Exercises for voice training. Practicing words with consonant sounds. Exercises for staging speech breathing
Although the materials in this article are devoted to the importance of voice and diction when reading affirmations, both of these parameters have independent significance, so mastering the techniques described in this article will be useful to you, regardless of your intention to engage in affirmations. As you know, people's impressions of each other are based 55 percent on body language, 38 percent on voice tone and diction, and only 7 percent on the words they speak, so the problem good voice for a person is extremely relevant, since it determines almost 40 percent of his life success.
Creating singing voices has been a long-standing problem. We must not only build all the components of singing in a harmonious sequence according to their natural talent, but also create and automate a series of habits. For practice, this means that we must begin by creating a free tone, proper breathing, and applying appropriate resonances. Placing your voice or singing with a mask is a "silver shine" in the voice. It is characterized by the use of the resonant space in the skull and does not depend solely on the resonance of the thoracic index.
Many people owe much of their success to their voice, and the timbre of your voice is as important to you as your appearance, manners and knowledge. This is the tool with which you convey your message to other people, and the mutual understanding between you and other people depends on your voice and speech data. A voice with a good timbre can attract people to your side and convince them that you are right; you can stir people up or put them to sleep, charm or repel them. Your voice is a powerful instrument and at the same time it is a part of you, so you should love your voice whatever it is, learn to listen to it, enjoy it and devote enough time to developing your voice and improving the timbre of your voice. An unpleasant voice can be the Achilles heel of your image, and in some cases it can even destroy all your strengths, while a well-produced, confident voice with a good timbre is a valuable means of influencing. In other words, your voice should contribute to your destiny and your career, and not spoil them, and this applies not only to political figures or other public people, but also to people of ordinary professions, for each of us has to talk with people to achieve your will or to protect your interests and the purpose of such communication is to obtain from people the reaction that you need. Obviously, it makes no sense to talk “into the void.” We are interested in being listened to and understood, so that our words have an effect, reach another person, and in the case of pronouncing affirmations, that they reach ourselves.
There are many different approaches and exercises for voice production. Mask camouflage should be automated, singing without proper fitting should not be accepted, and the current situation should be put on the right track. If the student or root of the tongue interpreter addresses the back of the larynx, a so-called "dumbbell" is formed - the pinched "throat" formed by the voice is the result of a clamped and often forceful rise or fall of the larynx.
It is a mixture of head and chest. This is relatively close to a full voice, like a clear voice tone. However, it must be exposed from the head. This is an Italian label of brass support in singing. The purpose of the support is to optimize breath matching through voice production, and to maximize the use of properly balanced chest and head resonance. This is a flexible communication of the protective muscles with the respiratory system.
Your voice instrument belongs only to you and only you can use it. If possible, record your voice on a voice recorder and listen to the recording. Did you like it? Are you satisfied with the timbre of your voice? Or did you exclaim: “Is this really my voice?” Once you understand the basic elements that make up your voice, you can develop your own techniques for improving it. The voice is created deep within your body, not just in the vocal cords. Deep diaphragmatic breathing supports the vocal process, the larynx pushes air through vibrators, resonating tissues and cavities, and articulators allow you to pronounce sounds and words, and all these processes are controlled at a subconscious level, reflecting your entire voice with your voice. human essence and the state in which you are in given time you are. For example, if you:
- increase the volume of your voice, then you are worried;
- you raise the tone of your voice, then due to excitement you begin to lose control of yourself;
- speed up the pace of speech, then you are unsure of yourself;
- you answer without listening to the question, then you are irritated or making excuses;
- if you pick up a wireless or mobile phone and start moving around the room aimlessly, you are embarrassed and worried;
- walk down the street at a brisk pace and at the same time talk in mobile phone, then you don't respect yourself;
- having heard phone call, stopping if you were on the move, or getting comfortable in a chair if you were indoors, and pausing before answering, then you are calm and confident.
Correct speech breathing
This is a very demanding method of singing. It is based on a gradual crescendo and fall that occurs in one sound tone without changing its pitch, color or vibration or tremolo. This means that this singing technique requires a lot of halsala coordination, especially at the threshold. It was associated in history with famous castras, such as, for example, very popular in the times of Belcanta. During this era, this was often expressed dramatically in various operatic arias.
