Music lesson "work on polyphony in the choir." Open lesson in choir with the younger group on the topic: “the initial stage of work on two-voice in the younger choir

Presentation for the lesson

Back forward

Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested in this work, please download the full version.

Target: To learn the I part of the Ukrainian folk song "Crane", arranged by V. Sokolov.

Tasks:

Tutorials:

• to consolidate with students of ZUN about compliance with the rules of singing in the choir, health protection, voice protection;
• master vocal and singing skills: pure intonation, singing diction, articulation and breathing;

Developing:

• to develop students' interest in choral singing;
• develop harmonic hearing, a sense of rhythm, building, ensemble;

Educators:

• cultivate a love for choral art;
• to cultivate activity and emotional responsiveness in students;
• to cultivate a tolerant attitude towards each other.

Equipment: musical instrument (piano), musical material, scores of choral works.

Lesson type: introduction to new material.

Lesson form: practical work.

Forms of work with students: group work, pair work, individual work.

Class characteristic: The choir "Kamerton" is a team of students in grades 3-7 of the piano department. Children are different in age (9-14 years), their physical and mental capabilities, with different knowledge, skills and abilities of choral singing, different nationalities, which creates certain problems. So, for example, third-graders in our choir are engaged in the first year (before that they were engaged in the younger group of the choir). They do not have the skills of polyphonic singing, many intonation is inaccurate. Another problem is that children often get sick, there are many absences from classes due to illness. However, most choristers have a positive motivation for learning activities. Many people feel psychological comfort during the lessons in the choir, they understand that the result of their work depends on the contribution of everyone, they rejoice at every successful performance.

During the classes

I. Organizational moment

Teacher greeting.

Hello guys! I am glad to see you. Let's say hello to the guests present at our lesson.

So, are you ready to go?

Then smile at each other and wish you good luck in your work at the lesson.

II. Warm up

At the beginning of our lesson, I suggest that you take care of your health. And a warm-up will help us with this (the warm-up begins with a wellness massage, which includes rotational movements and vigorous tapping of the maxillary sinus zones located above the eyebrows and on the sides of the bridge of the nose, where mucus accumulates during a runny nose).

And now we “feed” the brain with oxygen.

(Performance of breathing exercises of therapeutic gymnastics by A. Strelnikova). (Appendix 2).

Repetition of the rules of singing while sitting and standing:

• when singing, the posture should be motionless;
• it is better to push the right leg forward slightly (third position);
• the weight of the body can be shifted from time to time alternately from left to right and from right to left;
• completely excessive raising of the shoulders is harmful;
• one must imagine that all the muscles of the neck, up to the muscles of the back, are completely relaxed;
• the lower jaw must be freed from any tension.

(Students sing, the teacher accompanies).

Now you are in order, lively eyes, beautiful faces. Everyone is ready to go!

IV. Revision of previously studied material and checking homework

And now I suggest you turn to a new work that we met in the last lesson. Ukrainian folk song "Crane" in the processing of Vladislav Sokolov (Appendix 4). We have analyzed this work in detail. Let's repeat the main steps of the analysis.

(Cheerful, lively, light, mobile, bright, figurative)

Size (2/4)

Key (B flat major (B-dur) with deviations to the dominant key F major (F-dur))

Tempo (fast)

Dynamics (from piano (p) to forte (f), according to the phrasing)

Strokes (non legato (non legato))

Form (complex three-part with introduction)

The structure of the I part (a period of 4 four-bar phrases with an ending)

Texture (in the introduction and part I - homophonic-harmonic (the main melody is in the soprano part 1 (S I), the rest of the voices harmoniously support it), in part II - the canon)

Your homework was to put down caesuras in the introduction and in Part I.

In which bars did you insert caesuras? (in bars 6, 14, 22 and 26)

And now I suggest that you split into pairs, exchange scores and check with each other if you did your homework correctly.

(Work in pairs, evaluation of a friend)

V. Lesson topic message

Guys, now I suggest you continue the analysis of the song "Crane" and move on to learning it. Do you want to continue this work? (Yes)

So, the topic of our today's lesson is the initial stage of learning a choral work using the example of the Ukrainian folk song "Crane"

But for this we have to work hard and actively work in the classroom. Ready? (Yes)

VI. learningIparts of the song "Crane"

We will begin our analysis of this work with Part I.

