The artistic stage of working on a choral work. Lecture on the course “choral studies” “rehearsal work in the choir” Questions explored

(IMPLEMENTATION OF PERFORMANCE DESIGN)

Technical development

Works

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The first acquaintance with the essay is very important point, on which the participants’ interest in the upcoming work and the success of subsequent rehearsals depend. The conductor must perform the work in such a way that it captivates the choir, so that the singers have a desire to start learning it as quickly as possible. If he is not able to show the composition on the piano quite perfectly, then he needs to sing expressively at least its melodic line, the main themes, enhancing the artistic and emotional impact with the help of the conductor's plasticity and facial expressions.

To direct the appropriate perception of the composition by the choir participants, the leader can say a few words about its character, mood, and main images; about the composer and the author of the text; about the era in which they lived; about specific events and facts related to one degree or another with the creation of the work; about its known interpretations. When conducting such a conversation, the conductor should not lose sight of its main goal - to arouse interest in the composition, which, accordingly, requires passion, emotionality, and artistry from him.

After the choir’s general familiarization with the work, you can begin to analyze its musical text. Literate,

a thoughtful, musically meaningful analysis creates the basis for further productive work on the composition. The time allocated for analysis may vary. This depends on the quality of the choir, the general culture and musical literacy of its participants. But in all cases, at the initial stage of work there should be no sloppiness or a careless attitude towards errors encountered.

The choral work is mainly polyphonic. Its overall sound depends on the quality of performance of each voice. Therefore, when learning a piece, it is advisable to work separately with each part. However, if the general level of the choir participants is high enough, if they know the basics of musical literacy and have solfegge skills, you can start by reading the musical text with the entire choir at once, turning to singing in parts in difficult places that require additional attention. After singing the entire piece at a slow tempo (with accuracy accessible for the first reading), careful work on the musical text begins.

You need to analyze the work in small parts, relatively complete constructions, but dwelling longer on the more difficult ones. At the first stage of learning, special attention is required to intonation and metro-rhythmic accuracy of performance. However, other points should not be overlooked from the very beginning. In particular, it is necessary that the choir members feel and understand the direction musical speech, phrasing, reference points to which the melodic movement rushes. Otherwise, singing will be a mechanical act, a formal reading of musical notes.

While working on individual parts, the conductor should not lose a sense of the whole throughout the entire practice; otherwise it will be lost end-to-end effect, the details will spread out and become too “independent.” Having worked on any detail, some complex fragment, you should then include them in the general context. G.G. Neuhaus, who rightly considers individual moments of the work being studied not only as technical episodes, but also as its main elements (harmonic structure, polyphony, melodic line, etc.), wrote: “Only one thing is important: remember that after temporary fragmentation, live music -

128

"" 1 .

The principle of dividing a choral work into educational “pieces” should be, first of all, musical logic, its natural division into parts, sections, periods, sentences, etc., down to a separate melodic turn or rhythmic figure, as well as the analysis and isolation of certain difficulties that require attention and time to overcome. Unfortunately, in choral practice there is such a method of work, so to speak, when a piece is sung mechanically from beginning to end many times until it is “sung.” The result of this “singing” most often is the opposite effect: difficult episodes are never achieved (because the conductor and singers’ attention was not focused on them), and easy episodes are so “erased” that they lose all artistic meaning for the performers. Eventually the choir becomes bored with the piece before they even learn it. That is why, having familiarized yourself with the music and identified the most difficult parts, you need to specifically focus on them, achieving the most perfect performance possible. However, it happens that the part is so difficult that even after several repetitions and comments from the conductor, the quality of performance leaves much to be desired. In this case, you should move on to learning other fragments and return to this episode a little later. The fact is that when working too long on any poorly-produced passage (even if it is necessary), the acuity of perception of the choir participants weakens, their creative activity decreases, attention becomes dull, and fatigue sets in. As a result, singers may lack confidence in their abilities, become disappointed, and may lose interest in their work. In such a situation, temporarily switching their attention to solving other creative problems is only useful, contributing to greater effectiveness of unlearning. This recommendation does not mean that the manager needs to reduce the demands on the quality of technical and artistic execution of a particular fragment. But, while achieving accuracy in the execution of the author's plan, he should not miss

1 Neuhaus G.G. About the art of piano playing. - M., 1958, -S. 63.

Technical mastery of the work

out of sight both psychological aspects and the emotional factor, which play a very significant role in working with a team.

What techniques and methods can be recommended for learning technically difficult episodes? It is impossible to answer this question unequivocally, since the choice of certain techniques determines the essence of the task, the degree of difficulty, the level of literacy of a given choir, auditory and musical development its participants, their musical memory etc. Nevertheless, long-term musical practice has developed a number of techniques that are most often used in rehearsal work and, as a rule, give good results. This is singing difficult passages in slow motion; arbitrary stops on individual sounds of one or another melodic turn or on individual chords; rhythmic fragmentation of durations into smaller ones; temporary increase in duration by doubling, tripling, quadrupling; change in vocal stroke; exaggerated, scanned pronunciation of the text; use of auxiliary technical material. Let's take a closer look at these techniques.

Singing in slow motion. The prerequisite for the pedagogical feasibility of this technique is that a slow tempo gives singers more time to listen to a particular sound, to control it and, to some extent, even to analyze it. Controlling your voice is extremely difficult. In essence, the entire process of sound production and intonation is carried out and regulated in singing with the help of listening skills and a qualitative assessment of the sound by the singer himself. In this regard, it is clear that singing at a slow tempo better promotes awareness of performing tasks and free mastery of the necessary skills. All of the above applies mainly to works that are characterized by lively or fast movement. It is hardly advisable to teach slow works or slow parts of them at a slow pace.

Stopping on sounds or chords. If singing at a slow tempo does not give the desired effect, you can resort to completely stopping the movement on sounds or chords that make up a complex intonation or harmonic turn, that is, introducing a fermata. The prerequisite for the action of this technique is the same as when singing

130 Chapter 6. Rehearsal work with the choir

in slow motion. However, due to the fact that it makes it possible to concentrate attention on a separate intonation, chord, its effectiveness is much higher.

