Choral music belongs to the most democratic species of art. A large force of impact on a wide range of listeners determine its significant role in the life of society. Educational and organizing choir music are huge. In the history of mankind, there were periods when choral music was becoming a means of ideological and political struggle.

A little from the history of choral art

Among the earliest known monuments of artistic and musical creativity include poetic texts of choral spells from "Signs" (India. 2000 years BC).

The first mention of choral music of the peoples of the ancient world also belongs to the 2 century BC. The musical art of ancient Greece has exceptional importance for the development of choral culture. In Greek folk music there were choral songs that performed on the Harvest Holidays in Church Music (Pean, Trenos). The choir art of Byzantium has evolved within and secular, and spiritual music.

The singing art of the Renaissance of the 14thone and century was a progressive period in the development of choral singing and serious transformations of professional choral art.

In 17-18 centuries, choral music has ceased to be only part of church rituals, gradually gaining its own aesthetic function. 17th century - the age of the appearance and first heyday of the opera, which has had a huge impact on all areas of musical art. Simultaneously with the Opera, an oratorio arises, and Cantata appeared somewhat later.

At the beginning of the 18th century, monumental oratoria G.F. Handel has opened a new page in the history of choral culture, when the course of class struggle in England put his work in direct connection with political events.

Choral singing - Russian National Tradition

It is legitimate to talk about choral singing, as a Russian national tradition. Many of us would like to change for the best fate of Russia. But how often, entering into this way, we feel helplessness from universal disunity! Everyone in itself. And so few people remained living Russian traditions that can unite us!

A modern man often refers to traditions without much respect. They are perceived as a relic. Complicating life, and not bringing any tangible advantages. But in the choir, several separate feelings merge into one strong feeling, and several hearts in one very sensory heart, and this is very important.

"The choir is a prototype of an ideal society based on a single aspiration and coordinated breathing, society, in which it is important to hear the other, listen to each other, society in which individuality is not suppressed, but reveals to fully".

G.A. Struve, composer, KhorMEYSTER,
conductor, teacher and enlightener

Choral singing exists in Russia has long been, it is inherent to a person as part of life. People sang at work - when they sowed and cleaned the crop, sewed and knitted. They sang at the table, at the moments of rest and on the holiday, during worship and hike. During the celebrations, everyone sang a huge choir, even the kings sang in the choir. Peang all Russia. They sang a chorus of burlaca and carpenters, students and scientists, sang at factories and factories, at universities and palaces, in the city and village, sang everywhere.

"Driving around Russia, I was surprised by the musicality of local residents and their love for singing ... The yamchiki sang from the beginning to the end of the distillation, the soldiers sang on the march, the inhabitants of the villages and villages - for any, even the most difficult work; Slender hymns came from churches, and among evening silence I often heard how the sounds of melodies from the surrounding villages were broadcast in the air. "

"Travelers unanimously told not only about how much, but and how wonderfully sang the Russians. The country seemed to be filled with melodies. In Russia, sang when they drove on horseback, rowing boats, sold goods on the streets, worked in the field or just rested. "

"Voice in Russia is the main musical instrument. Therefore, all musical education is connected with this tool available to everyone, everyone. Everyone has this tool. It is not necessary to specifically buy a piano, you do not need to go to get a violin - you have everything with you. And always in Russia, they understood that it was through this tool that all upbringing goes through a voice. "

V.S. Popov, Chormeister,
people's Artist of the USSR, Professor

Choral singing unites people, gives them a mental rise and a sense of fraternal consent. When the votes merge into unisons or complex harmonic chords, a person feels that he is not alone that all people are brothers that relationship from the whole universe is not empty words.

"Go to the choir and gain harmony!"

Robert L. Show. American choral conductor

Sadness and grief, joy and hope, faith and happiness pour out of the human soul, finding out a choir singing.

"It is known that music, choral singing are the most important means of forming a healthy person that education begins with music."

V. F. Basal,
doctor of Medical Sciences, Academician

Singing in the choir is not accidentally distributed so everywhere. In the choir of voices of people merge, giving birth to a sense of harmony in the main thing, dissolving small disagreements that arise in life. This sense of community of people gives rise to the atmosphere of creativity and cooperation, the ability to work in a team.

Singing in the choir develops creative abilities in any field of life, vital to everyone. It is not by chance that many successful people in childhood sang in the choir.

Doctors say that children who sing in the choir are much less likely to be ill, and singing relieves stress, gives a person to relax.

Teachers suggest that singing develops speech, eliminates the problems of the speech therapy, helps the study of mathematics and foreign languages.

Singing in the choir is a cultural leisure, aesthetic development, disclosure of creative abilities in any field of life, an important part of a healthy lifestyle.

It is necessary to develop, revive choral singing everywhere and people will become kinder and noble.

What feelings causes a folk choir?

- At the beginning, the main thing is to keep irritation, because they can not, but you need to inspire that they can, if they are engaged in unprepared. I have enough such experience. At first we sang in a very low tonality in unison because they were afraid. Parishioners often strive to sing, some go along with a chorus on the text of the service: the melodies know with the voices, because they often go to the temple. I took the simplest ectinies, the most common antifons of the first reading.

- People always squeeze the chorus, and here they were frightened?

- That is why we sang in unison and very low, could not differently. In the temple, everything was alerted. Then I managed to highlight high voices. They sing together - gradually becomes better. Then she gave simple breathing exercises. Who does - gets better. And now the church people who came at the beginning and are constantly going to services, they know the quickens, learned the motives (many with voices) and osmellies: it became uninteresting to come to rehearsals with newcomers.

And grandparents come, who really do not know anything and worked all their lives in party organizations, but decided to make their way to the Orthodox Church and start from scratch. They are not all kept. It's hard to train in love, many are not ready to suffer for the sake of people who again came to feel the connection with those who already sings.

It's hard to train in love. But these are our people, it is important to work with them, and you need to suffer

Middle people come, elderly and very old, with chopsticks. Although young come. It is our people, it is important to work with them, and you need to suffer.

On the other hand, the folk chorus is then inspired, it begins to believe in his forces (my task is to inspire confidence), many begin to engage in vocals and in the summer take part in the worship services of those temples that are near Cotchas, because they know.

We are studying only Liturgy. Once sang and unsteadily know Lithium. They tried to drench the prayers, but are filled with the volume of liturgical chants. It is good that we manage to learn the path and the wander, because, in addition to learning, it may be a task of improving quality. But it is not always possible if people who sang do not come.

- Is there really vocals in choir?

- In Orthodox culture, there are preferences, we must sound beautifully, the voice in the temple should sound beautiful, but now it does not all work. Forms the sound of the speech apparatus, and it is necessary to strive for naturalness, because each person can especially pronounce sounds, and, it happens, I like the other and you begin to imitate myself at the same time.

I thought a lot about it. We teach vocals, a person will stop, but gradually the exit is, and I can say about the folk choir: there will be a continuation, because it is necessary to sow on stone. Therefore, I do it, although I doubted whether I need to teach vocals, tormented and constantly thought: "Who needs all this?"

The Lord supported me in the former Synodal School (now - the Rachmaninov Hall of the Conservatory, and the walls remember the sound of synodal choirs), where I came to the chamber opera of the Japanese composer in the European tradition, on the Japanese story and in Japanese. Tools - Piano, Cello and Classic Flute.

People after class vocals go completely in another state and begin to think that they opened something that they could not even imagine

And when different levels of soloist vocalists at the end were all singing together, an amazing vibrations that felt all the body were taken, were perceived by all the creature. This is an extraordinary feeling, and people after class vocals leave completely differently and begin to think that they opened something that they could not even imagine.

Usually after the first service, the following happens: "Tell me, we sang poorly?! We sang so badly, say? " - "Can you see me?" - "We see." - "Listen carefully, if you see and hear. I am a specialist with higher musical education, graduated from the Moscow Conservatory and, as a specialist with higher education, I say that my singing is not annoying me. Questions will still be? " - "But we sang badly!" - "I said everything. We must continue to rehearse. "

- whom can irritate national choir?

