I. Explanatory note

Focus

Program “Vocal education of children in academic solo singing classes”is modified basic level and has an artistic and aesthetic orientation. It was developed taking into account the requirements of letter dated December 11, 2006 N 06-1844 of the Ministry of Education and Science Russian Federation"ABOUT approximate requirements to programs additional education children" and in accordance with SanPin 2.4.2. 2821– 10 Art. 4.12 and SanPin 2.4.4.1251-03.

Novelty, relevance, pedagogical expediency

Singing, as the most widespread type of musical activity, occupies one of the leading places in the system of artistic and aesthetic education of children in our country. Singing classes develop artistic taste and awaken them creative possibilities, instill in children a conscious attitude towards mastering musical knowledge. For this purpose, targeted vocal education of children and adolescents is necessary.

The vocal training program is based on the principle of solo academic voice formation. An important factor in solving the problem of developing a child’s voice is the need to take into account the age periods in the child’s development and the psychophysiological characteristics of each period. This is important when dividing childhood depending on physiology for certain periods in which vocal lessons with children can be carried out in one form or another.

The vocal training program provides for the sequence and what exactly can be developed in children in the process of vocal education, in connection with the child’s capabilities at different periods of his development.

The program allows you to take into account the risk factor in each age period when learning to sing and the ability of children to fulfill the various requirements of the vocal school from the perspective of physiology and psychology, closely linking training with the issues of protecting the child’s voice.

Singing is one of the many functions of the body, with the help of which a person expresses his feelings, thoughts, and images born from the work of the imagination. Singing accompanies a person from the cradle.

Singing is one of the many functions of the body, a type of activity through which a person expresses his feelings, thoughts, and images born from the work of the imagination. Singing accompanies a person from the cradle. Starting from the first cry of a child, a person’s vocal function develops and improves during different periods of the body’s development.

U musical child love for singing is discovered with early childhood, song, singers are among his interests. The development of children's musical horizons in most cases occurs through communication with the art of singing. Singing from childhood makes a person spiritually richer, develops him as a person, and this was known in ancient times.

Distinctive feature

The innovation of this program lies in the fact that it is based on age characteristics physiology of the vocal apparatus and higher nervous activity of children and adolescents.

Many organs directly or indirectly participate in singing voice formation, depending on the growth and development of which the vocal apparatus works differently. These are not only the direct “voice formers” - the extension tube, larynx and breathing, but also musculoskeletal system child, and his heart, and endocrine system, and much more. The ability to develop a complex set of musical and vocal skills is determined not only by the characteristics of the child’s concept, but also by the characteristics of the nervous system and the level of development of his GNI. The difficulty of vocal education of children lies, first of all, in the fact that it occurs during the continuous growth and development of the child, and this process is not progressive and synchronous with all organs. At some stages of growth it may be a smooth evolution, at others it may be a sudden leap in development.

Therefore, a singing teacher must know the physiological features of the child’s body at different age periods and take them into account in the teaching process. He must know to what extent the child at one or another stage of his development is capable of perceiving conscious attitudes and developing the necessary relationships.

The different degrees of formation of certain organs and systems of a child’s body at a given age, a certain stage of development of his GNI determine all work with children - both its methodology and the specifics of presenting the material. Having in the future the mastery of the basic skills of the classical vocal school, which develops and improves the vocal apparatus and promotes the protection of the voice, it is necessary for the development of the child’s body over a long period of time gradually prepare him for this, complicating tasks depending on the body’s capabilities.

As a result of proper training based on the modern academic style of singing, the timbre of the student’s voice becomes soft, rounded, ringing, and even throughout the entire range. We can talk about achieving this ideal only in the final stages of development, which takes much longer in children than in adults, but one must always strive for this.

The author of the program understands the vocal education of children as the moral and aesthetic education of a singer-musician, a harmoniously developed personality who possesses the skills of a certain vocal and technical school.

Target : development of musical and creative abilities of children and adolescents through the development of academic solo skills in students.

Tasks:

educational:

• formation and development of vocal skills: mastery of the basics of singing breathing, development of cantilena sound science;
• study of the structure of the vocal apparatus, the nature of the voice, its physiology;
• acquaintance with the history of vocal art (performers, vocal schools, composers);

developing:

• developing students' horizons (attending concerts, theaters, museums, listening to music);
• development of musical abilities;
• development of vocal range, vocal hearing, identification of timbre, musical memory, artistry, musical expressiveness.

educational:

• formation general culture vocalist;
• formation of students' communicative abilities;
• formation of respect for the traditions of different peoples.

Children's age: 7-18 years

Implementation period: 6 years

The program is designed for 2 age periods:

• first period - second childhood (7-12 years);
• the second period is adolescence: girls 12-18 years old, boys 12-18 years old.

Between these age periods there is a distinct line in the improvement of physiology. These two periods should be different from the point of view of vocal education.

The first period is preparatory to mastering a certain style of singing; the second is to work on developing singing skills in this manner.

Forms and mode of classes:

classes are held individually. During classes, the teacher takes a differentiated approach to teaching children depending on their individual capabilities: musical abilities, characteristics of GNI, physical condition. Classes are held 2 times a week for 30 minutes, 1 hour per week, 36 hours per year. All work with children is carried out by a teacher in an ensemble with a professional accompanist who has high performing skills and a vocal repertoire of varying complexity.

Structure of a solo singing lesson

Preparation period
1 year of study I half of the year		5 minutes.
		25 min.
1st year of study II half-year	Theoretical explanation of the activities	10 min.
		10 min.
	Learning musical pieces	10 min.
2nd year of study I half of the year	Theoretical explanation of the activities	10 min.
		10 min.
		10 min.
2nd year of study II half year	Theoretical explanation of the activities	10 min.
		10 min.
	Working on musical works Chamber ensemble (for the most developed – in the 2nd lesson)	10 min.
Main period of vocal education: 3-4 years of study
1st lesson		10 min.
		20 minutes.
2nd lesson		10 min.
	Learning a piece of music	10 min.
	Chamber ensemble	10 min.
Main period of vocal education: 5-6 years of study
1st lesson		10 min.
	Learning a piece of music	15 minutes.
	Independent interpretation of the performed work	5 minutes.
2nd lesson		5 minutes.
	Development of technology	5 minutes.
	Working on musical works	10 min.
	Chamber ensemble	10 min.

Predicted results

Professional:

The child accumulates vocal and technical skills in the academic style of singing, gains experience in maintaining the inhalation setting, as a result of which the voice becomes more voluminous, soft, sonorous, and even throughout the entire range.

Students with very good vocal and musical abilities, emotional, strong-willed and focused can learn professional singing. They will have the prerequisites for a successful creative career. The accumulated experience of vocal development will be an invaluable help for them in professional musical art.

Are common:

Children develop discipline, emotionality, responsiveness, and a love of music and folk culture.

Educational and leisure work

• concerts: reporting, thematic, dedicated significant dates, for parents;
• participation in festivals and competitions;
• musical lounges - conversations about music, outstanding singers and artists;
• visiting concerts, theaters, museums, exhibitions with further discussion.

IV. Methodological support of the program

The history of vocal art and vocal education goes back to BC. In Egypt, Asia Minor, Ancient Greece artistic singing already existed then. In the Gymnasiums of Hellas, the basis of humanitarian education was: music, singing, Ghanaians. All this was mixed with athletics, and was aimed at the humanitarian development of the individual. Philosophers of the 13th century believed that not being able to sing was as shameful as not being able to read (Thomas Aquinas). The passion for singing has always existed in all countries, although traditions various peoples were, of course, different

Children's singing occupied a large place in the spiritual life of many countries. The “angelic” sound of children’s choirs in churches, solo performances gifted children in concerts and even in opera performances, the widespread practice of today's choral singing - all this gives people great joy.

The list of famous singers and singers and the most complex opera roles that they performed at a young age indicates that this performance was preceded by serious and quite long preparation, both vocal and musical.

When we look for the secrets of the Great Bologna School, the art of whose singers are still at an unattainable height, we cannot help but see that these secrets lay, first of all, in the vocal education of children. They were taught to sing from the age of 6-7 until about 15-16 years old, and by this time they became virtuoso singers.

The legendary M. Malibran, with a voice range from contralto to soprano, studied singing in early age, and already at the age of 16 she made her debut as Rosina in “The Barber of Seville” by G. Rossini, and at the same age both P. Viardot and A. Patti made their debuts. At the age of 8, G. Sontag sang the incredibly difficult aria “Queen of the Night” by Mozart. The famous Russian singer E. Uranova-Sandunova sang this entire part at the age of 14.