Tasks of this stage of work: achieving accurate intonation, taking breath only in places marked with caesuras, developing harmonic hearing, a sense of rhythm, order, and ensemble. (solfegging)

• Viola part practice by the whole choir (A)
• Practice by the whole choir of the part of the second sopranos (S II)
• Practice by the whole choir of the part of the first sopranos (S I)

And now let's have a rest and play the game "Conductor". Rules of the game: singers must carefully follow the conductor's gestures, fulfill all his requirements. The conductor gives the task which part the choir should perform. ( Role-playing game "Conductor". The student conducts, the choir performs one of the learned parts)

• The combination of parts of altos and second sopranos (in this case, the part of the second sopranos is performed by all the sopranos together)
• Each party sings its own line

What do you think, what tasks have we coped with, and what have we not?

(Analysis of the work performed)

VII. Outcome

Well, it's time to sum up our today's work. During the lesson, we repeated the main stages of the analysis of a new work and learned its first part. The goal of our lesson was successfully achieved, we adequately coped with all the tasks set in the lesson. In the next lesson, we will continue to work on the first part of the song "Crane" and move on to the vocalization of our parties. Let's start with Part II.

VIII. Reflection.

Did you like today's lesson? What is your mood after the lesson? Show the colored squares that match your mood (red - good mood, blue - indifferent, black - negative).

How do you physically feel?

• I am cheerful, I feel good (red square)
• I do not feel any change in how I feel (blue box)
• I'm tired, I feel bad (black square)

What can you say about the lesson?

• It was easy and interesting for me (red square)
• It was difficult for me, but interesting (blue square)
• It was difficult for me, therefore it is not interesting (black square)

How do you rate your work in class?

• 5 (red square)
• 4 (blue square)
• 3 (black square)

The teacher evaluates the work of students in the lesson.

IX. Homework

Learn your part by heart in Part I (solfeggio). Insert caesuras in part II. Specify the form of the work.

Bibliography

1. Kozlova M.B. Vocal exercises as a way of developing singing skills in young and middle-aged students. http://festival.1september.ru/articles/574865/
2. Chuikina S.V. Health-saving technologies in choral singing lessons. http://festival.1september.ru/articles/419396/

Teacher : Tokar Taisiya Alekseevna

Date : 25.02.2012

Grade : 1-2

Subject: choir class.

Lesson topic: The initial stage of work on two-voice in the junior choir.

Conduct form: collective.

lesson type: lesson - repetition, consolidation of skills and abilities.

The purpose of the lesson : development of two-voice singing skills in the junior choir.

Tasks :

Educational:

1. to form the skills of singing a cappella;
2. achieve pure unison as the basis for the development of harmonic hearing;
3. to develop in students the ability to clearly hold their part while sounding another;
4. continue to consolidate the skill of solfegging in choral parts, which contributes to the conscious assimilation of a piece of music.

Developing:

1. continuation of the formation of vocal and choral skills and abilities;
2. continued development of harmonic hearing;
3. development of musical susceptibility, that is, the ability to hear and listen, the ability to analyze, compare;
4. expanding the musical horizons of students through the repertoire (works by Russian classics, modern composers, folk songs).

Educational:

1. educate emotional responsiveness to music, the content of the text;
2. to cultivate interest in the folk music of other countries on the example of fr. nar. songs "Brother Yakov";
3. to cultivate the desire to perform songs in independent activities,
4. educate love for music, the need to communicate with art.

Teaching methods:

1. visual (auditory and visual);
2. verbal (discussion of the nature of music, figurative comparisons, verbal evaluation of performance);
3. inductive;
4. deductive;
5. problematic - search;
6. explanatory - illustrative in combination with reproductive (vocal illustrations in the voice of the teacher and reproduction of what the children heard).

Methodological techniques:

1. creative tasks and questions that stimulate mental activity and create search situations;
2. application of an individual approach, monitoring the development of students, a group individual survey;
3. encouraging children to self-control and self-esteem in the process of singing;
4. comparison of songs, different in character;
5. variability of tasks when repeating exercises and song material;
6. representation "in the mind" of the first sound already on the breath;
7. vocalization of songs for syllable and solfeggio;
8. delaying the sound of the choir on individual sounds along the conductor’s hand in order to build a unison (“Moth”, “Merry Frog”), as well as building consonances in two voices (“Brother Yakov);
9. figurative comparisons as a method of connection with life experience and figurative thinking of younger students;
10. humor, approval, encouragement of students' success in order to stimulate their interest in classes, as a way to evoke positive emotions that increase the performance of children.