- Many may irritate because of the different concepts about how to sing, and the tickets can be with different experiences. Everyone is able to perceive in his measure, and very little professionals. It is usually annoying people of medium or below the average level of musical education, they are hard to understand and try to demand from others, as it should be to sing in the temple. But singing in the temple (I thought a lot on these topics) should be most importantly sincere. Warm prayer to the Lord. And the Lord is merciful, it is a lot of people.

Everyone want to sing. Now many different courses, but they will not take such. The courses love to take musically trained, which will fully perceive the solfeggio. This is an abandoned contingent, and you do not need to throw out our people.

- when appeared national choir parishioners it became more or less?

- parishioners in the temple has always been a lot. The problem and task of the choir - not to attract more people, but more enlighten the people who comes. The rector set the task - to sing the whole people, to work out the basics of worship. When the backbone sings, people come to the temple and can join - such an idea.

- the parishioners who do not sing themselves, not approached from indignation?

– On the contrary, it is appreciated, especially those who work in the temple and did not have the opportunity to sing the whole service - now no one stops. People want to sing, say: Nostalgia descendants of Adam in angelic singing in paradise.

- Let's return to the Synodal Choir. How do you rate them?

"You can listen, there are medium-sized recordings - choirs of the Synodal Tradition, and Fyodor Shalyapin, and Pavel Chesnocks with the choir. There are records from the Church of Christ the Savior to the explosion in 1931 - this is a synodal tradition. Records of the Grand Archdiakon Roshov.

A synodal tradition may like or not to like, but this is the convention of a big cathedral. In different temples, receptions may vary dependent on acoustics. We have a rare regent owns acoustics, and this should be trained. But this is not trained. Acoustics are not trained anywhere, and there are almost no acoustics specialists.

We must be able to hear the acoustics of the temple. In each acoustics, his techniques

We must be able to hear acoustics. In each acoustics, his receptions, the regent thoroughly knows the acoustics of the temple, which in different places apply acoustic techniques. If the bullshit acoustics, you need to prompt singing and singing in a dry manner.

It happens, on the contrary, deaf acoustics, where it is necessary to stretch, but it is impossible to leak into the voice filling of the vowel, otherwise the consonant is being grown, as if the person pronounces poorly, - the consonants need to be caused.

The character of the sound should be a kind of plug-in, if compared with a musical instrument, or as a bell that sounds, then fades. Also the syllable. This is "tweet", reception "chik". "Chittik" is a certain touch, which many do not know.

What is right? You can praise God by any voices. Where in the Gospel it is written, what voice should I sing?

- How to deal with the wrong singing in the temple?

- Sindals, in particular Alexander Nikolsky, who oversaw all the church choirs of Moscow, supported the specific features of singing in every temple, where they were, because they even wonder when they sing in different temples, and not what that is right, and so incorrect. Strange judgment. What is right? You can praise God by any voices. Where in the Gospel it is written, what voice should I sing?

The idea of \u200b\u200ba folk choir was born a long time ago, but was gradually embodied, because not every regent can withstand when they sing a communice. I got, because I can endure and know how it happens at the beginning. I have a lot of experience in working with those who do not sing, and I can find the entry of management such beginners, I am not afraid of them. And many do not know what to do when they sing untreightly. Just need to be patient. I do not pay attention to the fact that it does not work, saying dislike, praise, because they were always scolded. They are just afraid of them, but I'm not afraid. And at some point I realized that it could happen.

Veselova Tamara Petrovna.
Choral singing and the development of vocal choir skills in students in schools of secondary school.

Choral singing is the basis of the musical culture of the Russian people. No other type of art can provide such a direct and affordable way to heart like choral singing. Therefore, this article is devoted to choral singing and the study of the development of vocal choir skills in secondary school students in the lessons of music. Choral singing is one of the main and most affordable means of musical and aesthetic education of the younger generation, one of the types of collective activities. . There is no faithful way to educate people to the Western European and Russian treasures of spiritual, classical music, to the brilliant essays of the great composers of the past and modern. Genuine attachment to the world of choral music is an indispensable condition for the harmonic development of the child's personality at all times. However, in each time this type of art was given to the big, then less significance. In modern life, choral art in a secondary school, only those children who are interesting are comprehended.
The song, has a great power of emotional impact, forms the culture of the child, develops and raises children, serves as a means of knowing the surrounding world. Choral singing has a beneficial effect on the physical state of students. "Singing not only gives sports, but also exercises and develops his hearing, the respiratory system, and the latter is closely related to the cardiovascular system, therefore, it involuntarily, engaged in respiratory gymnastics, strengthens its health."
Each child is a desire to be smarter and better, guess, and comprehensively develop. It is this desire of a student to rise above the fact that it has already been reached, approves a sense of self-esteem, brings him in successful activities to the deepest satisfaction (11, p.5).
In his book, the "School Choir" G.A. Struve wrote that interest in knowledge awakening under the influence of training, carefully and intelligently supported by teachers, is the basis for the development of schoolchildren's inconsistencies towards various types of creative activities, the basis for the development of students' abilities and, often, their Professional orientation (52, p.25).
A student who does not experience interest in a certain subject, assimilates only 10-15% of all information. It is especially important to cause interest in adolescents, since in a transitional age, they have a common interest in their studies. Interest is not only an incentive of activities, educational, creative, physical, including the introduction to music, this is the incentive of personality development, since the seeker person is improving his own life and enriches himself as a person.
Interest - contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and the spiritual needs of a schoolboy. Therefore, in a number of acute problems of modern school "musical pedagogy", the problem of forming and developing interest in music in musical education, development and teenage training is, perhaps, one of the most important and complex.
Today, when the society attaches the greatest importance to the transmissions of the entertainment form, when our children on the body and radio broadcasts hear only the pop, often simplified music, comprehensive musical education on the examples of classical music is becoming increasingly important. The need for a harmoniously developed personality is intensifying in modern society. It was the teacher who can awaken at schoolchildren a constant need for communication with highly artistic music. The development of interest in choral singing in children - as a centuries-old tradition of the Russian people will be promoted by choral repertoire and various creative situations on choral classes. They will help bring child thinking to the level of consideration of any, even the smallest and insignificant musical and artistic phenomenon from the position that we call universal values.
The meaning of choral singing as a means of musical development of schoolchildren Academician B. Asafiev. In the article "Choral singing in school" he noted that "... School choir should be organized with such a calculation so that the functions of musical and social functions are combined with artistic-educational functions." He believed that "fundamentally all students make up the choir", but there are always more and less singing. And therefore, the "central choral organization will be based on its maintained by natural musical people, and this" mandatory service "will be longer and more intense. It's unavoidable. But, at the same time, this kind of "bet" for the dictibility in no way should reduce the principle of a common choir service. On the contrary, it should be purely maintained because the solid base does not exclude, but necessitates the possibilities of attaching to it and around it less strong in music "(7, p. 10).
I talked for school choral singing and D. Babalevsky, who argued that "... the gradual expansion and extension of the performing skills and the general musical culture of all schoolchildren makes it possible even in conditions of mass musical education in the class to strive to achieve the level of genuine art. "Every class - choir! - Here is the ideal to which this desire should be sent "(52, p. 140). D.B. Kabalevsky emphasizes that choral singing, being an active form of musical education, itself is the subject of art requiring the creative business situation and a peculiar choir organization of students in the lesson. Under the choral organization, he implies the creation of an environment that, on the one hand, provided successful class choirs, and on the other, it contributed to the formation of students and skills of choral singing, love for this type of performance.
Singing not only causes pleasure, but also exercises and develops his hearing, the respiratory system, and the latter is closely related to the cardiovascular system, therefore, he involuntarily engages in respiratory gymnastics, strengthens his health. In Japan, for example, the respiratory gymnastics is widespread, myocardial infarction is rarely found. Singing also trains the articulation apparatus, without the active work of which the human speech becomes fuzzy, ridiculous, the main component of speech is not coming to the listening service - its maintenance. Proper clear speech characterizes the correct thinking.
A person's voice appears from the moment of birth (congenital, unconditional protective reflex). On the basis of this reflex by formation of chain, conditionaloreflex reactions, a conversational and singing voice occurs. It helps him and the rumor, vision, and the articulation apparatus, very rich in kinesthetic receptors (muscular feeling).
I. Development of a children's voice in music lessons
Teaching the singing of children from the very early age allows you to most fully reveal the creative potential of the child. At the same time, most often precisely from the age of 3 years, the children show an extraordinary interest in this type of creativity, with pleasure enter the stage image, seeking to conquer the location of the public. It is this desire to be the center of attention will help the child to develop confidence in itself and most comfortably feel at the stage.
Music teacher is responsible for raising the singular, healthy voice of their children. Even the most ordinary voice can and need to develop.
The teacher requires knowledge of the peculiarities of the development of students' voice, as the requirements that it makes it necessary to always meet their age capabilities. Also, the teacher itself needs to have a good musical hearing, speak and sing. The teacher should be able to use his voice, because children in the learning process will certainly imitate him.
Thus, significant and rapid changes in the voice apparatus of students require the music teacher a deep knowledge of physiology and an individual approach in the lessons to each child.
Changes in the voice apparatus - a natural reaction to the restructuring of the whole organism in the process of maturation. At this time, the voice is especially vulnerable, so it is important to clarify the teenager the need for a careful attitude towards him.
At what age the mutation begins, depends on many factors: climatic conditions, national affiliation and individual physiological features of the child's development. Usually in children living in a temperate climate, changes in the votes begin at 13-16 years and continue from month to 2-3 years.
The voice apparatus of boys grows quickly and unevenly. Largest increases 1.5-2 times, voice folds, the volume of the language and the position of its root changes. Voice is reduced by 5-6 tones, becoming stronger and "tambris".
The expression "breaking voice" is very figurative and accurately conveys the nature of the changes taking place with the boyish votes, and is rarely used when it comes to girls. Indeed, the mutation of girls is less noticeable: the larynx increases only at 1/3, the voice drops by 1-2 tones, gradually losing children's properties and becoming feminine.
In any case, the problem arising from the voice cannot be ignored, and with their frequent occurrence to engage in self-treatment. A comprehensive examination is needed not only at the otolaryngologist, but also in the phoniatra, neuropathologist and speech therapist.
Prevention of voice diseases lies in compliance with simple rules:
1. In the summer, it is not takenlate with cold drinks, in the winter to cover the neck, not to walk the car.
2. When the slightest discomfort appears to give a voice to a voice - silent. If you still need to say, it is better to do this by a quiet voice.
3. It is important to refrain from speech load, and even more so by singing, during influenza, laryngitis and other respiratory diseases.
4. Do not get involved in karaoke. In adolescence, blind imitation of a foreign manner of singing with a hoarse or a supervision can for a long time to deprive the novice singer of his own voice.
5. In no case can not smoke. As a rule, adolescents are not aware that voice ligaments among the first take on a nicotine strike. Nicotine (nervously vascular poison) is harmful. Smoke, inhaled while smoking, has a very high temperature. He burns the mucous membrane of the larynx, the respiratory tract, and, of course, voice ligaments. Eveniness, hemorrhage, thickening, knots - not a complete list of pathological changes in voice ligaments smokers. "Creek, loud conversation, smoking, drinking alcoholic beverages, various types of nervousness - harm brings singer" - E. Karosho.
6. Do not speak in the cold time outdoors, especially when fast walking and after the speech, when the mucous is especially sensitive to cooling.
7. The singer should not overload the stomach of food directly before performances or classes, because This makes it difficult to move the diaphragm