On March 2, 1755, the first Russian opera by F. Araya, Cephalus and Procris, was performed. The libretto of the opera was written by Sumarokov based on the plot of Ovid. In fact, the opera was performed by children. The oldest performer of the role of Procris, Elizaveta Belogradskaya, was 15 years old. To sing such an opera, the singers had to have perfect command of their voices, because the parts in these operas were quite complex and required certain skills and endurance.

In Russia, already in the 16th century, there were various recommendations for singers about performing church choral music. Reading these recommendations, we see what great vocal experience of many generations lies behind them. There are instructions here about the dynamics of sound, and about the need for long and calm, smooth singing, the ability to maintain sounds in a single timbre, the requirement for clear pronunciation, the ability to vocalize in various types singing, etc.

In 1740, a decree was established to create in Glukhov (former Chernigov province) a school for court singing children, who were taught spiritual and “mannered” singing, i.e. Italian coloratura singing, as V. Bagadurov deciphers it. In the Court Chapel, wonderful singers and teachers, such as D. Borshyansky and A. Varlamov, who received vocal education in the chapel as a boy, were engaged in vocal education.

This was A. Varlamov’s point of view regarding the vocal education of children: “some teachers unfairly argued that singing training begun before adulthood can be disastrous for the voice and harmful to health. Experience has proven the opposite. The student can practice vocalization from a very young age, through this he gains more strength and flexibility; it is only necessary that the teacher act prudently and observe the precautions required by an organ that has not yet been established.” (Nazarenko I. The Art of Singing. 1963, p. 76.)

How to properly teach a child whose body is in constant development, and whose vocal organs at different age periods either develop on the basis of a calmly proceeding evolution, or explosively with a violation of the proportions of growth between them?

Frequent failures that await teachers teaching children to sing, insufficient knowledge of the physiology of child development,Many different methods, sometimes containing evasive recommendations regarding the most important aspects of voice formation in children, in particular, breathing, gave rise to doubts among some teachers about the advisability of teaching children to sing.

Back in 1803, the famous work “The Singing Method of the Paris Conservatory” - a joint work of a large team of vocal teachers and composers in France - indicated that it is advisable to continue singing during the transition period. The only issue is that there are many inexperienced and inept teachers who are ruining the voices of students. This is where, they believe, the point of view emerged about the need to stop singing during the period of mutation.

Moreover, already in our time, objective methods have proven the usefulness of singing in a choir for boys aged 15-16 years, and with a skillful singing leader, the mutation passes faster.

For centuries, the practice of vocal parenting has been based on empirical evidence. In the past, there were few methodological works addressed to vocal teachers working with children. In the second half of the 18th century, translated methodological works appeared in Russia. In one of these works, “Harmonic and melodic rules for teaching all music,” the author V. Manfrendi writes: when singing, it is natural to dissolve the mouth moderately, since the clarity of the voice and the pure pronunciation of words depend on this; you need to sing in a comfortable tessitura, without forcing your voice; sing melodiously and hold the note to the end, confidently, firmly, and not half spirit or between the teeth"; sing consciously and emotionally, it is recommended to sing unaccompanied.

As we can see, these recommendations come from the settings of the old Italian school singing adults completely. We do not see any children's specifics here. An analogue can be called “Guide to teachers of 1st and 2nd grades of public schools and Russian Empire"F. Yankovic (St. Petersburg 1783), where emphasis is placed on the clarity and clarity of the pronunciation of sounds and the connection of the nature of the sound with the necessary emotional and semantic coloring of the text. Children's classes in schools Tsarist Russia not given much importance, they were optional, and were not carried out in all schools.

Only in our time has the vocal education of children been given importance great importance. Currently, many well-known figures in vocal pedagogy both in the West and in Russia have begun to raise the question of the need to return to the previous practice of vocal education of children.

In the second half of the 19th century, E. Garcia’s student J.B. Faure, the brilliant baritone of France, speaking in his work “Voice and Singing” about the need to learn to sing from childhood, advocated the discovery vocal studios at conservatories. (“Children’s voice” M. Pedagogy 1970).

Famous vocal methodologist V.A. Bagadurov was a supporter of vocal training for children to sing in the modern operatic and concert style of singing and argued that only excessive tension in the muscles of the vocal apparatus, abuse of singing duration and range can be harmful to children. Proper activities for children are beneficial.

At the same time, phoniatrist, one of the most authoritative researchers of the physiology of children's voice and the practice of teaching children, Dr. I.I. Levidov believed that no conscious vocal attitudes should be instilled in children until a certain age. They should not be taught the techniques of singing breathing, support and “direction” of sound, as is done when training adult singers. Work on breathing should have the goal of correcting undesirable features of voice formation, such as raising the shoulders when breathing, etc.

Unfortunately, for a long time, vocal pedagogy has not been able to unconditionally accept this or that point of view and substantiate on an objective scientific and practical basis certain guidelines for teaching children professional singing. Despite great research phoniatrists, physiologists and psychologists, APN, we cannot answer many questions about the methods of teaching children in the same way as in vocal pedagogy for adults. Only a few practical work They help numerous teachers who work with children teach them to sing. First of all, these are the works of I.I. Levidova, V.A. Bachadurova, E.M. Malinina. In 1970, under the editorship of full member of the Academy of Pedagogical Sciences of the USSR V.N. Shatskaya published the collection “Children’s Voice,” which reflects the state of experimental research on children’s voices. Prominent scientists took part in the compilation of the collection: N.D. Orlova, M.S. Gracheva, V.P. Morozov, N.D. Lebedeva, V.G. Ermolaev, E.I. Almazov, T.E. Shamshieva, N.T. Ovchinnikova. This materialis child's voice comprehensively from the perspective of modern scientific data and contains a number of methodological recommendations.

The practice of working with children today indicates that a unified method of working with children has not been created, although the studyover the last century, the development of a child’s voice has created quite serious preconditions for its creation.

The question remains unanswered: what style of singing should be taught to children of students in choir studios and music and choir schools?

V.A. Bagadurov argues, as has already been said, that children must be taught, just like adults, i.e. modern operatic and concert style of singing. It is difficult to doubt that he is right, because... For almost 400 years of its existence, this style not only gave the singer enormous opportunities and protected his voice throughout his life, but also taught children professional singing.

However, it is quite obvious that I.I. is also right. Levidov is that the child’s body will not be able to implement most of the settings of this style of singing for quite a long time, being unprepared for this both from the point of view of physiology and from the point of view of improving its higher nervous activity.

Forms for assessing student success:progress in student development is analyzed based on student performances at open classes, auditions, concerts, competitions and festivals. The assessment is undifferentiated - a verbal description, shortcomings and successes are noted.

Conditions for the program:

1. Logistics:

Bright classroom, presence of an instrument (piano), sound-reproducing device, visual aids.

1. Staffing:

The teacher must have a special musical education, presence of an accompanist.

1. Information Support:

Musical literature for students and teachers, audio and video materials, educational materials.

Annex 1

Appendix 2

Individual card

taking into account the child's learning outcomes

according to the educational program of additional education for children

Last name, first name of the child________________________________________________ Age__________

Subject________________________________Teacher_______________________________________________

Name of educational program

____________________________________________________________________________________

Indicators diagnostics	Year of study
	End of the first half of the year	End school year
1 . Theoretical preparation of the child
1.1. Theoretical knowledge: 1.2. Knowledge of special musical terminology
2 . Practical training for a child
2.1. Practical skills and abilities provided educational program(gaming machine, mastering sound production techniques)
2.2. Musical and auditory representations (memory, imagination)
2.3. Creative skills (sight reading, listening, composing)
3 . General educational skills of the child
3. 1. Personal qualities
Motivation for musical creativity
Independence and self-control
Attitude to the general affairs of the association
3.2 Educational and communication skills:
a) listen and hear the teacher;
b) variety resistance
c) the ability to reflect on activities
3.3 Educational and organizational skills:
a) organize your work (study) place;
b) observe safety rules during activities
4. Subject achievements of the student
4.1 At the level of children's association (studio)
4.2 At the DTD&M level (institutional)
4.3 At the district level (district)
4.4 At the city level (Moscow)
4.5 At the regional level (Russian)
4.6 Internationally
Total average score:
Levels of manifestation (low, medium, high)

1 point – weakly manifested ( low level- N);

2 points – manifests itself at an average level (C);

3 points – high level of manifestation (B).