Rhythmic crushing. A necessary condition for any full performance is its rhythm. This quality is especially important in collective performance, where precise simultaneous reproduction of the musical text by all its participants is required. The most characteristic rhythm disturbances are not singing long durations when short ones appear and vice versa, excessively prolonging them when replacing short notes with long ones, undersustaining a note with a dot, accelerating small durations and slowing down large ones. To avoid these shortcomings, it is useful to use the method of conditional rhythmic fragmentation of large durations into smaller ones, requiring the choir participants to exaggerate the emphasis of the division unit (quarter, eighth, sixteenth), which leads to the emergence of a feeling of constant rhythmic pulsation. After using this technique the rhythm of the performance becomes more accurate, you can gradually level out the pulsation, internally preserving its sensation. An effective technique for overcoming this kind of difficulty is to speak out literary text on one sound. In this case, the singers’ attention is focused on the rhythmic side of the performance, which contributes to faster mastery of one or another complex turn. While the choir recites the text, you can play the score on the piano. With such training work, some exaggeration is quite acceptable and even desirable. In works with a dotted rhythm, you can split odd durations (notes with dots) into smaller units (eighths, sixteenths), emphasizing the splitting by tapping the intra-lobe pulsation.

Particular attention should be paid to achieving the correct relationship between the various rhythmic patterns found in one musical phrase, for example, doles with triplets or a dotted rhythm with a triplet. Very often new drawing, replacing the previous one, is performed inaccurately, which is primarily due to the inertia of perception. An even greater difficulty is the performance of double and triple figures sounding simultaneously in different parts.

Technical mastery of the work 131

The biggest mistake in the process of working on a work is inattention to pauses. Often conductors ignore not only their expressive value, but also the simple need to accurately maintain them. It is useful for such conductors to listen to the wise advice of G.G. Neugau-za: “...Silence, breaks, stops, pauses (!) must be heard, this is also music!... “Listening to music” should not stop for a second! Then everything will be convincing and true. It’s also useful to mentally conduct these breaks” 1 .

Use of auxiliary material. When working on technically difficult passages, it is useful to turn to exercises, both based on the material of the piece being learned, and not related to it. Thus, in cases of impure intonation, exercises are used that promote the modal-harmonic tuning of singers, developing in them a sense of stable and unstable degrees of the mode. For this purpose, any songs that include a given melodic turn or individual intonation can be involved in singing. Particular attention should be paid to the purity of singing large seconds up and small seconds down.

If rhythmic difficulties arise, you can turn to performing closed rhythmic motifs and standard formations.

Sometimes additional exercises are used to work on diction. Most often, these are exercises on various syllables, the purpose of which is to promote the activation of the articulatory apparatus. For example, dy, well, zy, ta, ry, le- exercises to activate the tongue; ba, pa, vo, ma- to activate the lips. It is also useful to simply recite the text of the work, but if this is not enough, then tongue twisters can be used as exercises.

At first, individual fragments of the composition are learned at a slow pace, then they should be sung several times at the required (or close to the required) pace and, if necessary, changes should be made to the methodology for further work. With such a check, one cannot always expect performers to absolute purity and clarity, but giving them the opportunity to imagine, at least in general terms, the future nature of the sound of the composition is very important. Singing for too long.

x Neuhaus G.G. Decree. op;- P. 50.

132 Chapter 6. Rehearsal work with the choir

in the “training” version there is a danger of getting used to a slow tempo, and when moving to performance at a faster tempo, the conductor will need to spend a lot of effort to overcome the inertia of the choir. Therefore, checking from time to time the readiness to perform a work (or episode) at the true tempo is methodically justified, since it prevents the formation of established stereotypes in singers, activates their thinking and perception, and promotes greater flexibility, agility, and artistic sensitivity.

Let us note one important point. In choral practice, there are often cases when, while working to overcome some technical difficulty, the conductor loses sight of the artistic meaning of a given episode. As a result, the work acquires a formal, mechanical character, and achieving a technical result becomes an end in itself. Meanwhile, the performers' understanding of the artistic meaning of a particular fragment will undoubtedly help them find the appropriate technical technique, because in musical performance the goal gives birth to the means to achieve it, and not vice versa. All technical techniques are born from the search for one or another sound image. The sonority that the performer wants to achieve, which he hears internally, to a large extent suggests the technique necessary in this particular case.

Here we come to a complex the problem of the relationship between artistic and technical elements in choral performance. In the practice of working with a choir, it is common to divide rehearsals into two stages:

1) technical mastery of the work and its artistic interpretation;

2) disclosure of internal content, emotional and figurative essence.

Many choirmasters believe that the artistic period in work should begin after technical difficulties have been overcome: first one should learn the notes, and then work on their artistic finishing.

This view is very erroneous. You cannot work with a choir for a month without thinking about expressiveness, and only then explain what the nature of the performance should be, where the musical phrase should aim, and what the main stylistic features of a given work are. On the other hand, it would be wrong to demand at the very beginning of learning

Technical mastery of the work 133

full artistic performance. The most correct and effective method, apparently, will be one in which the conductor, learning a part, for example, with violas, gradually brings it closer to a character close to the composer’s intention. But at any stage of learning a work, the conductor must see the main goal - a masterful disclosure of the ideological and artistic essence of the work and link immediate technical tasks to this goal.

Describing mastery in musical performance, D.D. Shostakovich wrote: “Brilliant virtuoso technique a pianist or violinist who immediately makes people talk about himself is not mastery, but... fluency in the technology of his professional skill. Mastery in performance begins when we listen only to music, admire the inspiration of the game and forget how and with what technical means the musician achieved this or that expressive effect” 1 . Performing technique, as we see, is considered by D.D. Shostakovich as a means of embodiment artistic purpose, that is, musical content.

Summarizing what has been said about the relationship between the artistic and technical elements in musical and, in particular, choral performance, we can conclude: The technical is a means inextricably linked with the artistic and subordinate to it. It follows that the artistic element must be present in rehearsal work with the choir from the very beginning.