II Vali-choir expressiveness (vocal choir skills).
And in order for the development of a schoolboy in the choir correctly, it is necessary to form its main vocal-choir skills. These include: Struve G.A. School Choir: KN. for teacher. - M.: Enlightenment, 1981. - P. 76.
1. Singing installation
Students must learn about the singing installation, as the basis of the successful development of educational material.
1. Conducting gesture
Students must be familiar with the types of conductor gestures:
- Attention
- Breath
- Start of singing
- ending singing
- change the conductor's power, pace, touches
3. Breathing and pauses
The teacher must teach children to master the breathing technique - a silent short breath, breathing support and gradually spending. At the later stages of learning to master the chain respiratory technique. Breathing is raised gradually, so at the initial stage of training in the repertoire, it is necessary to include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with more prolonged phrases are introduced. It is necessary to explain to students that the character of breathing in the songs of various movements and mood is not the same. Russian folk songs are best suited to work on the development of breathing.
4. Soundwork
Formation of a soft sound attack. We strongly recommended to use extremely rare in the works of a certain nature. Exercises play a major role in the education of the proper formation of sound. For example, singing to syllables. As a result of the work on the sound formation - the development of children's single manner of singing.
5. Diction
The formation of the skill of clear and clear pronunciation of consonants, the skill of the active work of the articulation apparatus.
6. Stroy, ensemble
Work on the cleanliness and accuracy of intonation in singing is one of the conditions for preserving the system. The purity of intonation contributes to a clear awareness of the feeling of "Lada". It is possible to educate the lade perception through the development of the concepts of "major" and "minor", the inclusion of various speakers, the main stages of Lada, the comparison of major and minor sequences, singing a kappella.
In choir singing, the concept of "ensemble" is unity, equilibrium in text, melodies, rhythm, dynamics, therefore, for choral performance, uniformity is necessary and consistency in the nature of sound formation, pronunciation, breathing. You must teach singing listening to the voices sounding nearby.
The study and application of these rules forms the skills, and multiple repetition allows you to master the skills of performing these actions. The formation of singing skills and skills is one of the conditions for school musical education.
III rules of work on consonant sounds
Public sounds are born in the larynx when interacting, voice folds and breathing. The sound waves formed at the same time are poured through the rotoglotor channel freely. The formation of consonants occurs otherwise. They are formed in the oral cavity. The organs of the oral cavity (language, soft paws, lips) create obstacles to the stream of breathing and sound waves, while the noise, which we call the consonants, are formed. In Russian, in accordance with the alphabet, there are six basic (and, s, u, and, Oh, y) and four Yotatted (E, E, I, YU), that is, complex vowels.
The vowel "and" the most sonorous of all vowels. He configures on the head resonation, helps to collect and bring the sound, applied with a deaf, darkened sound background. When pronouncing "and", the lads rises, so it is contraindicated in the gris, the throat debron. Due to the fact that the formant of this vowel is close to high singing formant, it helps strengthen the latter on other vowels, contributes to the creation of an active attack. The vowel "and" is formed with a significant reduction in voice folds, activates their closure and therefore is shown in force, it is featured if this gallery is present as a residual mutation phenomenon.
The vowel "s" on the art -ulating structure is uncomfortable DLN singing. Its articulation is connected with the stress of the root of the tongue and therefore it can increase the clamp of the throat H throat ghosts. If we consider that the vowel "s" in Russian is close to "and", represents a peculiar version of this vowel, then in singing, approaching the sound "s" to "and", one can reduce the inconvenience of its articulation.
The vowel "e" on the articulation structure is not always convenient. It is advisable to apply it in cases when the voice sounds at this vowel better than the rest. At low men's votes, the vowel "e" happens, it is convenient when generating head sounds. It contributes to an active attack.
The vowel "A" occupies the average position between the bellows and deaf vowels, it is easy to round. When it is pronouncing, the rotoglotter canal takes the most correct circular shape, the position of the larynx is close to the singing. Because of all these qualities, "A" is often used as the main vowel sound for the development of vocal sound.
It helps better than other vowels to free the articulation apparatus, identify the natural voice of the voice.