Additional education teacher ___________________________________/___________

State budgetary institution of additional education for children of the city of Moscow "Children's Music School named after G.F. Handel" "Approved" by the director of the Moscow State Educational Institution "Children's Music School named after G.F. Handel ". Loginov 01 » 09.2010 Educational program of additional education for children "Vocal" (academic) within the framework of the program "Choral singing" grades 5 - 7 (8) (from 11 years old) Implementation period - 3 (4) years Author - teacher Liring S.E. Moscow - 2010 1 I. EXPLANATORY NOTE The proposed educational program has an artistic and aesthetic orientation and provides for raising the level of the general musical and vocal culture of children. The purpose of this program: - the formation of the musical culture of students as part of their general spiritual culture. Objectives of the program: - to develop in students. musical abilities: hearing, sense of rhythm, musical memory, musical thinking; - to cultivate in students such qualities as creative will, activity, independence, the need for the implementation of knowledge and skills; instill stage behavior skills; - to develop artistic taste and sense of style. - teach students the basic principles and performing techniques of correct sound production, competent independent analysis of musical text, sight reading of notes, emotional and meaningful performance of a learned piece. - identify the most gifted children for their professional guidance and preparation for entry into vocational secondary schools educational establishments. Throughout all years of study, the teacher monitors the formation and development of vocal and technical skills, such as: - stable singing breathing on a support; - smooth sound throughout the entire vocal range; - high singing position and precise intonation; - melodiousness, melodiousness of voice (cantilena); - diction skills, clear and precise articulation; - spelling skills in speaking and singing. Students should know: the vocalist's repertoire, including works different eras, genres, styles; professional terminology, specifics of performing solo and with an accompanist. The program is designed for children aged 11 to 14(15) years. Duration of training - 3 (4) years. The result of each year of study is the execution of a program of varying degrees of difficulty, presented in a transfer test. Vocal classes are conducted individually. In our school, in the choral department, vocals are an elective subject, so classes are held once a week for one academic hour. From the very first voice training lessons, students need to develop a sense of self-control, the ability to hear and analyze their shortcomings in order to overcome them. The teacher's attention should be directed to the correct body position of the student, free position of the larynx, natural articulation, singing breathing with silent, not overloaded inhalation and economical gradual consumption of air during phonation. You should also pay attention to the facial muscles. A free face, a free mouth, a soft chin are important conditions for correct voice formation. It must be remembered that singing breathing is not only one of the foundations of proper sound production and a condition for the development of vocal technique, but also an important means of artistic expression. Developed, elastic singing breathing helps the singer to be fluent in musical phrases, caesuras, dynamics and other elements of expressiveness in singing. As a rule, when singing, a soft attack of sound, precise, “without entrances” is recommended. Forced sound output, which often causes irreparable harm, is not allowed. Special attention it is necessary to pay attention to correct singing articulation, clear and precise diction, achieving purity of intonation in the sound of the voice. This program assumes a creative approach by the teacher to the task of developing the individual abilities of the student, the constant creative growth of the teacher himself, and the use of new achievements in the field of pedagogy, teaching methods and repertoire. For students who have graduated from school and are preparing to enter secondary specialized educational institutions (music schools, colleges, etc.), as well as for students who have repeatedly participated in various competitions and concerts, this program provides for the possibility of additional training in solo singing after graduation (4- 1st year of study). Exercises Exercises become especially important during initial stage development and formation of the singer's voice. They are necessary in order to bring the voice into working condition and eliminate existing shortcomings. At the same time, working on the exercises helps to master breathing, resonators, achieve evenness of sound over the entire range, mobility of the voice, as well as finding its best timbre coloring. When developing the correct singing tone in legato from the first steps, it is recommended to ensure that the student sings freely, naturally, without tension. Initially, in a small limited area of ​​the range, conducting the sound smoothly, without “approaches”, gradually expanding the range and complicating the exercises, taking into account the increasing capabilities of the student. The first exercises should not pose difficult tasks for the student; they should be devoted to singing in the literal sense of the word (warming up the vocal apparatus), and only then can one move on to singing, which poses certain vocal and technical tasks. The formation of a high-quality singing sound, as well as all main types of vocal movements: legato, staccato, fluency, jumps at large intervals, etc., as a rule, is developed through exercises. The teacher must select vocal exercises individually for each student in accordance with the level of development. A certain sequence of exercises is advisable only at the initial stage 3 of working with the student, when he acquires basic technical skills. For advanced students, it is necessary to diversify the singing exercises so that they can complete any vocal tasks at any time, as required by artistic works. Vocalises Vocalises are the musical material that is used in work as a transition from exercises to works of art. Singing vocalises is necessary for developing basic singing skills: singing breathing, even, smooth, free sounding of the voice (cantilena), smoothing registers, mastering transitional notes, developing mobility, flexibility of the voice, gradually expanding the range, achieving a high position of sound, aligning vowels, etc. d. Vocalises are not only material for practicing singing techniques, but also the basis for identifying the timbre characteristics of the voice. In the future, this leads the singer to artistic and expressive singing of works with text. It is useful to sing vocalises both in solfege and with various vowels or combinations of vowels and consonants. They can be transposed into a convenient key depending on the vocal capabilities of the students, so as not to cause overexertion of the voice, thereby helping to find the most free and timbrally beautiful sound. The absence of text distinguishes vocalization from works of art romances, songs, arias. Vocalise acts as a purely musical work, not complicated poetic text. It is this latter - the absence of a word and the technical element contained in vocalization - that makes it a valuable material for voice training. The singer in vocalise finds himself in the conditions of instrumental singing; he is faced with the task of expressive performance of the work using purely vocal means, which sharpens the musical sense, forces him to carefully follow the phrase, and teaches him to sense the form. Here it is impossible to replace musical expressiveness with speech, to “hide” behind an expressive word. Vocalises teach you to be especially attentive to the musical text and to all the author's remarks, which is so useful for the performance of artistic works themselves. And studying works with text Working on works with text poses new, more complex tasks for students. From the very beginning of learning, one must strive for a meaningful and expressive transmission of the content of the work. To do this, it is necessary that the vocal and technical side of performance be subordinated to the artistic one. Vocalization alone, no matter how good it may be, cannot satisfy the modern listener in itself. Even perfect technology should not be an end in itself; it should be subordinated to creative tasks. The future performer must be taught to understand not only the musical form of the work, but also the content. In this case, much attention must be paid to clear and precise singing diction, work on the text, 4 artistic and beautiful pronunciation of words, which helps to convey to the listeners the exact content and idea of ​​the work. Students should be educated to best examples world vocal and performing arts of various historical eras, awakening in them a feeling of deep respect for classical heritage past and present. The basis of the repertoire is, first of all, diverse, varied folk songs that are accessible to beginning singers, as well as classical works of Russian and foreign composers. Works of the 18th century do not allow for freedom of execution; they develop in the student a sense of form, logic and clarity musical thinking. From a vocal and technical point of view, these works usually have a limited range, their tessitura is not high, and they are written very conveniently. Such, for example, are the widely popular arias of Handel, Stradella, Caldara, Giordano, Scarlatti, etc. These works do not require immediate, hot emotionality, excitement, or the transfer of great passions and intense feelings from the student. A general calm and balanced emotional background is very important for the student, who is forced to constantly monitor the vocal-technical side and musicality of the performance. The expressiveness of these works lies primarily in their music, which makes them extremely useful for mastering all means of musical and artistic expression. Folk songs are also highly desirable