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Muses. I. Ozolinya

Sl. A. Brodele

The forest spread out dense

The literary text of the work was written by Anna Yurievna Brodele. She was born on September 16, 1910. Latvian writer. Born in the family of a forester. Published since 1927. For participation in underground work she was imprisoned (1932 - 1936). She studied at the Lithuanian Institute. M. Gorky in Moscow.

The turning point in the minds of the old intelligentsia is reflected in the play "Teacher Straush" (1949)

The most significant prose of Brodele is the story "Margot" (1950), the novel "Quiet Town" (1967) about the struggle for Soviet power in bourgeois Latvia. Novels from collective farm life: "Blood of the Heart" and "Loyalty". The novels "The Blue Sparrow", "This is my time" are devoted to the problems of youth. She was awarded two orders, as well as medals. Died September 29, 1981.

The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in Emava. Latvian Soviet choir conductor, composer and teacher. Honored Art Worker of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductors of song festivals. Author of many choral works, as well as romances, adaptations of folk songs, music for theater and cinema. From 1930 - 1941 taught at general education schools in Jelgava and Riga. From 1942 to 1944 he was the conductor of the choir of the State Art Ensemble of Latvia in the SSR in Ivanovo, for which he created the first Latvian military-patriotic mass songs. From 1944-1953 artistic director and conductor of the State Choir of the Latvian SSR, from 1946-1948 artistic director of the State Philharmonics of the Latvian SSR. Since 1951 he has been a teacher (since 1965 a professor) and rector of the Latvian Conservatory. One of the main conductors of all song festivals in Soviet Latvia. J. Ozolin is the author of numerous successive choral songs with a developed melodic beginning. (“Song of the Latvian Riflemen”, “Song of the Fishermen”, “My Motherland”, “Ivushka”, “The Way of the Song” - a poem for male choir and symphony orchestra, a cycle of vocal miniatures based on poems by R. Gamzatov, etc.), works for spiritual orchestra (fantasy suite "Evening in a Fisherman's Village", overture "Immortal Youth", etc.), music for drama and puppet theaters, cinema.

literary text

The forest spread out densely...

In the distance, clouds float over the forest,

blue rivers shine,

the sun knits lace.

Gray-haired flock of light clouds

flies and melts to the east,

and, waving branches after,

birch trees send them greetings.

Visit places

where we hovered dreams!

All dreams and dreams will be

put into practice by us.

In this choral work, the beauty of nature is sung. Nature yesterday, today and tomorrow - was, is and will be beautiful. Nature evokes bright feelings in a person. It is impossible not to admire her, because we know how powerful, unique and eternal nature is, how good our Motherland is. Wherever fate throws a person, wherever he finds himself, the soul will still live in the Motherland, where he has corners of nature, to which he trusted his thoughts, his feelings, his dreams ...

Musical-theoretical analysis.

The work is written in a simple couplet form.

The volume of the choral score is 12 measures.

The period consists of three musical proposals. Each sentence is divided into 2 phrases.

The third sentence is a repetition of the second without change.

The forest spread out densely ... 1fr.

In the distance, clouds float over the forest, 2 fr.

Shines river blue, 3 fr.

The sun knits lace.4 fr.

The rhythmic pattern of this choir is simple, expressed by the following groupings:

The work is written in the key of F-major. The variable meter is simple, double and triple. The size is simple ¾, 2/4. The presentation is homophonic-harmonic. The work is dominated by monorhythm in 1, 3, 5, 7 measures, in 2, 4, 6, 8 measures.

Example v. 1-2

An important means of musical expression is dynamics. The dynamics of this work is represented by the following values: p, mp, mf, as well as a lot of moving dynamics: crescendo, diminuendo.

Example t. 7-8.

One of the means of artistic expression is tempo - a certain sphere of images, emotions, moods.

The pace of the work is moderate (slowly).

Example: v.1 - 2

This work is performed acappella, the distribution of musical - thematic material between the choral parts is as follows: the melodic line runs in the S1 part, and S2 and A harmoniously support it.

Example: v. 5 - 6

The Lado tonal plan of the work is very simple and traditional. The main key of the piece is F major. And only in 6 m. The composer uses the harmonic form of major (with a reduced 6th step).

Example: v. 5 - 6

The harmonic language of the work "The dense forest spreads" is completely determined by the modal-tonal plan - it is very simple. These are triads and inversion of triads (T,S,D).

Example: v.3 - 4

Warehouse presentation - homophonic - harmonic. The texture of a choral work is conditioned by the content and expressive possibilities of the choral parts. In the work “The dense forest spreads”, two main functions of the choral parties can be distinguished: melodic (associated with the conduct of musical thought - the upper voice), and harmonic (the accompaniment function - the middle, lower voice).

Example: v. 1 - 2

Vocal-choral analysis

The work "The dense forest spreads" was written for a homogeneous female three-part choir a cappella. Consider the range of each choral part separately:

Choir ranges:

General range of the choir:

All choral parts are written within the notes of the working range.

With the exception of the part - A, their theme begins in a small octave and therefore you need to start singing quieter on P.

Diction is the most important element in choral art. The word helps the listener to understand the composer's intention, the idea and image of the work. Diction is one of the means of conveying the words of the literary text of a choral work to the audience. Vocal-choral diction implies a clear pronunciation. According to the rules of orthoepy, a consonant at the end of a word is transferred to the first syllable of the next word:

Lesra-ski-went-dre-mu-chi ...

Away-float-wu-tna-dle-so-mtu-chi,

Bl-sche-tre-chki-si-ne-va

So-sun-vya-same-true-same-va.

Sometimes in a group of consonants one of them is not pronounced:

Sun - / sun /

The work mainly uses valuable breathing, with the exception of 1-2 tt., 3-4 tt.

Chorus system

Since the work is performed acappella, great attention should be paid to intonation. Clean tuning is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral tuning.

The acappella structure is based on the modal and harmonic features of the intonation of music, its acoustic patterns.

Considering the melodic structure of choral parts, we are faced with intervals that present difficulty in intonation.

S1- t. 4-5 interval m.6 in an upward movement. Performed widely, in a high position:

A - interval ch.4 in ascending and descending movement. Should be performed in a low position:

There is a danger of lowering intonation when repeating one sound several times: v.1 (S2), v.3, v.5 (A), v.7 (S2).

The intervals, seconds between parts S1 and S2 also create difficulty in intoning.

After analyzing the intervals of the choral parts horizontally and vertically, we can conclude that the voice leading in the parts is different. S1 - smooth, gradual, wavy. A parts S2 and A

on the contrary, they are very static, as if motionless - on one note and only sometimes lead the melody step by step up and down.

Example: v.5-6

The basis of a good sound is proper singing breathing. The main type of breathing and singing is the lower - costal - diaphragmatic. One of the main conditions for proper singing breathing is complete freedom of the upper chest and neck. The work uses general choral breathing in phrases and sentences.

The third phrase is performed on a chain breath (5 - 8 tt.)

Performance Analysis

Getting to work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.

The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.

Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.

You need to learn the work in batches. The conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.

The main dynamic zone of the work (P) is quite natural for conveying a calm contemplative mood. Average dynamics from PP – mf.

In each phrase there are moving nuances (crescendo, diminuendo)

The second phrase of the 1st sentence starts with mp.

The second sentence starts with mf. At the end of diminuendo.

Each verse has a dynamic development.

This work teaches to be attentive to nature. To love and cherish her to teach to see the beautiful.

Short description

Getting to work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.
You need to learn the work in batches. The conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.

Analysis of the choral score.

Compiled by: Senior Lecturer

department of choral conducting and

solo singing of the Faculty of Music

Bogatko I.S.

Perm 2013

Choral work analysis

Musical-theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).

Vocal-choral analysis: type and type of choir, voice ranges, tessitura, ensemble, tuning, intonation, vocal-choral, rhythmic, diction difficulties).

Performing analysis of the work; (the connection of music with the text, the definition of caesuras, the establishment of the tempo, the nature of the work, dynamics, strokes, climax).

List of works.

1 course

Choral works to study

Arensky A. Anchar. Nocturne

Agafonnikov V. Flax was sown across the river.

Bely V. Steppe

Boyko R. 10 choirs at A. Pushkin station

Vasilenko S. Dafino wine. Like in the evening. On the mountains two gloomyclouds. Blizzard. Steppe.