Psychological conditions in the lesson:

1. psychologically comfortable atmosphere. emotional satisfaction;
2. personality-oriented communication, taking into account the level of musical development;
3. taking into account individual characteristics;
4. differentiated approach.

Equipment : piano, chairs, sheet music in 2 copies, notes of exercises and chants, choral parts.

Lesson structure

1. Organizing time.

1. Updating of basic knowledge(checking homework):

1. Random check (two students) of the game of the choral score “Tell the moth, music. A. Arensky (3-5 figures);
2. collective pronunciation of the 2nd verse of A. Zhurbin's song "Merry Frog".

1. Setting goals and objectives for the lesson.

In this lesson, work will be done on improving the skills and abilities of two-voice singing in chanting exercises, in A. Arensky's song "Tell the Moth", fr. nar. song "Brother Yakov" (arr. An. Aleksandrova).

1. Main stage.

4.1.Singing

1. Warm-up: - "Antics",

- "Tongue",

- "Locks" (children open their mouth along the hand).

Target : activate the articulatory apparatus, collect the attention of children.

1. Exercise "Seagull" ("mute" sound);

Target : raise the palate, form a “yawn” position, a high position.

1. "Eights";

Purpose: to activate the articulatory apparatus, work on breathing, lengthening phrases.

1. Tongue twister (“Birch trees ring from frost at dawn on a winter morning”)

Target : work on unison, round sound, clear diction, length of breath, work on polyphony.

Stages of work:

1. the phrase is repeated several times. Children perform the exercise together, going up the semitones from FA to SOL;
2. then it is proposed to perform the exercise in a canon for 3 voices (notes SOL, SOL sharp);
3. from the note FA, the tongue twister is performed according to the sounds of the tonic triad. Previously, the children sang their voices in groups (1,3 and 5 steps).

1. "Voronina pasta" Music and lyrics by P. Sinyavsky.

Target : working out active exhalation, active ending, rounded sound.

4.2. "Tell me, moth" Music by A. Arensky, lyrics by A. Maikov

Stages of work:

1. A conversation with children about the character, the mood of the song: a song about a butterfly means the character is light, airy, the breath is also light, short, the sound is round;
2. performance of 1 and 2 figures with text and accompaniment, then without accompaniment. It is necessary to practice intonation at the races, as well as pay attention to the execution of phrases in one breath; ending on a long note should be played high, pointing upwards, and with a round sound.
3. Ask the children which phrase is similar to the melody of the number 6. Children : by 1 digit, but the ending has changed. Next, work out the intonation of the 6th digit.
4. 3 and 5 figure is performed solfeggio. Work on long breathing, intonation on semitones and jumps;
5. 3-5 numbers to perform with the text, pre-read the text expressively, note a different mood, pay attention to singing consonants at the junctions of words;
6. performance of a song from beginning to end with accompaniment, expressively. The task for the children is to lead your own melody brightly and juicy, which is not supported by accompaniment.

Physical education: speech game "Aty-baty"

4.3. French folk song "Brother Jacob", arranged by An. Alexandrov, Russian text by I. Maznin.

Stages of work:

1. a conversation about a change of character: lively, bright, cheerful, but singing is not loud, which means on a good support, actively;
2. performance of 1 verse in this character from beginning to end;
3. 1-4 phrases with stops at high sounds, work out a round sound, sharp diction in the 1st and 2nd couplets;
4. in 5-6 phrases, active breathing, like a “spring”, the end of the phrases “throw it up”; 7-8 phrases attention to low notes: sing them high;
5. Verse 2 is canon. Sing slowly along the hand, building the intonation of the voices. Task for children: to hear their own and another voice;
6. performance of the song in its entirety.

1. "Merry Frog" Music by A. Zhurbin, lyrics by P. Sinyavsky.

Stages of work:

1. a conversation about changing the style and nature of the work. Adjust the character, and therefore rebuild the sound, breathing (surprised, playful, which means taking a breath briefly, easily and clearly);
2. singing to the syllables "LE" and "KU" (as if they forgot the words). Tasks for children:

- “hang” on the beat (working out intonation),

The endings of the phrases are short ("push out"),

The last phrase on "KU";

1. performance of the 1st verse with the text, with stops, point the endings up, sing the letter “B”;
2. chorus work:

- "ride" on the letter "R",

Breathing is active, singing on a support, like on a trampoline;

Bite your sponge on the syllable "kva";

1. performance from beginning to end with accompaniment.