The vowel "O" contributes to a good raise of a soft nose, suggests the sense of the yawk and the position of the pharynx when rounding the sound, helps to remove the burning and clamping. Recommended with overly close, sharp and flat sound.
The vowel "y" is the deepest and "dark" vowel, therefore it does not apply with an in-depth and deaf overall background of sound. When pronouncing this sound is more than on all other vowels, a soft palate rises, the rotoglot pipe is expanding. "U" activates voice folds, significantly stimulates the work of the lips, leads to a feeling of cover in the upper case of men's votes. This vowel is shown when working with children's voices: activates the sluggish soft palate, lips and voice folds helps to negotiate flat, overly close sound. It is widely used in vocal choral work, as well aligns the sound of individual parties and choir in general.
Jotted vowels (E, E, I, YU) are complex, as they consist of two sounds formed from "th" brief and vowels:
"E", "O", "A", "U" - "E" (IE), "E" (Yo), "I" (ya), "Yu" (yu).
When singing yotized vowels, the first sound instantly replaces the second, stretching sound. It is necessary to ensure that after a quick change of articulation from "and short" to the main vowel, the sound of the latter is not distorted.
The use of yotized vowels contributes to the creation of a more assembled, close, bright and high sound of the corresponding simple vowel sounds, as well as activating voice folds at the time of attack.
When merged and grip, these vowels should be used isked.
The consonants arise in the oral cavity. They are divided into deaf (k, p, s, t, f, x, c, h, sh, u) and bell (b, in, g, d, g, s, l, m, gg, p). The deaf, "silent", consonants are formed without the participation of voice folds from the coconet of exhaled air and consist of some noise. Ringing, "voice", consonants are formed from oral noise and voices. They are quite clearly expressed by the main tone (the height of the sound).

With the predominance of voice over the noise, the so-called sonorous consonants arise, or semi-threes (l, m, n, p). If the noise prevails over the voice, then the rest of the voiced consonants are formed (b, in, g, d, z, s).
Vowels and consonants are formed by the same organs. The active pronunciation of consonants causes an enhanced reduction in the muscle walls of the rotogling, thereby turning it into a resonator with relatively solid walls, which increases the wallers of vowels when singing.
That is why the more clearly pronounced consonants, the time the voice sounds.
The same vowel change its ending, depending on the consonant follows. When moving from a consonant to a rux installation of lips, a language, a soft nose for a vowel prepares already at the sound of the previous consonant. And the next vows for consonants, as it were, retains the fingerprint of the articulation of the previous consonant.
This property is widely used in vocal-pedagogical practice - a phonetic method.
At the same time, the following features of the formation of consonant sounds are taken into account:
1. Participation of votes (deaf or degree of evonacity of consonant sounds)
2. Place of education - Entry (advanced, medium, rear)
3. The position of the articulating ips and the degree of their voltage
4. Activation of participating bodies
5. Head of air and sound jet.
In each individual case, depending on the combination of these properties, useful consonant sound is selected for the connection followed by vowels. In the vocal exercises, the vocal consonants are mainly used, since voice folds work on these sounds, and they have the height of the sound.
The consonants depending on the fact that organs are involved in their education are divided into:
Loaf (labialized) (b, m, n)
Pagonaya (D, L, R, T, C, H) '
Network (m, n).
At the place of education in the oral cavity, the consonants are rear (k, d), medium (x, w, p) and forefront.
According to the sounds of the forefish, they bring the front of the ZSEK, especially the bellows - "d", "s", "l" and therefore apply with deep, deaf sound. Real estate can help with correcting excessively close, "white" sound.
The position of the articulating bodies in the formation of various consonant sounds can be favorable or, on the contrary, negatively influenced the subsequent vocal vocal.
With consonant "k", "g" significantly decreases the muscles of the soft nose, and it rises well at the same time. These consonants make help to keep the soft palate raised, contribute to its activation. At the same time, they are associated with the stress of the root of the tongue, their use can further aggravate the sore gallop.
Light consonants (b, m, n) are well activated by the lips, and the lifting-pagan (f, in, f) and language.
The formation of explosive consonants (T, P) is associated with a significant podium of the respiratory jet. These consonants can be used to activate the respiratory function.
And the consonants "b", "d", "p", formed with a large resistance of the articulation bodies of the current and sound jet, can serve as a means of stimulating work not only breathing, but also voice folds.
They, especially the consonant "D," form a solid attack.
Sonorny consonants "L", "M", "N", "P" as semi-threaters can vocally sound, but are also extremely important for singing voice formation and are widely used in vocal exercises. They help to find head resonation. Moreover:
1. L "activates the tip of the tongue, thereby making it flexible and free, promotes the collected sound, the formation of a soft attack
2. "L", "M" as consonant forefishing approach the sound
3. "M", "N" - chicken, or nasal consonants, are formed with a soft nose lowered, reinforce the resonation of the nasal cavity, they do not apply with a sluggish, low-propelled soft nose and, especially with a nasal pride
4. "P" - Rocky consonant, it activates breath and reducing voice folds.
The intensity and consistency of the work of the articulation bodies determines the quality of the pronouncement of speech sounds, word spreads, or dicke.
Active, clear, correct and coordinated work of articulation bodies creates a distinct, good diction.
Conversely, the lethargy in the work of the articulation bodies is a nicane bad, unsatisfactory diction. And their inconsistent work gives rise to a distorted diction. In this case, the content suffers, it becomes difficult to understand the meaning of now, what they sing.
In addition, N-like dictation, as the result of the sluggish, poorly coordinated work of the articulation bodies, always leads to a decrease in the artistic qualities of the singing speech.
IV. Work with a choir
When working with a choir, it is necessary to ensure that the posture of singing in the choir has been natural when singing, it is necessary to ensure that the back remains straightened, and the lower back is fastened. At the same time, one should not touch the back of the chair, since the support on the back of the chair leads to a change in this position and the constraints of the diaphragm.
Making the choir, as a rule, start with exercise on one note.
This exercise makes it possible to align the intonation, create a system and unison sound. Various vowels are executed in the form of syllables with the same consonant. The choice of vowels depends on the total background of the choir sound. If the sound of the choir is deaf, take the sounds of vowels (di, de, yes mi, ma). If the choir sounds the Pestro, the exercise is beginning with vowels, contributing to rounding and even soundness of sound (Liu, Le, La). If you need to round any particular vowel, it is put between Glasniyii "O", "U", "A", contributing to rounded (Ma-Ma, MO-MA). For the formation of syllables, usually apply: "L" (collects sound, contributes to the formation of a soft attack), "M" (adjusts to a high head sound), "d" (activates the attack, approaching the sound).
In grinding in one lesson, you do not need to use a lot of speakers or ordinary exercises.
There are enough two or three speakers, but they need to work very carefully above them. They should be diverse on vocal and technical tasks, in such a combination to ensure the formation of the main, necessary vocal skills, to influence various parties to the vote: Breathing, the work of voice folds and the articulation apparatus.
An example of selection of spreading spins in the first grade:
1. On one note - "Du, Du, Du, blow in the pipe." Organizes choral sound (creates a system and unison), brings up chain breathing skills
2. Placement speakers for the development of breathing, sound leveling, organization of sound attacks and supports.
3. Speaking to activate the articulation apparatus and waste diction.
Turning should be started with primary tones of a child voice.
Often in the form of exercises are used when equipping excerpts from vocal and instrumental works. Excerpts taken from vocal works are simply turning into a speaker, excerpts from instrumental works are executed with the name of notes or various syllables. This practice is legitimate, but only if these passages do not interfere with solving vocal-technical tasks when combing.
You should not take fragments intonational and rhythmically complex for students. When they are fulfilled, the attention of the guys will focus on the difficulties of reproduction of the melody, the Vocal Party will go away to the rear. Planlan, and therefore sings, as part of a lesson on which vocal skills are formed, will lose their meaning.
All exercises are integrid the right organization and improvement of the vocal function as a whole. But in the process of classes, depending on the stage of development of the voice apparatus and on individual characteristics of students, separate specific vocal technical tasks are allocated. At the beginning of training is the organization of inhalation, attacks, individual sound qualities, smooth exhalation and support. This is the leveling of sound, registers, expansion of the singing range, etc.
The teacher needs to know the methodological value of individual exercises to be able to choose from them the most useful for each specific vocal technical task.
The same exercise can contribute not to one, but several such tasks.
Thus, singing on a weathered note contributes not only to the formation of uniform exhalations and support, alignment of vowels, but also the development of sound dynamics.
Depending on the methodical goal of the teacher, when applying any exercise, focuses on its positive impact, which coincides with the vocal technical task at this stage of training. Sometimes the teacher modifies the exercise so that it further contributes to the fulfillment of the task.
Take an example with an exercise on a weathered note. If this exercise is used to develop uniform economical exhalation, it is enough to fulfill it on one of two long-lasting syllables. But if the goal of alignment of vowels is put forward to the fore, then in this exercise, it is gradually necessary to introduce all the main vowels, which are rationally singing without consonants (Mi-uh-oh), and not in the form of repeating syllables (ME, Ma , Mo, Mu), for then they will be connected through the consonants, which prevents the alignment of vowels to some extent.
Another example is an exercise with a gamut in a downward movement. This exercise, executed at a slow pace on one vowel sound, serves to develop the support of breathing support and maintain a high position, and with the name of notes - and alignment of vowels. The same gamma, in a descending movement in a rapid pace, Speaking on one vowel, is a means of raising mobility and fluency.