In addition, the conductor of both amateur and professional choirs must not forget that learning a piece using the “coaching” method does not in any way develop the aesthetic thinking of singers. With this method, many of the subtleties of the content and form of the work remain ununderstood by the singers and, as a result, do not have the impact on them, and accordingly on the listeners, that the composer expected. In this regard, the advice of the outstanding Russian choral figure P.G. is still relevant. Chesno-kova: “When studying a work with the choir, point out to the singers the parts and details that are best in design and music; with this you will-

134 Chapter 6. Rehearsal work with the choir

You want to cultivate an aesthetic sense in them. If you fail to arouse in the singers a feeling of admiration for the artistic merits of the composition being performed, your work with the choir will not achieve the desired goal.” 1 . Leading Russian choirmasters adhere to these principles in their work. In the introductory conversation, in the first performance demonstration of the work to the choir, or in short but apt remarks during the rehearsal process, they reveal the basics of the content of the work being studied, the features of its form, forcing the singers to better understand and feel the music being performed. “The atmosphere of falling in love with a work while the conductor and choir are working on it is the surest condition, the most important incentive for achieving the best performance,” wrote K.B. Bird. - The desire for a goal, the desire to hear a work in a live sound help create a clear idea of ​​its performance embodiment, contribute to the achievement of high work results... The performer’s love for a work, the desire to hear it in a live sound as soon as possible contribute to establishing an intense pace in the work. The ardent tempo in the conductor’s meaningful and purposeful work greatly increases the interest of the ensemble and captivates the performers. This is one of the conditions for the choir to quickly and best fulfill the conductor’s artistic requirements and maintain sharp attention during rehearsals” 2.

There is nothing more frustrating for choir members than singing difficult passages over and over again without any specific instructions. Each repetition must be preceded by an explanation for what purpose it is being carried out. Otherwise, the choir's trust in the conductor will gradually decline.

The conductor should pay attention to the accuracy, specificity and conciseness of his explanations. A sensitive group sometimes only needs a hint spoken during the sound of a piece, for example, “cold,” “in the haze,” “far away,” and the nature of the sound production, timbre, and nuance will immediately change: the choir easily grasps the conductor’s intention.

Note that such figurative characteristics, comparisons, and associative representations help the technical development of the work. At the same time, at the stage of artistic

1 Chesnokov P.G. Choir and its management. - M., 1961. - P. 238.

2 Bird K.B. Preparatory work choral conductor// Work in
choir. - M., 1977. - P. 10.

Artistic decoration of the work 135

When finishing a performance, purely technical techniques are inevitably included in the rehearsal work. The process of working on choral work it is impossible, according to the fair remark of V.G. Sokolov, “strictly limit it to phases with a clearly defined range of technical or artistic tasks for each of the phases. Such a division can only be accepted as a scheme, following which the leader, to the best of his experience, skills and abilities, will apply certain methods of learning a choral work” 1.

However, in different time work on a work the role of elements of artistic and technical beginning ambiguous: at the learning stage, technical aspects naturally prevail; at the artistic finishing stage, more attention is paid to expressive means of performance. As individual difficulties are mastered, the main attention of the conductor and choir gradually shifts to issues related to the integrity of the performance, with clarification of the overall performance concept (although at this stage the possibility of returning to work on details with a view to their further improvement is not excluded). During the period of work under review, such aspects of performance as sound quality, identifying the general line of development of music, tempo, rhythm, dynamic and timbral nuances, articulation, phrasing, that is, those components that are directly related to interpretation, come to the fore."

The methods of vocal and choral education of children are diverse and complex, as they combine the cognitive process with the practical skills of children.

The teaching methods and techniques with which the teacher gives students the skills and knowledge of vocal and choral education are the result of many years of experience.

Throughout all years of schooling, children are given the same tasks, only they are constantly becoming more complex and varying.

Main methodological principles voice productions are:

Development of a singing tone in the middle register, starting from the primary tones of sound (for most children “fa - la”). On primary sounds it is easiest to tune the voice for sound formation and further development; - breathing with support from the diaphragm; the “support” is based on the economical use of outgoing breath;
- soft attack of sound, fixing a beautiful timbre and sending the sound forward (up);
- formation of inner hearing, clear intonation and high singing position (dome).

The ultimate goal of training is for students to sing freely, with a flying sound, with a silvery timbre, without any tension.

The teacher’s task also includes correcting singing defects in sound production: throat sound, nasal sound, “white” sound, and so on. From correctly placed primary sounds, a further line of sound is created.

When we have leveled out the primary sounds of the range, we begin to further strengthen the sounds of the low register, that is, the foundation of the voice and the support for high notes.

Children's voices differ from adults in their flight and sonority; the most flying vowels: “i”, “e”; vowels have the smallest number of overtones: “o”, “u”; the vowel “a” is intermediate.
Every type of baby voice has best zones sounds:
Trebles - “B” 1st - “E” 2nd octave
Soprano – “D” of the 1st octave – “A” of the 1st octave
Altos – “F” minor – “C” of the 1st octave.

Some children immediately show a tendency to use the chest register, others - falsetto. Transitional sounds in children's voices can be pronounced or remain invisible.

From the very beginning, choral work is carried out in such a way as to use singing in groups, according to the register nature (choral parts).

In the initial training method, so that children do not get tired when learning, you can use the falsetto type of voice formation, but further exclusion of chest and mixed sounds from the work will inhibit the development of children's voices.

The phonetic method is a way of tuning voices to a certain timbre sound.

In the process of singing or vocalizing a melody, it is necessary to alternate vowels and arrange them into a single manner of sound production and articulation.

The vowel “u” has the least variety of articulation methods. If the sound is deep, it is better to learn a melody on the vowel “i”, and if the sound is flat, sing on the vowel “o”. This technique is called “smoothing” vowels in one focus, in a single manner of sound formation.

Achieving sonority and closeness of the vocal position also depends on articulation: sensation of the upper lip, nostrils, singing with closed mouth us". This phonetic method is useful when vocalizing a melody and working on the cantilena when learning songs.

When singing, you must learn to pronounce all consonants very quickly, “compressed” between vowels, so that the larynx does not have time to deviate from the singing position.

The illustrative method, that is, showing musical material in the teacher’s voice, has been widely used in working with children. Children reproduce what they hear based on the principle of imitation. The display of the song must be accompanied by an explanation of the nature of the sound in the works performed.