material on which the singer’s voice is well formed and the foundation for understanding national classical music is laid. The romance works of Russian composers - Titov, Bulakhov, Varlamov, Alyabyev, Gurilev and others - are widely used in pedagogical practice. The romances are melodious, melodic, sincere, close to Russian folk songs. However, their musical side is more developed. In terms of performance, these works require a very careful attitude to the verbal text, well developed sense style. Natural abilities and shortcomings make the process of selecting repertoire creative. Each teacher should know the vocal repertoire well and be able to choose from it what is most useful to the student at a given stage of development. The teacher faces difficult task- not only to teach vocal technique, to develop musicality and performance abilities, but also to instill in the beginning singer a high musical and performing culture. The work of the concert master The concert master is the first assistant to the teacher, so he must always be in close contact with him and must be attentive to all instructions that are given in the class. The accompanist needs to know the individual requirements of the teacher for each student. Considering the fact that sometimes it is necessary to simultaneously prepare several students to go on stage, the accompanist must be able to set tasks for the students and structure the performance according to the teacher’s requirements. The accompanist should be able to give the student several vocal exercises that correspond to the exercises that the solo singing teacher offers in class. The accompanist must be able to transpose freely, since sometimes the teacher has to change the key of the piece, choosing the one that is most convenient for the student’s voice. Together with the teacher, the accompanist instills in students the skills of independent work on musical material. We have time to control and record. In children's music and art schools, in order to achieve the best results, various control activities are carried out aimed at identifying and consolidating the acquired performing skills during the learning process. In this regard, children's music schools and art schools carry out the following activities: - ongoing monitoring of academic performance; - intermediate certification of students; - final examination. An important element of monitoring progress is its systematization and frequency. Current monitoring of progress is aimed at maintaining academic discipline, identifying the student’s attitude towards the subject being studied (vocals), and organizing regular home lessons. It has educational goals and takes into account individual psychological characteristics student. Control is carried out every 2-3 lessons. Based on the results of ongoing monitoring, semi-annual and annual estimates are derived. Interim assessment determines the student's level of development. The forms of intermediate certification are tests that are held at the end of the semester, academic concerts, and test auditions. At the competitions, 2-3 works are performed, different in genre and character. During the school year, the teacher must prepare 4-5 works with the student for display at academic concerts, 2 works per six months. The final annual assessment takes into account the results of the student’s current academic performance and the results of the student’s performance throughout the year. To study vocal class you need: - a healthy vocal apparatus; - presence of satisfactory vocal and musical abilities; - singing voice; - musical and vocal hearing; - musical memory; - sense of rhythm; - absence of speech defects. During the period of study at a music school, the student must master the full scope of knowledge and skills provided for in this program. 6 II. TEACHING PLAN Three-year course of study.* Topic of classes 1. Acquaintance with the elements of musical literacy, musical terms 2. Mastering and developing elementary singing skills 3. Work on sound production and sound management, sound attack 6. Work on breathing 16. Work on the evenness of the sound of vowel sounds 7. Work on the evenness of the timbre of the voice in the working part of the range 4. Work on various types of vocalization: cantilena, fluency, sound thinning 9. Work on scales and exercises 10. Work on vocalises 12. Work on diction and articulation 8. Work on the work, text analysis, eras, vocal-technical analysis 18. Practicing the stage production of an artistic number For half a year Total for the year 1 1st half year 1st grade 2 Number of hours 2 half - 1 half - 2 half year year 3-4 1 half year 2 half year 0.5 1 2 2 2 1 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 2 2 1 1 2 2 2 2 2 2 2 2 2 1 2 1 2 1 2 1 1 0.5 0.5 0.5 0.5 4 4 4 5 5 6 0.5 0.5 0.5 0.5 0 .5 18 16 18 16 18 16 34 34 *The number of hours may vary depending on students' progress in the program. 34 7 III. CONTENTS OF THE PROGRAM When working on voice production, it is necessary: ​​a) to take into account the degree of vocal and musical preparedness of the student; b) select the repertoire according to the degree of difficulty in each individual case; c) instill in students the skills of consciously mastering the musical and artistic content of the work being performed (do detailed musical and textual analysis with students). When a teacher compiles an individual curriculum, it is necessary to take into account the student’s individual vocal abilities and, based on this, create a repertoire list, gradually complicating it. The concert repertoire is compiled from works covered with a teacher in class. First year of study. The vocal education of a singer is inextricably linked with the development of his musical abilities and general cultural level. As a result of the first year of study, the student should: - have a basic understanding of the vocal apparatus and resonators; - know what the correct positioning of the body is when singing (watch how to stand, how to hold your back, shoulders, head, how to open your mouth); - be able to use singing breathing correctly; - correctly form vowels in combination with consonants; - follow a natural, high, bright sound without screaming or tension; - master the basic skills of correct singing voice formation, which is determined by the interaction of singing breathing, attack of sound and the function of resonators, as well as the skills of a rounded voice sound (in the middle register). In all cases, you need to start working from the central part of the range, starting from the most successful sounds. Extreme upper and lower sounds should be avoided, otherwise there is a need for additional efforts with which the student tries to help himself. This can lead to the destruction of naturally correct coordination. Voice development should begin with exercises that do not involve transitional notes. You should always try different vowels in order to choose those on which the voice better reveals its timbre singing qualities. Exercises for beginners should be simple so that the student’s attention is focused on the technique of voice formation. Accuracy of attack and purity of intonation should be required. Particular attention should be paid to exercises on “cantilena” and diction. One of the most important tasks of a teacher in the initial period of education is establishing contact and mutual trust with students. This is necessary for successful pedagogical influence. Full-fledged lessons are possible when friendly business and human relations. As a rule, the teacher not only teaches professional skills, but also serves as the spiritual leader of the student. 8 During the first year of study, the student must work: - at least 2 vocalises; - at least 2 folk songs; - 2 - 4 songs by Russian, foreign or Soviet composers (optional); - for more advanced students - a light aria or romance. At the end of the first half of the year (December) and at the end of the second half of the year (May), each student sings at least 2 works at the test, which takes the form of a test lesson or concert. During the year, to be shown at academic concerts, the teacher must prepare 4-5 works with the student. Approximate repertoire list Soprano: A bt F. Vocalises Arensky A. “Sleep, my child, go to sleep”, “Tell me, moth” Alexandrov A. “I was walking in the kindergarten”, “At the spinning wheel” Arakishvili D. “Stream”, “Flowers” Arutyunov A. “Frost Artist” Alyabyev A. “Forget-Me-Not” Beethoven L. “Magic Flower”, “Marmot” Blanter M. “Lullaby”, “Sad Willows”, “The Sun Has Hidden Behind the Mountain” Brahms J. “Lullaby” G. regori “Bourre” Gurilev A. “Mother, darling”, “Sarafan”, “The blue-winged swallow flutters” Dargomyzhsky A. “Fever”, “You are pretty”, “Bayu, bayushki, bayu” Zeidler G. “Vocalises” 1st part Mendelssohn F. "Hello" Moravska folk song in arr. Needly “The Cuckoo” Mozart V. “Barbarina’s Aria” from the opera “The Marriage of Figaro”, “Longing for Spring”, “The Little Spinner”, “Birds” Mussorgsky M. “Spring Song” R.N.P. in arr. A. Egorova “Don’t fly, nightingale” R.N.P. in arr. N. Rimsky-Korsakov “A little girl walked along the hill”, “There was a birch tree in the field” R.N.P. in arr. M. Balakireva “At the gate, the gate” Partskhaladze M. “The first warm day” Pakhmutova A. “It’s good when snowflakes fall” Pergolesi J. “Oh, why am I not a lawn”, “If you love” Tchaikovsky P. “Lullaby in storm”, “The grass is turning green” Swiss folk song arr. Gunda “Cuckoo” Schumann R. “Swallows”, “Owlet”, “Moth” Mezzo-soprano: A bt F. Vocalises Alexandrov A. “Country Girl” from the collection. “English Songs” 9 Arutyunov A. “Frost Artist” Beethoven L. “Groundhog”, “Jemmy Was Dearest of All” Varlamov A. “Red Sundress”, “Green Grove” Gurilev A. “Guess My Dear”, “Flying Away” little bird" Glinka M. "Will I forget", "Don't chirp, nightingale" Dyubuk A. "Don't scold me, dear" Dargomyzhsky A. "Don't judge, good people" Mokrousov B. "On a clear night", "Good in the spring flowers in the garden” Pergolesi J. “Oh, why am I not a lawn” Russian folk song arr. A. Zhivtsova “The bird cherry tree is swaying under the window” Russian folk song arr. V. Volkova “Thin Rowan”, “Spinner”, “Why are you greedily looking at the