Exercises need to be varied depending on the individual characteristics of students' voting.
This can manifest itself in the choice of vowels and consonants. They are specifically selected in each individual case so that they contribute to the identification of the necessary qualities of singing sound and eradicated the negative individual features of the votocation.
The use of exercises must comply with vocal learning principles. Exercises need to be selected from the lungs to more difficult. The first exercises usually consist of several or even one tone, rushing in equal sound strength, and gradually as the skills are becoming complicated. Their range is expanding, it becomes more diverse construction of the melody at intervals, the dynamics of sound develops, the tempo is decreasing, they are lengthened by time.
Apply exercises need strictly successively. No need, for example, to give a student to connect the interval and octave, if he has not yet learned the connection of narrower intervals (testers, quart, quint), or sing the gamut, if the vote on its elements has not yet been learned (on the tetrachort or five oids).
Exercises should be placed in such a manner so that every subsequent has improved already acquired skills and gradually developed new ones.
Although the exercises are a prerequisite for the development of vocal and technical skills, but without singing gradually increasing the difficulties of the works of a high technical level cannot be achieved. Just as it is impossible to achieve this in vocal education on some artworks. Valne-technical skills in aggregate are a means of artistic expressiveness. They are produced at exercises, and fixed, enriched and improved when working on artwork.
Properly selected exercises, in order to gradually increase the difficulty of the artistic work, are, as it were, also exercises to improve vocal skills.
V. Work on the repertoire of the choir
The most clear indicator of the work of the children's choir is his
the presentation in the public is a concert. The concert depends on many reasons - and the main and secondary, permanent and one-time, simultaneous. Here and achieved
chorus performing level, and the set of the collective, the degree of preparation for
this concert, and the acoustics of the hall, the composition of the audience, its reaction, and so on. It is not the main role in the success of the concert playing his program. Aprograph is determined by the repertoire of the choir, its "golden" foundation.
Of course, the value of the repertoire is not exhausted by the need to show
achievements of the team. It plays an equally important role in musical education and in the aesthetic education of its participants, in increasing their vocal choral skills, in the development of the musical taste of performers and the audience.
1. Repertoire availability factor
When choosing a choral repertoire, a number of factors should be considered.
A properly chosen repertoire contributes to the spiritual and vocal-and-ethnic growth of the collective, determines its creative person, allows to solve educational tasks. Selecting a software repertoire, followed by the following
principles:
artistic value
Educational meaning
Availability of musical and literary text
Variety of genres and styles
The work must be primarily available for execution.
The choice of repertoire is a very responsible business. Here it is necessary to remember the protection of a child voice. The correct choice of repertoire in combination with sings, with cholar solfeggio can truly help the development of the voice of the child. At the same time, mistakes in the choice of repertoire lead to the braking of voice development, and in the worst version - to the detrimental consequences for voice and, of course, for
health. The availability of the repertoire also suggests the perception of children of the articulation of works. It is very important that children are understandable and interesting what they sing about. Here, along with the musical form of the work, its text is of great importance. It is very important whether he touches the strings of children's hearts or it will be indifferent, without much understanding in the beauty of the word, the meaning of phrases. Unfortunately, you can often find songs with "duty" with words that can not be injured, the interest of children. It happens even offensive when there is a beautiful melody in such songs. There are works in which the text is badly combined with music. But what a holiday on our repertoire street, when the song is good! Good melody, good words - they can be read without music, as poetry read: expressively and penetrate. (There are, however, works without words - vocalization.) It is important to take into account how much the circle of musical images will capture the child will be understandable.
Another aspect of availability: availability of performing-technical. We are talking about how children are prepared for technical terms for the execution of a particular work.
First stage: Choir is just still formed as a creative unit. IN
the repertoire has a lot of one-haired songs. These songs sometimes come across
soloists (new paint, switching attention to the choir and the listeners).
There is a painstaking work on choir unison.
Songs appear in the repertoire with elements of two-sided (all song
one-haired and only in the last two boots appears two-way.
It is at this stage that it is very important in the learned works to actively "submit", "build" two-beams, continuing the work carried out in Solfeggio classes. Those skills that are not yet vaccinated at this stage (let's say, the performance of permanent double-riding) can well develop in a small fragment of the song. Moreover, along with the "enthusias", "building", the method of periodic "delay" is well-to-reach for this stage of places with a subsequent multiple return to them. Well "hent" two-voice places separately by parties, combining this with the simultaneous harmonious "fellowship." May ask why so many options for, in general, simple tasks? Sure,
you can learn this and a two-way like him and faster. And without
options. But the proposed method gives a very important thing: quality.
The quality of intonation (the sensation of this simple two-sided), the quality of execution. In the future, work on choir unison continues, over elementary two-rope, and then over developed two-rope. It is very important that in the executable works of two-rone, it was represented immediately in a wide variety of interval combinations (that is, it sought to a developed two-riding). Second phase. The fencing of singing skills with developed two-rope continues. Permanent elements are constantly introduced (polyphonic examples, canons with gradually increasing the degree of difficulty). Third stage. Free possession of three-riding (including polyphony). In general, at different stages of working with choir or at different levels of its preparedness, the choirmister should choose to perform the work technically available to its team.
Speaking about the third stage, refers to the performing and technical
the possibilities of the choir, which, of course, are not limitless. As for the expressiveness and musicality of execution, there are no limits for creative growth of the team. The team can constantly grow and improve, look for new interpretations, produce its own performing handwriting, develop, improve, improve their musical taste.
2. Singing without accompaniment
It is extremely important to raise the singing skills in the team
escort (and sarrell). Singing polyphonic works without
maintenance - the most difficult view of the execution, affordable
not every chorus. When singing and sarrell, the skill of the choir is most fully revealed, its sonicity, system, ensemble, nuunting. For the children's choir, singing without accompaniment contributes to the identification of specific children's sound, special transparency of children's votes, which sometimes disappears (partially or completely), it is worth only to sound accompaniment. When choir can start singing and sarrell? It seems that literally from the first occupation. Singing without accompaniment (at the beginning of one-haired exercises and songs) will contribute to the development of singing skills in unison. And nothing that songs learned without accompaniment are later performed with piano accompaniment or singing with escorting with singing and sarrell. Starting with two-haired songs, singing and sarrell can decorate any program.
Vi. Concertian activities.
This is the result by which the work of the team is assessed. It requires
large training of team members. Great value for
creative team have concert performances. They activate the work, allow you to more fully show your knowledge, skills, skills, contribute to creative growth. The reported concert is the final result of the work year. Be sure to perform all children, all the best is fulfilled, which is accumulated in the year. The main task of the teacher is to educate the necessary quality in the process of concert activity, to interest, captivate children with collective creativity.
Rehearsals are held before performances in a planned manner. This is a working on rhythmic, dynamic, timbre ensembles and, polished the executive plan of each essay. Concertian activities are the most important part of the creative work of the children's choir team. It is the logical completion of all rehearsal and pedagogical processes. The public speech of the choral team at concerts causes a special psychological state in performers, defining emotional raising, agitating. Amateur artists experience genuine joy from contact with the world of artistic images, whose interpreters they are. Creative contact with the audience is very important for choir artists ..
Each concert performance of the choir must be carefully prepared. The poorly prepared speech of the choir, a small number of listeners in the concert hall gives rise to the disappointment of the participants of the choir, dissatisfaction with the activities of the choir team. The unsuccessful speech of the choir brings deep experiences to its participants, and sometimes leads to the collapse of the team.
The concert-performing activity of the choir is one of the active means of musical and aesthetic education of a wide listener audience, so it is very important that the concert hall will not be empty during the concert. To do this, you should conduct a great organizational work. Distribution of tickets, the organization of advertising of concert speeches is the most important part of the work of the Council of Choir. This should pay great attention to the head of the choir.
Conclusion
The song is a precious area of \u200b\u200bmusical and poetic art. "In a certain sense, you can say - writes D. B. Kabalevsky, - that almost all the music begins on the song on the song." Therefore, it is so important that our students love the song, knew how to be beautiful and correctly fulfilled to carry a song culture.
The main feature of working with the amateur choir team is the creative process, firmly interrelated with the processes of training, upbringing and organization. In this context, the pedagogical and psychological education of the head of the amateur choir cannot be overestimated.
The current stage of the development of amateur choral art is experiencing a serious crisis in three main areas - economic, social and to a certain degree spiritual. In this situation, not only professional qualities of the head, but also, first of all, the pedagogical ability to organize a team, to bring it to the proper performing level and retain it from disintegration. And in this case, creativity does not suffer.
All this is the problems of primarily a pedagogical nature - you need to teach people to sing in the choir, understand the choir, loving the choir and, most importantly, not to betray the choir under no circumstances
Choral singing - the art of mass, it provides for the main thing - the collective execution of artistic works. And this means that feelings, ideas laid in words and music are not expressed by one person, but weighing people.
The awareness of the children that when they sing together, together, it turns out well and beautiful, the awareness of each of them is that he participates in this performance and that the song, Spetya Choir, sounds expressive and brighter than if he sang it alone, - The awareness of this collective execution strength has tremendous impact on young singers ..

