whole. When everything is interconnected, everything is in time and in place, then harmony and beauty are born. When there is agreement between sounds, they complement each other and thus give rise to harmony. This harmony will also be called an ensemble. Vocal ensemble is the combination of all vocal elements into a single whole. So, what meanings of the word ensemble did we meet today?

8. Summing up the lesson and reflection.

• What new concepts did you learn in class?
• Meanings of the concept of ensemble.
• What did you remember most about the lesson and what did you like?
• Performance of the song "Lunatics" by the muses of L. Rubalskaya, lyrics. B. Saveliev.

List of used literature.

1. Dubrovskaya SV The famous breathing exercises of Strelnikova. – M.: RIPOL classic, 2008.
2. Emelyanov VV Voice development. Coordination and training. - St. Petersburg: Publishing house "Lan"; Publishing house "PLANET OF MUSIC", 2007.
3. Box V.I. "Vocal in popular music" M., 1989.
4. The world of vocal art. Grades 1-4: program, development of classes, methodological recommendations / ed. G. A. Suyazova. - Volgograd: Teacher, 2009.
5. Methodology for teaching pop vocals "Pure voice" / Comp. T.V. Okhomush
6. Morozov V.P. Art of resonant singing. Fundamentals of resonance theory and technology. - M., 2002.
7. Romanova L.V. School of pop vocals. - St. Petersburg: Publishing house "Lan"; Publishing house "PLANET OF MUSIC" 2007.

Sushcheva Natalya Alexandrovna
Job title: Pop vocal teacher
Educational institution: MBUDO DSHI village Ilsky
Locality: Krasnodar Territory Seversky District Ilsky
Material name: Public lesson
Topic:"Various methods of working on vocal technique using health-saving technologies"
Publication date: 08.10.2018
Chapter: additional education

Open lesson on pop vocals by Suscheva Natalia

Alexandrovna

Lesson topic: various methods of working on vocal technique with

using health-saving technologies.

The purpose of the lesson: To reveal and justify the various methods of working on

vocal technique in pop vocals.

Tasks: 1) identify the differences between pop and academic vocals

2) Determine the sequence of exercises

3) Practically visually demonstrate the performance of exercises by children

different ages and skill levels.

Introduction. Similarities and differences between academic and pop

vocals.

Singing is a kind of music where as a live musical instrument

exercise, must be healthy.

There are 30 vocalists in my class from 6 to 32 years old. During our lesson I

students. Since we will talk about pop vocals, I want to

to clarify the difference between the genres of academic and

pop vocals.

Academic vocals are different from pop, jazz and rock vocals

with its strictly classical position, this is an old classical vocal

a school that does not involve singing into a microphone. In academic

vocals, there are certain frameworks developed by experience and

history of vocal music. These frameworks usually do not allow

directions. With experience, an academic singer develops

certain vocal position, due to which the voice becomes

very strong and acquires a large volume. However, in rare cases,

academicians can perform in other vocal genres if they can

make sound easier.

pop vocal

Pop singing combines many song directions,

unites the entire palette of vocal art. Pop vocals, before

of all, implies singing from the stage, but the concept of pop vocals, as

As a rule, they are associated with light and easy-to-understand music. AT

pop vocals, you can hear both folk motives and elements

vocals differ from academic vocals in a more open and

natural sound. However, singing skills, correct position and

sound support is just as necessary in pop vocals as in

academic.

Breath work. Respiratory system A.N. Strelnikova

The art of singing is, first of all, the art of correct breathing, which

is the most important factor in our health.

To strengthen and develop

respiratory system there is a system of breathing exercises

Alexandra Nikolaevna Strelnikova. Its main idea is that

breathe in resistance mode. In this case, the respiratory muscles

have to be more active.

Ball: Stand up straight, chin parallel to the floor. Put your hands

on the lower ribs and inhale so that they expand

at the same time, inflating the stomach. (the balloon is inflated) You need to breathe in

lower ribs, abdomen, corners of the lungs (back). To feel where

it is precisely the support of the sound that is located, you need to slowly blow out the letter “s”.

Raise the corners of the lips slightly to expose the upper teeth. (This

the position is just different from the academic)

Pump: Starting position: stand up straight, put your feet wide

shoulders, arms along the body. You need to make a slight bow, stretch

hands to the floor, without touching it, to the sound "s" and "sh". Rise not

straightening up to the end, and bow again with a breath. Bows are made

rhythmically, the back is round, the head is lowered, do not lean too much

Perform 8 breaths-movements for the sound "s" and 8 breaths-movements for

"sh" sound.

Head rotation: stand straight, feet shoulder-width apart. Head turn to the right

- inhale, exhale to the starting position. Then turn your head to the left - inhale in

exhalation starting position. Do not stop the head, the neck is relaxed.

Snake: inhale into the lower ribs, exhale at the sound - sh ..., then the rest of the air

exhale with the sound of pyr from top to bottom. Run 8

Woodcutter: feet shoulder-width apart, hands clasped in front of you. Making a swing

up - inhale, go down - quick exhale with the pronunciation "UH-X-X"

Perform 8 breaths-movements.