There are many music schools, choirs and various circles run by people with a more or less professional attitude. One can acquire the basics of breathing exercises, correct articulation, correct tones, etc. can be obtained feedback on various competitions and performances, how much effort and singing technique was successful. Those who choose singing as their profession must then develop basic techniques while continuing to study at Music Conservatory, V high school arts or attend individual lessons for experienced professionals.
There are sounds based on vowels that have an effect on various organs. For example:
and-and-and - causes vibrations in the head;
o-o-o - in the middle part of the chest;
uh-uh - in the glands and in the brain,
su-su-su - in the lower part of the lungs;
o-o-o - in the diaphragm;
a-a-a - in the head;
u-u-u - in the pharynx, larynx;
mmm - in the lungs.
Ancient traditions claim that the Creation of the Universe was based on five primordial sounds-sprouts: A, U, E, O, I, the play of sounds of which changes the rhythm of Existence. This rhythm is inherent in all objects, including human body. The rhythmic vibrations that occur when pronouncing mantras give rise to various states of mind.
The theory of sound-sprouts is closely connected with the entire worldview system. For example, all the syllables of the mantra “Om mani padme hum” (“Salvation is in ourselves”) correspond to meditative colors that personify various moral components of Enlightenment: om - white, ma - blue, ni - yellow, pad - green, me - red, hum - black. Various colors correspond with various manifestations of the mind, with the elements and forces of Nature, and the various configurations of the mouth when pronouncing sounds and the resulting vibrations also correspond to the elements, therefore the significance of voice and diction goes far beyond simple communication between people.
When a person learns to sing technically correctly, he will undoubtedly use his knowledge in his personal life and also for the benefit of others. Every professional singer devotes a lot of time and energy to practicing proper singing technique. Not everyone can control the technique, but if a singer has an interesting color to his voice, he gets an audience. Among the singers there are those who have innate ability sing technically, without singing. But to the detriment and detriment of the audience, he has an uninteresting voice color, and therefore in complex world show business it is not recovering.
Here is a list of some symptoms that indicate that it is advisable for you to work on your voice:
- people often ask you to repeat the words you just said;
- people notice your idiosyncrasy (a kind of allergy) to public speaking;
- you have a noticeable accent;
- your throat gets tired after a ten-minute conversation;
- after a while, the eyes of people listening to you begin to wander;
- you lose control of your voice at the end of a long sentence;
- you have to explain to your listeners that you are a manager or occupy another high position, because they don’t feel it from your speech;
- you have a respectable appearance, but your voice sounds too young;
- you don't like it own voice.
The audience is mostly stunned by lay people who are not involved in singing and therefore do not even know whether the singer has correct technique singing or not. It is often important for the audience to accompany the singing - dancing, lighting effects, clothing, makeup and singing, respectively. He is not very interested in singing technique. Therefore, more and more often you can hear very simple melodies with inspiring lyrics. However, these songs and their singers are successful because they often sing about things that interest a specific audience, and a specific audience will relate to them.
And here is a list of the most common definitions of an unpleasant voice that interferes in life and which will not allow you to make good affirmations:
- nasal;
- sharp;
- creaky;
- hoarse;
- trembling;
- high timbre (squeaky);
- shrill;
- whiny;
- with shortness of breath;
- timid;
- jerky;
- too loud;
- weak, inaudible;
- colorless;
- pompous;
- sarcastic;
- unsure;
- monotonous;
- tense;
- boring.
In our country, the concept of good and bad singing, unfortunately, has become somewhat distorted. Since this problem lasted for a long time, most viewers have not developed good taste and good resonance. Often the poor singer is considered a "great artist" because he is "in trouble" in his singing speech, he literally "struggles" and always helps, which of course also reflects the visual aspect of his performance. Then it happens that even relatively simple music accompanied by such geisha grimaces and swollen throat veins that the audience feels truly “made.”
Here are the characteristics of a voice that promotes your self-realization and is perfect for affirmations:
- nice;
- vibrating;
- calm;
- well modulated;
- low timbre;
- trusting;
- warm;
- melodic;
- caring;
- confident;
- domineering;
- friendly;
- well intonated;
- expressive;
- natural;
- sonorous.
