“An innovative approach to studying the canon at the initial stage in the junior choir. Methodological development in music on the topic: Modern pedagogical technologies when working with children's choirs

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1 UDC Innovative technologies of vocal and choral work with children Dashanova N.A. Associate Professor, Department of Musical Art, Kazan (Volga Region) Federal University The article highlights the author's innovative methodology for conducting a music lesson, reveals the use of new technologies in the vocal and choral section of the lesson in the form of elements of choral solfeggio, and offers technological techniques for mastering polyphony skills. Key words: music lesson, innovative methodology, choral solfeggio, technological techniques, role-playing games, development of singing abilities. 212 The influence of art on the inner world of a child, on the development of his creative abilities, imagination and emotional sphere is extremely great. In the process of developing children's creative abilities and introducing students to practical artistic activities, the most important task of aesthetic education of schoolchildren is solved. The personality and professionalism of the music teacher play a decisive role in this process. B.V. Asafiev puts forward the main practical task for a music teacher: “The most important musical pedagogical task is the development of sound (auditory) skills that help to freely navigate both the purely musical nature of auditory images (rhythm, distance, dynamics, gait or tempo, color or timbre), and in their emotional content (saturation), and in their symbolism of expression and image (sound recording)." The decisive importance of choral music-making in the development of children’s singing and musical-auditory abilities is noted by I.P. Ponomarkov: “No other form of classes causes such activity and excitement in students as singing in chorus.” During music lessons in the vocal and choral section, musical taste is cultivated, singing abilities are formed, and an ear for music is developed. At the same time, skills of collective work, joint creativity, organization, and responsibility are instilled. In the theory and practice of musical and singing education of children, there is a large amount of research in the field of vocal development of the children's voice and methods of vocal and choral education of children. The development of these methods and research was carried out by such famous modern vocal teachers and choirmasters as O.A. Apraksina, Yu.B. Aliev, A.S. Ponomarev, B.S. Rachina, G.A. Struve, V.G. Sokolov, T.N Ovchinnikova, D.E. Ogorodnov and many others. T.N. speaks about the role of choral singing as a means of instilling ethical and aesthetic standards in children. Ovchinnikova: “Choral singing is a collective creativity that accustoms those participating in it to collective feeling, to collective actions. Choral singing occupies a special place in the process of musical and singing education also because it is a living, creative process of reproducing musical and artistic images.” This idea is confirmed by teacher-methodologist, famous choirmaster B.S. Rachina: “The main goal for which we teach children to sing in a choir is the development of the child’s personality, the development of his emotional sphere, intelligence, the emergence and development of aesthetic feelings, the formation of a moral position, and knowledge of the laws of human morality. So, the development of personality through the development of the emotional and intellectual sphere of the child through the means of musical art. Singing is the leading method of musical activity, because singing activity is the only currently publicly available way of playing music. Every child wants and can sing." D.E. expresses his opinion on the technological solution to this problem. Ogorodnov: “We need such a modern

2 permanent methodology and system of universal singing education of children in school, which would allow all children to be musically educated, including the weakest, which would help all children develop their voice, learn to sing, and become musically literate.” The analysis of research in the field of vocal and choral education of children led to the conclusion that the specificity of the work of a music teacher in a secondary school is to introduce all students to choral music-making without special selection for vocal abilities and regardless of the level of children’s musical abilities. To do this, it is necessary to teach all children to sing competently and beautifully, develop their ear for music, and instill in them an aesthetic and musical taste. Currently, many secondary schools, gymnasiums, and lyceums are conducting experimental work in order to accumulate positive experience in the upbringing and teaching of children, including in the field of their artistic, creative and aesthetic development. To successfully solve these problems, we also used our own methodology for conducting vocal and choral sections of music lessons. According to this methodology, the vocal-choral section of a music lesson includes three main components: 1. Chanting, with the help of which children learn to sing correctly; 2. Choral solfeggio, thanks to which an ear for music develops; 3. Work on the choral repertoire, which includes learning and concert performance of choral works. Let's look at each of these components. The essence of chanting and their technological orientation T.N. Ovchinnikova defines it as follows: “Chants consist of special vocal exercises and represent material on which the singers purposefully develop certain qualities of the singing voice. The chants are sung at the beginning of the lesson and also perform the function of setting up and preparing the vocal apparatus for work on the repertoire.” The purpose of chanting is to instill in children the correct singing attitude, to teach the peculiarities of vocal breathing, and to explain the basic techniques of choral sound science. In the process of chanting, in short, accessible exercises, work is done on strokes (legato, staccato, non-legato), nuances (forte, piano, crescendo, diminuendo, etc.), and at the same time the range of the voice develops and expands. In accordance with the purpose of chanting, the teacher selects special exercises. At the initial stage, these are necessarily single-voice exercises that allow children to improve various vocal and choral skills. Now let’s look in more detail at the next component of the vocal-choral section of the music lesson, choral solfeggio. Professor of the Kazan Conservatory, founder of the Kazan conducting and choral school S.A. Kazachkov in his book “From Lesson to Concert” deals with the use of choral solfeggio in the educational work of an amateur choir. He focuses on the close relationship and simultaneity of the use of auditory and vocal techniques in the process of conducting choral solfeggio: “The ability to solfegge in chorus is formed as an ability not only of developed hearing, but also of vocal technique, organically related to hearing. Choral solfege should be taught on the basis of rational voice production and close coordination of two devices: auditory and vocal. A choral solfeggio teacher is a singing teacher, and vice versa." Choral solfeggio provides great assistance in solving issues of complex vocal and auditory education of children. Its goal is to cultivate high auditory activity, level and improve all qualities of students’ musical hearing. The method of choral solfeggio is solfeggeization by the entire choir with mandatory adherence to the basics of vocal and choral performance (vocal setting, tuning, dynamics, ensemble, diction). According to our methodology, choral solfeggio in vocal and choral sections is a new innovative technological element of a music lesson in a secondary school. It represents a more complex stage of vocal and choral work, which can be carried out on the basis of a certain singing training of children. If chanting as a type of vocal and choral work helps to instill in students the correct singing skills, explain the specifics of singing breathing, show the necessary techniques of vocal sound management, and work on strokes and nuances, then choral solfeggio solves other, more complex problems. It involves: 1. Development of musical ear; 2. Development of modal-intonation hearing; 3. Developing a sense of choral ensemble; 4. Developing a sense of rhythm; 5. Improving work on choral structure; 6. Mastering the performance of polyphony. For this purpose, special vocal choral exercises are used, each of which is designed to form, develop and train certain skills. In choral solfeggio it is useful to use a series of exercises to develop individual qualities of musical ear. Thus, all kinds of rhythmic exercises contribute to the restoration of