1. The final stage.

Summing up, forming conclusions, determining homework: pick up and play the piano fr. nar. song "Brother Jacob".

Tasks:

1. To cultivate musical tastes and needs on the performed works.

2. To consolidate the skills of correct singing breathing, to give the concept - "diction", to monitor the correct sound extraction and sound formation.

3. Development of artistic abilities - ear for music, musical memory, emotional responsiveness to art.

Lesson plan:

I. Organizational moment.

II. Breathing exercises.

III. Chanting exercises.

IV. Work on the work "If there were no schools" muses. V. Shainsky

V. Physical education.

VI. Work on the work "Childhood" music. E. Filippova, sl. V. Stepanova

VII. Summary of the lesson.

During the classes

I. Organizing time.

The teacher welcomes the children, sets them up for the learning process.

II. Breathing exercises.

During breathing exercises, students stand in a free position, without interfering with each other.

a) Lightly bite the tip of the tongue with the teeth

c) They bite the tongue alternately with the right and left lateral teeth, as if chewing his.

d) Rest the tongue on the upper lip, lower lip, right cheek, left cheek.

e) They click their tongues, changing the shape of the mouth into a smile and stretching their lips into a tube.

Exercises to develop proper breathing.

“Do not blow out the candle” - the children put their hands on their belts, take a calm breath without raising their shoulders, slowly exhale air silently for as long as possible and economically so that the candle does not go out, mentally imagining that it is burning in front of them.

Task 1. "Pull the thread" - a deep breath, then holding the breath and slowly exhaling with the sound "s".

Task 2. "Breath-holding" - to yourself slowly count up to 5 while inhaling, a delay is made on the same account, and on this account a slow exhalation. The exercise is repeated several times, increasing the score.

Task 3. "Kitty" - taking a step to the side, you need to take a breath, pulling the other leg and performing a semi-squat, exhaling air. At this time, the arms are half-bent, the fingers are spread out, exhaling the air, clench the fingers into a fist. The exercise is performed several times. Make sure that the inhalation and exhalation are sharp.

Task 4. "Pump" - feet shoulder-width apart, hands taken to the "castle". A deep breath is taken, sharp downward movements are made with the hands, and at this time the air is exhaled in portions, to the sound “s”.

III.chanting.

1. Standing with their hands on their belts, all choristers on the conductor’s hand take a slow breath through their nose, making sure that their shoulders do not rise, but the lower ribs expand. Economically exhaling air on the syllable "lu" (up in semitones to the sound "si" of the first octave).

2. On one sound, the syllables “bra”, “bre”, “bri”, “bro”, “bru” are performed. You should follow a single manner of execution, for the simultaneous beginning and end. The consonants should be voiced "rr" - rolling and exaggerated, the vowels are sung correctly forming the sound production (up to the note "do" of the first octave).

3. This exercise “zi-i, zo-o, zi-i, zo-o, zi” is performed in one breath. You should follow the soft and clear transitions from one syllable to another (by semitones to “si” of the first octave) .

4. The next exercise on fine articulation technique. It is performed in the tempo "le-li-le-li-lem". Maintain clean intonation. You should not open your mouth wide, feeling as if "we start from the first note, and climb up."

IV"If there were no schools" music by V. Shainsky.

Performance of the work, repetition and consolidation of skills. The works are performed at a fast pace, so it would be advisable to ask the choristers to pronounce the text in the rhythm of the work. It is necessary to focus on the clear pronunciation of the end of words, on their exaggerated pronunciation.

During the performance, one should pay attention to the active work of the articulatory apparatus, but at the same time one should not open the mouth wide, because the speed of execution is lost. After the execution, the nature and content of the text are discussed, conclusions are drawn on the execution.

V. Fizkultminutka.

Training. Pump and ball: One of the choristers is a pump, the others are balls. The balls are “lowered” with a limp body, the body is tilted, the arms hang freely. The pump pumps air, inflating the balls. The balls are inflated and then the “cork” is removed and the balls are re-deflated.

Muscle relaxation exercise.