Grechaninov A. The stream amuses us. In a fiery blaze. Aboveimpregnable toughness. Light is quiet. After the storm. At dawn.

Gounod C. Night

Davidenko A. Vsevpered. Barge haulers. The sea roared furiously.

Darzin E. Past. Broken pines.

Dvorak A. Pir. Choirs from the cycle "On Nature"

Debussy K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ippolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under a large tent. Russia.

Korganov T. Sees a deer in the water.

Kasyanov A. Autumn. The sea does not foam.

Caldara A. Stabatmater

Kalinnikov V. Lark. Winter. On the old mound. Us starsthe meek shone. Autumn. Forest. Oh, what an honor to the young man. merk starschick and go out. Condor. Elegy.

Koval M. Ilmen-lake. Leaves. Tears. There would be a storm, or something.

Kravchenko B. Russian frescoes (optional)

Cui C. Nocturne. Wake up song birds. Two roses. The sun is shiningtse. Storm clouds. Dream.

Kolosov A. Rus.

Lasso O. Soldier's serenade. Oh, if only you knew. matona.

Lensky A. Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).

Lyatoshinsky B. Autumn. Oh, ty, my mother. In a clean field. Water flows.

Makarov A. "City of Unfading Glory" from the suite "River Bogatyr"

Mendelssohn F. Choirs to choose from.

Muradeli V. Response to the message of A. Pushkin.

Novikov A. In the forge. Oh, you field. Love. Merry feast.

Popov S. Like the sea.

Poulenc F. White snow. Sadness. "I'm afraid of the night" from the cantata "Lik human"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. In the dark forest. Ah, you are a wide steppe. Down the mother along the Volga.

Sviridov G. "Pushkin's wreath": No. 1, 3, 7, 8, 10. "Night clouds" -No. 2. Blue in the evening. clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Povien-povien, storm-weather. Are you rowan, ripple nushka.

Taneev S. Adeli. Tower ruin. Venice at night.

Tchaikovsky P. Without pores, but without time. Not a cuckoo in the cheeseboron. The cloud slept. Nightingale. What silenced funvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).

Chesnokov P. August. Alps. In winter. The dawn is warm. Forest. Along yes alongriver. Dubinushka. It's not a flower that wilts in the field. Liturgical choirs (optional).

Shebalin V. Winter road. The mother sent thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove a horse. Soldier's grave.

Shostakovich D. Ten Poems. (choirs to choose from).

Schumann R. Good night. Toothache. In the woods. On Lake Constance.

Shchedrin R. 4 choirs at st. A. Tvardovsky.

Schubert F. Love. Night.

Choral works for sight reading and transposition.

Bortnyansky D. It is worthy to eat. Cherubic number 2.

Vekki O. The Shepherd and the Shepherdess.

Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.

Dargomyzhsky A. Petersburg Serenades.

Glinka M. Patriotic song.

Grechaninov A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ippolitov-Ivanov M. Sharp axe. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Rowanberry.

Kodai 3. Evening song.

Costle G. Mignon.

Sheet F. The onset of spring.

Mendelssohn F. Run with me. As frost fell on a spring night.Above her grave. Premonition of spring.

Prosnak K. Prelude.

Rachmaninov S. We sing to you.

Rimsky-Korsakov N.A. Ai in the field of lime. You rise the red sun.

Salmanov V. "Oh, dear comrades" from the oratorio "The Twelve".

Slonimsky S. Leningrad white night.

TaneevS. Serenade. Pine.

Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.A golden cloud spent the night

Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.

Shebalin V. Winter road.

Schumann R. Evening star. Good night. Night silence.

Schubert F. Love. distant.

Shchedrin R. How dear is a friend. The war has passed. Quiet Ukrainian night.

Eshpay A. Song about springs.

2 course

Choirs with accompanimentforstudying.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ippolitov-Ivanov M. Morning. Peasant feast.The approach of spring. Flowers.Leaves rustle in the garden. In May.

Novikov A. Grass. Hey, let's go. And the rain is pouring.

Schumann R. Gypsies.

Schubert F. Shelter.

Choirs from oratorios and cantatas.

Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.

Britten B . Missa brevis in D

Bruckner A. Requiemd- mall. Big mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Handel T. Oratorio "Samson": "Smitten Samson"

Grieg E. Olaf Trigvasson (single room).

Dvorak A. Requiem (choir performances). ThoseDeum(fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal glory, Black stone.

Kozlovsky O, Requiem (movements by choice).

Makarov A. Suite "River Bogatyr". O

O rf K. Karmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan the Terrible (choir numbers).

Poulenc F. Face of a man (parts by choice)

Salmanov V. Twelve (separate parts or in full).

Sviridov G. "Pathetic Oratorio": Wrangel's Flight,To the heroes of the battle of Perekop, There will be a garden city, The poet and the sun " Poem in memory of S. Yesenin ": Winter sings, Threshing,Night on Ivan Kupala, Peasant

guys. " Pushkin wreath ": No. 5, 6. "Night clouds" No. 5. " Ladoga" № 3, 5.

Tchaikovsky P. Moscow: No. 1, 3, 5.

Shostakovich D. "Song of the Forests": Future walk. "The sun is shining over our Motherland, Stenka Razin.

Choirs from operas;

Bizet G. "Carmen": scenes 24, 25, 26.

Beethoven L. "Fidelio" (department of choirs).

Borodin A. "Prince Igor": Glory, Yaroslavna's scene with the girls,Scene at Galitsky, Polovtsian dances with a choir,Finale of the 1st act,

Wagner R. "Lohengrin": Wedding choir. "Tannhauser": March.

Verdi D. "Aida": choral scenes. "Othello": choral scenes from 1, 3 acts.

Verstovsky A. "Askold's Grave": Oh, girlfriends, boil, potion.Chorus and song of Torop.

Gershwin A. "Porgy and Bess": separate choirs.

Glinka M. "Ivan Susanin": Polish Act, Glory."Ruslan and Lyudmila": Introduction, Final 1 act,Oh, you are the light, Lyudmila.

glitch X. "Orpheus": individual choirs.

Gounod C. "Faust": Waltz. "Romeo and Juliet: Choir of Courtiers.

Dargomyzhsky A. "Mermaid": Oh, you, heart, Braid, wattle. How we brewed beer on the mountain.As in the upper room-svetlitsa.

Delib L. "Lakme": choir and stage in the market.

Kozlovsky O. "Oedipus Rex": 1st choir of the people.

Mussorgsky M. "Boris Godunov": Scene of the coronation,Scene at St. Basil'sScene under Kromy (completely and separate fragments), "Sorochinskaya Fair": Choir from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in the Streltsy Sloboda (completely and separate frag.).

Rimsky-Koreakov N.A. "Pskovityanka": Meeting the Terrible,Grozny's entry into Pskov, Veche Scene; "Sadko": Chorus of trade guests,Whether the height, the height under heaven. "Snegurochka": Chorus of blind guslars,Scene in the reserved forestAnd we sowed millet, Pcarnival, Opera finale.

« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride ": Love potion, Yar-hop. " May Night": Millet.

Smetana B. "The Bartered Bride": separate choirs.

Kholminov A. "Chapaev": With us, Petenka.

Tchaikovsky P. "Eugene Onegin": Chorus of peasants, Ball at the Larins. " Queen of Spades ": Choir of Walkers,Chorus of guests, Shepherdess Pastoral. "Mazeppa": Chorus and lamentation of the mother, Folk scenes, Execution scene. "Oprichnik": The duck swam in the sea,Wedding choir "Glory".

Choral works for sight reading and transposition

Borodin A. "Prince Igor": Fly away on the wings of the wind.

Verstovsky A. "Askold's grave": Two choirs of fishermen,By the valley stood a white birch, Ah, girlfriends.

Verdi J. "Nebuchadnezzar": You are beautiful, oh, our Motherland. "Aida ": Who is there (2 act).

Glinka M. "Ruslan and Lyudmila": Oh, you are the light of Lyudmila,The bird won't wake up in the morning. "Ivan Susanin ": Wedding song.

Dargomyzhsky A. "Mermaid": Three choirs of mermaids.

Mussorgsky M. "Khovanshchina": Dad, Dad, come out to us.