road” Russian folk song arr. A. Fedorov “Luchinushka” Russian folk song arr. D. Vladimirova “I was walking in the garden” Russian folk song “They gave it to the young”, “On the mountain there is a viburnum”, “Katenka is cheerful”, “Like across the river, and after Daria”, “You go, my little cow, home” Sh Ubert F. “Sorry” Tenor: A bt F. Vocalises Alyabyev A. “I loved you” Beethoven L. “In the Spring” Blanter M. “Lullaby” Varlamov A. “Blizzard” Haydn J. “Quietly open the door to the garden” Grieg E. “Forest Song” Georgian folk song “Suliko” Gurilyov A. “After the battle” Lyadov A. “You are my street” M okrousov B. “The sweet path winds into the distance” Malov V. “Barkarola” Slovak folk song “Ivushka” “You are mine, my dear” Shostakovich D. “Lullaby” Yakovlev V. “ Winter evening» Baritone: A bt F. Vocalises Alyabyev A. “Two Crows” Bulygin A. “I Met You” Grachev M. “Mother’s Song” Gurilev A. “The Little Bird Flew Away” Pergolesi J. “Oh, why am I not a lawn” Russian folk song arr. A Ananyeva “Between steep banks” Solovyov-Sedoy V. “Where are you now, fellow soldiers”, “Evening song”, “Moscow evenings” Bass: 10 A bt F. Vocalises Alyabyev A. “Despondency”, “If life will deceive you" Beethoven L. "The Spirit of Fighters" Glinka M. "Will I Forget", "Confession" Grieg E. "Old Song", "Sunset" Gurilev A. "The Little Bird Flew Away", "Song of the Night Watchman" , “Both boring and sad” Dargomyzhsky A. “On the expanse of heaven”, “I don’t care” Mussorgsky M. “The leaves rustled sadly” Russian folk song arr. S. Kondratyev “The Kalinushka stands near the valley” Russian folk song in arr. A. Alexandrova “On the Mountain is a Viburnum” Tabachnikov M. “Spring Winds” Khachaturyan A. “Called You a Flower” Schubert F. “Organ Grinder” In the second year of study In the second year of study, work should be done on deepening vocal-technical and musical skills -artistic skills acquired earlier. As a result of the second year of study, the student should, if possible, expand the range of his voice, level out the sonority of vowels and achieve correct, clear pronunciation of consonants. Working on breathing associated with a sense of support is very important. When working on vocalises, it is important to ensure that the student is able to melodiously, plastically conduct the sound, feel the movement of the melody and the climax of the work. When working on vocal piece it is necessary to achieve semantic unity of text and music. When choosing an individual repertoire for a student, avoid too high or too low a tessitura, as well as emotional overload leading to forcing. Mainly work on the middle register. During the second year of study, the student must work: - 3-4 vocalizations; - at least 2 folk songs or romances; - 3-5 works by Russian, foreign or Soviet composers. Sample repertoire list Soprano: Abt F. “Vocalises” Balakirev M. “A clear month has ascended to the sky” Borodin A. “Beauty Fisherwoman” Budashkin N. “Beyond the distant outskirts” Varlamov A. “Golden Ring”, “ Don't wake her up at dawn" Wekerlen J. "The Playful Shepherdess" Grieg E. "In Spring", "Children's Song", "Forest Song" 11 Glinka M. "Lark" Grechaninov A. "Lullaby" Gurilev A. " A swallow flutters", "Little House", "Sarafan" Dargomyzhsky A. "Olga's Song" from op. “Mermaid”, “Sixteen Years”, “Young Man and Maiden” Dunaevsky I. “Autumn Song” Dubuk A. “Ant-Grass” Zeidler G. “Vocalises” Konkone J. “Vocalises” Kabalevsky D. “Serenade of a Beauty” Lyadov A. “The grapes are blooming in the garden”, “I danced with a mosquito” Mozart V. “Bastien’s Aria” from op. “Bastien and Bastien”, “Cherubino Arias” from op. “The Marriage of Figaro” (“The Heart Excites”, “I Can’t Tell You, I Can’t Explain”), “Oh, My Zither” Monyuszko S. “Golden Fish” Polish folk song “Lark” Russian folk song arr. V. Sokolova “You, field, clean field” Ostrovsky A. “And I see”, “Autumn Waltz”, “Where did you grow up, girl?” Rakov N. “Summer Evening” Rimsky-Korsakov N. “Silently the evening is burning down” Spadavecchia “Cinderella’s Song in the Forest” Titov N. “You too will rest” Khrennikov T. “Glasha’s Song” from the film “The Pig Farmer and the Shepherd” Tchaikovsky P. “ My kindergarten”, “The snow is already melting”, “I won’t tell you anything” Schubert F. “Trout”, “A Rose in the Field” Schumann R. “Lotus”, “Swallows” Shostakovich D. “Lullaby” Mezzo-soprano : Abt F. Vocalises Alyabyev A. “I see your image”, “And I will go out onto the porch” Balakirev M. “Blow, blow bad weather” Beethoven L. “Faithful Johnny” Bulakhov P. “The leaves were silent”, “And no” in the world of eyes" Bach I. "Life is good" Volkov V. "Maiden" Varlamov A. "I feel sorry for you", "So the soul is torn" Glinka M. "Ilyinishna's Song" from the music to the tragedy "Prince Kholmsky", "Not tempt”, “If I meet you” Gurilyov A. “The mountain ash has blushed”, “The little bird has flown away” Gluck H. Aria “The blood is cold, the blood is yearning” from op. “Orpheus” Dargomyzhsky A. “We parted proudly”, “Can I hear your voice”, “I’m sad” 12 Dunaevsky I. “In the Meadows, Glades”, “School Waltz” Seidler G. “Vocalises” Kalziers Aria “Even though you cruelly torment me” Concone J. Vocalises Cui Ts. “Tsarskoe Selo statue” Lyadov A. “At the gate, the wide gate” Makarova V. “Morning song” Russian folk song “I walked in the meadows in the evening”, “Luchinushka” Russian folk song arr. V. Volkova “Why are you greedily looking at the road”, “Century-old linden tree”, “Over the fields, and above the clean ones” Russian folk song arr. Martynova “I remember, I was still young” Rubinshtein A. “Singer” Titov N. “Bird” Fradkin N. “The Volga Flows” Tenor: Abt F. Vocalises Alyabyev A. “Winter Evening”, “Winter Road” Varlamov A. “ Where are you, little star”, “Mountain Peaks” Weckerlen J. “Frolic Shepherdess” Glinka M. “Northern Star” Grieg E. “On the Road to the Motherland”, “Spring Flower” Gurilev A. “Inner Music” Dargomyzhsky A. “ Don’t judge, good people”, “What do I care about songs” Dunaevsky I. “School Waltz” Seidler G. Vocalises Concone J. Vocalises Mozart V. Bastien’s Aria from op. “Bastien and Bastien” Russian folk song “Troika” Slovak folk song “Sleep, my dear” Khrennikov T. “Like a nightingale about a rose” Tchaikovsky P. “Autumn” Baritone: Abt F. Vocalises Alyabyev A. “I loved you” Balakirev M. “The Old Man’s Song” Beethoven L. “Always, always be happy” Borodin A. “The fair maiden fell out of love” Gurilev A. “Heart-toy” Kalinnikov V. “On the old mound” Concone J. Vocalises Malov V. Barcarolle Mozart V Figaro's Aria from op. “The Marriage of Figaro” (“Frisky Boy”) 13 Mussorgsky M. “Evening Song” Russian folk song arr. Y. Slonova “Night” Russian folk song arr. YuShaporina “Burlatsky Song” Slonov Y. “Oh, you, red sun” Khrennikov T. “The night slightly sways with leaves” Bass: Abt F. Vocalises Balakirev M. “Dream” Bach I. “Our day brings the light of dawn” Borodin A. “ Song of the Dark Forest" Grieg E. "The Hut" Dargomyzhsky A. "Heavy Stone" Kalinnikov V. "On the Old Mound" Concone J. Vocalises Mendelssohn F. "There is no greater torment in the world" Mozart V. 1st aria of Zorastro from op. “The Magic Flute” Russian folk song arr. A. Lyadova “Calyada, Malyada”, “Sitting Slumbering” Russian folk song arr. M. Balakireva - A. Lyadova “What is cruel in the world” Russian folk song arr. A. Alexandrova “Hey, let’s whoop” Ukrainian folk song arr. N. Stetsenko “Oh, why are you stupid” Solovyov-Sedoy V. “Where are you now, fellow soldiers” Khachaturyan A. “Called you a flower” Third year of study In the third year of study, work should continue on leveling the sound of the voice, expanding range, development of clear diction, expressiveness of words, smoothing of transitional notes, development and strengthening of singing breathing. Depending on the student’s ability, work begins on vocal mobility, familiarization with grace notes, gruppetto, etc. In the process of working on musical works with text, one should strive to create artistic image, use the student’s emotional capabilities, develop his acting skills. During the school year, the student must perform in concerts several times. A third-year student must complete: - 3-4 vocalizations with accelerated movement and technique; - 2-3 arias (cantilena and mobile); -3-4 romances and songs by Russian and modern domestic composers. Sample repertoire list Soprano: Alyabyev A. “Sweetly sang the soul of the nightingale”, “I see your image” Arakishvili D. “The Shepherd’s Song” 14 Balakirev M. “A clear month has risen in the sky”, “Barcarole” Bulakhov P. “No, I don’t love you” Varlamov A. “Why should I live and grieve”, “Why have you turned yellow early, little grass”, “I love to look into a clear night” Glazunov A. Romance of Nina Glinka M. “I remember wonderful moment "Gluck X. "Cupid's Aria from op. “Orpheus” by Guno C. Barcarolle Dargomyzhsky A. “Young Man and Maiden”, Natasha’s aria “Ah, that time has passed” from op. “Mermaid”, “The Nightingale Flew” Giordano “Oh, My Darling” Dolukhanyan A. “Swallow” Zaremba V. “I Amazing at the Sky” Zeidler G. Vocalises Kabalevsky D. “Serenade of a Beauty”, Caccini G. “Amarilis” Concone J. . Vocalises by Cui C. “I touched a flower” Lysenko N. “Oh, don’t shine for a month” Lutgen B. Vocalises by Mozart V. Aria of Susanna from op. “The Marriage of Figaro” (“The Moment Comes”), Susanna’s insert aria “How tremulous is the heart”, Zerlina’s aria “I know the remedy” from op. “Don Juan” Mendelson F. “On the wings of a wonderful song” English folk song arr. Bayley “Do you remember” Russian folk song “Deep Volga River” Pakhmutova A. “Tenderness” Rubinstein A. Tamara’s Romance from op. “Demon” Rimsky-Korsakov N. “No wind blowing from on high”, “In the Silence of the Nights” Rachmaninov S. “Island” Tulikov S. “Kursk Nightingale” Mezzo-soprano: Balakirev M. “Wrap, Kiss” Verstovsky A. Gypsy song “Old Husband” Haydn J. Eurydice’s Aria from op. “Orpheus and Eurydice” Hendel G. “Give me with your tears” Gounod C. Siebel’s aria “When careless” from op. “Faust” Gurilev A. “Heart-toy” Dargomyzhsky A. “Night marshmallow”, “I won’t tell anyone” Dunaevsky I. “The lilac has blossomed”, “Good morning” Zeidler G. Vocalises Konkone J. Vocalises 15 Russian folk song in arr. Kovalya “The stitches and paths were overgrown” Rimsky-Korsakov N. “That was in