Pumping: pump air into the lower ribs (4 breaths) and exhale sharply for

"ha" sound. Perform 8 breaths.

One two Three: In my work, I often use exercises to achieve

multiple tasks. This is the development of singing breathing and the development of articulation.

Take a deep breath and count from one to eight until the end

Egorka: We take a deep breath, quickly and clearly pronounce “Like on a hill

on a hillock, there were thirty-three Yegorkas, one Yegorka, two Yegorkas, three

Yegorka…”

Work on vocal technique.

Singing helps relieve stress. Scientists have found that in the brain during

Singing produces endorphins, a substance through which a person feels

joy, peace, good mood and increased vitality

We sing with the kids on simple exercises:

"Here I go up, here I go down"

"From the clatter of hooves, dust flies across the field"

"Three magpies chattering,

chattered on the hill"

While the child is small, there is no way to work on all the vocal

skills, as with adult children, so we take simple

simple songs with a small range, gradually expanding it.

At the same time, working on the purity of intonation, staging of breathing and

expressive performance.

"Bug crawls into the cellar"

"Chi-ki, chi-ki"

It is very important that at the moment of singing, the children do not stand in a rack. We are moving in

singing time, bend over and wave your arms.

Treatment by singing is still described by Aristotle and picked up by everyone

active religions. For many centuries

church singing serves as a health remedy to this day.

In pagan culture, there was a custom when the patient was placed

inside the round dance, and sang, thereby healing all ailments.

Vocal lessons improve the speech function of the body.

There is a well-known practice when stuttering is cured by singing. The sooner

a stuttering child will be engaged in singing, the more

chances to get rid of this shortcoming.

Vocal is a unique means of self-massage of internal organs. A business

is that when a person sings, only 20% of the sound is directed to the external

space, and 80% - inside, into our body, forcing more intense

our organs work.

Stokatto exercises:

« We ran across the coast »

Chants with alternating tempo:

« White snow, white chalk »

Rhythmic chants with elements of jazz:

"Forty mice were walking"

"Dum, de-dum"

The miraculous power of sound was also given due in Russia, it was even given

some mystical role. The simplest example: having been injured, a person groans,

not because he wants to call for help. As it turned out now, groans have

the effect of anesthesia, stimulating the activity of some parts of the brain, and suppressing

the activity of others. Moans stimulate the release of endorphins into the blood, which

analgesic effect is 50 times stronger than morphine!

The creator also spoke about the healing effect of singing in the whole body

systems for the restoration and improvement of the voice "Physicalization" A.I. Popov.

Anatoly Ivanovich Popov, having passed a long difficult path, created an invaluable

health-improving system - physical vocalization, which can not only save people from

occupational diseases, but also to improve health, prolong the full

life, push back old age.

During the Great Patriotic War in the army, he contracted tuberculosis. And

fell ill with a rare and very severe form of it - tuberculosis of the submandibular

lymph nodes. He survived, although endless

angina and inflammation of the tonsils. Doctors told him: “You can’t sing! New

you can't put your throat in." But before his illness, Popov sang opera very well.

For some, the verdict of doctors could be a tragedy, but not for Popov. Huge

self-confidence and natural ingenuity prompted the right decision. He started

Subsequently, Popov began to advise everyone to start strengthening their health.

precisely from reading the poems of domestic poets. After all, the Russian language is so melodious.

Reading aloud the works of Pushkin, Lermontov, Tyutchev, Fet, Popov

felt that his throat had ceased to ache, and his voice had grown stronger. In this way,

Popov cured his tuberculosis.

Particular attention should be paid to the "r" sound, as it contributes to

On the sound "r" we sing a tonic expanded triad.

"Ra-ro-ri-ra-ro-ri-ra"

this uptempo chant is not only good

warms up the ligaments, but also great for expanding the range.

Stokatto exercises:

"Mi-and-and-and-ya" we sing abruptly on a support from the bottom up in octaves

"Ai-i-ai!" from top to bottom, sharply and abruptly along the tritone. The sound must

hit the roots of the front teeth.

Glissando exercise and the development of the pop technique "yodel":

"Respond"

from bottom to top and back in octaves

This exercise requires a wider breath and evenness of sound throughout.

range:

"Mi-and-and ..." from note to to note sol and back twice, then from note to to

note D of the second octave and back in the same breath

Conclusion.

Each teacher is free to use a variety of techniques and

exercises for the development and strengthening of the singing voice and vocal

skills. The main thing is that the child feels comfortable in the classroom and

happy to move towards a positive result. The teacher needs

be very careful to choose exercises for the child and

repertoire, allowing as wide as possible to reveal all the possibilities

this student. It is very important to know the measure here. Don't be tired

student with long exercises, but they should not be neglected. Necessary

know the characteristics of each student. Someone better to sing from above

down, and someone vice versa.

In any case, it is useful to sing, even if a person believes that he does not have

In Russia, it was believed that the soul itself sings in a person and singing is her

natural state. If you are in a bad mood, you often get sick,

feel tired and tense, there is only one advice - sing ... and rejoice