How to improve your voice: voice training
On the other hand, the choirboy feels like he's not getting any more power and he's actually "just singing." Most of our viewers are not able to appreciate even working with dynamics. Unfortunately, singers who enjoy a performance from start to finish are more likely than those who are great with their voice and dynamics.
The tone is generated by the friction of the exhaled breath air flow through the muscles of the vocal limb of the lungs outward. Therefore, it is important to always work with the breath to open the neck so that vocal cords could work freely, leaving enough space for inhaled and exhaled air flow. With a closed neck, it is impossible to breathe properly into the diaphragm, and conversely, the diaphragm and breathing function are closed by the neck while singing. First of all, we can practice the breath of absolute exhalation.
After listening to a voice recording of your voice, and also taking into account your own subjective feelings about your voice, you can draw a conclusion about whether you need to work on your voice, and if necessary, in what direction. If we remember that the process of voice generation is controlled at the subconscious level, it will become clear that a bad voice is, first of all, your situation, which can be “treated” with the same techniques of reprogramming the subconscious that correct other situations. And to formulate a situation for reprogramming is extremely simple, because it is formulated absolutely straightforwardly - “I have a bad voice,” “I have a nasal (sharp, creaky, hoarse, etc., according to your feelings) voice.” At the same time, the subconscious will tell you the reasons why it generates just such a voice, and these reasons are most often destructive thoughts of the class of pride (sharp and too loud - “there is no need to stand on ceremony with fools!”) or self-deprecation (trembling, timid, weak - “I unworthy, poor, unfortunate, weak, sick, insignificant”, etc.), although there may be some others. In the process of reprogramming the subconscious, you will learn the positive intention, in fulfillment of which the subconscious has provided you with just such a voice, which is usually very worthy (something like “don’t waste energy on those who won’t understand it anyway (for pride) or “save myself from unnecessary problems" in other cases).
Lightly tapping the vault to open the neck with the sensation of drawing air into the lungs. Slow tingling breathing fast mouth breathing combined with nose and mouth. . We adjust our breathing from above to the armpits - wings into the space between the chest and shoulder blades. As the inhalation reduces the diaphragm downward, the ribbed arches of inhaled air open at the sides as the shoulders move apart. The chest leans slightly forward, the back is filled with breath and the back is from back to back. In this way, the entire chest and diaphragm opens and extends not only to the sides, but also to the front and back.
After reprogramming the subconscious, your voice may change so much that no further adjustments are required, but if you want additional improvements to your voice, if you want to give a certain timbre to your voice or develop your voice in a different direction, then you can resort to the help of the appropriate exercises that will work very well on the subconscious, cleared of destructive instructions, but in any case further work above the voice, it is advisable to start with correct speech breathing, which will ensure normal voice and sound production, as well as musicality of speech.
This open chest reveals the neck. All abdominal muscles and the abdomen are actively held in extension on the spine, so that the diaphragm does not protrude forward, but can develop in the back. The inhaled air should fill the lung capacity synchronously with the smooth movement of the ribs and gradual opening chest. The ribs and backs create breathing capacity. This is how we use the longest and strong blows diaphragms that run across the back and attach to the spine. This creates balloon, filled with air from the entire fuselage, from which we release only a sufficient amount.
Exercises for developing proper speech breathing.
1. Choose a comfortable position (lying, sitting, standing), place one hand on your stomach, the other on the side of your lower chest. Take a deep breath through your nose (this pushes your stomach forward and expands your lower chest, which is controlled by both hands). After inhaling, immediately exhale freely and smoothly (the abdomen and lower part of the chest return to their previous position).
Therefore, it is important to maintain correct posture in tension while trying to feel the spine to which the diaphragm is attached. The diaphragm should be flexible when breathing. When you exhale, the diaphragm is as powerful as breathing and creates respiratory support. Maintaining respiratory support while breathing is more important than any breathing. During the entire duration of exhalation, singing a certain phrase, we must keep the diaphragm, the rib cage and the entire chest basket in an impressive position. We push the diaphragm into the hips and back into the hip bone and into the front of the pelvis - pulling the ribs away from each other - keeping the chest basket open.