Petrov A. "Peter I": Final chorus from the opera.

Tchaikovsky P. "The Snow Maiden": Seeing off Shrovetide.

Chesnokov P. Spring rolls.

3 course

Polyphonic choral works to study.

Original choral works

Arkadelt Ya. Swan at the moment of death.

Vecky Oh, it's better not to be born.

Verdi J. 4 spiritual choirs.

Gabrieli A. Young maiden.

Grechaninov A. Swan, crayfish and pike.

Glazunov A. Down the mother, along the Volga.

Kodály 3. Hungarian psalm.

Lasso O. Shepherd. Goose song. Echo.

Marenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.

Morley Tenderness burns in your face.

Palestrina J. Spring wind. Oh, he's been in the grave for a long time.

Rimsky-Koreakov N. The moon floats. Old song.A golden cloud spent the night. Tatar full.You are already a garden. Wild in the north.

Sveshnikov A. You are a garden.

Sokolov V. Where can a girl go with grief?

Taneev S. Alps. Sunrise. Evening. On the grave.Tower ruin. Look how dark.Prometheus. I saw a cliff through the clouds. In the days when over the sleepy sea. There are two gloomy clouds over the mountains.

Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.

Chesnokov P. There was a baby.

Shebalin V. Above the mounds.

Shchedrin R. Willow, willow.

Choirs from operas:

Borodin A. "Prince Igor": Chorus of the villagers.

Berlioz T. "The Condemnation of Faust": Brander's Song and Choir.

Vasilenko S. "The Legend of the Invisible City of Kitezh":Choir of the people "Woe has befallen".

Wagner R. "Meistersingers": Glory to Art.

Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila": He will die, he will die.

Dargomyzhsky A. "Mermaid": Healthy choir.

Mozart W. "Idomeneo": Run, save yourself.

Rimsky-Koreakov N. "The Tsar's Bride":choral fughetta "Sweeter than honey". "Snow Maiden ": I have never been scolded by treason(from the final 3 days)

Ravel M. "Child and Magic": Choir of shepherds and shepherdesses.

Shostakovich D. "Katerina Izmailova": Glory.

Choirs from oratorios and cantatas

Harutyunyan A. Cantata about the Motherland: No. 3 "The Triumph of Labor".

Bartok b. Cantataprofana. № 1, 2, 3.

Bach I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of Winds", No. 206D- dur"Opening Chorus", No. 208 F-dur "Final Choir", Mecca h- molI: № 1, 3, 15, 16, 17.

Beethoven L. MassC- dur: 1st hymn

Berlioz G. Requiem: otd. numbers.

Britten B. War requiem. MassinD.

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: No. 5, 12

Verdi G. Requiem: No. 1, 2, 7.

Haydn I. Seasons: No. 2, 6, 9, 19.

Handel G. "Alexander Fest": No. 6, 14, 18. " Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.

Davidenko A. From the joint oratorio "The Way of October": On

tenth verst, The street is worried.

Degtyarev S. "Minin and Pozharsky": separate issues.

Dvorak A. Requiem: individual numbers. Stabat Mater No. 3.

Yomeli N. Requiem: individual numbers.

Mozart W. Requiem: No. 1, 4, 8, 9, 12.

Honegger A. "King David": No. 16, 18 and Final chorus. "Joan of Arc at the stake: Finale of the oratorio.

Ravel M. Daphnis and Chloe: Choirs from suites 1 and 2.

Reger M. Requiem: complete and separate numbers.

Scriabin A. Symphony 1: Glory to Art (final).

Stravinsky I. Symphony of Psalms: complete and separate numbers.

Smetana B. "Czech Cantata".

Taneev S. "John of Damascus": complete and separate numbers. "After reading the psalm ": No. 1, 4.

Faure G. Requiem: individual numbers.

Hindemith A. "Eternal": complete and separate numbers.

Tchaikovsky P. "To the 200th anniversary of the monument to PeterI»: Fugue.

Schubert F. Mass As-dur. Private rooms. Mass Es-dur: Separate numbers.

Shimanovsky K. Stabatmater: № 1, 4, 5, 6.

Schumann R. "Paradise and Peri":№8, 11, Requiem: individual numbers.

Shostakovich D. Song of the Forests: No. 7 Glory.

Shchedrin R. "The Sealed Angel": individual numbers and in full.

Choral works in the keys "TO".

Baya T. OboneJesu

Bortnyansky D. Concerto for choir No.I.

Gastoldi T. Heart, do you remember

Calvisius S. I am a man.

Lasso O. All day daytime.I was told. How did you manage.

Lechner L. Oh, how cruel my fate is to me.

Meyland Ya. The heart rejoices in the chest.

ScandeliusA. To live on earth.

Friderichi D. Song of society.

Hasler G. Ah, I sing with a smile.

Chesnokov P. Spirit. choirs.

Shostakovich D. As in an immemorial year.

Choral scores for transposition

Venosa J. Sancti spiritus.

Verdi J . Laudi alla virgine Maria fragments )

Dargomyzhsky A. Petersburg Serenades: From a Country, a Faraway Country.Raven flies to raven.I drink to Mary's health. Goblin at midnight. On the calm waves.

Ippolitov-Ivanov M. Pine.

Kodály 3. Hello Janos.

Lottie A. Miserere

Mendelssohn F. In the south.

Muradeli V. Impatiable dreams.

Rechkunov M. Sharp axe. Autumn.

Taneev S. Serenade. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.

MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION

Federal State Educational Institution

TYUMEN STATE ACADEMY OF CULTURE, ARTS AND SOCIAL TECHNOLOGIES

"APPROVE"

Director of the MTIH Institute

_________________ / /

"_____" _____________ 2011

Training and metodology complex

for students of specialty 050601.65 "Music education"

"_____" _____________ 2011

Considered at the meeting of the Department of Choral Conducting "______" _______ 2011 Protocol No. __________

Meets the requirements for content, structure and design.

Volume 20 pages.

Head department __________________

"______" _____________ 2011

Considered at a meeting of the CMD of the Institute of Music, Theater and Choreography

"______" _______2011 protocol No. ______

Corresponds to the Federal State Educational Standard of Higher Professional Education and the curriculum of the educational program.

"AGREED":

Chairman of the CMD __________________

"______" _____________ 2011

"AGREED":

Director of the Scientific Library __________________

EXPLANATORY NOTE

One of the leading subjects in the cycle of special disciplines of the specialty 050601.65 "Music Education" is the discipline "Class of choral conducting and reading of choral scores".

When compiling the teaching materials for the discipline "Class of choral conducting and

reading choral scores” is based on the following normative documents:

· State educational standard of higher professional education for the specialty 050601.65 "Music education", approved by the Ministry of Education and Science of the Russian Federation on 30.01.2005. (registration number 000);

Basic curriculum TGAKIST in the specialty 050601.65

"Music education" from 27g.;

The discipline "Class of choral conducting and reading of choral scores" is studied throughout the entire period of study for 5 years in the form of individual lessons of a student with a teacher, and independent work of students to deepen and consolidate knowledge is also expected.

The total labor intensity of the discipline is 470 hours:

Kinds classes

Total hours

classroom classes

Independent work

Total hours

Distribution of hours by semester classroom independent

Practical

Practical

Based on the results of studying the discipline "Class of choral conducting and reading choral scores", a knowledge test is carried out:

· in full-time- individual lessons of a student with a teacher 229 hours,

independent work of students 241 h.

· in absentia- individual lessons of a student with a teacher 64

h., independent work of students 406 h.

The purpose of the discipline "Class of Choral Conducting and Reading Choral Scores" is to prepare students for further professional practice as music teachers in a secondary school, institutions of preschool education and additional education for children.

The discipline "Class of choral conducting and reading of choral scores" has the following tasks:

acquaintance with choral music, works of various eras, styles, with the work of foreign, Russian composers, with the best examples

folk song creativity;

Obtaining knowledge and skills in the technique of conducting a choir, as well as singing

choral parts with conducting at the level of metronoming;

familiarization with the main issues of choral studies and methods of working with the choir;

mastering the skills of reading scores and independent work on choral scores, their performance on the piano, transposition of simple works;

development of the ability to implement in practical work on the score

knowledge and skills acquired in the learning process;

Starting to study the discipline "Class of choral conducting and reading choral scores", the teacher faces certain important tasks.

a trained musician capable of independent work, as well as awakening curiosity, nurturing the will to be creative, diligence, discipline, a sense of responsibility for oneself and the choir.