VI. "Childhood" music. E. Filippova, sl. V. Stepanova

During the performance of a finished song, choristers must remember, first of all, the emotional state of the work. Before the performance, the conductor makes an instruction about paying attention to the conductor, correct seating, breathing, and correct sound extraction.

Ensemble work is carried out between the accompanying instrument and the choir. The accompaniment is listened to in its entirety, the features are analyzed (does it express the general mood, does it support the vocal part, rhythmic pattern), based on this, the manner of performance is chosen.

VII. Summary of the lesson.

The teacher summarizes. Evaluates students. Gives homework.

Open lesson in the discipline of choral singing at the zonal methodological association

Teacher : Melnikova Elena Viktorovna

Concertmaster : Stasko Marianna Romanovna

Year of study : 1-2

Lesson topic : The initial stage of work on vocal and choral skills in the younger children's choir.

Conduct form: collective.

Lesson type: lesson - repetition, consolidation of skills and abilities.

The purpose of the lesson : the formation of students' basic singing skills.

Tasks:

Educational: the formation of students' basic singing skills. Among them we can include:

singing installation;

singing breath and support of sound;

high vocal position;

accurate intonation;

evenness of sound throughout the entire range of the voice;

the use of various types of sound science;

diction: articulatory and orthoepic skills.

Developing:

continuation of the formation of vocal and choral skills and abilities;

continued development of harmonic hearing;

development of musical susceptibility, that is, the ability to hear and listen, the ability to analyze, compare;

Educational :

Education of vocal ear as an important factor in singing in a single singing manner;

Education of organization;

Attention, naturalness at the moment of collective music-making.

Teaching methods:

visual (auditory and visual);

verbal (figurative comparisons, verbal assessment of performance);

· inductive;

· deductive;

problematic - search;

Explanatory - illustrative in combination with reproductive (vocal illustrations in the voice of the teacher and reproduction of what the children heard).

Methodological techniques :

Creative tasks and questions that stimulate mental activity and create search situations;

application of an individual approach, monitoring the development of students, a group individual survey;

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

variability of tasks when repeating exercises;

Representation "in the mind" of the first sound already on the breath;

humor, approval, encouragement of students' success in order to stimulate their interest in classes, as a way to evoke positive emotions that increase children's performance.

Psychological conditions in the lesson:

psychologically comfortable atmosphere. emotional satisfaction;

personal-oriented communication, taking into account the level of musical development;

taking into account individual characteristics;

a differentiated approach.

Equipment : piano, chairs, notes of exercises and chants, choral parts.

Lesson plan

I. Organizational stage.

a) greeting, psychological mood of students;

b) the message of the topic of the lesson and its tasks;

c) introductory part.

II. Main part.

1. Breathing warm-up

2. Vocal exercises

3. Work on vocalization.

III. Final part

DURING THE CLASSES

All vocal skills are closely related, so work on them is carried out in parallel. Naturally, each vocal exercise has the goal of developing some specific skills, but when performing it, it is impossible to ignore the rest. This is the main difficulty for a little singer - to learn that in order to achieve a sustainable result, it is necessary to use absolutely all the knowledge, skills and abilities gained in the classroom.

At the initial stage, it is necessary to cultivate these skills in their elementary form, without seeking the subtleties of this or that technique. In the future, there is a constant consolidation, development and improvement of singing skills, in-depth work on the culture and correctness of sound, the beauty of timbre, subtle and varied nuances on more complex musical material.

You need to work gradually, without haste.

Under no circumstances should forced sounding be allowed.

You should sing in a moderate tone (not loud and not quiet).

The greatest attention should be paid to the quality of sound and freedom when singing.

Of great importance is the work on the evenness of the strength of the sound (on one, on different sounds, on the whole phrase). It is advisable to carry out this work in an even more limited range.

It is necessary to equalize all sounds in terms of sound quality.

The systematic development of vocal and technical techniques in special exercises leads to a valuable skill - the "automatism" of their application. This principle consists in the repeated performance of the simplest operations, during which the vocal apparatus, as a self-regulating system, automatically finds the optimum, while simultaneously training the corresponding muscle systems. The skillful use of a differentiated age range, the selection of a repertoire in a convenient tessitura, the exclusion of forced sound provide natural sound, the harmonious development of voice-forming organs, and the identification of the individual timbre of students.