2. Take a short, calm breath through your nose, hold the air in your lungs for 2-3 seconds, then exhale long, smoothly through your mouth.
3. Take a short breath with your mouth open and, with a smooth, drawn-out exhalation, pronounce one of the vowel sounds (a, o, u, i, e, s).
4. Smoothly pronounce several sounds on one exhalation:
The rib cage bone extends forward and down toward the solar plexus. On the other hand, we keep the entire abdominal wall in tension. This creates a counter-movement of the falling chest basket downwards against a straight, perpendicular and firm abdominal wall. We breathe the same amount of air that we inhaled before. The neck is still open for yawning. The exhalation current, the falling sternum and the tone itself must arise and work synchronously, that is, in cooperation. The tone should create a body full of air, not a neck, mechanically.
We pull the head to the ceiling of the chin to the sternum of the shoulder curve to the sides and down the chest, slightly from the ribs of the arch, crossing the hard lower part of the abdominal, posterior and intervertebral muscles in the maximum activity of the diaphragm that we feel on the spine. Breathing support - we place individual tones into the diaphragm - we press the diaphragm into the hips and back into the pelvic bone. Resonance Support - Individual tones are based on "masks" = inside the facial skull. The exhalation flow and sound flow are directed through the teeth and the upper storage of the entire surface into the resonant cavities outward. These two supports are mutually interconnected through an open neck.
Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaay
5. Count on one exhalation up to 3-5 (one, two, three...), trying to gradually increase the count to 10-15. Make sure you exhale smoothly. Count down (ten, nine, eight...).
6. Read proverbs, sayings, tongue twisters in one breath. Be sure to follow the instructions given in the first exercise.
The drop and the stone are chiseling.
Before making a tone, especially a transitional and high tone, we create their auditory and visual images. At eye level we introduce the “apple” that we want to bite with the entire upper jaw. We always strive for a gentle fit without any impact on the vocal cords with an open throat. We always use the tone with a slightly drawn out breath! Before putting on the tone, we create the so-called breathing point or attachment of the diaphragm in an impressive position, moderate breathing with a feeling of support and respiratory tension.
Place your chin perpendicular to your neck
Only then will we begin with exhalation. We sing with a single, equal flow of exhalation - both in the lower, middle and high positions. The exhalation current and tone are lean and concentrated, it passes through the teeth and upper jaw. The entire spectrum of tone creation begins with pronunciation. The articulation is always on the teeth - we play in the vocals.
Right hand They build - they break with the left.
Whoever lied yesterday will not be believed tomorrow.
Toma cried all day on a bench near the house.
Don't spit in the well - you'll need to drink the water.
There is grass in the yard, there is firewood on the grass: one firewood, two firewood - do not cut wood on the grass of the yard.
Like thirty-three Egorkas lived on a hillock: one Egorka, two Egorkas, three Egorkas...
In the full range we use tones from top to bottom to avoid falling out. This is the so-called “lift” or “vault” - the upper, back teeth and the entire upper jaw feel sensitive upward. We pushed the floor and the suppository up. The upper teeth throughout the range in the image rotate spirally upward.
Stitching the neck in storage should be done separately in front of a mirror. We open our mouth naturally vertically, the corners of our lips, the loose cheekbones and hyoid muscles, the natural activity of the lips and teeth. The higher we sing, the better, and we open our neck vertically to the maximum.
I wonder how many Egorkas you can get on one exhale?
7. Read Russian folk tale“Turnip” with correct reproduction of inhalation during pauses.
Grandfather planted a turnip. The turnip grew very, very big.
Grandfather went to pick turnips. He pulls and pulls, but he can’t pull it out.
Grandfather called grandma. Grandma for grandpa, grandpa for the turnip, they pull and pull, but they can’t pull it out!
The grandmother called her granddaughter. Granddaughter for grandma, grandma for grandfather, grandfather for turnip, they pull and pull, they can’t pull it out!
The granddaughter called Zhuchka. The bug for the granddaughter, the granddaughter for the grandmother, the grandmother for the grandfather, the grandfather for the turnip, they pull and pull, they can’t pull it out!
Bug called the cat. The cat is for the bug, the bug is for the granddaughter, the granddaughter is for the grandmother, the grandmother is for the grandfather, the grandfather is for the turnip, they pull and pull, they can’t pull it out!