The comparison method is necessary for students to hear the shortcomings of their singing. It is useful to use recordings of listening to student performances and analyze them in detail, analyzing all the inaccuracies in the performance. Different methods vocal work with children usually complement each other and they must be skillfully combined.

There is also a methodological system for chanting and exercises for warming up the voice and setting it up for work. Chanting also develops vocal skills and the expressive sound of voices.

The first, initial goal of chanting is to activate the closure of the vocal cords. (See exercises No. 1, No. 6.) For this, staccato is used on vowels: “u”, “o”, “a”, in which a natural closure of the cords occurs, then transferred on leqato. Jerky singing does not allow muscle tension and becomes the basis for proper sound production. Before starting work, children carefully study the rules of singing, specially written for children and for the older group. (see appendix)

Work on dynamics is also carried out in chanting from the very beginning, using medium sound strength, then piano and forte. Next, voice mobility is developed from moderate to fast pace, then agogic nuances, then work on the harmonic structure (two or three voices)
As a result of the first years of study, students should be able to:

Correctly use the singing attitude and use breathing with a feeling of support.
- Correctly form vowels, align their sound and clearly pronounce consonants.
-Make sure your intonation is clean and don’t force the sound.
- Learn to hear and intonate two-voices.

The purpose of vocal and choral exercises is to develop skills that allow one to master a singing voice.

This is a set of methods and techniques related to sound production, breathing, articulation, diction and expressiveness of singing.

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choral rehearsal ensemble singing

Introduction

3. Concepts of ensemble and structure

Conclusion

Bibliography

Introduction

Choral music belongs to the most democratic forms of art. The great power of influence on a wide range of listeners determines it significant role in the life of society. Educational and organizational opportunities choral music huge.

Choral singing is the most popular form of actively introducing children to music. Every healthy child can sing, and singing is a natural and accessible way for him to express his artistic needs, feelings, and moods, although sometimes they are not consciously aware of them. Therefore, in the hands of a skilled choir director, choral singing is an effective means of musical and aesthetic education of students. Singing combines such multifaceted means of influencing young man like words and music. With their help, the leader children's choir fosters in children emotional responsiveness to beauty in art, life, and nature.

In choral performance, it is customary to distinguish between the main directions - academic and folk, characterized by differences in the manner of performance. In this paper I point out the differences in these two performance styles.

The process of learning songs and choral works requires constant training and the ability to listen to the melody, reproduce it correctly and remember it. Singing develops attention, observation, and discipline in children. The joint performance of songs, the aesthetic experience of their content, embodied in artistic images, unites students into a single creative team.

One of the features of choral singing is the possibility of combining performing process students with different levels of development of vocal and auditory abilities.

Singing is one of the effective means of physical education and development of children. In the process of singing - solo and choral - the singing apparatus is strengthened, breathing develops; body position while singing (singing attitude) helps to develop good posture. All this has a positive effect on the general health of schoolchildren.

Using choral singing as a means musical education students, the choirmaster sets himself the following tasks:

Developing children's interest and love for choral singing;

Cultivate emotional responsiveness to music;

Form artistic taste;

To instill vocal and choral skills as the basis for achieving expressive, competent and artistic performance;

Comprehensively develop ear for music- melodic, rhythmic, harmonic, dynamic, timbre.

In this work, I propose to consider a set of chants and exercises for a mixed Russian folk choir, some defects in performance and ways to eliminate them.

1. Differences between an academic choir and a folk choir

Academic choir in its activities it relies on the traditions of the opera and chamber genres. They have a single condition for vocal work - an academic style of singing, which has a more covered sound and requires a large yawn. The sound is directed into the dome that creates the upper sky. Has the most developed head resonator. The academic choir is also distinguished by its range. For example, the range of a mixed academic choir according to P. Chesnokov is from “G” counteroctave to “C” third octave.

Folk choir - a vocal group that performs folk songs with their inherent characteristics, such as choral texture, vocal style, vocal style. Folk choirs build their work on the basis of local or regional singing traditions, which determines the variety of compositions and manner of performance.

Choral traditions are close to Russian folk choral culture Slavic peoples- Ukrainian, Belarusian, as well as some nationalities inhabiting Russia - Komi, Chuvash, Udmurts and so on. The singers' voices are distinguished by a sharp distinction between registers and greater openness of sound.

The general range of the Russian folk choir according to V. Samarin is from “F” major to “B flat” of the second octave.

2. Singing defects and their elimination

Each singer has his own strengths and weaknesses. Voice defects can be acquired from school in the process of learning to sing from inexperienced teachers, resulting in incorrect certain type voices may also depend on natural defects in the structure of the vocal apparatus.

The most common defects are: throat singing, low singing position, nasal overtones, clamping of the lower jaw, forcing. Throat singing perhaps one of the most common voice defects. When singing with your throat vocal cords experience something like a spasm, they lose the ability to vibrate freely, the closing and opening phases of the ligaments become almost identical in time, and even the closing phase can exceed the opening phase. In female voices, a throaty sound in the chest part of the range leads to a hard, tense timbre. If there is a “dove” in the upper part of the range, then the highs sound without vibration, too straightforward, sharp, compressed, shrill. In male voices, this defect is more often associated with the use of an open sound without cover. Singing with your throat is also associated with forcing the sound. It is very difficult to remove the throaty sound. The main thing is to correctly determine its cause. It happens that this defect can be eliminated by working on breathing, strengthening and deepening the support. It is also possible to use soft or aspirated attacks.

There are also cases when the throaty sound acquires an overly covered voice, then you need to abandon this technique and establish voice guidance with a more open sound, and then move on to a more correct covering technique. Mandibular clamp and language affects voice performance. With this defect, a tense, dull, backward sound is heard; the upward movement is carried out by “pushing” an air stream under the ligaments. Clamping of the jaw can be eliminated by verbal explanation of its operation, demonstration by the teacher, singing exercises for the letter “a”, as well as by singing exercises with alternating vowels. The tightness (in other words, the same “throat sound”) of the sound depends on the improper functioning of the glottis, which takes too long to close. In this case, you should switch to an aspirated attack and begin a gradual transition to a soft attack. To relieve this constriction, it is recommended to master the technique of covering the sound, singing with the vowels “u” and “o”.