Let's move on to vocal exercises that I use in every lesson to prepare the vocal apparatus for work and form basic singing skills. One of the most important features is the formation of the skill of "automaticity" in the performance of exercises, so all of them are always sung in a certain sequence, in a certain range, based on the primary zone of the child. After some time, even singing a cappella, the children themselves begin to sing from the usual notes, which, of course, indicates the formation of their auditory sensations.

II. Main part

1. Inhale through the nose, exhale through the mouth. The shoulders should not rise, and the stomach should inflate like a balloon when inhaling, and stick to the back when exhaling.

2. 1 inhale through the nose, 2 exhale through the mouth. The shoulders should not rise, and the stomach should inflate like a balloon when inhaling, and stick to the back when exhaling.

3. Hold the hand in front of the lips with the palm up parallel to the floor, fingers forward. Blow on the palm of your hand, exhale to the sound “s”, as if dosing a candle, exhaling.

4. The task is also only for the sound "z". Monitor the evenness of the sound so that there are no shocks and dips.

5. "Hedgehog". Diaphragm exercise. Children repeatedly pronounce the sound "f", pushing each pronunciation with the stomach.

6. Exercise with a closed mouth step by step. Watch for the formation of a yawn, the feeling of a dome.

7. Formation of a high position of sound, roundness of the vowel, sharp intonation of the third tone, support breathing. Naturally, at the initial stage of training, we focus on a particular point, but then we gradually add other tasks.

8. The next exercise on the alignment of vowels and a single manner of their performance. Keep track of the roundness of the sound.

9. In this exercise, you need to alternate staccato in the first measure and legato in the second measure. Staccato stroke, high sound position, accurate intonation, vowel formation, range extension.

10. The following exercise helps to develop the ease and fluency of the voice.

Work on the vocals

III. Final part

Summing up (assessing the effectiveness of the lesson). Homework.

Summary of the open lesson. "Formation of the skill of singing diction in the junior choir "DShI"

Povarnitsyna Elena Yuryevna, teacher, MU DO "DSHI" township Mezhdurechensky to the branch township Mortka.

Open choir lesson

Lesson topic:"Formation of the skill of singing diction in the junior choir of the music school"
Target: Contribute to the solution of diction problems at different stages of the lesson for students in the junior choir.
Tasks:
1. Work on clear pronunciation in exercises and tongue twisters
2. Development of motor skills, coordination through musical and auditory performances.
3. Education of speech culture.

During the classes
Lesson steps:
1. Greeting
2. Chanting (preparation of the articulatory apparatus)
3. Exercise
4. Tongue twisters
5. Work on works
6. Summing up (homework)