The cat called the mouse. Mouse for the cat, cat for the Bug, Bug for the granddaughter, granddaughter for the grandmother, grandmother for the grandfather, grandfather for the turnip, pull and pull - they pulled out the turnip!
In transitional and high tones there is a natural thoracic resonance of medium resonance, the frontal cavity and the entire head. Everything is done only in sense and imagination; we do not create anything physiognomically, mechanically, or create a close artificial resonance. We do not press into one place - pressure is created, but we are looking for resonant resonance in the head and frontal cavities. We should not listen within ourselves, but as if from without. The deeper position has a fairly natural resonance of the chest, concentrating mainly on the head resonance in this position.
All subsequent exercises given in this article are designed to be performed taking into account the described speech breathing technique.
Psychological exercises for voice development.
You can develop your voice with these exercises, just as you can develop your muscles through exercise. As a result, the timbre of your voice will change, your voice will develop and become lower and more euphonious, its range will expand, your pronunciation will become clearer, your modulations will be more expressive, and your expressiveness will be more convincing. The additional effect of exercise will be expressed in the activation of your strength. It is best to perform these exercises regularly, and in the morning, because this will charge you with energy for the whole day. Not only will you develop a more pleasant voice, but your overall well-being will greatly improve. As your voice develops, your personality will also improve.
1. Stand in front of a mirror. Exhale, then inhale and say each sound until you have enough breath. So, take a breath and begin:
iiiiiiiii
uhhhhhhhh
aaaaaaaaaa
ohhhhhhhhhhhhhhhhhhhhh
uuuuuuuuuuu
This sequence is not random; you start with the highest frequency sound - “i”. If you place your palm on your head, you will feel a slight vibration of the skin. This is evidence of more intense blood circulation. Pronouncing the sound "e" activates the neck and throat area, you can feel this by placing your hands on your neck. Pronouncing the sound “a” has a beneficial effect on the chest area. When pronouncing the sound “o”, the blood supply to the heart increases, and exercise with the sound “u” has a positive effect on the lower abdomen. Say all the sounds slowly one after the other three times. If you want the timbre of your voice to be lower, and your voice to be deeper and more expressive, then pronounce the sound “u” repeatedly throughout the day.
2. Now you need to activate the chest and abdomen area, and to do this you need to pronounce the sound “m” with closed mouth. Do exercises on the sound “m” three times. Once very quietly, the second time - louder and the third time - as loud as possible so that the vocal cords tense. When you place your palm on your stomach, you will feel a strong vibration.
Special attention You should pay attention to the sound “r”, as it helps improve pronunciation and gives strength and energy to the voice. To relax your tongue, swipe preliminary preparation: Raise the tip of your tongue to the roof of your mouth behind your upper front teeth and “growl” like a tractor. So, exhale, then inhale and start “growling”: “rrrr”. After this, say the following words expressively and emotionally with an emphatically rolling “r”:
role steering wheel ring ruble rhythm rice carpet cook fence cheese goods grass wing lilac frost, etc.
3. “Tarzan Exercise,” in addition to being a way to develop the voice, is a preventative against colds and myocardial infarction. Stand up straight, exhale, then take a deep breath. Make fists with your hands. Make loud “eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeees” sounds and simultaneously pound your chest with your fists, just like Tarzan did in the famous movie.
Now do the same exercise with sounds:
uhhhhhhhh
aaaaaaaaaa
ohhhhhhhhhhhhhhhhhhhhh
uuuuuuuuuuu
At the end of the exercise, you will notice how your bronchi are cleared of mucus, how your breathing becomes free, how you are charged with energy. Clear your throat thoroughly and get rid of everything unnecessary! This exercise should be performed only in the morning, as it has a stimulating and activating effect.
4. Indian yogis are known for their deep in a beautiful voice, which is achieved using this simple exercise.
Stand up straight and place your feet shoulder-width apart, take several calm breaths in and out, then draw air into your stomach and make one sharp exhalation, accompanied by the sound “Ha-a.” The exhalation should be complete, and the sound should be as loud as possible (echo in neighboring houses). In this case, you can slightly bend your body forward.