In men, singing in falsetto also leads to correction of the functioning of the glottis, since with such singing the ligaments do not close completely. Timbre defects: nasal sound, deep sound, “white” sound. In a review of the acoustic properties of the voice, the cause of the first type of the above-mentioned timbre defects was named. In the nasopharynx, with a slightly elevated palate, a channel is formed, the length of which is such that frequencies of about 2000 Hz are absorbed in it; their absence is perceived by our ear as a nasal sound. To eliminate this defect, it is necessary to activate the work of the soft palate. A similar technique can be used when singing with a “white” sound, that is, a close sound. In this case, exercises with the vowels “u” and “o” with the addition of the consonants “k” and “g”, which are formed in the pharyngeal cavity, will be useful.

The problem of buried sound can be corrected by offering the student exercises containing combinations of closely pronounced consonants and vowels.

Force. A forced voice sounds tense, annoying and deliberately loud. For people with a large volume of voice, its loud sound is a natural process in which the voice does not lose the beauty of vibrato. “Once lost, the tenderness of a voice never returns,” wrote teacher M. Garcia. Forcing leads to detonation and distorts the timbre. With such singing, the flight of sound is lost, and with it the ability to “pierce” the hall, although the singer seems to think that his voice sounds unusually strong and, according to inexperienced singers, should be clearly heard against the background of the orchestra and in the hall. In the case of such a defect, it can be recommended to switch to a more lyrical repertoire, which would not provoke singing in a “big” voice on an emotional upsurge. Very often a situation arises when a vocalist finds himself in acoustically inconvenient conditions: singing in a muffled room with a lot of soft furniture that absorbs sound. The singer begins to shout, to force the sound. As a result, the vocal folds become overstrained, and the voice ceases to obey the vocalist. At best, you will have to remain silent for several days. When connecting the upper resonators, the voice will not only sound louder, but also the sensations that arise during its operation will create additional sources voice control. The first type of sound forcing occurs when the singer tries to transfer responsibility for volume from the upper resonator to the breath.

The second type of forcing occurs when a person who has recently taken up singing takes on unbearably large loads. For example, trying to sing high note or sings for too long. As a piece of advice: until your vocal apparatus gets stronger, don’t force things - sing in the middle of your range and no more than 30-40 minutes a day, preferably with rest breaks. If after your classes your voice becomes weak and you find it difficult to speak, shorten the class by 10 minutes. If this does not help, continue to reduce your activities until you find the optimal time. At the beginning of training, the need to sing exercises, as a rule, is not questioned. Indeed, with exercises you can easily master basic techniques singing. They are usually selected so as to cause the least difficulty in performance and to develop correct singing skills. Exercises gradually lead us from simple to complex. When the first successes appear, the beginning singer often stops paying enough attention to the exercises, and as a result, he finds himself set back for some time. The still fragile vocal apparatus quickly loses its proper singing skills as soon as the singer loses his vigilance. Most likely, proper coordination would return to him if he were able to "go on a vocal diet", that is, sing nothing but exercises for a while, and then slowly add the learned old repertoire, and then learn new ones.

In my work, I examined only some of the defects in singing and ways to eliminate them. It should be noted that each defect does not occur alone, and therefore the causes of its occurrence are quite difficult to determine. Summarizing what has been said, we emphasize that the uncoordinated work of all parts of the body involved in the process of voice formation leads to deviations from the ideal voice that the student strives for. The teacher’s vocal hearing and own understanding of voice problems will help to correctly identify the cause of the defect and find The right way their elimination.

3. Concepts of ensemble and structure

Ensemble- this is a balanced and uniform sound of singers in each part and a balanced sound of all parts in the choir.

To achieve an ensemble in a choir, the following is required: the same number of singers in the party, professional qualities of the singers, and uniform timbre. It is necessary that the timbres of the voices complement each other and thus merge, subject to balance in the strength of sound.

Choir structure - This is the purity of intonation in singing. Structure is one of the main elements of choral technique. It requires constant painstaking work, unflagging attention of the performers at all moments of the choir’s sound. The structure of a choir without instrumental accompaniment is especially difficult, since here the singers intonate relying only on their own auditory sensations. In this regard, sharpness, clarity and definiteness of intonation become not only necessary for expressive performance, but also a means of strengthening and leveling the choral structure and therefore one of the most important qualities choral singers and conductors. The choir structure is divided into a melodic structure - horizontal, i.e. the structure of the choral part, and a harmonic structure - vertical, i.e. the general choral structure. The melodic and harmonic structure represent one organic whole and in no case can these two systems be divided into two separate components. If a melody is performed by one choral part, then each sound of this melody is the sound of some kind of harmonic chord, although not reproducible, but mentally sounding. Consequently, each sound of the melody is intonationally connected with the supporting sounds of harmony, which we feel with our inner musical ear. This hearing is not equally developed in everyone, but a singer, and especially a conductor, usually senses these harmonies. With such a more or less developed internal ear for music, the intonation of the melody will always be clear. The same can be said about the vertical structure. There are no separate harmonic chords that are not connected to each other by a melodic line in the work. In some cases, the melody may be less pronounced, or transferred to the soloist, but it always exists. Without melody there can be no harmony. From everything said above, it follows that the structure of the choir is an organic unity of melodic-horizontal and harmonious-vertical intonation of musical sounds in singing.

Conclusion

The principles of working with the choir are based, first of all, on understanding and generalizing practice, advanced performing and pedagogical experience. The issues of organizing a choir group and the rehearsal process are in the field of view; work on choral structure, ensemble, diction; methods of learning a piece, vocal work, etc. Only continuous work and the search for new methods and solutions to certain problems can bring the desired result.

Bibliography

1. Barash A.B. Poem about the human voice . - M.: Composer, 2005.

2. Samarin V.A. Choral studies and choral arrangement: Textbook. aid for students higher ped. textbook establishments. - M.: Publishing center "Academy", 2002. - 352 p.

3. Chesnokov P.G. Choir and its management: A manual for choral conductors. - M., 1961

4. http://kuzenkovd.ru/

5. http://site

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Every choirmaster who has studied a course in choral studies knows that the elements of choral sonority are the main components, without which, according to the instructions of P. G. Chesnokov, the existence of a choir as an artistic group is impossible. In this chapter we will consider the features of working on the three main elements of choral sonority: ensemble, structure and diction.