When deciding whether to include certain works in the work plan, the teacher must take into account the differences in the level of musical training of a particular student, personal natural musical talent. But, in addition to the student's professional data - musicality, hearing, vocal voice, piano proficiency, it is equally important to take into account his personal qualities: will, energy, determination, artistry - traits necessary for the formation of a future specialist - a music teacher. The future music teacher should develop a good ear for music, a sense of rhythm and tempo, gain knowledge of the musical form and style of works during classes in conducting and reading choral scores. Like any musician, a music teacher should deeply study elementary music theory, solfeggio, harmony, analysis of musical compositions, music history. Starting from the first days of training, it is necessary to strive to ensure that the lesson is comprehensive, and not limited to studying the technical methods of conducting and reading choral scores. The upbringing of independence, the disclosure and development of the individual talent of a student-musician is one of the most important tasks of a teacher.

When playing a choral score on the piano, it is necessary to take into account the peculiarities of the sound of this work in the choir: breathing, tessitura conditions of voices, peculiarities of sound science and phrasing (based on the literary text), balance of choral parts (based on the style of presentation - homophonic-harmonic or polyphonic), etc. e. The game of the score must be gradually brought to an artistic level. Knowledge of voices when reading scores implies their performance with subtext and precise execution of intonational and rhythmic features. In works of a homophonic-harmonic warehouse, the student must be able to sing chords vertically, and in works with elements of polyphony, he must sing the "conductor's line", that is, all the introductions that the conductor must show.

Considering the future direction of the work of a music teacher, it is extremely important for a student to know the school repertoire, the repertoire of the vocal ensemble and, of course, a good command of voice, pure intonation, and diction. An important component of the subject is work on the works of the school repertoire: songs, choirs for children of classical composers, transcriptions for children, folk songs. No less important for creative work is knowledge of other types of arts: literature, painting, architecture.

The teacher must build the educational material in the order of its gradual complication, cover the works of all musical styles, directions, creative schools of different eras.

Lessons in the class of choral conducting and reading of choral scores should be based on a detailed study of choral works, before conducting, preparing them to be performed on the piano. The process of working on a piece should begin with a thorough analysis of the given score. The analysis of choral scores involves the analysis of the form of the work, individual phrases, the definition of phrasing, climaxes, the clarification of dynamics, agogics, and the plan of performance.

An approximate plan for the analysis of a choral work:

1. general analysis of the content: subject matter, plot, main idea;

3. the composer, his biographical data, the nature of his work, the place and significance of the work under study in the composer's work;

4. musical-theoretical analysis: form, tonal plan, texture of presentation, metro-rhythm, intervals, role of accompaniment;

5. vocal-choral analysis: type and type of choir, characteristics of choral parts (range, tessitura, voice leading, vocal load),

6. features of the ensemble, building, sound science and breathing; the vocal quality of the literary text, diction features, as well as the definition of vocal and choral difficulties and ways to overcome them;

7. performing analysis: drawing up a plan for the artistic performance of a work (tempo, dynamics, agogics, musical phrasing).

Assignments received by students in the classroom are performed independently and are checked by the teacher in subsequent classes. A necessary condition for the control of independent work of students is the writing of an annotation, which sets out in writing the main parameters of the specified plan.

Works studied in the conducting class should be located

according to the degree of complexity of conducting skills, in such a way that to

By the end of the training, the student had knowledge of a vast and varied

choral material, both classical music and compositions

The subject "Class of choral conducting and reading of choral scores" of scores for students of the specialty 030700 "Music Education" is combined and involves an individual approach to each

student. Depending on the degree of musical preparation of the game on

piano, the development of the musical ear of the student and others individually

personal conditions, the teacher can choose an individual form

work. The volume of studied choral works on conducting can

vary and be supplemented by reading choral scores, since before

these disciplines, when studying, the same vocal

choral and technical tasks.

First grade

Acquaintance with the subject "Conducting" as an art form, its

importance in the arts. Technical means of conducting, the concept of "conductor's apparatus": body, face, hands, eyes, facial expressions, articulation.

The main position of the conductor, setting the body, hands, head. The hand, its plasticity. The basic principles and nature of movements in conducting: expediency, accuracy, rhythm. Conductor's movements in medium dynamic sound, medium tempo.

The structure of the movement of shares in the schemes of conducting. Studying the methods of entry and end: three moments of entry - attention, breathing, entry; transition to the end, preparation, end.

Conducting in 2/4, 3/4, 4/4 time signatures at moderate and moderately fast tempos, with legato, non legato sound science, dynamic shades mf, f, p. Mastering the introduction on different beats of the measure, techniques for performing the simplest types of fermata: removable, non-removable, fermata on the bar line, fermata on a pause.

The division of a piece of music into parts, basic concepts: period, sentence, phrase. Pauses and caesuras between phrases, breathing, methods of conducting them. Basic skills of working with a tuning fork.

During the 1st year of study, a student goes through 8–10 simple works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works on reading choral scores. Acquaintance with folk songs, their arrangements a cappella and with accompaniment for a homogeneous choir. Acquaintance with the choral scores of classical composers a cappella and with accompaniment for a homogeneous choir.

An approximate list of works studied in the 1st year

conducting

Arrangements of folk songs: Quail (in the arr. D. Ardentov). Sing, songbird. The night is coming. By berries. Dwarf (arr. A. Sveshnikov). Oberek.

Gray bird. Rechenka. Time to sleep. Will I go, will I go out. Where are you, little ring?

(arr. Vl. Sokolov). Do not rage, violent winds (arr. A. Yurlov). Wei, breeze (arr. A. Yuryan). Nightingale stray (arr. M. Antseva). Like on an oak tree (arr. Yu. Slavnitsky).

A. Alyabiev. More flowers of all. Song about a young blacksmith.

M. Antsev. Autumn. Willow. The waves dozed off.

L. Beethoven. Anthem of the night

R. Boyko. Morning. North.

R. Glier. Hymn to the great city.

M. Glinka. Ah, you night. Patriotic song.

A. Dargomyzhsky. From a country, a country far away. I drink to Mary's health.

M. Ippolitov - Ivanov. Oh, native land. Sharp axe.

F. Mendelssohn. Memory.

G. Purcell. Evening song.

V. Rebikov. Mountain peaks. The grass is green. The bird sings in the air.

A. Flyarkovsky. Native land.

R. Schuman. Night. House by the sea.

R. Shchedrin. Morning.

Arrangements of folk songs: You, my field (arr. M. Balakireva). Vistula (sample A. Ivannikova), Cuckoo (sample A. Sygedinsky).

A. Alyabiev. Winter road.

I. Bach. Spring song.

L. Beethoven. The praise of nature by man.

I. Brahms. Lullaby.

R. Wagner. Wedding choir (from the opera "Lohengrin").

A. Varlamov. Mountain peaks. A lone sail turns white.

M. Glinka. The wind howls in the open field.

R. Glier. In the blue sea

A. Grechaninov. Lullaby.

C. Cui. May Day, Verbochki. Spring morning.

K. Molchanov. Remember.

N. Rimsky-Korsakov. Height, heavenly height (from the opera "Sadko").

N. Rukin. Raven flies to raven.

P. Tchaikovsky. Lullaby in the storm.

L. Beethoven. Anthem of the night

Z. Kodai. In the green forest.

C. Cui. Everywhere snow. The waves dozed off. Spring morning.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread out densely.

G. Purcell. Evening song.

A. Sveshnikov. The evening fades.

G. Struve. Bird cherry.

A. Skulte. Nowadays.

K. Schwartz. How the fog fell.

V. Yakovlev. Winter evening.

Second course

Deepening knowledge and improving the conducting skills acquired by students in the first year.

Determination of the functions of the right and left hands. The independent role of the left hand in showing sustained sounds, the entry of voices at different times of the beat, showing different nuances: pp, p, mp, mf, f, ff.

Development of smooth, coherent conductor's movements at a moderate pace, with an average sound strength. Conducting complex 4/4, 6/4 time signatures, familiarization with six-part and two-part schemes based on simple choral texture for 2–3 and 3–4 voice homogeneous choirs. The concept of staccato, and methods of conducting it.