After several weeks of training using the proposed method, compare your current voice with the previous one, which you recorded on a voice recorder, and you will be convinced that the timbre of your voice has changed, and your voice as a whole has improved significantly, because now it has acquired greater suggestive power, which means that the outgoing your charismatic radiation became more intense, you began to speak more convincingly and have a stronger impact on the world around you.
As a result of such training and performing the described exercises, not only your voice, but also your thoughts become calmer and deeper. The deeper and lower the voice, the deeper it settles in the consciousness, the more impression the spoken words make, and thanks to this you begin to speak not just differently, but much better. Due to this, everything that worries and worries you recedes and then disappears altogether. So never stop working on your voice and then you will never stop working on your personality.
Working on diction.
Diction means clear, clear and distinct pronunciation of all sounds. native language with their correct articulation with clear and intelligible pronunciation of words and phrases. Clear and clear pronunciation of words is ensured through the correct articulation of each sound, and, above all, the ability to open the mouth freely and wide enough during speech, because with a poorly opened mouth, sounds are pronounced as if through teeth.
Articulation is also controlled at a subconscious level, like voice formation, so it is advisable to first of all understand the reasons why you have poor diction and reprogram them using techniques already known to you. The situation for reprogramming can be formulated something like this: “I have poor diction”, “I speak slurred”, “I burr”, “I incorrectly pronounce (can’t pronounce) the sound “L” (sounds “R”, “Z”, "S", "F" or others in accordance with your feelings.)". The reasons for poor diction are most often self-deprecating thoughts like “It’s my job to keep quiet” or “There are no Ciceros in my family,” which are reprogrammed quite simply.
After reprogramming the subconscious, diction, as a rule, improves significantly, and for further development mobility of the muscles of the lower jaw, the ability to open the mouth wide enough during speech, special exercises are used.
Exercises to develop mobility of the lower jaw.
1. Freely lower your lower jaw until there is a two-finger gap between your teeth.
2. Silently, protractedly (with one exhalation) pronounce the vowel sounds:
aaaaaaaaaaaaaa
Yayyyyyyyyyyyyyyyyyyy (the distance between the teeth is two fingers);
o
eeeeeeeeeeeee (the distance between the teeth is one finger);
iiiiiiiiiiii (mouth slightly open).
4. Pronounce several vowel sounds together and drawn out on one exhalation:
ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
aaaaaaaaand
iiiiiiiiiight
ohhhhhhhhhhhhhhhhhhhhhh
ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!
i
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
Make sure that when pronouncing sounds, the mouth opening is sufficiently full.
5. Say proverbs, sayings, and tongue twisters that are rich in vowel sounds that require a wide opening of the mouth. For example:
Small, but smart.
Two boots - a pair.
I found a scythe on a stone.
Know the edge, don't fall.
Like the fisherman, like the fish.
Water does not flow under a lying stone.
The snake has a bite, the hedgehog has a hedgehog.
6. Read the poem, clearly pronouncing the sounds a, z:
The sky was already breathing in autumn,
The sun shone less often,
The day was getting shorter
Mysterious forest canopy
With a sad noise she stripped herself,
Fog lay over the fields,
Noisy caravan of geese
Stretched to the south: approaching
Quite a boring time;
It was already November outside...
A. Pushkin
While performing the exercises, make sure that the lower jaw drops freely downwards; at first, pronounce vowel sounds with a little emphasis.
Exercises to develop lip mobility.
With sluggishness and insufficient lip mobility, the clarity and clarity of the pronunciation of many vowels and consonants suffers. So, to pronounce the sounds u, yu you need to stretch your lips forward in a tube, for the sounds o, e you need to round your lips, and for the sounds s, z you need to stretch your lips in a smile. To develop lips, it is useful to use the following exercises:
1. Stretch your lips into a smile without exposing your teeth.
2. Stretch your lips in a smile with your teeth exposed and your mouth closed.
3. Pull your lips tightly closed forward (as when whistling).
4. Pull your lips forward in a tube shape.
5. Alternate between pulling your lips into a tube and stretching them into a smile.
6. Lift your upper lip, exposing your upper teeth, then lower your lower lip, exposing your lower teeth.
7. Pronounce vowel sounds in a drawn-out manner (first without a voice, but with emphasized articulation, then with a voice):
Aaaaand (lips stretched into a smile);
Oooooh (oval lips);
Uuuuuu (lips like a tube).