In this article I will try to highlight the most hard mistakes of all or most novice vocalists

1. Lack of proper. It is impossible to give the support of breathing, little attention, it is important to understand that the correct retention of air in lungs contributes to free, flight, volume, beautiful singing;
2. Following notew. An erroneous opinion, unfortunately so common among pop singers that the position of the larynx needs to be changed to take high notes. It is important to know that the vocal position of the voice apparatus should not be changed depending on the intonated note, and indeed during singing, the lads should remain fixed, do not pull for the note.
3. You should not pass the excess air through the ligaments, from this voice will not become more powerful, it is better to send it to the resonators, while singing, you should not spend a large amount of air, depending on which particular note you are sick. The flame of a candle caused to the mouth during singing should not fluctuate, the air needs to be held in itself and only a small part of it can be carefully sent to the resonators, it will be enough for powerful sonicing singing.
4. White sound. So call singing is not in resonators, such singing can be heard from pop singers, which rely on the microphone and do not want to sound the body. There should be resonators, then the throat will not be clamped, the sound will be rich and interesting, not at whose does not look like;
5. Hope for instincts.Do not think during the singing that the body itself will sing so you wish, of course, we learn to sing in order that the voice sounded automatically and the mind remained free for the feelings and processing an artistic image. But at the stage of training, you must maximize your attention on each action, if possible, do not be distracted by singing, remember all teacher advice and apply them in practice.
6. Imitation. Do not imitate your idol, as if cool, in your opinion, they did not sang, remember that there is always the possibility that you follow the nature is much better, sing your voice, listen to your body, look for a vocal position, cultivate your best quality voices And then you can all, and the first variant of the development of Diguben;
7. All at once. Do not ride your favorite songs and arias at the beginning of training, which are cool in the performance of your idol, if you are not able to do it. Evaluate your strength really, if you start singing, then for starters spoil at least one note, but what would she sound perfect or at least so that when I really look into the eyes, you could say that she is really good, but then think about light works. Voted Voice This is the result of perennial training, and your idols may have changed many ways of development and vocal schools in order to sing so much.
8. Do not be afraid to sing, do not fix yourself, keep self-confidence, learn how to rejoice small, but significant success in singing, then you will buy and stagnate seven-world steps to the world of vocals, and trying to learn everything and immediately, to prove something surrounding, stagger over Communal savings, you only aggravate the position.
9. You need to sing often 2-3 times a week, but sing, and not count on the next life, you want to sing beautifully, sing will have to keep the body in vocal tone always! The fact is that the neurons of the brain are responsible for memory, they have properties to die as unnecessary if you are very rarely singing, you will learn every time again instead of being improved achieved;
10. Do not achieve at the beginning of the singing of beauty of your own sound. Again, in stereotypes about beautiful sound and imitation to other singers. Each time, when you start singing, trying to correct the errors of your awkward developments in the process of imitation, it should be remembered that you still cannot sing in this plus. Discover everything too much, imagine yourself with a blank sheet of paper and try to sing the most organic sound for you, then try to sing a simple work to them, let it be a test for you, or rather, for your nervous system, you can ... ?? Cultivate your sound, forget about the beauty, open the "mouth" and, not embarrassed, sneak your natural sound, without any surfacing there. And after that, you might think about the support, resonators, etc., but then, you will see that the beauty itself appeared together with freedom in the body.

The artistic image of the musical work in the choir is created and revealed by means of writing and words. Therefore, the main technical requirements of the choral soundness are, firstly, the accuracy of the high-altitude intonation of the sound by each singer and a separate party and every party in the total choir sound; secondly, the timbres and dynamic equilibrium of individual votes within each party and all parties in the general choir ensemble; Third, a clear pronunciation of words.
But a slender, intonationally pure, balanced in force, the choral dies to the timbre, is only a prerequisite for creating an artistic image transmitting the content of the work. Therefore, before proceeding to learning a song, the head should, by analyzing the work, understand its content and those tools with which it is revealed by the composer. As a result of familiarization with the literary text, you can understand the topic and idea of \u200b\u200bthe work and its character: whether heroic, or lyric, or comic, etc. Depending on the general nature of the song, the tempo, dynamics, timbre color of the sound, the nature of the melody movement is determined , Artistic and semantic selection of phrases.

After such an analysis, the work includes the executive plan, which is subject to all subsequent vocal-choral work. The head determines the difficulties in mastering the work, the ways of overcoming them, produces certain exercises and is a detailed rehearsal plan.
Working with a choir over the new song usually begins with a rough learning - remembering the melody, from building intervals, consonant, with the development of the rhythmic side of the work and diction.
As the technical elements mastering the technical elements, the head begins to pay more attention to the artistic finish of the work. Time occurs when bare notes begin to grow artistic flesh.
We provide artistic analysis as an example and the executive plan of working with the choir over the song "Polyushko Kolkhozny", the words and entanglements of the city of Savitsky, processing for the female composition of the People's Choir I. Ivanova. (The song is printed in this collection number on page 13).

A picture of a wide, large-scale collective farm field is revealed in the literary text.

Oh, you are my pole,
Polushko collective farm,
You are widespread
You are mine separate.
Rye dense waves,
Wind coats.
Annually Polyshko
The harvest is famous.
Oh, you are my pole,
Polushko collective farm,
You are widespread.
You are mine separate.

The poem is distinguished by extraordinary conciseness and at the same time expressive image. Despite the fact that it consists of only three quit, and the third is the literal repetition of the first, the image of the "Pull of the collective farm" performs convex and strongly. What a great and wide in its thematic coverage makes the author in the words "Polyushko Kolkhozny"! In them, the deep subtext in this "puff" is the whole life of a labor man, the life is new, happy, as the "Polyushko" is wide and separate.
This inner meaning, or the idea, the poem is planned in the first quatrain, where the magnificent image of the "pitch" begins to reveal through deeply emotional, full of love appeal: "Oh, you are my pole."

If in the first quatrain the image of the "Pull of the collective farm" is detected in a lyric-epic character, then in the second quatrain, the heroic sound of the image, which acquires an increasing dynamic content. So, the energetic beginning of the second quatrain -

Rye dense waves,
Wind coats.

transmits a rapid movement, the dynamics at the Vities of the image of the "Pull of the collective farm". It is not only "wide and separate", but also "harvest is famous." There is a further disclosure of the subtext of the poem. The rally rye rye is the fruits of the creative work of the Soviet person - the Creator of all earthly goods. Therefore, in the third quatrain, which is the literal repetition of the first, appeal to the "pitch" sounds with a new force: no longer as a meditation, but as a hymn of his fertility, like anthem creative work of the Soviet man.
So, the image of the "pylon of collective farm" in the poem is disclosed in a dynamic development of lyric-epic magty to mighty heroic sound. Reception reports a poem of thematic integrity and at the same time reaches the spaciousness for the composer's creativity and the author of the choral processing.