3 nourishing the sense of rhythm, singing in the form of exercises of scales, intervals of activity of melodic intonation, various exercises based on consonances, chords, education of harmonic hearing. These exercises can be combined to develop several components of hearing at once. By introducing rhythmic tasks into interval exercises or exercises on consonances and chords, you can simultaneously work on developing a sense of rhythm and melodic ear or a sense of rhythm and harmonic ear. These vocal and choral exercises for primary school children should be carried out in a playful way; they should contain an element of play and competition. This condition is mandatory, since this form of work activates the process of mastering new rehearsal material and introduces an element of interest, spontaneity, competition, and creativity into the course of the lesson. In choral solfeggio, the initial stage of work on two-voice and three-voice is carried out. Exercises for polyphony are varied, complicated, but already familiar single-voice chants, which were previously used in work with children in chanting and on which certain singing and vocal-choral skills have already been consolidated. Game forms or games-exercises in working on polyphony in choral solfeggio can be very diverse. According to their target orientation, they can be classified into three main types: 1. Story games; 2. Role-playing games; 3. Competition games. In story games, the problem of developing the necessary skills of polyphonic singing is solved with the help of simple but fascinating stories invented by a musician teacher. In role-playing games, each vocal part of this polyphonic exercise is asked to play a certain vocal role, i.e. sing one or another given voice. In competition games, each of the choir groups, alternately performing the upper, middle or lower voice, competes to achieve the best sound quality of a polyphonic exercise. The proposed types of exercise games can be interconnected and interconnected. In story games, role-playing distributions and redistributions are possible, in role-playing games there may be a plot, and role-playing and story-based games can carry an element of competition. An example of a technological technique for developing three-voice singing skills is the exercise game “High-Rise Building”. The class is divided into three groups, corresponding to the number of parts, and each group, changing, sings in the first, second, and third voices. The chant, familiar from chanting, is performed in a major incremental five-tone, scale from V to I degrees down. The upper voice “lives on the top, fifth floor”, sings the top note, i.e. sings a sustained sound of the V stage. The middle voice “lives on the third floor.” He, “having visited the upper voice, goes down to his home,” i.e. sings steps V, IV and III. Then he stops at stage III and sings the sustained sound of stage III. The lower voice, simultaneously with the middle voice, “descends from the fifth floor to his home on the first floor,” i.e. sings the entire five-note system, stopping at step I. By performing this three-voice exercise at the same time, we build a major triad with the children. We use variability, and each group changes its “floor”, becoming, accordingly, the top, middle, or bottom voice. This story-based game, having vocal role distribution, also uses an element of competition. Another example of working on polyphony is the exercise game “Light and Shadow”. This is a slightly more complicated version of the previous exercise. A major five-note is also sung, then a major triad is built. This is "light". If the middle voice is given the opportunity to change a little, “to become sadder, sadder,” the result will be a “shadow.” The teacher shows how to do this by lowering the major third by a semitone. At the same time, children learn to distinguish by ear and build major and minor modes in singing, and strive to consciously intonate a semitone. This exercise, in addition to developing polyphony skills, develops children's modal hearing and the sharpness and accuracy of vocal-choral intonation. This exercise can be further complicated by asking the children to alternately lower their middle voice by a semitone (it sounds minor), and then simultaneously lower their upper and lower voices by a semitone (it sounds major). As a result of these chromatic alternations, a semitone major-minor sequence is performed. These exercises in the process of rehearsal work solve several technological problems at once: in addition to developing polyphony skills, they cultivate modal and harmonic hearing in children, and also form the sharpness and accuracy of vocal-choral intonation. Every teacher-musician can invent and apply many such games-exercises and their variants in their vocal and choral work. Children like them, arouse constant interest in them, and are fun and interesting. As a result of such exciting activities, which is most significant, the most important professional and technical tasks are solved: musical, intonation and mode-harmonic skills develop

4 hearing, a sense of vocal-choral structure and a choral ensemble is cultivated, and the skills of performing polyphony are improved. The third component of the vocal and choral section of the music lesson is work on the song repertoire. Here the teacher is faced with the task of selecting an interesting, highly artistic and performatively accessible repertoire. The need for a multi-level technology for selecting repertoire is noted by T.N. Ovchinnikova: “The selection of works is a complex process: on the one hand, it focuses on pedagogical and musical experience, the culture of the leader, on the other hand, the nature of the selection is determined by the specifics of the musical material, the characteristics of those who assimilate it, as well as the conditions in which learning takes place ". In this type of activity, the teacher is presented with ample opportunities to use the inexhaustible reserves of national and folk music, domestic and foreign classics, and works of modern composers. At the initial stage of training, these can be simple one-voice works with piano accompaniment: folk Tatar and Russian songs, simple works by classical composers, children's songs by modern Tatar and Russian composers. As schoolchildren's vocal choral skills develop, the repertoire includes a cappella works, canons, including those based on national and folk material, works with two voices and with elements of three voices, more complex works by Russian and foreign classical composers and modern Tatar and Russian composers. Choosing the right song is very important. The work must necessarily correspond to the age, physiological and vocal capabilities of the child’s vocal apparatus and the parameters of the child’s worldview. The song should not be too difficult for children, both in terms of vocal performance and in terms of content and theme. On the other hand, when working on a song that is too simple, children will not acquire the necessary vocal and singing skills appropriate for their age, and will not receive a decent emotional and moral education. The criteria for selecting a work include its artistic value, educational significance, emotional interest, development of children's horizons and intelligence, development and improvement of their vocal-choral, singing and auditory skills. The repertoire must tactically and strategically solve all pedagogical, technological, methodological, aesthetic and educational problems. You can use the prepared repertoire when conducting integrated lessons, combining music lessons with lessons in Russian language and literature, Tatar language and literature, as well as another foreign language studied at school. A busy school life and an abundance of extracurricular activities make it possible to organize artistic, creative, performing and creative work for children both in music lessons and in concert activities. Thus, the presence in the repertoire of a large number of folk Russian and Tatar works makes it possible to brightly and colorfully decorate any theatrical folk holiday (Nauruz, Maslenitsa, etc.). The diversity of the repertoire makes it possible to use class and united choirs in concert performances for parents, at sporting events, holidays dedicated to calendar dates, etc. Thus, innovative technologies for vocal and choral work in music lessons have a positive impact on the development of children’s vocal, creative and choral skills; to develop their musical ear (modal, intonation, timbre, ensemble, harmonic) and polyphonic singing skills, allowing them to comprehensively solve the problems of vocal-choral and artistic-aesthetic education of children Literature: Asafiev B.V. Selected articles about music education and enlightenment. L.: Music, p. Ponomarkov I.P. Choral singing at school. M.: Publishing house Acad. ped. Sciences of the RSFSR; L.: Detgiz, p. Ovchinnikova T.N. Education of the singing voice in a children's choir // Musical education at school / Comp. O.A. Apraksina. M., Issue p. Rachina B.S. Anyone can sing in a choir // Education with music / Comp. THOSE. Vendrova, N.V. Pigareva. M., p. Ogorodnov D.E. Musical and singing education of children in secondary schools. L.: Music, p. Kazachkov S.A. From lesson to concert. Kazan: Publishing house Kazan. state university, p. Ovchinnikova T.N. On the selection of repertoire for working with a choir // Work with a children's choir / Comp. V.G. Sokolov. M., p. 215

5 Innovation Technologies of Vocal and Choral Work with Children N.A. Dashanova Kazan (Volga Region) Federal University The paper presents author s innovative music lesson plan. The author reveals application of new technologies in vocal and choral part of lesson, such as choral solfeggio, and suggests devices of acquiring skills of polyphony. Key words: music lesson, innovative methods, choral solfeggio, technological devices, role plays, development of cantatory skills. 216

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The initial stage of work with the junior choir

The junior choir is characterized by a limited vocal range. Before the first octave - D - E-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Clearly pronounced sopranos are rare, and altos are even rarer. In this regard, we believe that at the beginning of classes, dividing into choral parts is inappropriate. Our main task is to achieve a unison sounding of the choir.

The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, entry, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention should be paid here to breathing - wide breathing through phrases. Each lesson of the junior choir (the choir practices once a week for 45 minutes) usually begins with chanting, followed by choral solfeggio exercises. We write out all the songs we are learning on the board. Sometimes we use the relative technique: instead of an inconvenient key with many signs on the board, we write the nearest convenient one, for example, instead of D-flat major, D major, instead of F minor, E minor, etc. Learning a song can be done from the voice (by ear), especially at the first stage, because excessive use of notes can discourage children from practicing (difficult!), but then you need to return to the notes.

Singing melodies from notes brings certain benefits. Firstly, children get used to singing from notes, and secondly, a psychological restructuring occurs: “it turns out that it’s interesting to sing from notes, and not so difficult.”