early spring”, the third song of Lelya from the op. “The Snow Maiden” Rakov N. “Nothing moves in the pole” Schubert F. “The Girl’s Complaint” Tchaikovsky P. “Night” (Why I Love), “Autumn”, “That Was in the Early Spring”, “Song of the Gypsy” Tenor: Balakirev M. “Can I hear your voice”, “Am I a daring fellow” Blanter M. “Migratory birds are flying” Bulakhov P. “My bells, steppe flowers” ​​Varlamov A. “A lonely sail is turning white” Glinka M. “I remember the wonderful moment”, “Autumn Night” Gliere R. “Sweetly sang the soul of the nightingale” Guno S. Barcarolle Dargomyzhsky “Young man and maiden” Giordano “Oh, my dear” Zaremba V. “I marvel at the sky” Zeidler G. Vocalises Covalli F . Arietta “Oh love, you are a wonderful gift” Conkone J. Vocalise Lysenko N. “Oh, don’t shine, for a month” M osolov A. “Glory to the Russian soldier” Russian folk song “Farewell joy” Russian folk song “Century Linden” Rubinstein A. "Singer" Rimsky-Korsakov "Not the wind, blowing from above", Sadko's song "Play my harps" from op. “Sadko” Sizov N. “French song” Scarlatti A. Arietta “Stop hurting your heart” Titov N. “Talisman”, “Blue Scarf” Ukrainian folk song “Brown Eyes” Tchaikovsky P. “My Nightingale, Nightingale” Baritone: Aedonitsky P. “Icy Sea” Balakirev “Cover, Kiss”, “Cliff” Brahms I. “Sunday Morning” Bulakhov P. “Shine, Shine, My Star” Glinka M. “Say, why did you appear" Dargomyzhsky A. "I remember deeply", "Night Zephyr" Zhivotov A. "Birch" Zeidler G. Vocalises 16 Koval M. "Eh, Nastasya" Makarov E. "Morning Song" Mozart V. Serenade of Don Juan " Oh, come to the window” from op. “Don Juan” Mussorgsky M. “Forgotten” Russian folk song “Farewell Joy” Russian folk song “Glorious Sea, Sacred Baikal” Rubinstein A. Aria of the Demon “On the Ocean of Air”, “I am the one” from op. “The Demon” Titov N. “The Talisman” Schumann R. “On the Rhine” Tchaikovsky P. “I would like in a single word” Bass: Berg A. “The Shepherd” Beethoven L. “The Lover” Blanter M. “Oh, North Sea” Balakirev M. “Cliff” Bulakhov P. “Shine, burn, my star” Varlamov A. “Reminder” Grechaninov A. “And I dreamed of a distant country” Glinka M. “I am in love, maiden of beauty” Dargomyzhsky A. “ Both boring and sad”, “Night marshmallow”, “I loved you” Zeidler G. Vocalises Konkone J. Vocalises Kalinnikov V. “On the old mound” Lobachev G. “The river is silent” Fourth year of study The fourth year of study should give the teacher has the opportunity to identify the student’s vocal, technical and performing abilities. The main work is to strengthen singing breathing and intonation. Work continues to strengthen all acquired vocal and technical skills. It is necessary to pay great attention introducing students to the works of both domestic and foreign composers. During the fourth year of study, work continues on leveling the sound of the voice over the entire range, on all vowels, developing voice mobility, improving fluency techniques and sound thinning. During the fourth year, you should take 2-3 vocalises, 5-7 works of different genres (romance, folk song, classical works by foreign, Russian and Soviet composers). At the end of the first half of the year and at the end of the second half of the year, the student is required to perform at a test or test lesson, or at a concert with an assessment. You need to perform 2-3 pieces. 17 Sample repertoire list Soprano: Arakishvili D. “On the Hills of Georgia” Arensky A. “The Dazzling Blue Sky”, “Happiness” Beethoven L. “Song of the Minions”, “Adelaide” Brahms I. “At the Spinning Wheel”, “ Nightingale" Varlamov A. "Barcarole" Vasilenko V. "Meadow" Vlasov V. "To the fountain of the Bakhchisarai Palace" Glinka M. "Margarita's Song" Gliere R. "Meek little star", "Oh, do not weave flowers" Grieg E. " Song of Solveig" by Guno Sh. "Night is full of sparkle" Dargomyzhsky A. "Crazy, without reason", "My betrothed, my mummer" Dolukhanyan A. "Swallow" Dunaevsky I. "Silence", "Zazdravnaya" Cui Ts. " Cloud", "Tsarkosselo statue" Lysenko N. "Windows of Vitras" Russian folk song in arr. P. Londonova “Travushka-ant” Russian folk song arr. V. Krasnoglyadova “Nothing moves in the pole” Rachmaninov S. “Island” Rubinstein A. “Desire” Taneyev S. “In the Invisible Haze” Tulikov S. “Winter Evening”, “Joyful Waltz” Tchaikovsky P. Serenade “Where Are You flying”, “He loved me so much”, “On this moonlit night”, “The sun has set” Schubert F. “Serenade”, “Margarita at the Spinning Wheel” Mezzo-soprano: Alyabyev A. “If life deceives you” Balakirev M . “The ruddy sunset is burning down” Beethoven L. “Clerchen’s Song” Bulakhov P. “Date” Varlamov A. “I feel sorry for you” Glinka M. “What are you bowing over the waters” Glyuk X. Orpheus’ Aria “I Lost Eurydice” from op. “Orpheus” Grechaninov A. “Why are you drooping, green willow tree” Grieg E. “Water Lily” Dargomyzhsky A. “I’m sad”, “My betrothed, my mummer”, “Crazy, crazy”, Laura’s first romance from op. “The Stone Guest” Dunaevsky I. “The Gray Cedars Are Noisy” Mussorgsky M. “For Mushrooms”, Martha’s Song (“The Baby Was Coming”) from op. “Khovanshchina” 18 Rachmaninov S. “I fell in love with my sadness”, “Child, you are beautiful like a flower” Rubinstein A. “Desire” Taneyev S. “Not the wind, blowing from on high” Tchaikovsky P. Olga’s Arioso from op. “Eugene Onegin”, “The weak light of a candle is fading”, “No, only the one who knew” Schubert F. “You are my peace” Tenor: Beethoven L. “Adelaide” Bulakhov P. “I remember the day” Varlamov A. “Don’t wake her up at dawn” Glinka M. “Knight’s romance”, “The fire of desire burns in the blood”, “ Poor singer”, “Winner” Glier R. “Sweetly sang the soul of the nightingale”, “We sailed with you”, “Stream” Grechaninov A. “Desire” Gurilev A. “The bell rattles monotonously”, “At the dawn of foggy youth » Dargomyzhsky A. “Wedding” Companion L. “The apple tree is blooming again” Lysenko N. “Oh, maiden” Mozart V. “Lullaby” Nosov N. “Far, far away” Novikov A. “Free Russia” Russian folk song arr. Glazunov “They don’t tell Masha to cross the river” Ostrovsky A. “Swifts are flying” Rachmaninov S. “Sad Night” Rubinstein A. “Night” Solovyov-Sedoy V. “Nightingales” Titov A. “I knew her as a sweet child” Tchaikovsky P. “Tell me why”, “Among the noisy ball”, “I won’t tell you anything”, “The sun has set”, Triquet’s verses from op. “Eugene Onegin” Schumann R. “Child, you are beautiful like a flower” Schubert F. “Serenade” Baritone: Beethoven L. “Under the gravestone” Borodin A. “For the shores of the distant fatherland”, “Song of the Dark Forest” Vasilenko V. “Skomoroshya” Glinka M. “Doubt”, “Don’t sing, beauty, in front of me” Grechaninov A. “I walk along the dull steppe” Grig E. “Hunter” Gurilev A. “Song of the Sailor” Dolukhanyan A. “My Motherland” » Dargomyzhsky A. “Titular Councilor”, “Miller” Keneman F. “Oh, you gusli” 19 Kabalevsky D. Drinking song Kola from op. “The Master from Clumsy” Koval M. “Eh, Nastasya” Listov K. “Sevastopol Waltz” Matveev Y. “Don’t rage, wild winds” Molchanov K. “Here the soldiers are coming” Mussorgsky M. “You didn’t recognize me in the crowd” Russian folk song “Hey, let’s whoop” Nosov N. “Northern Ballad” Rimsky - Korsakov N. “Oh, if only you could” Stolypin D. “Two Giants” Titov A. “I knew her as a sweet child” Tchaikovsky P. “No, only the one who knew”, “I bless you, forests”, “We sat with you”, “First date” Schumann R. “I am not angry” Schubert F. “The Wanderer” Bass: Bellini V. Cavatina Rudolf “I am again I see my native places” from op. “Somnambulist” Beethoven L. “Under the gravestone” Balakirev M. “Desert” Borodin A. “Song of the Dark Forest” Glinka M. “Doubt” Dargomyzhsky A. “Miller”, “Titular Councilor” Keneman F. “Oh you, psaltery" Mozart V. Zorastro's Aria "Oh, you, Isis and Osiris" from op. “The Magic Flute” Mussorgsky M. “The Mischievous Man” Nosov N. “Northern Ballad” Russian folk song arr. Izvekov “Kalinushka spoke” Russian folk song arr. Varlamov “Why do you sit until midnight” Rimsky-Korsakov N. Song of the Varangian Guest from the op. “Sadko”, Sobakin’s aria from op. “The Tsar’s Bride” Stolypin D. “Two Giants” Tchaikovsky P. “I bless you, forests”, “No, only the one who knew” Khachaturian A. “Baltic Sea” Schubert F. “Serenade”, “To Music” , “Hotel” (from the “Winter Reise” series) 20 IV. METODICAL PROVISIONS PROGRAMS When working with students, it is necessary to ensure compliance with sanitary and hygienic standards: the room must be regularly ventilated and in good condition illuminated. Visual material: - Recorded musical works (SB, DVD); - Portraits of outstanding vocalists and composers; - Music staff. - Work with parents and: Consultations for parents; Concerts, holidays; Participation in parent meetings and preparation for performances; Stand design. Methods and techniques of work: Methods of forming the student’s consciousness: - Demonstration; - Explanation; - Instruction; - Explanation. Methods for shaping student activity and behavior: - Independent work; - Illustration. Methods of stimulating cognition and activity: - Encouragement; - Control; - Self-control; - Grade; - Self-esteem; - Presentation of a gift; - Approval with a word. Methods of encouragement: - Gratitude; - Letter of thanks parents; - Verbal approval. 21 V. R E K O M E N D U E M A Y L I T E R A T U R A 1. Dmitriev L. B. Fundamentals of vocal technique. M.: Music, 2000. 2. Dmitriev L. B. Vowels in singing.// Questions of vocal pedagogy. Vol. 1. State Music Publishing house, 1962. 3. Emelyanov V.V. Voice development. Coordination and training. S.-P., 2000. 4. Petrushin V.I. Musical psychology. M., 1997. 5. Yushmanov V.I. Vocal technique and its paradoxes. S.-P., 2001. 6. Yusson R. Singing voice. M., 1974. 7. Glinka M.I. Exercises for improving the voice, methodological explanations for them and solfeggio vocalises. M.; L.; 1951. 8. The human voice as a musical instrument // Ed. E.I. Sheveleva. M., 1998. 9. Aspelund D. L. Development of the singer and his voice. M., 1952. 10. Zdanovich A.P. Some questions of vocal technique. M., 1965. 11. Pryanishnikov I.P. Advice for students learning to sing. M., 1958. 12. Panofka G. The art of singing. M., 1968. 13. Lvov M. L. From the history of vocal art. M., 1964. 14. Nazarenko I.K. The art of singing. Reader. M., 1968. 15. Malinina E. M. Vocal development of children. M.-L., 1967.