Analyzing the music of the song " Polyushko collective farm"It is easy to note that it is very accurate, in a people's song manner, it gives the character of a literary image. The melody of the song is wide, singular and thanks to a varied metrohymic organization creates an atmosphere of emotional emotion and internal movement. Each verse of the song, transmitting the mood of the corresponding quatrain, is like a certain stage of the development of the musical image of the song.
In the music of the first couplet sounds a soft, love appeal to the "Pull Colhoment". But at the same time, this is not a conversation in a literal sense, but rather deep meditation, where the Polyushko collective farm and the fate of a person, his whole life merges into a single concept. From here, the defining mood of the first population is soft, implacing and significance.

The pace is slow, the motion of the melody is smooth, the overall shade of Pianissimo (very quiet).
All elements of artistic expressiveness (melody, metro-rhythm, texture, phrazing) are in constant movement, as if disclosing all new and new sides of the image, thanks to which the work becomes a fertile material for artistic performance.

The first versue, as the subsequent couplets, consists of four phrases, each of which has its own dynamic vertex. Sounds that are followed to the tops are performed with the amplification of the soundness, and the sounds are followed after the vertex - with weakening. Thus, the peak is dynamically emphasized and organizes the previous and subsequent sounds around him. In the versal song of the vertex of each phrase is the first share of the second tact. But the phrases in their meaning are not equal. In this case, the main, the vertex phrase is the third. Emotional growth rises to it, the melody expands the range, the internal movement is accelerated by reducing the number of clocks in the second phrase, the texture is saturated: first singing one singer, in the second phrase, the second one is joined, and in the third phrase there is a multi-voice choir. In the fourth phrase, on the contrary, there is already a weakening of emotional voltage, it sounds weaker than the third, its rhythmic pattern changes, the range is shortened and the texture is simplified: unison comes to replace the four-chairs.
Such a distinction of phrases in its artistic meaning is called phrasing. (Example No. 1) If the overall shade of the population is Pianissimo, then in the vertices of phrases, the sound can be somewhat increasing, reaching the piano, and by the end of the phrase return to the original shade.

The third phrase (vertex) sounds somewhat stronger than everyone else (within Piano).

The development of musical image in the second and in the third bonds is on the path of dynamic increase - from Piano to Forte, textured complication, variant votes, changes in the timbre, the nature of the movement of the melody and the pronunciation of words. All these changes are based on the principle of injection - a gradual and continuous increase, expansion. In confirmation of the said we consider the dynamic plan and textured changes in the song.

Dynamic plan
The first verse is Pianissimo.
Second verse - Piano.
The third coupler - from Metzo Forte - to Fortissimo.

Changes in dynamics are closely related to textured complication: the first verse is singing one singer, the second - two, and the third verse begins the whole choir. Here we see not only an increase in the number fought, but also an increase in the number of voice-party, as well as the variation in the melodic line of Sevea. (Example number 2)

The culminating sound of the song reaches in the last buying in words: "You are my wide, you're mine separate." All elements of artistic expressiveness in this place achieve their highest level. Here the loud sound of the choir, the nature of the movement of the melody (as opposed to previous purchases, is no longer a soft and calm formation of sound, but a bright, bright, catching sound and words based on the combination of accent and the maximum length of sounds), the texture reaches ultimate development ( 5 votes, pegs), finally, the melody takes off to the highest point, emphasizing the emotional climax and the end of the whole song. (Example number 3)

So, as a result of an artistic analysis, the head visited the content of the song and the means that the composer discloses it. But this is not limited to preliminary work on the work.
Each type of art has its own technique, i.e., a set of certain skills necessary to create an artistic image. V. Chorah Art is a building, ensemble, diction, vocal skills - breathing, sound formation and resonation. Therefore, it is clear that the next stage of the preliminary work of the head is the analysis of the work already in terms of its technical difficulties.
Consider the main points of work on the building of the choir.
Singing without accompaniment imposes to performers especially high demands in part of the interval of intervals and chords. A very developed melodic line of a song that is replete with wide intervals is of great difficulty for interval intonation. You need to pay attention to melodic segments that choir can sing false: on the sounds of the second relation

the sequence of sounds of the same height causing often decrease in intonation and therefore requiring "pull-up" the height of each subsequent sound to intonating the halftone.
To achieve an intonational pure sound, the head of the choir should know the patterns of intonation of various steps of the major and minor gamma in accordance with their lade values.
Intonation of the major gamma.

The sound of the first stage (main tone) is stable. The sounds of the second, third, fifth, sixth and seventh steps are intonated by X.Os by the desire to increase. With a particularly strong desire to increase, the sounds of the third and seventh steps (the tonic sober and introductory tone) are intolerated. The sound of the fourth stage is intonated with the desire to decrease.

It should be noted that in the Russian song there is often a major paw with a reduced seventh step. In this case, it is intonated with the desire to decrease.

Example number 5 shows the nature of the intonation of various steps of the major gamma. The arrows directed upward indicate that the sound needs to be intolerated with the desire to increase, the horizontal arrow indicates a stable intonation, and the arrow pointing down, - on the intonation with the desire to decrease

Intonation of the minor gamut (natural).

The sounds of the first, second and fourth steps are intonated with the desire to increase.
The sounds of the third, sixth and seventh steps - with the desire for a decrease.
In the harmonic and melodic minor, the sound of the seventh steps is intonated with a strong desire to increase. In the melodic minor, the sound of the sixth stage is also intolerated with the desire to increase.

Example number 6 shows the nature of the intonation of the sounds of Gamma "Si-Barol Minor", in which the song "Polyushko Kolkhozny" is written.
Accurate intonation to a large extent depends on singing breathing. A sluggish breath with air leakage causes a slight of sound, overhanded breathing with too strong air pressure, on the contrary, leads to the mining and increasing intonation. The sluggish formation of sound (with an entrance) also causes intonational inaccuracy. A low position that causes the overworking of the larynx entails the decrease in the intonation of the sound, the sound of sound in the upper case leads to the same result (folk votes it happens in quiet songs). In case of insufficient use of breast resonors, intonation varies upward.
Particularly beneficial effect on the intonation of the "high position" of the sound, the essence of which is the direction of the sound to the upper resonators and in the release from the stress of the larynx. High position must be achieved in any register.

In the work on this song, this is especially necessary to take into account when classes with second alto, which sing in a very low register. Vocal exercises are greatly beneficial in the development of high-end sound, riding individual phrases with a closed mouth or to a "Lee", "Le" syllable.
Thus, intonationally clean singing in the chore is largely depends on the level of all vocal work, which should be carried out in the direction of education of various singing skills and correcting certain flaws of the voice of singers (sounding of sound, forcing, trembling, nasal tint, etc. ).
The most important vocal skill is the right, turning breathing. "Often about the singer who owns a singing breathing, they say that he sings" on the support ", or" opened sound. "Opening breathing is characteristic that all air when singing is completely on sound formation without leakage. And it is consumed smoothly and economically. At the same time, the so-called "opened sound" occurs. It has a lot of saturation, density, elasticity. The inertier sound, on the contrary, dull, loose, weak, with a silence, which indicates a useless air leakage. During the opened sound Large air savings and, therefore, singing in one breath of large musical constructions is possible. Upper the sound requires frequent breathing shift and leads to a rupture of the musical phrase.

To obtain the operate sound, it is necessary to keep the "inhalation installation", that is, when singing, the singer should not allow lowering and narrowing the chest. By typing the air, it is necessary at some point to make a "delay" of breathing and then proceed to sound formation. This moment "delay" as it may lead to the availability of the entire singers. It is necessary to breathe easily and naturally, without excessive voltage, almost the same as with the usual speech. The singer must take so much air as he needs to fulfill a certain task. The amount of inhaled air depends on the magnitude of the musical phrase and the register in which it sounds, as well as from the power of the sound. Singing in a high register requires greater air costs. Inhalation of too much air leads to tense sound and inaccurate intonation. The duration of the inhalation depends on the pace of the work and should be equal to the time duration of one share of the clock. For the continuous execution of long musical constructions, and then the whole works are used so-called "chain breathing". Its essence lies in an alternate reprisonment of the singers choir. Example number 7 provides a choral part of the second couplet, which is executed on the "chain breathing".