We also take into account the characteristics of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired quite quickly, and their attention becomes dull. To concentrate, you have to alternate a variety of methodological techniques, actively use game moments, and build the entire lesson along an increasing line.

A choir lesson, in our opinion, should be fast-paced and emotional. In the future, every good choral group is an asset for conducting rehearsals and singing at gatherings. The use of a complex of various methods and techniques should be focused on the development of the basic qualities of children’s singing voice by stimulating, first of all, auditory attention and activity, consciousness and independence.

Differentiation of voice sound qualities and elements of musical expressiveness, as well as vocal performance itself, is based on the use of all types of mental activity of students. Even imagining a sound “in the mind” before it is reproduced by voice is a complex mental process that requires analysis and generalization, attention, muscle memory, etc. To implement this approach to the development of a child’s voice, it is necessary for the teacher to know the vocal capabilities of children from birth to the onset of mutation age and to understand the tasks of vocal work for each stage of education.

1) Be educational in nature

2) Be highly artistic

3) Appropriate to the age and understanding of children

4) Comply with the capabilities of the given performing group

5) Be diverse in character and content

6) Selected difficulties i.e. Each piece should move the choir forward in acquiring certain skills, or consolidate them.

You should not take complex and voluminous works. For children who will sing this, this may turn out to be an insurmountable task, and this will certainly affect the productivity in their work, and may lead to fatigue, lack of interest in the work they are doing, in some cases, even alienation from choral singing in general (depending on the character ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy works should be limited in the repertoire, since an easy program does not stimulate professional growth. And also naturally it should be of interest to the choristers; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader.

Application of basic methods and techniques for the formation of vocal and choral skills in practice

Our experimental work was built on the principle of systematizing and generalizing all the knowledge obtained from the methodological and psychological works mentioned in this work. In our practical activities, we took into account the characteristics of both the age-related psychology of children and the characteristics of the voices of younger schoolchildren, noted above.

We carried out the formation of vocal and choral skills in children in several stages and included various methods and techniques.

In September, at the beginning of classes, after listening, we draw up a summary table in which we indicate the characteristics of the children’s voices and general comments, for example:

These entries are approximate. Very often, not all columns are filled in at once, but only the most significant, striking ones are noted. Over the course of the years, during work with children, additional notes are made, reflecting the dynamics of the formation of vocal and choral skills in children. Naturally, estimates will change. Personal qualities are noted in the table in order to be taken into account in individual areas of work with children; this is very important, as is taking into account the characteristics of the students’ voice data.

While listening, ask the child to sing any song. One verse is enough. When performing this task, intonation and ability to stay in tune, memory, range, and often the musical environment in which the child grows up are tested (visible from the repertoire that the child owns). Testing the rhythmic sense is carried out in the form of playing “ECHO”. Children clap or tap the rhythm with a pencil after the teacher.

Classes should start on time, it is necessary to prevent children from being late for class, and to instill in them the habit of punctuality. A few minutes before the start of classes, everyone should already be sitting in their seats, the person on duty should note the choristers present and absent. When the choir director enters, everyone stands up, and the person on duty reports:

There are 52 people present at the choir lesson, two are sick, Ivanova, Petrova and Sidorova are absent for unknown reasons, the choir duty officer... (so-and-so).

We greet the guys, the choir answers. We practice “musical” greetings in our work. You can sing the entire report to a pre-invented melody or recitative. This will already be an element of the opera game. You can, of course, not do any of this, but then the atmosphere of unusualness that we believe should exist in every lesson does not arise.

When selecting the most effective methods of vocal work with children in the classroom, we relied on the experience of progressive methodologists of the past and present. Among the well-known methodological techniques for developing hearing and voice, we use the following.

1. Hearing development techniques aimed at the formation of auditory perception and vocal-auditory representations:

auditory concentration and listening to the teacher’s demonstration for the purpose of subsequent analysis of what was heard;
comparison of various design options in order to select the best one;
introduction of theoretical concepts about the quality of singing sound and elements of musical expressiveness only on the basis of students’ personal experience;
singing “in a chain”;
modeling the pitch of a sound with hand movements;
reflection of the direction of movement of the melody using a drawing, diagram, graph, hand signs, musical notation;
adjusting to the key before singing;
oral dictations;
isolating particularly difficult intonation patterns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, changing the key in order to find the most convenient one for children, where their voices sound best.

vocalization of singing material with a light staccato sound on the vowel “U” in order to clarify intonation during the attack of a sound and during the transition from sound to sound, as well as to remove force;
vocalization of songs on the syllable “lu” in order to equalize the timbre sound, achieve a cantilena, hone phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals - on the contrary: the lower sound should be tried to be performed in the position of the upper one;
expansion of the nostrils at the entrance (or better before inhalation) and maintaining them in this position when singing, which ensures the full activation of the upper resonators; with this movement, the soft palate is activated, and the elastic tissues are lined with elastic and harder, which contributes to the reflection of the sound wave when singing and, therefore, cutting the sound;
targeted control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of the sound relying on the breath;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
reciting the words of songs into a chant at the same pitch in slightly elevated voices relative to the range of the speaking voice; The choristers’ attention should be directed to stabilizing the position of the larynx in order to establish a speaking voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound learning, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

Children need to develop good diction. Diction (Greek) – pronunciation. The formation of good diction is based on properly organized work on the pronunciation of vowels and consonants. When working on diction with a choir, we usually try to teach singers how to pronounce consonants as clearly and clearly as possible. This is very important, because it is the clarity of consonants that helps to understand the text of the work. The formation of vowels and their pronunciation are also necessary. We also teach choir and reduction. Reduction is a weakening of sound articulation. The pronunciation of vowel sounds is unclear - a reduced vowel. and the duration of sound on vowels, neutralization of vowels, pronouncing them in different registers with a lesser degree of reduction than in speech. Rapid pronunciation of consonants with their displacement within a word to the subsequent vowel. Good singing pronunciation is distinguished by a special breathing pattern.

Work on vowels.

The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so inaccurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.

From the point of view of the operation of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. Forming vowels in a high singing position in a choir presents a certain difficulty.

The sounds “U, Y” are formed and sound deeper and farther away. But phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to individualize pronunciation than “A, E, I, O”. They sound approximately the same to different people.

Hence the specific choral use of these sounds to correct the “variegation” of the choir’s sound. And unison is achieved more easily on these vowels, and the sound is also well balanced timbrally. When working with works, after singing a melody on the syllables “LYu”, “DU”, “DY” - the performance with words will acquire greater evenness of sound, but again if the choir singers carefully monitor maintaining the same setting of the articulatory organs, as when singing vowels “U” and “Y”.

The pure vowel sound “O” has the same properties as “U, Y”, but to a lesser extent.

The vowel sound “A” gives the greatest variety to singing, since it is pronounced differently by different people, including different language groups; this should be taken into account when performing a piece in foreign languages. For example, the Italians have “A” from the depths of the pharynx, the English have it deep, and among the Slavic peoples the vowel “A” has a flat chest sound. The use of this phoneme in classes with beginning students must be very careful.

“I, E” - stimulate the functioning of the larynx, causing a tighter and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx; they brighten sounds and bring the vocal position closer. But these sounds require special attention in terms of rounding the sound.

The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, shrill character. And then the sound would not be “narrow.” Sveshnikov considered it necessary to connect it with the vowel “A” (I-A).

The vowel “E” should be formed as if from the articular structure “A”.

The vowels “E, Yu, Ya, Yo”, thanks to the sliding articulation, are easier to sing than pure vowels.

Thus, work in the choir on vowels - sound quality - is to achieve pure pronunciation in combination with a full singing sound.

Working on consonants

The condition for clear diction in the choir is an impeccable rhythmic ensemble. Pronunciation of consonants requires increased pronunciation activity.