Academic or classical vocals are noticeably different from jazz or pop performance techniques. It is based on musical traditions that developed back in the 16th century. Today, classical vocals are performed in opera, chapel, and academic choirs. However, some pop singers also work in an academic manner.

Distinctive features of academic vocals

• Academic vocals do not involve the use of a microphone or other amplifying equipment. The vocalist, thanks to complete control over his voice, is able to voice the audience without merging or entering into confrontation with the orchestra.
• A competent academic vocalist is distinguished by the ability to sing in a wide vocal range and the ability to qualitatively reproduce material that is most complex in a musical and technical sense. At the same time, the slightest extra sounds are not allowed: tremulations, wheezing, wheezing and other sound defects. Academic vocals are the pursuit of an ideal singing style: the singer achieves a spacious, clear sound of his voice.
• Musician working in classical technique, masters the widest palette of means of musical, vocal, artistic expression. The singer is able to reproduce the most subtle and transparent tones and produce extremely bright expressive compositions. At the same time, regardless of the range of feelings put into the song, it turns out harmonious, beautiful and aesthetically perfect.

Why is it worth studying classical vocals?

Just as a strong foundation is important for a building, a professional musician cannot do without a high-quality vocal base. Regardless of the genre in which the singer plans to work, academic vocals can become an excellent basis for his further creative development. It allows you to develop natural abilities to the maximum extent, master basic vocal techniques, study and learn how to effectively use voice control mechanisms.

How is academic vocal training carried out?

In academic vocal lessons for beginners under the supervision of professional teachers, you will be able to develop and develop the following important skills:

• Correct singing breathing.
• Clear articulation and diction;
• Ability to place the right accents;
• The ability to competently use singing techniques, which include the use of resonators, singing on a support and other vocal abilities.

In addition, academic vocal classes will help prepare you for performing on the professional stage. For example, teachers at a music school site help their students choose a repertoire that best suits their vocal abilities, and also contribute to the development of artistry and emotional expressiveness of the singer.