An ensemble (French ensemble - together) in the science of choir is understood as consistency of performance, balance, consistency in sonority. The theoretical and methodological aspects of the choral ensemble are most fully revealed in the works of P. G. Chesnokov and A. G. Dmitrevsky.

It is in the ensemble performance that the collective nature of the creativity of the choir singers is revealed. They must be able to subordinate their individuality to the vocal and performing requirements of the choir in solving common, collective problems.

Already at the stage of recruiting a singing group, the conductor-choirmaster should pay attention to the quantitative and qualitative correspondence between the composition of the choral parts, to the timbre unity of related voices within the party. And although this is not always easy to achieve, it is necessary to strive for this, since the disproportion in the number of singers, their disparity in sound, strength, timbre, and the presence of singers with serious defects will greatly complicate the work on the ensemble in the choir.

The general choral ensemble depends on the formation in choral parts (private ensembles) of such elements as intonation, metrhythmic, tempo-agogical, dynamic, tessitura, timbre, texture. The listed elements of the ensemble are very interconnected and interdependent, but all of them can be developed in the choir only if there is a unison sound in each part.

A good intonation ensemble of choral parts is the foundation for a general choral system. In an intonation ensemble, an important role is played by a unified manner of voice formation and intonation, and the alignment of voices. To achieve and improve the intonation ensemble, S. A. Kazachkov recommends using the following methods: “matching to the leading, most experienced singers, to the tone set by the conductor, to the accompaniment system.”

When working on a meter-rhythmic ensemble in a beginning choir, you should pay attention to the formation in singers of a feeling of metric pulsation, that is, the alternation of strong and weak beats. To do this, you can invite them to highlight strong

and relatively strong beats, which usually contain grammatical stress in words and logical stress in musical phrases.

An important condition for choral performance is the rhythmic organization of the group. “Orientation in rhythmic structures, comparison and distinction of durations of different durations - a skill organically inherent in every musician - plays a special role in choral performance, based on the coordinated, synchronized “pronunciation” of the melody by all singers. It creates a basis for them to develop a sense of a semantic unit in the rhythmic organization of music, as relatively completed elements in the holistic metro-rhythmic ornament of the work.” When working on a rhythmic ensemble in a choir, it can be recommended the following techniques: intonation of musical material using rhythmic syllables at the stage of learning an exercise or work, solmization of a poetic text in the tempo of the work; singing based on intralobar pulsation; inclusion of special metrorhythmic exercises in chanting, etc.

Work on a tempo ensemble (Latin tempus - time) in an untrained choir should begin at a moderate pace. Singers should be expected to accurately “enter” the tempo, keep it in stationary and especially in moving nuances (do not speed up when singing at a crescendo and do not slow down when singing at a diminuendo). It must be remembered that the process of forming a tempo and metro-rhythmic ensemble is closely related to the development by singers of the skill of simultaneously taking breath, singing attack, removing sound, and therefore the ability to sing at the signal of the conductor’s gesture.

As you know, there are three groups of tempos in music: slow, moderate, fast.

Slow Tempo Group(40–60 beats per minute according to Menzel’s metronome (M.M.):

Largo	largo	wide
Lento	lento	drawlingly
Adagio	adagio	slowly
Grave	grave	hard
Moderate tempo group (60–100 beats per metronome)
Andante	andante	leisurely
Sostenuto	sostenuto	reservedly
Commodo	commodo	comfortable
Andantino	andantino	more agile than andante
moderato	moderato	moderately
Allegretto	allegretto	lively
Fast tempo group (100–140 beats on the metronome):
Allegro	allegro	soon
Vivo	vivo	lively
Presto	presto	fast
Animato	animato	enthusiastically
Prestissimo	prestissimo	very fast

When building a tempo ensemble in a work, the choir conductor needs to find the required speed of performance so as not to distort the figurative sphere and mood of the work. The choice of tempo is influenced by the intonational and rhythmic complexity of the choral parts, unstable harmony and tonal plan, the style of presentation of the work, etc. If

In the work, the composer does not specify the tempo with a metronomic indication, but only with remarks con moto (agile), maestoso (solemnly, majestically), ad libitum (at his own discretion), then a certain

match the speed of performance based on the holistic perception of the work: character, textural complexities, genre originality, traditions of performance, etc. For example, the tempo of marching works for the choir should correspond to the gait of the step, the tempo of dance works - to tempo traditions dance genre(polka - fast, lonaz - moderate, majestic, etc.). It is known that in marching and dance choral works agogic changes (deceleration and acceleration) are used very rarely, mainly in the final cadences. Agogy is typical mainly for the genres of song and choral miniature. Practical experience has shown that mastering agogics (more on pp. 85–87) can be started only when the choir singers learn to sing “according to the conductor’s hand” (clearly entering and ending a musical phrase without shortening or lengthening the indicated note durations).

Work on dynamics in the choir begins with stationary nuances (mf, mp), with the help of which voices of different strength and volume are leveled out, and the initial dynamic ensemble is built. Expansion of dynamic capabilities is closely related to the formation of a beautiful piano and sonorous forte in a singing group. Moving nuances are included in the work a little later, when the choir masters the technique of regulating breathing and sound volume. Crescendo is first mastered, and then diminuendo. This is due to the fact that it is easier for inexperienced singers to control breathing when sonority increases than when it decreases.

Working on a dynamic ensemble is greatly simplified when the music being performed uses nuances that correspond to the natural nature of the sound of the parts at a given pitch. Therefore, it is extremely important that at the stage of planning the rehearsal work, the conductor provides nuances that correspond to the dynamic capabilities of the choral voices. This reveals the relationship between the dynamic and tessitura ensemble.

The main method of working on a tessitura ensemble (natural, artificial, mixed) is the dynamic correction method. It helps either to align the dynamic line of the musical material of the score, or to dissect it by introducing new nuances that correspond to the dynamic zones of the singing voices, as well as the emotional and figurative sphere of the work. Using the method of dynamic correction, performance difficulties are overcome in works where the nuances proposed by the composer exceed the performance.

body capabilities of choral parts. This method is also used

in the practice of choirs with limited technical capabilities.