Formation of consonants as opposed to vowels. associated with the appearance of an obstacle to the flow of air in a speech cycle. Consonants are divided into voiced, sonorant and voiceless, depending on the degree of participation of the voice in their formation.

Following from the function of the vocal apparatus, we place sonorant sounds in 2nd place after vowels: “M, L, N, R”. They received this name because they can stretch and often stand on a par with vowels. These sounds achieve a high singing position and a variety of timbre colors.

Further, the voiced consonants “B, G, V, Zh, Z, D” are formed with the participation of vocal folds and oral noises. Voiced consonants, as well as sonorants, achieve a high singing position and a variety of timbre colors. The syllables “Zi” achieve closeness, lightness, and transparency of sound.

Voiceless “P, K, F, S, T” are formed without the participation of the voice and consist of only noise. These are not sounds that sound, but guides. It has an explosive character, but the larynx does not function on voiceless consonants; it is easy to avoid forced sound when vocalizing vowels with preceding voiceless consonants. At the initial stage, this serves to develop clarity of the rhythmic pattern and creates conditions when vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant “P” rounds the vowel “A” well.

The hissing “X, C, Ch, Sh, Shch” consist of nothing but noise.

The voiceless “F” is good to use in breathing exercises without sound.

The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels: active work of the muscles of the articulatory apparatus, cheek and labial muscles, and the tip of the tongue. To achieve clarity of diction, we pay special attention to working on the development of the tip of the tongue, after which the tongue becomes completely flexible, we work on the elasticity and mobility of the lower jaw, and with it the hyoid bone of the larynx. To train the lips and the tip of the tongue, we use different tongue twisters. For example: “Dust flies across the field from the clatter of hooves,” etc. Everything should be pronounced with firm lips, with the tongue actively working.

There is a rule for connecting and separating consonants: if one word ends and another begins with the same or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized, and at a fast pace When such sounds occur over short durations, they need to be combined in a distinct manner.

Working on rhythmic clarity

We begin the development of rhythmic flair from the very first moment of the choir’s work. We actively count durations using the following counting methods:

Listen out loud in chorus rhythmic pattern.

Tap (clap) the rhythm and at the same time read the rhythm of the song.

After this setting, solfage, and only then sing with the words.

The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten. An extraordinary role is played by the simultaneous entry of the singers, taking breath, attacking and releasing the sound.

Singing breath.

According to many choir leaders, children should use abdominal breathing (formation as in adults). We certainly monitor and check each student to see how much he understands how to take the breath correctly, and we make sure to show it to ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouth, with their arms completely lowered and free. With daily training, the child’s body adapts. We strengthen these skills with a silent breathing exercise:

Small inhalation - voluntary exhalation.

Small inhalation - slow exhalation on the consonants “f” or “v”, counting up to six, up to twelve.

Inhale while counting the chant at a slow pace.

Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.

Classes usually begin with chanting, here we highlight 2 functions:

2) Development of vocal and choral skills, achieving high-quality and beautiful sound in works.

The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.

Singing the choir organizes and disciplines children and promotes the formation of singing skills (breathing, sound production, sound control, correct pronunciation of vowels).

At the beginning, 10-15 minutes are allotted for chanting, and it is better to sing while standing. Chanting exercises should be well thought out and given systematically. When chanting (even if for a short time), we give various exercises on sound control, diction, and breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is intended to develop, and with each lesson the quality of the chant will improve. Most often, we take the material we are studying for chanting (usually we take difficult passages).

In order to set up and concentrate the children, to bring them into a working state, we begin chanting as if with a “tuning”, asking the children to sing in unison with their mouths closed. This exercise is sung smoothly without jolts, with even, continuous (chain) breathing, soft lips not quite tightly closed. The beginning of the sound and its ending must be specific. In the future, this exercise can be sung with weakening and increasing sonority.

The chant can be sung on the syllables ma and da. This exercise will teach children to round and collect the sound, maintain the correct shape of the mouth when singing the vowel “A”, and also monitor the active pronunciation of the letters “N, D” with elastic lips. It is very convenient for the syllables lu, le, because this combination is very natural and easy to reproduce. Here you need to watch the pronunciation of the consonant “L”; it will not be there if the tongue is weak. And the vowels “Yu, E” are sung very close, with elastic lips.

We also use exercises for singing from top to bottom on the same syllables. When singing this way, we monitor the formation of the upper sound; when moving to semitones, children must sing them “narrowly,” otherwise the remaining sounds will lose their high singing position and intonation.

Approximately 1.5-2 months after the start of classes, we begin to use sound shaping exercises. This allows children to practice breathing support of sound, sing according to the conductor's hand and train the skill of dynamic flexibility.

During further observation of the trainees, we note that the skills developed during chanting subsequently become reflexive. And in fact, in one exercise you can reveal a whole complex of skill development. We must develop these exercises in a certain sequence, and there is no need to choose many singing exercises, since this will overload the children, and therefore will affect the final formation of the skill.

One more observation: when working on exercises, you should go in smaller steps, i.e. do not try to achieve everything at once in one lesson, otherwise such an action will be doomed to failure in any case, since the singers will be given impossible tasks.

Learning a song

This is the next stage in working on vocal and choral skills.

If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; If the history of the creation of the song is known, then we introduce the guys to it.

Next, the song is shown. The way it is carried out often determines the children's attitude towards learning - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show and prepare well in advance for it.

As a rule, during choir classes we never write down the words of a song (with the exception of foreign texts, which are difficult to remember and require additional study with a teacher of a given language). This is not necessary, since with the method of memorizing a song phrase by phrase, with its numerous repetitions, the words are learned by themselves.

We try not to rush into learning all the verses, since the guys sing an already familiar melody with new words with more pleasure than with known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that were not performed well enough when performing the previous verse.

Another option is possible: close interaction, a combination of solving technical problems and artistic finishing of the work.

At the end of the class, one or two songs are sung and ready to be performed. A kind of “run-through” is arranged, the task of which is to intensify the contact of the choir leader as a conductor with the performers. Here the conductor's gesture language, understandable to the choristers, is practiced.

During “run-throughs” it is good to use a tape recorder - for recording and later listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. We do not use this technique in every lesson, since otherwise the novelty is lost and interest in it disappears.

We finish our classes musically - the guys, standing, perform “Goodbye,” which is sung according to a major triad.

Municipal budgetary educational institution

"Children's Art School No. 1" Dimitrovgrad.

Plan – outline of an open choir lesson.

Teacher: Kuzmina Natalya Yurievna

Accompanist: Kostyukhina Anastasia Vladimirovna

Class: 1 class Children's Art School No. 1. Age 7-8 years

Item: choir class.

Lesson topic:“Game forms of work in the junior choir”

Form: collective.

Lesson type: lesson – repetition, consolidation of skills.

The purpose of the lesson: formation of basic singing skills in students through game forms of work.

Tasks:

Educational: formation of basic singing skills in students. We can include among them:

singing installation;

singing breathing and sound support;

high vocal position;

precise intonation;

evenness of sound throughout the entire vocal range;

use of various types of sound science;

diction: articulatory and orthoepic skills.

Developmental

continued formation of vocal and choral skills and abilities;

continued development of harmonic hearing;

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

Educational :

Education of vocal hearing as an important factor in singing in a unified singing style;

Fostering organization;

Attention, naturalness at the moment of collective music playing.

Teaching methods:

visual (auditory and visual);

verbal (figurative comparisons, verbal assessment of performance);

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

Methodical techniques :

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

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

variability of tasks when repeating exercises;

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

Psychological conditions in the lesson:

psychologically comfortable atmosphere. Emotional satisfaction;

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

taking into account individual characteristics;

differentiated approach.