8. Say consonant sounds (first silently, then with a voice):
Sssssss, zzzzzz (lips stretched in a smile);
Shhhhhhh, zzzzzzhzh (lips extended forward in an oval).
9. Pronounce several sounds in a continuous and drawn-out manner on one exhalation:
Eeeeeeeee (the lips are first stretched, then take the shape of a tube);
Uuuuiiiiii (lips change from a tube shape to a smile shape);
Oooooooooo (rounded, tube, smile);
Aaaaaaaaand;
Ssssssshshshsh (when pronouncing a sound, the lips are stretched, when pronouncing w, they are extended forward);
Zzzzzzzhzhzhzh (when pronouncing z, stretch your lips, when pronouncing w, stretch your lips forward).
10. With lips tightly closed, form an explosion when pronouncing the sounds p, b (dad, baba, bagel, cereal, drum, stick).
11. Strengthen the precision and clarity of the pronunciation of sounds in the words willow, game, iron, lesson, scrap, perch, donkey, spinning top, lawyer, south, hedgehog, tree, Irina, institute, incubator, emerald, shelter, snail, fishing rod, sensation, ophthalmologist, equipment, juice, castle, wheel, hat, school, beetle, belly, drying, sun, iron, folder, drum, broom, bicycle, apron, sweatshirt, jacket.
When pronouncing words, watch the position of your lips in front of the mirror.
12. Read proverbs, sayings, tongue twisters. Make sure that your lips are positioned correctly and that your words and phrases are pronounced clearly.
Stand for each other and you will win the fight.
You will learn from the smart, and you will unlearn from the stupid.
Cabbage loves water and good weather.
The wasp does not have whiskers, not whiskers, but antennae.
Wolves prowl, looking for food.
The Christmas tree has pins and needles.
13. Read the story aloud and make sure that your lips take an active part in pronouncing sounds and words.
Bells.
I really love these simple flowers - cheerful bells. You will come out of the forest into an unmown meadow overgrown with tall grass and gasp with joy - so many different flowers flaunt, similar to a festive round dance. All over the green meadow, daisies are turning white, dandelions are turning yellow, and peas are blooming. And above all, and most cheerfully, are the purple bells. From easy breathing the warm summer wind sways, bows, and the bells ring inaudibly, joyfully welcoming the guest. All summer long, the familiar and lovely flowers of our meadows and forests bloom, the bells ring silently.
Exercises to develop the muscles of the tongue.
The tongue takes an active part in the formation of most speech sounds. The clarity of speech largely depends on its work. Particular difficulties arise when pronouncing words with a combination of consonants, when it is necessary to quickly switch the movement of the tongue from one position to another. To strengthen the muscles of the tongue, improve its mobility and switchability, before using exercises in pronouncing sounds, words and phrases with a cluster of consonants, clearly practice the following movements.
1. Stick your tongue out and move it left, right, up, down.
2. Stick your tongue out and make circular movements from left to right, then vice versa - from right to left.
3. With your mouth open and your tongue slightly protruding, make it wide, narrow, and cup (the tip and sides are slightly raised).
4. Using a slightly raised, tense tip of the tongue, “brush” the upper teeth from the outside and inside, in the direction from the inside of the teeth to the outside and vice versa.
Monitor the correct execution of movements using a mirror. Make sure that all tongue movements are performed easily and freely, without much tension.
Exercises in clearly pronouncing consonant sounds in syllables.
Read the syllables:
1. pa, po, pu, py, pe, pya, pyo, pyu, pi, pe, ta, then, tu, you, te, cha, te, tyu, ti, te, sa, so, su, sy, se, xia, seo, xyu, si, se, zha, zho, zhu, zhi, zhe;
2. ap, op, up, ip, ep, at, from, ut, yt, et, as, os, us, ys, es, ash, osh, ush, ish, esh
Exercises in clearly pronouncing words with a combination of consonants.