Mastering slow tempo and change of tempo: piu mosso, meno mosso, acceleration, deceleration, compression, expansion.

The study of fermata, their meaning and performance techniques: a filmed fermata at the beginning, middle and end of the work. Fermata on a pause in the middle of the work and methods of its execution. Non-removable fermata, methods of its execution.

Mastery of various dynamic shades: crescendo, diminuendo, subito forte, subito piano, pianissimo, fortissimo. Mastering the techniques of conducting accents and syncopation.

Inclusion in the program of choral compositions for homogeneous, youthful, incomplete choir compositions, homophonic-harmonic works for mixed choir a cappella and with accompaniment. During the 2nd year of study, the student passes 8–10 works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works reading choral scores.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 2nd year

conducting

Works without accompaniment

Arrangements of folk songs: Green flax, Path in the damp forest, Nightingale stray (arr. M. Antseva). Weave, weave, cabbage. Wattle fence (arr. S. Blagobrazova). Steppe and steppe all around. Among the valleys are flat. As for the river, but for Daria. Borodino (Russian folk songs). River (sample Vl. Sokolov). At the gates, the gates of the fathers (arr. M. Mussorgsky). The sea needs a thin seine (arr. A. Yuryana). Weisya, weya, cabbage (arr. V. Orlova).

K. Weber. Hunter song. In the boat

J. Weckerlen. Shepherdess.

I. Galkin. Wherever you go.

E. Grieg. Good morning.

A. Dargomyzhsky. Wild in the north. From a country, a country far away.

M. Ippolitov - Ivanov. Pine.

C. Cui. Spring song.

F. Mendelssohn. Run with me On South.

S. Monyushko. Evening song.

T. Popatenko. By the stream. Snow falls.

G. Sviridov. You sing me that song.

M. Ciurlionis. I will sing you a song of songs. I made beds in the garden.

F. Schubert. What a night. Linden. Silence.

R. Schuman. Spring flowers. Good night. Dream.

Works with piano accompaniment

Arrangements of folk songs: I'm burying gold (arr. A. Koposov). Vistula (arr. A. Ivannikova).

M. Antsev. My bells.

A. Arensky. Tatar song.

I. Bach. Stay with me.

L. Beethoven. Walking song.

J. Bizet. Chorus of boys (from the opera "Carmen").

Chorus of hunters (from the opera "Free shooter").

G. Verdi. Chorus of Slaves (from the opera "Aida"). Choir of courtiers (from the opera

"Rigoletto").

M. Glinka. Lark.

R. Glier. Spring. Hello winter guest. The grass is green. Over flowers and grass.

Strings of golden chant. Oh, if in a grove (from the opera Orpheus).

A. Grechaninov. Spring came. Bird cherry.

A. Dargomyzhsky. We love. Hush, hush (from the opera "Mermaid").

M. Ippolitov-Ivanov. Morning.

D. Kabalevsky. Song about happiness.

V. Kalinnikov. Spring.

C. Cui. Dawn burns lazily. May the heavens be full of confusion and thunder.

V. Makarov. Birds Have Arrived (from the choral suite "River Bogatyr").

N. Rimsky-Korsakov. Not the wind, blowing from above.

A. Rubinstein. Mountain peaks.

S. Taneev. Mountain peaks.

P. Tchaikovsky. Choir of Flowers (from music to the spring fairy tale "The Snow Maiden").

Snowdrop.

P. Chesnokov. Spring rolls. The sun, the sun is rising. Uncompressed strip. Dawn in the morning.

Works on reading choral scores

B. Bartok. Gay, gay, black crow. Spring. Counting.

L. Beethoven. Anthem of the night

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

Z. Kodai. In the green forest.

C. Cui. Water.

M. Lyudig. Lake.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread out densely.

G. Purcell. Evening song.

A. Skulte. Nowadays.

V. Shebalin. Cliff. Lily of the valley. Wormwood. Wild grapes . Winter road.

R. Schuman. Lotus. Mountain girl.

Third course

Consolidation and improvement of knowledge and conducting skills acquired in the first courses.

Acquaintance with complex and asymmetrical meters, conducting in 5/4 time according to a five beat pattern (3+2 and 2+3) in moderate movement. Conducting in 5/4, 5/8 time signatures in a two-part pattern (3+2 and 2+3) in fast motion.

Techniques for crushing the main metric unit in 2/4, 3/4, 4/4 sizes at a slow pace, getting to know alla breve conducting.

Conducting in 3/4 and 3/8 time signatures in fast motion (for one).

Techniques for conducting homophonic and simple polyphonic

During the 3rd year of study, the student passes 8-10 works

homophonic-harmonic and simple polyphonic, with elements of imitation, undertones, canon (including 2-3 from the school curriculum), also 3-4 works on reading choral scores.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 3rd year

conducting

Works without accompaniment

Arrangements of folk songs: Povian, povien, storm-weather (arr. Vl. Sokolov). The grass dries, withers in the field (arr. V. Orlova). You are a river, my river. You do not stand, stand, well (arr. A. Lyadov). The dusk of the night fell to the ground (arr. A. Arkhangelsky). On the boat, Is the sparrow at home? (arr. A. Sveshnikov). Braid, wattle (arr. N. Rimko-Korsakov). The sea needs a thin net, I grew up across the river (arr. A. Yuryan). Shchedrik (arr. N. Leontovich). My dear round dance (arr. T. Popova). Oh yes, you, Kalinushka (arr. A. Novikov). Oh you, river, river (Bulgarian folk song).

M. Balakirev. Above the prophets.

R. Boyko. A blizzard broke out. The fields are compressed. minutes. Winter road. Blue in the evening.

D. Bortnyansky. Glory to the Father and the Son.

E. Botyarov. Winter.

V. Kalinnikov. Winter. Oh, honor whether the young man.

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

C. Cui. Water.

M. Lyudig. Lake.

L. Marenzio. The buds opened up again.

F. Mendelssohn. Forest. On South. Spring song. As frost fell on a spring night.

G. Purcell. Song Thrush.

M. Partskhaladze. The sea is sleeping.

M. Rechkunov. Autumn. Sharp axe. Pine trees are silent.

V. Salmanov. Poetry. Song. Youth.

I. Stravinsky. At the Savior in Chigis. Ovsen.

S. Taneev. Venice at night. Evening song. Serenade. Pine.

P. Tchaikovsky. The cloud slept. Worthy to eat. Evening.

P. Chesnokov. Come, let us please Joseph. It's not a flower that wilts in the field. Glory.

Only begotten son.

Y. Chichkov. Clouds are melting in the sky.

R. Schuman. Night silence. Good night. Summer song. Rosemary.

Works with piano accompaniment

Arrangements of folk songs. And we sowed millet (sample by N. Rimsky-Korsakov).

Hello, winter guest, A rowan tree stood in the field (arr. A. Alexandrova).

Start a round dance (arr. S. Polonsky).

A. Borodin. Take heart, princess. Fly away on the wings of the wind (choirs from the op. "Prince

I. Brahms. Spring came.

G. Verdi. Hush, hush (from the opera "Rigoletto").

M. Glinka. Polonaise. Do not grieve, dear child. Lel the mysterious (from the opera

"Ruslan and Lyudmila"), Cleared up, overflowed (from the opera "Ivan Susanin")

R. Glier. Spring. Evening.

A. Grechaninov. Prisoner. Autumn. Snowdrop. Spring came.

C. Gounod. March of the Soldiers (from the opera "Faust"). Chorus of the courtiers (from the opera "Romeo and

Juliet").

E. Grieg. Sunset.

A. Dargomyzhsky. Marriage, marriage. Braid, wattle (from the opera "Mermaid").

M. Ippolitov-Ivanov. Morning. Peasant feast.

D. Kabalevsky. Our children (No. 4 from Requiem). Good morning. You hear

C. Cui. Birds, May the skies be full of confusion and thunder.

M. Mussorgsky. Swimming, swimming swan. Dad, dad (from the opera "Khovanshchina").

E. Napravnik. Choir of girls (from the opera "Dubrovsky").

N. Rimsky-Korsakov. The song of a lark is louder. That the sun is red so early

opera "The Tale of Tsar Saltan"). Like on bridges, on viburnum (from the opera

"The Legend of the City of Kitezh"). Chorus of blind guslars (from the opera "The Snow Maiden").