In a beginning choir, the problem of timbre ensemble (French timbre - sound coloring) is usually very acute. In such a group, work on the ensemble is aimed at eliminating timbre diversity in the choral parts, at creating holistic timbre combinations in the choir. The brightness of timbre colors, as is known, depends not only on the natural abilities of singing voices, but also on the vocal work carried out in a group. The choir director needs to constantly monitor the correct manner of sound production of the singers, the natural process of sound production, which would exclude forced or some amorphous and sluggish phonation.

It has long been noted that the timbre qualities of the voice are significantly enriched when vibrato is present in it (Italian: vibrato - vibration). The presence of natural vibrato in singing voice indicates proper sound production and muscular freedom of the vocal apparatus. Vibrato, on the one hand, gives choral voices flight and emotional fullness, and on the other, helps to withstand significant singing loads.

Work on a timbre ensemble is closely related to education

singers have timbre hearing. As practice has shown, the associative method can provide some assistance in this regard. If the conductor draws parallels between musical and emotional perception, auditory and visual images, use a verbal commentary on the pieces being learned, then it can help singers quickly understand the artistic essence of the music being performed and find the corresponding colors in the singing sound. Work on the formation of a timbre ensemble should take place both in the process of learning the repertoire and during exercises. To do this, while chanting, you can invite singers to perform exercises with different moods (dramatic, humorous, joyful, sad). You can use elements of play and theatricality in the exercises, giving the singers the opportunity to choose the necessary facial expressions, timbre, and articulation in accordance with the image and the nature of the performance. The richer the palette of emotional states, the more colorful the timbre palette, and therefore the more active the impact on emotional condition listeners.

The following points play an important role in achieving timbre expressiveness and timbre ensemble: the way the ensemble is arranged at the rehearsal and on the concert stage; emotional mood of singers

and the manner of vowel articulation they use (sombre, open, half-open); singers’ understanding of style, figurative sphere, the nature of the works performed and the use of conscious coloring of the voice in the desired “color”.

To the conductor-choirmaster when building a textured ensemble

in the choir it should be remembered that it largely depends on the textural features of the work. IN in a broad sense texture is a set of expressive means of presenting musical material. In more in the narrow sense texture is a type of writing: monodic (single-voice), harmonic, homophonic-harmonic, polyphonic, mixed.

Choral science identifies the following types of textured ensemble:

1. The ensemble as a complete and relatively complete dynamic balance in sonority between the choral parts.

This type of ensemble is typical for works of a harmonic and homophonic-harmonic nature.

There are good ensemble qualities in the choir not only from the point of view of unity technique, but also from the point of view of expressiveness and compliance with the emotional-figurative sphere of the musical and poetic text.

2. Ensemble when comparing musical thematic elements of different meanings.

This type of choral ensemble is typical for polyphonic works. In works that have an imitative-polyphonic, subvocal, contrasting-polyphonic style of presentation, the main tasks of the performers should be aimed at clearly demonstrating and comparing musical thematic elements of different meanings. The main difficulty for choir singers when performing polyphonic works is the ability to switch from a brighter, convex conducting thematic material for background musical material. In polyphonic works, the conductor must teach the singers to hear the entire texture of the composition, follow the motivic and thematic developments, and find intonation, rhythmic, modulation guidelines for the introduction together with his part.

In the fragment of the composition by A. Davidenko given below, the main theme, carried out in the bass, should sound quite brightly in the first, second, third, fifth and sixth measures. In the fourth, seventh and eighth measures, the imitative implementation of the theme in the parts of female voices and tenors comes to the fore. The relief presentation of the main thematic material visually creates a picture of a raging sea and heaving waves. This is facilitated by the comfortable tessitura of the bass line and the rather low presentation of the imitating voices, creating a certain theme-brow-emotional flavor.

3. Ensemble in sonority between the solo voice and the choir accompaniment.

Singing of the soloist and choir is one of the most common types of ensembles in the performing practice of choirs. The choir accompanying the soloist should sound dynamically quieter, as if shading solo part. The choral part, which is related to the soloist's voice type, must control its emotions and dynamics so that the choir does not drown out the soloist's voice.

4. Ensemble in sonority between choir and instrumental accompaniment.

When building a choir ensemble and instrumental accompaniment, the conductor must first understand the expressiveness of the texture and the relationship between the musical material of the choir and the accompaniment. Instrumental accompaniment can support the choir as a harmonic background and sound dynamically quieter, or it can have an independent presentation and be performed in equal dynamics with the choir, and sometimes dominate the overall ensemble.

The choir ensemble is a multifaceted phenomenon that requires the conductor to

and choir singers have certain theoretical knowledge, as well as practical skills.

Work on choral structure

Without good tuning and clear intonation, it is difficult to imagine any musical performance, including choral performance. In the practice of choral singing, two types of tuning are used: zone (when performing music

a cappella) and tempered (when performing choral music accompanied by an instrument). In tempered tuning (Latin temperatio - proportionality), the pitch of the tone is determined by musical accompaniment instrument and the choir must intonationally ensemble with it. While acquiring new colors of instrumental sound, the choir loses its timbre and intonation originality, which is fully manifested in a cappella singing. In a cappella performance conditions, when the choir sounds like an independent musical instrument, the singers sing based on their auditory sensations and ideas of pitch relationships in melody and harmony. That’s why the following become so important in a cappella sound:

only the tuning of the choir as a whole, but especially the ability of each singer to maintain and, if necessary, adjust intonation in different modes, tempos, rhythms, nuances, etc.

The theoretical and methodological aspects of a cappella choral structure were first summarized by P. G. Chesnokov in the book “The Choir and Its Management.” Chesnokov considered choral structure to be “the correct toning of intervals (horizontal structure) and the correct sound of the chord (vertical structure).” Subsequent scientific and methodological works retain the definition of structure as the correct intonation of sounds, as the purity of intonation in singing. The development of choral science has shown that

in singing without the accompaniment of an instrument, as well as when playing musical instruments with an unfixed pitch, performers use a zone system. This type of tuning differs from tempered tuning in that within the intonation zone, musicians can vary the intonation shades of sound. With the advent of the theory of zone structure, some adjustments were made to the understanding of the structure of an a cappella choir; it began to be considered as a process of intonation in choral singing associated with the absence of temperament.