Read aloud words with a combination of two, three and four consonant sounds: entrance, invest, luggage, tourist, map, flowerbed, service, tail, brush away, snatch, collect, roach, stamp, pimple, swaggering, platoon, swim, weave, set , move, spark, feed, canvas, look, grotesque, breast, cover, moment, smooth, tetanus, smooth out, tetanus, trunk, hawk, fires, sprats, emerge, open, health resort, fight, meet, overseer, uniform, warning , metro builder, colander, wandering, transcription.
Exercises in the clarity and clarity of pronunciation of sounds and words in phrasal speech.
To practice the precision and clarity of pronunciation of consonant sounds and words, it is useful to use tongue twisters, which are built on a combination of consonant sounds that are difficult to pronounce. Reading tongue twisters should begin at a slow pace, while clearly pronouncing each word and each sound. Gradually increase the pace, but make sure that the clarity of pronunciation does not decrease.
Prokhor and Pakhom were riding on horseback.
The jackdaw sat on a stick, the stick hit the jackdaw.
From the clatter of hooves, dust flies across the field.
The bull's white lip was blunt.
The water truck was carrying water from the water supply system.
Fenya has a sweatshirt, Faya has shoes.
On seven sleighs, seven people sat in the sleigh themselves.
The chick's chick clung tenaciously to the chain.
Prokop arrived - the dill was boiling. Prokop left - the dill was boiling. Just as dill was boiling under Prokop, dill was boiling without Prokop.
Mother gave Romasha whey from the yogurt.
The bee buzzed and the spider buzzed.
Scales on a pike, bristles on a pig.
The cap is not sewn in the Kolpakov style, it would be nice to re-pack the cap, but re-pack it.
There is grass in the yard, there is firewood on the grass: one firewood, two firewood - do not cut wood on the grass of the yard.
The ships tacked and tacked, but did not tack.
You can’t talk through all the tongue twisters, you can’t talk through all the tongue twisters quickly.
Say small tongue twisters in one exhalation. Maintain the smoothness and consistency of their pronunciation.
Further consolidation of good diction is carried out by reading poetic and prose texts aloud. At the same time, at first it is necessary to continue to monitor the work of the lips, tongue, lower jaw, the clear pronunciation of vowel sounds (stressed and unstressed), the clear pronunciation of consonants, but do not allow their pronunciation to be amplified or emphasized.
Each exercise is practiced until it can be performed easily and freely, without much tension.
When working on diction, it is necessary to take into account the correct use of speech breathing and voice. So, when pronouncing tongue twisters, it is necessary to correctly convey their content, pause appropriately, and get air in a timely manner.
Classes to practice good diction are held daily for 10-15 minutes. The transition to the next exercise is carried out only after the previous one has been worked out quite clearly.
Voice is one of the tools for interaction between people. If he is naturally weak and insecure, there is a high probability that the words you say will not have the desired effect. But Professor Felix Alekseevich Kuzmin believes that the power of the voice can and should be trained.
You can develop its power with special exercises the same way you develop muscles in physical education classes. The voice will become lower and more euphonious, its range will expand, and pronunciation will become clearer.
Exercise 1
Stand in front of the mirror. Exhale, then inhale and say each sound until you have enough breath. So, take a breath and begin:
- Eeeeeeeee.
- Eeeeeeeeeee.
- Aaaaaaaaaah.
- Ohhhhhhhhhhhhhhhhhhhhhhhhhhh.
- Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu.
This sequence is not random, you start with the highest frequency sound - “i”. If you place your palm on your head, you will feel a slight vibration of the skin. This is evidence of more intense blood circulation. Pronouncing the sound “e” activates the neck and throat area, you can feel this by placing your hands on your neck. Pronouncing the sound “a” has a beneficial effect on the chest area. When pronouncing the sound “o”, the blood supply to the heart increases, and exercise with the sound “u” has a positive effect on the lower abdomen.
Say all the sounds slowly one after the other three times. Do you want your voice to be lower and deeper? Then say the sound “u” many times throughout the day.
Exercise 2
Now you need to activate the chest and abdomen area, to do this you need to pronounce the sound “m” with your mouth closed. Do exercises on the sound “m” three times. Once very quietly, the second time louder and the third time as loud as possible so that the vocal cords tense. When you place your palm on your stomach, you will feel a strong vibration.