P. Tchaikovsky. A duck bathed in the sea (from the Oprichnik opera). Whether to seat

trouble in the dark forest (from the opera "The Enchantress"). I will curl, curl a wreath (from the opera

"Mazepa").

P. Chesnokov. Night. Uncompressed strip. Leaves. Bird cherry. Peasant feast.

Apple tree. Green noise.

Works on reading choral scores

A. Banchieri. Villanelle.

F. Belassio. Villanelle.

I. Brahms. Rosemary.

H. Kalyuste. Round dance. Everyone is on the swing.

Z. Kodai. Shepherd dance. Gypsies ate salty cheese

V. Muradeli. Dreams are touchy. Stream. Wind

N. Nolinsky. Oh, fields, you, fields.

V. Rebikov. The violet has faded. Autumn song. The bird sings in the air. The evening dawn is fading.

S. Taneev. Venice at night. Serenade. Pine.

A. Flyarkovsky. Native land. Taiga song.

P. Hindemith. Song of skillful hands.

F. Schubert. Musical moment.

R. Schuman. Night. House by the sea.

Fourth year in college

Consolidation and deepening of knowledge and improvement of conducting skills acquired in previous courses.

Acquaintance with complex and asymmetrical dimensions. Conducting in 7/4 time according to the seven-beat scheme in moderate, moderately fast movement. Conducting in 7/8 time according to the tripartite (3+2+2, 2+3+2, 2+2+3) scheme in fast and moderately fast movement.

Techniques for splitting the main metric unit in 2/4, 3/4, 4/4 sizes at a slow pace, improving alla breve conducting skills.

Conducting in 3/4 and 3/8 time signatures in fast motion (for one)

Mastering the pace of presto and largo, long crescendo, diminuendo.

Improving the techniques of conducting homophonic and simple

canonical presentation.

During the 4th year of study, the student passes 8-10 works on

conducting (including 2-3 from the school curriculum), also 3-4

works on reading choral scores. Included in the program

conducting and reading choral scores, homophonic and simple polyphonic works with elements of imitation, undertones, canon.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 4th year

conducting

Works without accompaniment

D. Arakishvili. About the poet.

M. Balakirev. Above the prophets.

R. Boyko. Winter road. Enchanted winter.

S. Vasilenko. Like in the evening. Dafino - wine.

B. Gibalin. The islands are floating.

A. Grechaninov. In a fiery blaze.

A. Dargomyzhsky. A storm clouds the sky. I drink to Mary's health.

E. Darzin. Broken pines.

A. Egorov. Song. Lilac.

V. Kalinnikov. Lark. Summer passes. Elegy.

M. Koval. Wedding. Ilmen lake. Tears.

F. Mendelssohn. Premonition of spring. As frost fell on a spring night.

M. Partskhaladze. Lake.

K. Prosnak. Sea. Barcarolle. Prelude.

T. Popatenko. Snow falls.

G. Sviridov. The son met his father. Where is our rose? Blizzard.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Legend. No time, no time. Nightingale.

P. Chesnokov. August. Alps. I'll eat you. Worthy to eat.

V. Shebalin. Winter road. birch. The mother sent thoughts to her son. The Cossack drove the horse

D. Shostakovich. Executed. The belated volleys fell silent.

F. Schubert. Night. Love.

R. Schuman. In the woods. I remember a rural quiet garden. Dream. Singer. Sleeping lake. Mountain girl.

R. Shchedrin. First ice. What a dear friend.

Works with piano accompaniment

Russian n. n. in arr. S. Rachmaninov. Burlatskaya.

L. Beethoven. Kyrie, Sanctus (from Mass C–dur).

I. Brahms. Ave Maria.

A. Borodin. Glory to the red sun. Yaroslavna's scene with the girls (from the opera

"Prince Igor").

G. Verdi. You are beautiful, oh our Motherland (from the opera Nebuchadnezzar).

G. Galynin. The tsar rode through the village from the war (from the oratorio "The Girl and Death").

J. Gershwin. How to sit here? (from the opera "Porgy and Bess").

M. Glinka. Oh, you, light Lyudmila (from the opera "Ruslan and Lyudmila"), We are good

river (from the opera "Ivan Susanin").

E. Grieg. Choir of the people (from the opera "Olaf Trygvasson").

D. Kabalevsky. Happiness, School years, Our children (No. 4 from Requiem).

D. McDowell. Old pine.

S. Monyushko. Mazurka (from the opera The Terrible Yard).

M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov"), Batya,

dad (from the opera "Khovanshchina")

N. Rimsky-Korsakov. Song about the Head (from the opera "May Night"). What is it in

bridges, along the viburnum (from the opera "The Legend of the City of Kitezh").

G. Sviridov. "Poem in memory of Sergei Yesenin" (separate parts).

P. Tchaikovsky. Let's drink and be merry (from the opera The Queen of Spades). No, no

here is a bridge. I will curl, I will curl a wreath. Mary's scene with the girls (from the opera

"Mazepa").

F. Schubert. Shelter.

R. Schuman. Gypsies. "Paradise and Peri" (separate parts of the oratorio).

Works on reading choral scores

I. Arkadelt. Swan. Ave Maria.

D. Buxtehude. Cantate Domino (canon).

A. Gabrieli. Ave Maria.

G. Caccini. Ave Maria.

L. Cherubini. Tercet for the glory of the major scale (canon).

C. Monteverdi. Like roses on the lawn.

W. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").

J. Palestrina. Ave Regina.

G. Pergolesi. Stabat Mater (movements from a cantata of your choice).

A. Scarlatti. Fugue.

R. Schuman. Dreams. Message (from Spanish songs).

Fifth year

Consolidation and deepening of knowledge, improvement of conducting skills acquired in previous courses. Improving the skills and techniques of conducting in complex meter, variable meter.

Improving the skills and techniques of conducting choral scores with a grouping of measures, in various meters according to nine-beat, twelve-beat, five-beat schemes. Mastering, similarly to the previous meters, conducting complex meters in three-part, four-part schemes.

Improving the skills and techniques of conducting choral works with alternating simple and complex meters.

Mastering the techniques of conducting all musical tempos, strokes of musical expressiveness, long-term dynamic changes, changing tempos, sizes, grouping measures.

During the 5th year of study, the student passes 4–6 works on

conducting, as well as 3-4 works on reading choral scores.

Included in the program for reading choral scores are homophonic and

simple polyphonic works with elements of imitations, canon,

Choral scenes from Russian and Russian operas are included in the conducting program.

foreign composers, parts (fragments of parts) of large vocal-symphonic works (cantatas, oratorios, choral suites, choral cycles, choral concerts) of domestic, foreign, contemporary composers of various creative schools and trends.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

Discipline "Class of choral conducting and reading of choral scores"

in semester 9 ends with an exam, in which the student must demonstrate all the skills and knowledge acquired in the learning process.

An approximate list of works studied in the 5th year

conducting

Works without accompaniment

A. Arensky. Anchar.

M. Glinka. Venetian night.

A. Grechaninov. Behind the river, yar-hops. In a fiery blaze.

C. Gesualdo. I am silent.

V. Kalinnikov. Autumn. Elegy. Condor. Summer passes. On the old mound. The meek stars shone for us.

A. Kastalsky. Russia.

A. Lensky. Past. Seeing the bride. Majestic young.

B. Lyatoshinsky. The moon creeps across the sky. Autumn.

F. Mendelssohn. Song of the Lark. Farewell to the forest.

K. Prosnak. Prelude. Sea. There would be a storm, right?

F. Poulenc. Sadness. The night is terrible for me.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Not a cuckoo in a damp forest.

P. Chesnokov. Alps. August. The dawn is warm.

V. Shebalin. The mother sent thoughts to her son. The Cossack drove the horse. Soldier's grave.

Twilight in the valley.

K. Shimanovsky. Stabat Mater (separate parts).

R. Schuman. Song of Freedom. Storm.

R. Shchedrin. I was killed near Rzhev. To you fallen.

Works with piano accompaniment

Processing of Russian n. P. M. Kraseva. Don't wake me up young.