Each singer individually can not sing the whole segment without updating the breath, but in the choir as a result of alternate renewing singers, this phrase sounds abruptly. The normal singing breath of one singer runs out at the turn of the fourth and fifth clocks, but it is not recommended to breathe in this place to one singer. With a "chain breathing", it is better to breathe not at the junction of two musical constructions, but before him or after a while. It is necessary to disconnect from singing and turn on imperceptibly to it again, breathing briefly and mainly in the middle of the word or on a weathered sound. (Example number 7).

It should once again emphasize the importance of the character of the exhalation. It should be economical and smooth throughout its entire. Only such an exhalation can create smooth, elastic singing. We must not allow that with the exhalation all air spent. On a highly spent air, sing is harmful.
In singing, the respiratory process is closely associated with the moment of sounding the sound, or attack. Three types of attack differ - solid, intricate and soft. With a solid attack, ligaments are closed before air supply. Then the air jet with a little effort opens the ligaments. As a result, a sharp sound occurs.
The intact attack is the opposite of solid. With it, the occurrence of sound is preceded by a silent exhalation, after which the bundles are calmly closed. At the same time, the vowel "A" seems to be obtained by the nature of the sound "HX-A", but the consonant "x" should not be heard.

With a soft attack, the closure of the ligaments begins simultaneously with the beginning of the sound.
The solid attack in singing is rare (in sound exclamations, in the loud formation of sound after a pause).
Attacked exercises bring great advantage, they raise the feeling of the "opened" sound and are a means of combating sluggish sound formation, which causes the "entrance". Such exercises (example No. 8) should be gone at a slow pace to the vowel "A"

The basis of singing is a soft attack. Condition - applied with a quiet and very quiet sound.
With singers with sharp voices, it is useful to embroider small voles or segments of the musical phrase of the learned work on the vowels "I", "E", "E", "Yu" or the syllable "La", "Le", "Le", " Liu.
Artistic image in vocal art performs in the unity of music and the word. From the method of pronunciation of words, or dictation, not only the quality of the report to the listener of the literary lyrics, but also the entire singing process depends. As you know, the word consists of unity of vowels and consonant sounds. An indispensable condition for the correct diction during singing is the maximum long sound of vowels and short, the active pronunciation of consonants, based on a clear interaction of the language, lips, teeth and nose, with even no case in any case, is not a quick exhalation. It is useful to work out the clarity of the pronunciation of consonants useful on quiet sound through their doubling. At the same time, for fixation of all attention on consonants, it is useful briefly, but not sharply throw each syllable, in the mind calculating the duration of the noteworthy notes. (Example number 9)

A special difficulty in pronunciation represents combinations from several consonants (country), consonant at the beginning of the word (meet, not stray) and consonant in the end of the word (color, not CEE).
To preserve the limiting continuity of the sound of the melody, the consonants standing at the end of the syllable must be connected to the following syllable.
"U-RO-MS-MS L A-in I-TS I".
Clear diction is usually identified with a clear pronunciation of consonants, forgetting that the vowels also play a huge role in the pronunciation of words and in the overall dime of choral sound.
The vowels are clean sounds without noise impurities. Some of them sound brightly, openly - "A", others covered - "O", "U", the third - "close" - "and". The degree of tension, or brightness, vowels is different, it depends on the position of the mouth and from the place of vowels in the word (the drums sound are intense, brighter than unstressed).

In singing to create a smooth vocal line, all vowels are neutralized in some way, that is, a sharp line is erased between them. This occurs as a result of the preservation of about the same position of the mouth for all vowels. It is known that one and the same vowel in different positions of the mouth acquires different sound qualities: with the wide open mouth, it sounds open, bright, with a half-open - covered, gently, with singing with a broken corner of the lips (on a smile) - sounds light, easy, "close". Therefore, it is quite clear that in the sound of a separate phrase or all the works marked by a certain mood, all vowels should sound in one emotional tone, with one prevailing position of the mouth. A single portion of the formation of vowels in the choir is becoming crucial, as it is the basis of the grayscot votes. To generate a single resonance of vowels, it is useful to sing the sequence of sounds of the same height on the Mi-MO-MO syllable (the consonant "M" is used to mitigate the attack. Example number 10). It is necessary to ensure that all vowels are executed with the same degree of mouth disclosure.

In order to avoid the "entrance" under the singing of vowels "A", "O", "Y", "E", "and", following any other or vowel, especially at the junction of two words, it is necessary for the first vowel stretching extremely long And instantly move onto the second, somewhat harder attacking the sound. For example: "Promotively harvest is famous."
Above, we have already said that the shock vowel sounds stronger and brighter than the unstressed. But sometimes in folk songs, a strong share of the clock does not coincide with the stress in the Word. In these cases, there is a vowel, sounding on a strong share of the tact, to perform less relief, rather than the vowel, on which the stress drops (Example 11)

Here we see that in the word "mine", the unstressed vowel "O" corresponds to a relatively strong stake and therefore, standing out, will distort the word. So that this does not happen, the syllable "MO" must be executed somewhat quieter than the vowel "E".
Work on vowels in the People's Choir is especially important in connection with the erroneous look of some musicians on the timbre of a popular voice. They believe that only open, white sound is characteristic of folk singing. Misunderstanding of the vocal base of popular singing leads to the wrong orientation of this wonderful genre of choral art. Is the genre richness of the Russian folk song from a quiet, gentle girlfriend, a sharp chastushka to wide powders of the sowing lyrical songs and naked spring, does not speak about her wide emotional band?! How can you sing all these songs with one sound?! It is absolutely clear that the sound of a folk choir, like any other choir, depends on the content of the song, from its emotional tone.

The basis of all collective musical arts, including the choir, is the unity and a certain consistency of the actions of all members of the team. All elements of choral tempering: system, diction, strength, timbre, speed, etc. exist only in a collective, ensemble form. Therefore, work on the ensemble permeates all stages of choral work.
We have already talked about a single manner of formation of vowels and consonants. Now we will look at the rhythmic and dynamic ensemble. In the "Peluke of the collective farm" each voice has its own self-rhythmic pattern. With a one-time performance, there is a danger of violation of the rhythmic ensemble. To prevent it, you need to raise the singers a sense of ripple melody. To this end, it is well used to escape musical passages with crushing out loud of each quarter, half and a whole note on the composite eighth shares (example N2 12).

Thanks to this exercise, the choir will accurately withstand complex durations and go on time to subsequent sounds. Usually, on the sounds of a large duration, the singers lose the exact sensation of movement and go to subsequent sounds late or ahead of time.
The dynamic ensemble in the choir is based on the balance in the power of the votes of one party and on a certain consistency of the parties among themselves: the upper part of the parties leading the main voice, sounds louder than other parties, then the middle or lower voice acts on the foreground, then all parties sound with the same force . So, in the song "Polyushko Kolkhozny" first, the top voice sounds louder, then the melody changes are beginning to dynamically emphasize in various voices, in the climax of songs, all the voices sound with the same force.

Most Russian folk songs are fulfilled with seals. In these cases, the ensemble between the seedling and the choir, which takes off the whole nature of the performance of the song. This must be taken into account when learning this song. The basis of a good ensemble in the choir is the correct selection of votes and quantify their equality in each party. The result is a natural ensemble. But sometimes in voices that make up chord, various temps. In this case, the sound balance is achieved by artificially, as a result of a special distribution of sound power between the votes: a secondary voice, written in a high register, should sound quieter, and the main voice written in a low register must be spent louder. If all the voices at this situation are to be executed with the same force, the secondary voice will muffle the main, and the ensemble, of course, will not work.
To create a artistic full-fledged ensemble, it is necessary that each singer will not only sang his party, but also listening to his neighbors in the party merged with them. Moreover, he must listen to the main voice and competent with him the power of his voice.