Equipment :

Piano, chairs, noise instruments, radio tape recorder, notes of exercises and songs, repertoire collection of songs.

Lesson plan.

I. Organizational stage.

a) greeting, psychological mood of students;

b) communicating the topic of the lesson and its objectives;

II. Main part.

2. Vocal exercises

3. Work on the repertoire:

A. Filippenko “First Snow” - preparation for a concert performance.

“New Year's round dance” - singing with a soundtrack.

III. Final part: Summing up the lesson.

DURING THE CLASSES.

1.Musical greeting.

Teacher: "Hello, guys"

Children: “Good afternoon.”

Girls perform one by one, then boys.

2. Game “Journey through the forest.” We listen to the voices of nature and imitate them in a playful way. (Cuckoo, crow, rustle of leaves, mosquitoes, stomping of a horse). During the game, children walk freely around the classroom.

3.Game “The locomotive is moving, the locomotive is moving” We repeat the chant, using conventional movements to mark the rhythmic pattern. Then “we line up the locomotive and, humming, set off.” The teacher accompanies the walking by emphasizing the first beat by hitting the tambourine.

4.Game “Baba sowed peas” to hold your breath.

5. Game “33 Egorki”.

6. Tongue twisters:

Ram Buyan climbed into the weeds.

Six little mice rustle in the reeds.

From the trampling of hooves, dust flies across the field.

7. Role playing for attention.

“The hedgehog washed his ears, neck, and skin on his belly in the bathhouse

And the hedgehog said to the raccoon: “Aren’t you going to rub my back?”

Children sit on chairs.

8. Chanting.

Let's start the chant. I remind the children: “If you want to sing while sitting, don’t sit down like a bear. Straighten your back quickly, put your feet on the floor boldly!”

"Ding dong." We sing with different intonations.

“Do-re-do, do-re-mi-re-do...”

"My motherland"

“Lyuli, lyuli, lyuli, the ghouls have arrived.”

9.Work on the repertoire.

I remind you: “If you want to sing while standing, don’t turn your head.

Stand up beautifully, pull yourself up,

and, of course, pull yourself up.

Once! Inhaled and sang.

The sound flew like a bird. Arms, shoulders - everything is free.

Singing is pleasant and comfortable.

1.Performance of the song “First Snow. Preparing a song for a New Year's concert, working on intonation and good articulation

2.Performance to the soundtrack of the song “New Year’s Round Dance”. The main task is to perform, without delaying the tempo, and clearly sing every word.

Perform both works artistically and in character.

The final part of the lesson. I thank the children for their work in class. I invite children to vote with emoticons and evaluate the lesson. After voting and summing up the results, we thank each other for their work by applauding in a certain rhythmic pattern.

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1 Municipal autonomous educational institution of additional education for children of the Troitsk urban district in the city of Moscow "Trinity Children's School of Arts" OPEN LESSON ON THE SUBJECT CHORAL SINGING TOPIC: "Innovative approach to the study of the canon at the initial stage in the junior choir" Developed by: Olga Viktorovna Sopkina, teacher of the choir class MAOUDOD "Troitsk Children's Art School" Moscow 2015

2 OPEN LESSON PLAN of the teacher of the choir class of MAOUUDOD of the Troitsk city district in the city of Moscow "Trinity Children's Art School" Olga Viktorovna Sopkina September 15, 2015, g.o. Troitsk TOPIC: “An innovative approach to the study of the canon at the initial stage in the junior choir.” The innovation of this approach lies in the use of a variety of non-traditional methods for teaching primary school-age students, taking into account their psychophysiological age characteristics, to master and perform complex musical material in a playful way, since children of primary school age need a constant change of activities. Therefore, the teacher’s task is to organize a favorable environment and use various forms of work to maintain children’s interest in the creative process. Goals: - comprehensive development of students’ creative abilities; - development of musical abilities; - development of performing skills; - awakening creative initiative. Objectives: - develop vocal and choral skills; - achieve clear intonation; - develop a sense of rhythm; - develop the articulatory apparatus; - develop creative imagination. Academic discipline: choral singing. Lesson time: 45 min. Group: junior choir “Joy” (grades 1-3 instrumental department). Specialty: piano, flute, solo singing. Age: 7-10 years. Number: 28 people. Lesson form: group. Lesson type: “Practice lesson”, “Conversation lesson”, “Game lesson”. Teaching methods: - verbal; - practical; - formation of skills and abilities; - creative activity. Lesson supplies: piano, chairs. Didactic material: percussion instruments, spoons, bells. 2

3 Lesson progress: Organizational moment (1 min.): - Hello, dear guests! Hello, dear guys! I'm glad to see you all in this room. We are starting an open lesson on the topic: “An innovative approach to studying the canon at the initial stage in the junior choir.” During the lesson, students of the junior choir of the instrumental department “Joy” will study and perform the canons for the first time. Breathing exercises (2 min.): 1. The first exercise will be aimed at activating the breathing “the balloon deflates”: put your hands on your waist, palms on your stomach, inhale quickly through your nose, hold your breath and pull the sound “s” through closed teeth, saving consumption air. 2. Development of phonation exhalation: take a quick breath and say a tongue twister in one breath as many times as possible. Having finished your attempt, you need to listen to how other guys continue to do it. The winner will be determined at the end of the exercise. The tongue twister is like this: “Like on a hill, on a hillock lived 33 Yegorki.” Let's remember her. Now let’s begin the exercise clearly, with good diction, following a sign. Vocal - choral exercises (9 min.): 1. To activate singing breathing, attack the sound, develop unison: alternating the extended vowel sound “u” on one level with legato and staccato on the I-II-I-II-I level; 2. On the attack of sound and a unified manner of sound formation: vowels “yu-u-u-u-u” in staccato in a progressive movement of the I-II-III-II-I stage; 3. For roundness of sound and high position: singing with a closed mouth “mm-mm” of descending steps V-IV-III-II-I; 4. To expand the range of the voice, smooth out registers: the consonant sound “r” in the volume of an octave; 5. To foster a culture of sound and develop unison: performing unison on one sound on the long phrase “The cat has a cradle of gold.” 6. Development of melodic ear, pure intonation: alternation of modes (major minor), ascending major scale “Mama washed Mila with soap,” descending minor scale “Mila did not like soap.” 7. To consolidate the skill of singing two-voices: divergent movement of two choral parts of soprano from V-VI-VII-I-I-VII-I stage “How good it is in the meadows” and altos from V-IV-III-III-II-I stage “Good in the meadows." The main part of the lesson is work on studying and performing the canons (33 min.): A story about what a canon is: - What is a canon? This word from Greek means rule, pattern. 3

4 And in music, a canon is a polyphonic work in which all voices perform the same melody (theme), but do not enter simultaneously, but alternately, one after the other. Canons arose in the musical culture of Western Europe in the 16th - 17th centuries and became very popular. Among them there are melodies belonging to both famous and anonymous authors. The canons were sung at joyful holidays, in the family circle, and in church. All participants in the canon sang the same melody with the same text, taking turns entering. The one who started singing first finished first. For Russian folk music, singing in a canon is uncharacteristic. However, in Russian folklore there are forms that are close to the canon - these are round dances. Canons can be performed in different ways; you can speak, clap, perform with the help of percussion and noise instruments, you can walk in a canon. We will begin our study of the canon with the simplest canon of gestures. This is a sequence of any gestures or movements performed at a certain tempo and meter. Participants must stand in a circle and agree on the size, tempo, and step of the canon. The number of votes depends on the number of participants. You can perform the canon by dividing into groups. The leader shows the movements, the rest, divided into groups, repeat them. Game 1 Canon of gestures (activates attention, promotes coordination of movements): Group I Sit, stand, Sit, stand, Hands forward, down, Hands forward, down, Group II - Sit, stand, Sit, stand, Hands forward, down, I group Turn right, left, Turn right, left, Head right, left, etc. Group II Hands forward, down, Turn right, left, Turn right, left, etc. Game 2 Speech canon (activates attention, helps strengthen the articulatory apparatus): Group I Group II Rain, rain, rain, the green grass will grow stronger flowers - dots - on our meadow. - - Rain, rain, thicker - grow, grow, grass - - thicker