Singing in a zone system is carried out according to certain rules that singers learn in rehearsal and concert practice. Choir members must be educated and trained in such a way that they can clearly and accurately tune in to the tone set by the choirmaster; be sensitive to the need to increase or “dull” the intonation, or to sing it steadily

at the required tempo, rhythm, nuance, etc. To do this, it is necessary to consistently and systematically develop the choir singers’ ear for music in all its manifestations: melodic, harmonic, timbre, internal, etc.

Inner hearing is extremely important when working on tuning, as it helps singers hear in advance what needs to be performed. The ability to anticipate the sound of individual scale degrees, intervals and chords allows singers to sing with intonation clarity.

An ear for music is fruitfully developed by solfeggio. Choirmasters know about this and try to use some methods and techniques of solfege when working with a beginning choir (more details on pp. 37–39). Develops an ear for music and singing according to musical parts or scores. Visual control of melody movement, originality

rhythm, intervals and tessitura of the choral part develops the singer’s ear for music and develops the ability to anticipate intonation. It is useful to use arrows in the musical text of parts to remind you of the most difficult episodes of musical material and control them. In the process of working on learning a piece, you can use techniques such as singing out loud and “to yourself,” “connecting” choral parts to the general sound and “disconnecting” from it, etc.

The most important condition for melodic (horizontal) and harmonic (vertical) tunings is unison. According to N.V. Romanovsky’s definition, unison is “the merging of the singers of a separate part into a single choral voice.” Good unison in a choir depends not only on the natural musical abilities and hearing development of the singers, but also on serious vocal work in the group, on the ability of the choir members to coordinate auditory perceptions and singing phonation.

In the methodology of working on melodic structure, the rules of intonation of melodic intervals by P. G. Chesnokov remain relevant to this day. In accordance with Chesnokov’s rules, large intervals are intoned with one-sided expansion, and small ones with one-sided narrowing. But at the same time, modern choral methodology recommends

When working on the melodic structure, pay attention to the mode-tonal foundations (constants), with which other intonation complexes are interconnected. Constants are those “more intonationally steady sounds, in relation to which the intonation of other, less stable steps is regulated." In this regard, in major scale, steps I and V should be intonated steadily, step III – high, and the remaining steps should be performed in accordance with Chesnokov’s rules.

When performing minor sequences, it is recommended to slightly raise the I and V steps and steadily intonate the III step (like the nick of a parallel major), performing the remaining steps according to Chesnokov’s rules, i.e. expanding large intervals and narrowing small ones.

After mastering diatonic sequences, you can gradually begin to study and perform chromatic ones. It is advisable to first do this with simple exercises based on singing small and large seconds, and then gradually expand the volume of chromatic movement to an octave. The chromatic scale is acquired according to the following rules: diatonic intervals (for example, E - F, G sharp - A)

intonation is narrow, close, and chromatic ones (D - D flat, F - F sharp) - more widely; in an ascending movement, chromatic semitones are intonated with a tendency to increase, and diatonic ones - to decrease;

in a descending movement, diatonic intervals are increased, and chromatic intervals are decreased.

It has been experimentally proven that the intonation of melodic intervals occurs in a wider zone than the intonation of harmonic ones. Due to the fact that in harmonic intervals and consonances choir singers feel dissonance more acutely, the horizontal choral structure is usually corrected by the vertical one. It has been noticed that in consonances, under the influence of the harmonic vertical, large intervals can narrow, and small ones can expand.

Research has shown that when building harmonic intervals, it is necessary to achieve the greatest unity of pure intervals, as they are the most sensitive to tuning accuracy. Harmonic intervals, in relation to the accuracy of intonation, are divided into stable (pure fourths, fifths, octaves), which have a narrow zone of intonation, and variational (seconds, thirds, sixths, sevenths), allowing some freedom in intonation options. When building harmonies, the choirmaster must understand their relationship with the modal-harmonic environment and pay attention, on the one hand, to the dynamics of the intonation of chords tending to resolution, and on the other hand, to the stability of the intonation of the tonic chords that complete the musical construction.

Reflecting on the role of choral theory in the practice of working on choral structure, S. A. Kazachkov advised young conductors: “The rules of choral structure indicate only the main, typical tendency found in the practice of singing, which does not exclude individual deviations and paradoxical cases, take into account which is not possible in advance. Therefore, the rumor musical taste, a sense of style, attention, intelligence and patience in all cases remain the conductor’s most reliable and faithful assistants in his work on the system.”

Tuning defects are often associated with sound production in singers. Problems in tuning can be caused by: instability of singing breathing, incorrect sound attack, uneven registers of choir voices, low

singing position, etc. Vocal education, as well as the education of musical ear, are the most important factors choral structure.

Among the techniques for working on structure in a choir, we will highlight some:

Singing with notes, using various syllables, with the mouth closed to build a timbre-intonation ensemble;

Intonation “according to the conductor’s hand” of melodic and harmonic structures that are difficult for the choir singers to perceive at an arbitrary tempo and rhythm, using fermats;

Singing out loud and “to oneself”, arbitrary “connection” and “disconnection” of a part from the general sound of the choir “according to the conductor’s hand” for the formation of internal hearing;

Using transposition at the stage of learning a piece with an uncomfortable (very high or low) tessitura;

Inclusion of melodic and harmonic fragments of the compositions being learned into the choir’s singing for the purpose of polishing and combining with all the necessary means of expressiveness.

According to the observations of researchers N. Garbuzov, Y. Rags, O. Agarkov and others, intonation and structure are influenced by “the degree of emotional perception of music by the performer, the nature of musical images, the sound-pitch pattern of the melody, its mode-harmonic and metro-rhythmic structure, the thematic development of the work , tonal plan, dynamic shades, tempo, rhythm, as well as syntactic elements of musical form" [cit. from: 3, p. 144].

The structure is difficult to classify as a purely technical category. Choral structure is closely related to the creative process of learning and concert performance of the repertoire, in which the intonation colors of sound interact with other means of expressiveness and sometimes depend on them.