In this article I will try to highlight the most severe mistakes of all or most beginning vocalists

1. Lack of correct. You can’t pay little attention to breathing support, it’s important to understand that proper retention of air in the lungs contributes to free, flighty, voluminous, beautiful singing;
2. Following a note. An erroneous opinion, unfortunately so widespread among pop singers about the need to change the position of the larynx to take high notes. It is important to know that the vocal position of the vocal apparatus should not change depending on the note being intoned, and in general while singing, the larynx should remain motionless, do not reach for the note.
3. You should not pass excess air through the ligaments, this will not make your voice more powerful, it is better to send it to the resonators, while singing, you should not eject a large amount of air, no matter what note you sing. The candle flame brought to the mouth during singing should not fluctuate, the air should be held in itself and only a small part of it should be carefully sent into the resonators, this will be enough for powerful sonorous singing.
4. White sound. This is the name for singing not into resonators; such singing can be heard from pop singers who rely on a microphone and do not want to sound with their bodies. The resonators should sound, then the throat will not be pinched, the sound will be rich and interesting, unlike anyone else;
5. Relying on instincts. While singing, you should not think that the body will sing as you wish, of course. We learn to sing so that the voice sounds automatically and the mind remains free for feelings and processing of the artistic image. But at the learning stage, you must control your attention as much as possible on each action, if possible, do not be distracted from singing, remember all the teacher’s advice and apply them in practice.
6. Imitation. Don’t imitate your idols, no matter how great you think they sing, remember that there is always the possibility that you naturally sing much better, sing with your voice, listen to your body, look for a vocal position, cultivate your best qualities voices and then you will be able to do everything, but the first development option is detrimental;
7. All at once. At the beginning of training, do not sing your favorite songs and arias that sound great when performed by your idol if you are not able to do this. Assess your strengths realistically, if you start singing, then first sing at least one note, but make sure it sounds perfect, or at least so that, looking the truth in the eyes, you can say that it is really good, and only then think about light works. A perfect voice is the result of many years of training, and your idols may have changed many development paths and vocal schools in order to sing like that.
8. Don’t be afraid to sing, don’t enslave yourself, always maintain self-confidence, learn to enjoy small but significant successes in singing, then you will gain and take leaps and bounds into the world of vocals, and trying to learn everything at once, to prove something to others, to fight your complexes is unnecessary With arrogant habits, you will only make the situation worse.
9. You don’t need to sing often 2-3 times a week, but sing, and don’t count on the next life, if you want to sing beautifully, you will have to sing to keep your body in vocal tone always! The fact is that the neurons of the brain responsible for memory tend to die off as unnecessary; if you sing very rarely, you will learn anew each time instead of improving what you have achieved;
10. Do not try to achieve the beauty of your own sound at the beginning of singing. The point again is in stereotypes about beautiful sound and about imitation of other singers. Every time you start singing, trying to correct the mistakes of your awkward achievements acquired in the process of imitation, you should remember that you cannot sing yet and this is your advantage. Throw away everything unnecessary, imagine yourself blank slate paper and try to sing in the most organic sound for you, then try to sing a simple piece with it, let it be a test for you, or rather, for your nervous system, can you...?? Cultivate your sound, forget about beauty, open your “mouth” and, without hesitation, sing with your natural sound, without any antics. And after that, you can think about support, resonators, etc., but then, you will see for yourself that beauty itself appeared along with freedom in the body.

Vocalist(from Latin words vox - “voice” and vocalis - “sounding”) - musical profession, a role in a musical group, involves performing various vocal parts.

Nowadays, the term vocalist almost coincides with the term singer, but in modern pop music is interpreted somewhat more broadly, in particular implying the possibility of recitation, recitative, etc.

A singer is someone who sings and is engaged in singing. Executor vocal music: songs, romances, arias, choirs, singles, etc. A musician performing music on musical instrument, which is his own voice. The singer is the most common type of vocalist.

Lead vocalist - participant musical group, performing primarily the main vocal parts.

Backing vocalist is a member of a musical group who performs additional, harmonic vocal parts (a kind of backing vocals).

Singing voices

There are various systems for classifying voices (and singers, respectively). Some of them take into account the strength of the voice, that is, how loudly the singer can sing. Others - how mobile, virtuoso, and distinct the singer’s voice is. Still others include non-musical characteristics such as physical appearance, acting ability, etc.

Most often, a classification is used that takes into account the vocal range and gender of the singer. Even guided only by these two criteria, we get many varieties:

Female voices:

• soprano - high female voice
• mezzo-soprano - medium female voice
• contralto - low female voice (in choral music usually called just viola)

Male voices:

• tenor - high male voice
• baritone - average male voice
• bass - low male voice

Other vocal varieties are coloratura soprano, dramatic tenor, bass-baritone, bass profundo. There is even a category of male singers who sing in the range female voice. This type of voice is rare, but is still used today, mainly in opera. In Baroque music, many roles were written for castrati - male singers who underwent castration surgery as a boy to prevent mutation and to maintain a high, female-like voice. In modern vocal performance, these roles can be performed by a singer who has a developed falsetto singing technique. Singers of this type are called countertenors (aka male alto).

Where can I learn to sing?

The question is undoubtedly quite general: the fact is that some are interested in, for example, jazz improvisation, while others feel confident enough in karaoke, etc.

Classification of vocals by manner of performance

Academic vocals (classical, opera)

Academic vocals are the old classical vocal school. Academic singers sing in opera, in academic choirs, chapels, symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by experience and the history of vocal music. These frameworks, as a rule, do not allow an academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academicians may perform in other vocal genres, if they can make the sound easier.

Pop vocals

Pop vocals - pop singing combines many song styles and unites the entire palette of vocal art. Pop vocals, first of all, mean singing from the stage, but the concept of pop vocals is usually associated with light and easy-to-understand music. In pop vocals you can hear folk motifs, and elements of jazz, it is also an original song and elements of rock music. Pop vocals differ from academic vocals in that they have a more open and more natural sound. However, singing skills, correct positioning and sound support are just as necessary in pop vocals as in academic ones.

Jazz vocals

Jazz vocals, first of all, imply an ideal sense of rhythm and harmony, as well as vocal mobility and the ability to improvise. In jazz singing, you need to feel the form of the work, be able to present your understanding of the melodic theme, modifying it but without leaving the necessary harmony. Also important is the sensitive partnership of musicians and the ability to improvise on the go.

Rock vocals

Rock vocals are usually the singing of a vocalist in a rock band. Rock vocals differ from jazz singing in that they are more emotional. Rock vocals involve more semantic content than vocal ones. However, a rock vocalist needs to have serious vocal training. A rock vocalist must also have courage and complete freedom in an emotional and musical sense.

Folk singing or ethnic singing

Folk singing, ethnic singing, as follows from the term itself, is singing that has existed since the appearance of man, and differs characteristic features, characteristic of a particular nationality, ethnic group. Echoes of folk tradition can also be found in academic (classical) musical culture, and in pop (urban) musical culture. In general, folk singing is characterized by a flat sky and singing with chords.

The so-called throat singing is a type of folk singing in which the singer, while singing, uses not only the ligaments, but the throat itself, the resonating cavities of the mouth, and larynx, due to which the overtones of the fundamental tone become audible.

At the same time, academic vocal production is the basis of everything: it gives freedom of voice control.

At the same time, a transition like “jazz to academic” can become a real break for a singer, which is why it is advisable to immediately decide what exactly you want to study.

It is important to understand that it is impossible to teach singing professionally in 2-3 months, even to people with a natural voice and perfect pitch.

In the case of academic vocals, the first year you will have to sing only exercises, vocalises (singing without words - “o-o-o” or “a-a-a”) and simple songs.

Then you can gradually move on to romances and simple arias. The point is not that the science of singing is based on some technique accessible to a select few. In fact, you can tell how to sing correctly in half an hour, everything else is a matter of training.

In this sense, singing is like a sport. Depending on your natural abilities, it will turn out a little faster or a little slower, but in any case you need hard training. Vocal lessons are a story for several years.

The most common and most correct form vocal training - individual sessions with a teacher (here we are not talking about the ensemble and choir school - this is a whole separate world).

Finding your teacher is quite difficult, and even recommendations do not guarantee anything: it is also important to get along on a purely human level, because you will have to spend a lot of time together. There are even more styles of teaching than there are varieties of vocals; one might say that each teacher has his own style.

There is an old one academic school, there are former rockers, etc. Of course, they have one thing in common: there are no non-singing singing teachers.

Past and/or real success vocalist on stage is not a guarantee that he will teach you to sing well.

The quality of the teacher’s singing does not directly affect the quality of teaching - moreover, the “do as I do” principle does not work here, since everyone’s vocal apparatus is different (some have a longer neck, some have a shorter one).