5 Game 3 Rhythmic canon (activates attention, develops timbre hearing) Russian folk song “There was a birch tree in the field” performance of a rhythmic pattern using percussion and noise instruments: Group I - spoons, Group II - bells. Group I: There was a birch tree in the field, a curly tree stood in the field. Lyu-li, lyu-li stood, Lyu-li, lyu-li stood. Group II: There was a birch tree in the field, a curly tree stood in the field. Lyu-li, lyu-li stood, lyu-li, lyu-li stood. - But you shouldn’t talk much about the canons, it’s best to sing them. - Today we will get acquainted with the French canon “Brother Jacob”. This is one of the many variants of the canon text: Group I: Brother Yakov, Why are you sleeping? The bell rang: boom-bom-bom! Brother Yakov, etc. Group II: Brother Yakov, Why are you sleeping? The bell rang: boom-bom-bom! Brother Yakov, etc. Stages of learning the canon: Speech canon I invite the children to recite the first line together. Please recite it all together again, while the teacher recites the canon. We divide the choir into two groups, both groups recite independently. Melodic canon - I invite Tatyana Aleksandrovna Novgorodova to help. Listen to this canon performed by us (a cappella performance of the canon). 5

6 - Now let’s all learn the melody of the canon together in unison. Let's try to sing cleanly. After confidently singing the melody, we will divide into two groups: one group sings with Tatyana Alexandrovna, the second group sings with me. We follow the rule: “First I listen, then I sing.” We pay attention to the precise entry of voices, maintaining clear intonation and tempo. Canon with movement To perform a two-voice canon, we form two circles, one inside the other. In the first inner circle are students from the first group, in the second outer circle are students from the second group. The first circle is small, the second a little larger. Each circle begins to move only when its voice begins to sing. Teachers help each circle at the moment of entry. We need to remind the kids to listen to each other and move “to the beat of the music.” This stage will bring revitalization to the work on learning the canon and the children will really like it; they will remember the musical material faster. - Our lesson is over. Thank you all for your attention! List of used literature: 1. Dmitriev L.B. “Fundamentals of vocal technique”, Moscow, “Music”, Emelyanov V.V. “Voice Development”, St. Petersburg-Moscow-Krasnodar, “Lan”, Zebryak T.A. “Teases, proverbs, tongue twisters, counting rhymes”, Moscow, “Kifara”, Malinina E.M. “Vocal education of children”, Leningrad, “Music”, Poplyanova E. M. “Game canons in music lessons”, Moscow, “Vlados”, “Working with a children's choir”. Collection of articles edited by prof. V.G. Sokolova, Moscow, “Music”, Safonova V.I. “Some features of vocal education related to the protection of children's voices. Working with a children's choir. Collection of articles", Moscow, "Music", Stulova G.P. “Theory and practice of working with a children’s choir”, Moscow, “Vlados”,

P/n Date Topic of the training session Total hours 3. Calendar-thematic plan “Choral singing” 1 A and 1 B grades Theoretical part of the lesson / form of organizing the activity Content of the activity Practical

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Report

Introduction
In the last few years, interest in choral pedagogy has justifiably increased. This is justified by the fact that the choir has begun to play a big role even in modern music, where choral parts are often used as backing vocals, not to mention the intrinsic value of choral music, the beauty, the indescribable harmony of choral singing. But in order to achieve the required high level of vocal performance in the choir, a lot of musical pedagogical work with singers is necessary; vocalists must be educated from a very early age, developing in them the necessary vocal and choral skills.

The problem of choral education was studied in the works of leading music teachers such as Gladkoy N. Tevlina, N. Chernoivanenko, L. Dmitriev, O. Apraksina, L. Bezborodov, G. Stulov and many others. However, the topic of vocal and choral education of primary schoolchildren is so important for the formation of the entire musical culture of the child as a whole that it can be covered indefinitely and there will still be gaps and bottlenecks. In addition, the methods of choral education of primary school vocalists are constantly updated; each teacher dealing with this problem brings something of his own to the learning process, updates existing methods, and generalizes the previous experience of his colleagues. Therefore, it is absolutely necessary to constantly monitor changes in the theory and practice of music education, take something for personal experience, analyze it, apply it in practice, and introduce it into the process of developing vocal and choral skills in a specific individual choir group. This determines the relevance of this topic.

Vocal education in the choir. The concept of vocal and choral skills.
Vocal education in the choir is the most important part of all choral work with children. The main condition for the correct setting of vocal education is the preparedness of the leader for singing lessons with younger schoolchildren. The ideal option is when the choirmaster has a beautiful voice. Then all the work is based on demonstrations conducted by the choirmaster himself. But other forms of work also make it possible to successfully solve issues of vocal education. In such cases, the choirmaster often uses demonstration with the help of the children. By comparison, the best samples are selected for display. In every choir there are children who naturally sing correctly, with a beautiful timbre and correct sound production. Systematically applying an individual approach to choristers along with collective vocal work, the teacher constantly monitors the vocal development of each of them. But even with the most correct vocal work, it brings different results for different choristers. We know that just as no two people are identical in appearance, so there are no two identical vocal apparatuses.

It is known that attention plays a huge role in the process of mastering any material. “Attention is the direction of mental activity and its concentration on an object that has a certain significance for the individual (stable or situational).” General psychology. M., Enlightenment, 1970. - P 176 The development of vocal and choral skills requires constant attention from choristers, which means interest and hard work. Singing, like any art, must be learned, learned patiently and persistently.

Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that a child’s body, unlike an adult’s, is in constant development and, therefore, change. Many years of practice have proven that singing in childhood is not only not harmful, but also beneficial. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing promotes the development of vocal cords, respiratory and articulatory apparatus. Proper singing improves children's health.

And in order for the development of a junior schoolchild in the choir to proceed correctly, it is necessary to formulate his basic vocal and choral skills. These include:
1. Singing setup
Students should definitely learn about the singing attitude as the basis for successfully mastering the educational material.
2. Conductor's gesture
Students should be familiar with the types of conducting gestures:
- attention
- breathing
- start of singing
- end of singing
- change the strength of sound, tempo, strokes according to the conductor’s hand
3. Breathing and pauses
The teacher must teach children to master breathing techniques - a silent short breath, support for breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is developed gradually, so at the initial stage of training, the repertoire should include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on breathing development.

4. Sound formation
Formation of a soft attack of sound. It is recommended to use hard materials extremely rarely in works of a certain nature. Exercises play a big role in developing correct sound production. For example, singing in syllables. As a result of work on sound formation, children develop a unified singing style.
5. Diction
Formation of the skill of clear and precise pronunciation of consonants, the skill of active work of the articulatory apparatus.
6. Formation, ensemble
Working on the purity and accuracy of intonation in singing is one of the conditions for maintaining harmony. Purity of intonation is facilitated by a clear awareness of the feeling of “harmony”. You can cultivate modal perception through mastering the concepts of “major” and “minor,” including various scales and main degrees of the mode in chants, comparing major and minor sequences, and singing a cappella.
In choral singing, the concept of “ensemble” is unity, balance in text, melody, rhythm, dynamics; Therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach those who sing to listen to the voices sounding nearby.