A. Harutyunyan. Cantata about the Motherland (separate parts).

I. Bach. Be with me (No. 1 from Cantata No. 6)

L. Beethoven. Choir of Prisoners (from the opera "Fidelio"). Kyrie, Sanctus (from Mass C–dur).

Sea calm and happy sailing.

J. Bizet. Scene No. 24 from the opera Carmen.

I. Brahms. Ave Maria.

B. Britten. Missa in D (separate parts). This little child (from the suite "Rite

carol", op. 28).

A. Borodin. Glory to the red sun (from the opera "Prince Igor").

G. Verdi. Finale of the 1st day from the opera "Aida".

J. Haydn. Gloria (from "Nelson Mass").

C. Gounod. On foreign rivers.

A. Dargomyzhsky. Choral suite from 1 act. Zazdravny choir. Three choirs of mermaids (from the opera "Mermaid").

G. Handel. Samson died (from the orat. "Samson"). Movements No. 3, 52 (from the oratorio

"Messiah").

M. Koval. Eh, you mountains, the Ural mountains, Forest, mountains (from the oratorio "Emelyan

Pugachev).

V. Makarov. "The Bogatyr River", separate parts from the choral suite.

W. Mozart. The sea sleeps peacefully. Run, leave (from the opera Idomeneo).

M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov").

Scenes No. 6, 7, 8 (from the opera "Khovanshchina").

N. Rimsky-Korsakov. For raspberries, for currants (from the opera The Maid of Pskov).

Glory. Yar-Hmel (from the opera "The Tsar's Bride"). Choir of the Blind

guslyarov (from the opera "The Snow Maiden"). Oh, trouble is coming, people (from the opera "The Legend of

the city of Kitezh and the virgin Fevronia).

G. Rossini. Parts No. 1, 9, 10 from "Stabat Mater".

G. Sviridov. Winter sings. Threshing. Night under Ivan Kupala. Garden City (from

"Poems in memory of Sergei Yesenin").

B. Sour cream. How can we not have fun (from the opera "The Bartered Bride").

P. Tchaikovsky. Interlude "The Sincerity of the Shepherdess" (from the opera "The Queen of Spades").

"Glory" (from op. "Oprichnik"). Grew up near Tyn (from the opera "Cherevichki"). There is not,

there is no bridge here (from the opera "Mazeppa"). Seeing off Maslenitsa (from music to

spring fairy tale "Snow Maiden"). With a small key. The hour has struck (from cantata

"Moscow")

P. Chesnokov. Apple tree. Peasant feast. Green noise.

F. Schubert. Shelter. Miriam's Song of Victory (Choruses No. 1, 3)

R. Schuman. Gypsies. Choirs 6,7, 8 (from the speech "Paradise and Peri"). Requiem (selected

Works on reading choral scores

A. Alyabiev. Winter road.

L. Beethoven. Spring call. Sing with us.

J. Bizet. March and choir (from the opera "Carmen").

R. Boyko. Morning. A blizzard is blowing. Heart, heart, what's wrong with you.

I. Brahms. Lullaby. Rosemary.

A. Varlamov. A lone sail turns white.

V. Kalistratov. Talyanka.

V. Kikta. Tula songs No. 2B. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").

C. Cui. Spring morning. Let confusion and thunder.

G. Lomakin. Evening dawn.

F. Mendelssohn. On the far horizon. Sunday morning.

A. Pakhmutova. My land is golden (parts to choose from the choral cycle).

S. Rachmaninov. Island. Six choirs for female (children's) voices.

N. Rimsky-Korsakov. A golden cloud spent the night. Not the wind, blowing from above. Chorus of Birds (from the opera "The Snow Maiden").

A. Scarlatti. Fugue.

P. Tchaikovsky. Nightingale. A golden cloud spent the night. Neapolitan song. Chorus of children, nannies and others (from the opera The Queen of Spades).

P. Chesnokov. Apple tree. Green noise. It is worthy to eat (from "Liturgy for Women's Voices").

F. Schubert. Musical moment. Serenade.

R. Schuman. Dreams. Message (from Spanish songs)

4. Requirements for the final exam

by discipline"Class of choral conducting and reading of choral scores"

for students of specialty 050601.65 "Musical education"

1. To be able to play one work a cappella by heart, observing all the techniques of musical expressiveness, try to convey the sound of the choir in the game.

text, optionally, with clocking. Sing choral verticals in cadence turns, culminations, when changing sections (parts).

3. Be able to play one piece with piano accompaniment,

accompaniment and choral score.

4. Sing the parts of the soloist (soloists), accompanying on the piano.

5. Conduct by heart both of these works.

6. Be able to analyze both works, know the history and time of their creation,

form, make a vocal-choral analysis, give examples from other works of choral creativity performed by composers.

State exam

"Conducting a concert program performed by the choir"

At the state exam, the graduate is obliged to perform two works with the educational choir - one a cappella and one accompanied by piano. The preparation and conduct of the state exam is a crucial stage in the work of a teacher with a graduate. The program of the state exam is selected in advance and must correspond to the capabilities of the choir and the graduate, it is also necessary to approve the programs at the departments of choral conducting and music education. The teacher in the discipline "Class of choral conducting and reading of choral scores" must carefully prepare the graduate student for classes with the choir, paying special attention to the methodology of the upcoming classes. Personally present at the rehearsals of the choir class with his graduate, the teacher has the opportunity to help him in his work, tactfully and skillfully, directing the rehearsal process.

At the stage of rehearsal work, the graduate uses various methods and techniques of conducting, which make it possible to achieve the highest quality performance of the concert program of the state exam by the training choir. Based on a holistic initial analysis of the works, the graduate draws up an approximate plan for rehearsal work. It can be: determination of the simplest and most difficult choral fragments, ways to overcome difficulties on the basis of vocal-choral, intonation and metro-rhythmic work with choral parts. Such a plan is necessary, it is the basis for achieving the main goal - the high-quality performance of the concert program of the state exam by the educational choir.

5. Educational and methodological support

Main literature

1. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance for ped. universities and music colleges / . - Moscow: Flinta, 2000. - 208 p.

2. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance / . - Moscow: Flint, 20s.

3. Romanovsky, dictionary /. - Ed. 4th, add. - Moscow.: Music, 2005. - 230 p.

4. Svetozarova, secular choral music a carpella of the 19th–early 20th century: a notographic guide / . - St. Petersburg: SPbGPU, 2004. - 161 p.

5. Semenyuk, V. Notes on choral texture / V. Semenyuk. - Moscow, 2000.

6. Ukolova, Lyubov Ivanovna. Conducting: textbook / L. Ukolova. Moscow: VLADOS, 2003. - 207 p. + notes.

7. Reader on conducting. Choral works in complex asymmetrical and variable sizes: a textbook for conducting and choral faculties of music universities / comp. : Magniog. state conservatory. - Magitogorsk, 2009. - 344 p.

8. Reader on conducting. Choirs from operas by foreign composers (accompanied by piano) / comp. . - Moscow: Music, 1990. - Issue. 6. - 127 p.

additional literature

1. To help the conductor-choirmaster. Choral works of Russian composers: notographic index / comp. ; resp. for issue. . - Tyumen, 2003. - 69 p. - Issue. one.

2. To help the conductor-choirmaster. Arrangements for the choir of Russian composers: notographic index / comp. ; resp. for issue. . - Tyumen, 2003. - 39 p. - Issue. 2.

3. To help the conductor-choirmaster. Choral works by foreign composers: notographic index / comp. ; resp. for issue. - Tyumen, 2003. - 40 p. - Issue. 3.

4. Lyozin, vocal-motor informativeness

conductor technique in professional training of a choirmaster [Text]: monograph / . - Tyumen: RIC TGAKI, 2009. - 144 p.

5. Romanova, Irina Anatolyevna. Issues of history and theory

conducting: textbook. allowance / - Yekaterinburg: Polygraphist, 1999. - 126 p.

6. Logistics

Requirements for the logistics of the discipline "Class

Choral Conducting and Reading Choral Scores" for students of the specialty 050601.65 "Music Education" are substantiated by the state educational standard of the HPE, and are as follows:

availability of pianos and grand pianos in sufficient quantity for conducting lessons in conducting, in the class - two instruments each;

the presence of conductor stands, in the class - at least one;

availability of a library, music library, audio and video recordings;

availability of the necessary sound equipment (tape recorders, music centers, CD, DVD, CD-audio players);

· the presence of a music room with a fund of musical recordings of concerts, festivals, master classes held by the university.