The sequence of the proposed tasks:
The lesson begins with a greeting. To do this, the teacher gives a tone in C major and sings along T53 from top to bottom (hello everyone), then the guys answer (hello-hello-hello) T53-T6-T53 (from top to bottom) for this you need to exclude the second repeating "v" and sing hello . All attention is transferred to the vowels "a" and "y" to sing in legato, carefully sing the syllable "te" relying on the vowel "e", thereby thinking about "e"
:Next, the teacher offers to sing:
1. Singing in unison(all together as one) with a closed mouth, on one note, convenient for the whole choir, on the syllable "m", holding the sound on the syllable "m" go to "ma" (in semitones), alternating the syllable "m" in 1 octave on sol-la sounds.
2. Singing on one sound mi-me-ma-mo-mu gradually rising up the semitones, then exercises for the syllable "mi-and-and-ya", exercises performed on legato "soft lips are not quite tightly closed, this exercise is sung smoothly without jerks. Consonant" m" activates the work of the lips.
“Yes-de-di-do-du”, exercises contribute to the development of the articulatory apparatus, they sing to the syllables “zi-zi-zi”, “le-le-le” are performed at a fast pace, help to develop clear diction.
Singing exercises for the syllables "trya-la-la", then work is underway on the alignment of vowels and consonants using the scale (step-by-step movement up and down) is performed according to the conductor's hand. The scales are divided into three types: staccato, legatto, morcatto. (strokes) the teacher explains that there is such a fairy tale by Pinocchio, in which the main characters are: Malvina, Buratono, Karabas-Barabas. We sing Malvina in legato-smoothly, drawlingly, Pinocchio-staccato, like the hero himself, abruptly, Karabas-Barabas - emphasizing every sound - he walks with a heavy, important step.
3.Singing on vowels and consonants. The basis is a song familiar to the children, for example, “A Christmas tree was born in the forest”
a. we sing the phrase on the syllables “pa” “ra”
let's sing the phrase on "pu" "ru"
v. phrase we sing on "py" "zy"
we sing the phrase on “but” “zo”
Listening to each other, sing in the same manner, trying to bring consonants close to vowels.
4.Tongue Twisters. In addition to individual exercises, tongue twisters, in particular, are of great benefit for the development of the articulatory apparatus:
“As on a hill on a hill, thirty-three Yegorkas lived: one Yegorka, two Yegorkas, three Yegorkas ....... etc.”
“Lambs - cool-horned women walk through the forests in the mountains, roam the violin, play Vanya amuse” (sing on one note)
“Robin-Bobin the barabek ate forty people and a cow and a bull and a funny butcher,” is sung with doubling the steps.
"Bull blunt blunt steer" stepwise movement up and back.
When working on tongue twisters, one should achieve simultaneous pronunciation. The syllable "ra" without shooting, pronounce with hard lips with the active work of the tongue. Close to lips. The vocal position is held until the end.
5.Work on works.
"To the Mothers of Dead Heroes" music by G. Struve, lyrics by L. Konrashenko
Sad in itself, but a courageous song requires a sincere, heartfelt performance, each word of the text should be conveyed to the listener with the utmost expressiveness.
The work on the song is built in the following order:
a) How bitter it is to watch the text from the song (the collision of two consonants deaf "k" with the palatine "g"), then in this way the desire of consonants inside the word to the next vowel (o) (And see there) - the text of the song, the tip of the tongue rests against the sky .Noise-text desire for "y" "I"
b) refrain: “consider us your sons” - the text from the work, the combination of “sch” is likened to a long “u”, that is, it is sung like a shield. c) Consonants in this work require increased pronunciation activity.
d) it is easier to tidy up the endings to sing, striving to the top, not to the bottom, while maintaining the “Loss-LI” position, do not quit, but finish singing while relying on the syllable with the sonorant vowel “rya”
e) Do not sit down on "s" in the word "head" but think of it as "and"
Types of work:
-Perform the work in character
- Work is underway on text analysis
-Achieve from the choir a good technique of pronunciation of words, starting from the fact that diction is a means of expressiveness.
-Find words of the text that are more important in meaning and coincide with the climaxes of musical phrases.
-sing one verse with your mouth closed on "m" while remembering the state of the mask and sing in the same position only with the text.
Work on the second work familiar to the guys
“To know everything” music and words by E.Filipova (fun, moving, melodious).
a) the open “white sound” is eliminated when singing the vowels “o” “y”, relying on the main words “we see around-the syllable “vo” itself, sing like “va” and tidy up the endings (due to the nuances of diminuendo) follow the vowels in the song -stretch, endings are easier.
Types of work in the lesson:
-Sing a piece in character
- Analyze text
- Find difficult words in the text
- Highlight the main words in singing
-Split and sing one person at a time, two lines, and the chorus all together.

Bibliography:
1.Bagadurov In "Vocal education of children". M., Music, 1952
2. Blinova M.P. "Some questions of musical education of schoolchildren in the light of the doctrine of higher nervous activity: A manual for teachers of singing." M., L., Enlightenment, 1964
3. Vengrus L.A. "Singing and the foundation of musicality" .Veliky Novgorod.2000
4. Vengrus L.A. “Initial intensive choral singing”. S-P., Music, 2000
5. Emelyanov V.V. "Phonopedic method for the formation of singing voice formation:" Methodological recommendations for music teachers "Novosibirsk. Nauka. Sib. department. 1991
6.Emelyanov V.V. "Development of the voice. Coordination and training" St. Petersburg. Lan. 1997
7. Malinina E.M. "Vocal education of children". M-L.Sov.composer.1967
8. Ogorodnoe D.E. "Musical and singing education of children in a secondary school." Kiev.Music.Ukraine.1988
9. Ogorodnov D.E. "Memo to the teacher in vocal work according to the algorithm with children and the task itself" Sverdlovsk.1981
10. Popov V.S. "On the development of the singing voice of younger schoolchildren" In Sat. "Musical education at school" Issue 16.M., Music.1985
11. Struve G.A. "School choir". M. Music. 1981
12. Stulova G.P. "Development of a child's voice in the process of learning to sing." M. Prometey. 1992
13. Tavlina V.K. "Vocal and choral work" In Sat. "Musical education at school" Issue 15.M., Music.1982.