DEVELOPMENT OF VOCAL AND CHORAL SKILLS WHEN WORKING WITH A JUNIOR GROUP OF THE CHOIR
The initial stage of work with the junior choir
The junior choir, as noted above, is characterized by a limited vocal range. To the first octave - D - E-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Clearly pronounced sopranos are rare, and altos are even rarer. In this regard, we believe that at the beginning of classes, dividing into choral parts is inappropriate. Our main task is to achieve a unison sounding of the choir.
The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, entry, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention should be paid here to breathing - wide breathing through phrases. Each lesson of the junior choir (the choir practices once a week for 45 minutes) usually begins with chanting, followed by choral solfeggio exercises. We write out all the songs we are learning on the board. Sometimes we use the relative technique: instead of an inconvenient key with many signs on the board, we write the nearest convenient one, for example, instead of D-flat major, D major, instead of F minor, E minor, etc. Learning a song can be done from the voice (by ear), especially at the first stage, because excessive use of notes can discourage children from practicing (difficult!), but then you need to return to the notes.

Singing melodies from notes brings certain benefits. Firstly, children get used to singing according to notes, and secondly, a psychological restructuring occurs: “it turns out that it’s interesting to sing according to notes, and not so difficult.”

Differentiation of voice sound qualities and elements of musical expressiveness, as well as vocal performance itself, is based on the use of all types of mental activity of students. Tevlina V.K. Vocal and choral work / Musical education at school. - Issue 15. M., 1982 Even the representation “in the mind” of a sound before it is reproduced by voice is a complex mental process that requires analysis and generalization, attention, muscle memory, etc. To implement this approach to the development of a child’s voice, it is necessary for the teacher to know the vocal capabilities of children from birth to the onset of mutation age and to understand the tasks of vocal work for each stage of education.

Also a necessary condition for the formation of vocal and choral skills is the correct selection of the repertoire, and the choir director must take care of this in advance, since this is very important: how they will sing depends on what the children sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the chosen piece should also be aimed at developing certain skills. The repertoire must meet the following requirements:
1) Be educational in nature
2) Be highly artistic
3) Appropriate to the age and understanding of children
4) Comply with the capabilities of the given performing group
5) Be diverse in character and content
6) Selected difficulties, i.e. Each piece should move the choir forward in acquiring certain skills, or consolidate them.

Hearing development techniques aimed at developing auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher’s demonstration for the purpose of subsequent analysis of what was heard;
comparison of various design options in order to select the best one;
introduction of theoretical concepts about the quality of singing sound and elements of musical expressiveness only on the basis of students’ personal experience;
singing “in a chain”;
modeling the pitch of a sound with hand movements;
reflection of the direction of movement of the melody using a drawing, diagram, graph, hand signs, musical notation;
adjusting to the key before singing;
oral dictations;
isolating particularly difficult intonation patterns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, changing the key in order to find the most convenient one for children, where their voices sound best.

2. Basic techniques for voice development related to sound production, articulation, breathing, expressiveness of performance:
vocalization of singing material with a light staccato sound on the vowel “U” in order to clarify intonation during the attack of a sound and during the transition from sound to sound, as well as to remove force;
vocalization of songs on the syllable “lu” in order to equalize the timbre sound, achieve a cantilena, hone phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals - on the contrary: the lower sound should be tried to be performed in the position of the upper one;
expansion of the nostrils at the entrance (or better before inhalation) and maintaining them in this position when singing, which ensures the full activation of the upper resonators; with this movement, the soft palate is activated, and the elastic tissues are lined with elastic and harder, which contributes to the reflection of the sound wave when singing and, therefore, cutting the sound;
targeted control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of the sound relying on the breath;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
reciting the words of songs into a chant at the same pitch in slightly elevated voices relative to the range of the speaking voice; The choristers’ attention should be directed to stabilizing the position of the larynx in order to establish a speaking voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound learning, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

When organizing work in a lesson, it doesn’t matter whether it’s a lesson in learning a new song, practicing an old one, or consolidating a specific skill, we pay attention to the following general points.
Children need to develop good diction. Diction (Greek) - pronunciation. The formation of good diction is based on properly organized work on the pronunciation of vowels and consonants. When working on diction with a choir, we usually try to teach singers how to pronounce consonants as clearly and clearly as possible. This is very important, because it is the clarity of consonants that helps to understand the text of the work. The formation of vowels and their pronunciation are also necessary. We also teach choir and reduction. Reduction is a weakening of sound articulation. The pronunciation of vowel sounds is unclear - a reduced vowel. and the duration of sound on vowels, neutralization of vowels, pronouncing them in different registers with a lesser degree of reduction than in speech. Rapid pronunciation of consonants with their displacement within a word to the subsequent vowel. Good singing pronunciation is distinguished by a special breathing pattern.

Work on vowels.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so inaccurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.

The specificity of the pronunciation of vowels in singing lies in their uniform, rounded manner of formation. This is necessary to ensure the timbral evenness of the choir’s sound and achieve unison in choral parts. Alignment of vowels is achieved by transferring the correct vocal position from one vowel to another with the condition of a smooth restructuring of the articulatory structures of the vowels.
From the point of view of the operation of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. Forming vowels in a high singing position in a choir presents a certain difficulty.

The sounds “U, Y” are formed and sound deeper and farther away. But phonemes have a stable pronunciation, they are not distorted; in words, these sounds are more difficult to individualize pronunciation than “A, E, I, O.” They sound approximately the same to different people.
Hence the specific choral use of these sounds to correct the “variegated” sound of the choir. And unison is achieved more easily on these vowels, and the sound is also well balanced timbrally. When working with works, after singing the melody on the syllables “LYu”, “DU”, “DY” - the performance with words will acquire greater evenness of sound, but again if the choir singers carefully monitor maintaining the same setting of the articulatory organs, as when singing vowels "U" and "Y".

The pure vowel sound “O” has properties that “U, Y” but to a lesser extent.
The vowel sound “A” gives the greatest variety to singing, since it is pronounced differently by different people, including different language groups, this should be taken into account when performing a piece in foreign languages. For example, the Italians have “A” from the depths of the pharynx, the English have it deep, and among the Slavic peoples the vowel “A” has a flat chest sound. The use of this phoneme in classes with beginning students must be very careful.
“I, E” - stimulate the functioning of the larynx, causing a tighter and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx; they brighten sounds and bring the vocal position closer. But these sounds require special attention in terms of rounding the sound.
The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, shrill character. And even if the sound would not be “narrow”, Sveshnikov considered it necessary to connect it with the vowel “A” (I-A).
The vowel “E” should be formed as if from the articular structure “A”.
The vowels “E, Yu, Ya, Yo”, thanks to the sliding articulation, are easier to sing than pure vowels.
Thus, work in the choir on vowels - sound quality - is to achieve pure pronunciation in combination with a full singing sound.

Working on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. Pronunciation of consonants requires increased pronunciation activity.
Formation of consonants as opposed to vowels. associated with the appearance of an obstacle to the flow of air in a speech cycle. Consonants are divided into voiced, sonorant and voiceless, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus, we place sonorant sounds in 2nd place after vowels: “M, L, N, R.” They received this name because they can stretch and often stand on a par with vowels. These sounds achieve a high singing position and a variety of timbre colors.
Further, the voiced consonants “B, G, V, Zh, Z, D” are formed with the participation of vocal folds and oral noises. Voiced consonants, as well as sonorants, achieve a high singing position and a variety of timbre colors. The syllables “Zi” achieve closeness, lightness, and transparency of sound.
Voiceless “P, K, F, S, T” are formed without the participation of the voice and consist of only noise. These are not sounds that sound, but guides. It has an explosive character, but the larynx does not function on voiceless consonants; it is easy to avoid forced sound when vocalizing vowels with preceding voiceless consonants. At the initial stage, this serves to develop clarity of the rhythmic pattern and creates conditions when vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant “P” rounds the vowel “A” well.
The hissing “X, C, Ch, Sh, Shch” consist of nothing but noise.
The voiceless “F” is good to use in silent breathing exercises.

Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling “S, Sh” because they are well picked up by the ear, they must be shortened, otherwise when singing they will create the impression of noise and whistling.
There is a rule for connecting and separating consonants: if one word ends and another begins with the same or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized, and at a fast pace When such sounds occur over short durations, they need to be combined in a distinct manner.

Working on rhythmic clarity
We begin the development of rhythmic flair from the very first moment of the choir’s work. We actively count durations using the following counting methods:
- rhythmic pattern out loud in chorus.
- tap (clap) the rhythm and at the same time read the rhythm of the song.
After this setting, solfage, and only then sing with the words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten. An extraordinary role is played by the simultaneous entry of the singers, taking breath, attacking and releasing the sound.

To achieve expressiveness and accuracy of rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation and gives timbre richness. The crushing method, in our opinion, is the most effective and has been known for a long time.

Singing breath.
According to many choir leaders, children should use abdominal breathing (formation as in adults). We certainly monitor and check each student to see how much he understands how to take the breath correctly, and we make sure to show it to ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouth, with their arms completely lowered and free. With daily training, the child’s body adapts. We strengthen these skills with a silent breathing exercise:
Small inhalation - voluntary exhalation.
Small inhalation - slow exhalation on the consonants “f” or “v”, counting up to six, up to twelve.
Inhale while counting the chant at a slow pace.
Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
1) Warming up and setting up the singers’ vocal apparatus for work.
2) Development of vocal and choral skills, achieving high-quality and beautiful sound in works.
The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.

Singing the choir organizes and disciplines children and promotes the formation of singing skills (breathing, sound production, sound control, correct pronunciation of vowels).
At the beginning, 10-15 minutes are allotted for chanting, and it is better to sing while standing. Chanting exercises should be well thought out and given systematically. When chanting (even if for a short time), we give various exercises on sound control, diction, and breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is intended to develop, and with each lesson the quality of the chant will improve. Most often, we take the material we are studying for chanting (usually we take difficult passages).

In order to set up and concentrate the children, to get them into a working state, we begin chanting as if with a “tuning”, asking the children to sing in unison with their mouths closed. This exercise is sung smoothly without jolts, with even, continuous (chain) breathing, soft lips not quite tightly closed. The beginning of the sound and its ending must be specific. In the future, this exercise can be sung with weakening and increasing sonority.

Chanting with the letter “I” is also very useful. The letter itself is very light; it helps to avoid dull sounds and eliminate nasal sounds, naturally if formed correctly. Develops energy. Good for use in chants.
We also use exercises for singing from top to bottom on the same syllables. When singing this way, we monitor the formation of the upper sound; when moving to semitones, children must sing them “narrowly”, otherwise the remaining sounds will lose their high singing position and intonation.
Approximately 1.5-2 months after the start of classes, we begin to use sound shaping exercises. This allows children to practice breathing support of sound, sing according to the conductor's hand and train the skill of dynamic flexibility.

We are also working on the timbre, and the main goal of this work is to smooth out register transitions, i.e. equalized voice sound throughout the entire range. For this kind of exercise, we first use ascending and descending gradual singing of sounds, then use jumps with filling. The expansion of leaps occurs gradually, depending on how successfully the work goes and how quickly the children master the elementary principles of this work.
During further observation of the trainees, we note that the skills developed during chanting subsequently become reflexive. And in fact, in one exercise you can reveal a whole complex of skill development. We must develop these exercises in a certain sequence, and there is no need to choose many singing exercises, since this will overload the children, and therefore will affect the final formation of the skill.
One more observation: when working on exercises, you should go in smaller steps, i.e. do not try to achieve everything at once in one lesson, otherwise such an action will be doomed to failure in any case, since the singers will be given impossible tasks.

Learning a song
This is the next stage in working on vocal and choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; If the history of the creation of the song is known, then we introduce the guys to it.
Next, the song is shown. The way it is carried out often determines the children's attitude towards learning - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show and prepare well in advance for it.

Repeated, long-term memorization of the same passage, as a rule, reduces children's interest in the work. And here you need to have a very precise sense of proportion, a sense of the time allotted for repeating this or that fragment of the work.
We try not to rush into learning all the verses, since the guys sing an already familiar melody with new words with more pleasure than with known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that were not performed well enough when performing the previous verse.

We also attach great importance to the development of active articulation and expressive diction when singing. After the choir has learned the basic melodies, you can move on to the artistic finishing of the work as a whole.
Another option is possible: close interaction, a combination of solving technical problems and artistic finishing of the work.

After learning a new song, we repeat the songs we have already learned. And here there is no point in singing every song from beginning to end - it is better to perform some parts separately in parts, then together to build an interval (chord) you can work on some particulars, enriching the work with new performing nuances. When working on familiar material like this, you will never get tired of it.
At the end of the class, one or two songs are sung and ready to be performed. A kind of “run-through” is arranged, the task of which is to intensify the contact of the choir leader as a conductor with the performers. Here the conductor's gesture language, understandable to the choristers, is practiced.

During “run-through” moments, it is good to use a tape recorder - for recording and subsequent listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. We do not use this technique in every lesson, since otherwise the novelty is lost and interest in it disappears.

We finish our classes musically - the guys, standing, perform “Goodbye,” which is sung in a major triad.

According to the hypothesis of our study, the development of vocal and choral skills in choral singing in music lessons is more effective when music education is carried out systematically, in close communication between the teacher and students, against the backdrop of the formation of a general musical culture of the child at primary school age and, finally, taking into account age and personal qualities of the child. This is proven by the system of methods and techniques we use to form and develop basic vocal and choral skills in children of primary school age. By the end of the year, children steadily master correct singing breathing, develop correct diction, learn to sing in unison without disturbing the overall pattern of choir singing, that is, they become a collective, a single singing organism with which they can work further, learning new, more complex works.

CONCLUSION
The educational and organizational possibilities of choral music are enormous. Practical experience shows that with an integrated approach, studying folk and modern folklore, church and classical music, students are imbued with a sense of responsibility, the value of their lives and the lives of others, learn high morality and the beauty of human communication, develop singing skills: they learn to convey naturally and truthfully sound the subtlest shades of human mood, which is the highest difficulty and the highest degree of vocal mastery; develop an ear for music, a sense of rhythm, memory, diction and speech culture.

When applied to child psychology, to children, the importance of choral singing as an educational factor that raises the level of all their activities increases incredibly. Unlike adults, wise with life experience, who perceive art not only emotionally, but also on the basis of their life experience, children, who enter the world of art from a very early age, absorb aesthetic impressions simultaneously with the perception of the world around them. Children who sing in a good choir, where certain artistic and performing tasks are set, perform them in parallel with the fulfillment of small, but for them very important “children’s” life tasks.

Choral singing is a mass art, it involves the main thing - the collective performance of artistic works. This means that the feelings and ideas embedded in words and music are expressed not by one person, but by a mass of people.
The children’s awareness that when they sing together, in harmony, it turns out well and beautifully, the awareness by each of them that he is participating in this performance and that the song sung by the choir sounds more expressive and brighter than if he sang it alone, - awareness of this power of collective performance has a tremendous impact on young singers.

Through choral activity, the child is introduced to musical culture, and collective singing is an excellent psychological, moral and aesthetic environment for the formation of the best human qualities. In school choirs, children acquire musical performance skills that allow them to express themselves creatively in the arts.
As a result of the work done, the following conclusion can be drawn: the most important task of modern music pedagogy is the creation of a new harmonious system that makes it possible to make the process of music and choral education on the basis of a music school purposeful and consistent.

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