1. Explanatory note……………………………………………………….2

reading choral scores…………………………………………………..5

4. Requirements for the final exam……………………………………..17

5. Educational and methodological support of discipline

5.1 literature basic

5.2 Additional literature…………………...........………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

6. Logistics…………………………………… 19

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GOU SPO VO "Vologda Regional Music College"

"Choral Conducting"

Analysis of the choral arrangement of the Russian folk song "On the mountain, on the mountain" by Oleg Pavlovich Kolovsky

4th year students of the specialty

Vasilyeva Alena

Teacher class:

L.P. Paradovskaya

Vologda 2014

1.General information about the composer and processing

Kolovsky choral music composer

A) Information about the life and work of the composer.

Oleg Pavlovich Kolovsky 1915 -1995

A wonderful Russian choral conductor, professor at the Leningrad Conservatory, teacher of such disciplines as: polyphony, form analysis, choral arrangement. Oleg Pavlovich also led a military ensemble.

O.P. Kolovsky is known for his articles on the choral work of Shostakovich, Shebalin, Salmanov, Sviridov. A number of articles are devoted to the analysis of choral scores and the song basis of choral forms in Russian music.

"Analysis of vocal works"

Authors:

Ekaterina Ruchevskaya,

Larisa Ivanova,

Valentina Shirokova,

Editor:

O.P. Kolovsky

A significant place in the work of O.P. Kolovsky is occupied with choral adaptations of folk and revolutionary songs:

"The sea groaned in rage"

"Oh, Anna-Susanna"

"Three Gardens"

"Pskov refrains"

"You live, Russia, hello"

"Mother Volga"

"The Winds Whispered"

"Yes, how did the girls go"

"We have good fellows"

"Toril Vanyushka track "

"chastushki"

"You are my whisk"

"Oh you, darling"

"The girls sowed flax"

"Russian song folklore - this is the richest treasury of the original culture of Russia. Here we not only admire the scatterings of amazing melodies, but comprehend the imagery and beauty of the Russian poetic word, connect the vast temporal space that contains the centuries-old fate of our native land and its people, with our consciousness and soul we tremblingly touch the soul of our people and thereby preserve the continuity of the past with the future."

V. Chernushenko.

B) processing.

- any modification original musical text musical works. V past, v Western Europe, was widespread polyph O n ic O b work tunes Gregorian chorale, served before 16 century basis the whole polyphony but th music. V 19-20 centuries big meaning etc and found treatment folk melodies, which more often called their harmonica a tion. Russian culture impossible introduce without folk songs. Ime n but Russian song accompanies human on the stretch the whole his life: from cradle before graves

Many composers turned to the genre of choral adaptations of Russian folk songs. The folk song occupied a special place in the work of M.A. Balakirev - the collection "Forty Russian Folk Songs", M.P. Mussorgsky - four Russian folk songs: “You rise, rise, the sun is red”, “At the gates, father’s gates”, “Tell the dear girl”, “Oh, my will, my will”.

Arrangements by N.A. Rimsky-Korsakov were distinguished by the richness of the techniques and sweetness of the choral writing: “Weave the wattle fence”, “I walk with the weed”, “Ay in the field there is a linden”.

The processing of folk melodies was carried out by many major composers: I. Haydn, L. Beethoven, I. Brahms, P. I. Tchaikovsky, A. K. Lyadov, Kostalsky, A. Davidenko, A. Alexandrov, D. Shostakovich (“How young I am -baby").

Many arrangements are also made by choirmasters. Outstanding choir conductor, head of the State Academic Choir of the USSR

A.V. Sveshnikov made the most interesting arrangements of Russian folk songs: “Down the mother along the Volga”, “How will I go to the fast river”, “Oh, you are a night”, “Grushitsa”.

Interest in the folk song does not weaken, modern harmonies and rhythms are introduced into choral arrangements, bringing them closer to independent compositions on folk themes. Just the same, this third method of processing was used by O.P. Kolovsky in this work.

While working on the Russian folk song “On the Mountain, on the Mountain”, Oleg Pavlovich made an original arrangement of a free type, using the genre of a dance song of a comic, perky nature, intonation close to the Russian folk dance “Baryna”.

On the mountain, on the mountain

On the mountain, on the mountain

Go right up the mountain.

At the young man in the yard,

Go right, in the yard.

The good horse played

Good black horse

Go right, crow.

He beats the ground with a hoof,

Hitting the ground, hitting the ground

Go right, hit the ground.

Bel knocked out a pebble,

Knocked out, knocked out

Go right, beat out.

Husband's wife sold

Sold, sold

Go right, sold.

For a penny kalach,

For kalach, for kalach,

Go right, behind the kalach.

Came home, repented:

Ask me three rubles, oh,

Buy me three horses, oh.

Oh, oh, oh, oh!

The use of folk blank verse.

2. Musical-theoretical analysis

The form is couplet-variation, consists of 8 couplets, where the couplet is equal to the period, i.e. stanza of a poetic text. The period consists of 8 cycles.

Schematic of the work.

Scheme of the first four verses

1 offer 2 offer

Scheme 5 and 7 verses.

1 offer 2 offer

4 bars 4 bars (chorus role)

1 phrase 2 phrase 1 phrase 2 phrase

2 strokes 2 strokes 2 strokes 2 strokes

3 offer

1 phrase 2 phrase

2 strokes 2 strokes

Scheme 6 verse

1 offer 2 offer

4 bars 4 bars

1 phrase 2 phrases 1 phrase 2 phrase

2 strokes 2 strokes 2 strokes 2 strokes

3 offer

1 phrase 2 phrase 3 phrase

2 strokes 2 strokes 2 strokes

Scheme 8 couplet.

1 offer 2 offer

1 phrase 2 phrase 1 phrase 2 phrase

2 strokes 2 strokes 2 strokes 2 strokes

3 offer

1 phrase 2 phrase

2 bars 4 bars

(expansion by shouting "oh")

Conventionally, this work can be divided into 3 sections, where the first section includes from the 1st to the 4th couplets, each of which is an open unfinished period, where its resolution sounds at the beginning of the next couplet.

The period is normative, consists of two sentences of a square structure of 4 measures. The sentence has 2 phrases of 2 bars. The second sentence plays the role of a chorus.

The middle section is developmental, consists of 3 verses:

5 k. - “Bel pebble knocked out ..”

6 k. - “Husband's wife sold ...”

7 k. - "For a penny kalach ..."

The period of the middle section is non-normative, it consists of three sentences with a different number of measures, due to the repetition of the chorus. The fifth and seventh verses consist of 3 sentences of 4 measures. And each of them has 2 phrases of two measures.

Large scale verse 6. It includes 16 bars.

First suggestion:

The second sentence - “Sold, sold, go right, sold ...”

These sentences are equal and are divided into two phrases of 2 bars each, and the third sentence is extended by repeating the chorus with new text and key (cis moll):

The last (third) section is presented to us by one couplet:

In form, this verse is a non-normative period, consisting of 3 sentences.

The first sentence “I came home ...” - 4 measures; the second sentence "If I could ask for three rubles ..." - 4 measures; the third sentence "I wish I could buy three horses ..." - 6 measures, expanded due to the cries of "oh" from the whole choir.

In O. P. Kolovsky's adaptation of "On the Mountain, on the Mountain" each verse has its own logical development and presentation in different types of choir. Let's take a closer look at each verse.

The first verse: the bass solo sounds, here they play the role of the lead singer. The chant begins with a T, followed by an upward leap to a fourth with its filling. Further - the intonations of "Lady" in the second sentence, where a repeating terts tone and its filling sound. Here the dynamics of mf.

The next verse is performed by a mixed cast. In the first phrase, the theme is carried by the altos, and already in the second phrase, the soprano part intercepts the theme.

The basis and principle of shaping in this processing is the repetition of melodic and thematic elements (melody, rhythm, meter, tonal plan), which is typical for Russian folk songs. Here, in each verse, there is the intonation of the first verse, which appears in different voices throughout the entire work.

In the fourth verse, the whole choir sounds. Here the theme is assigned to the alto part, the soprano has an upper voice. The range increases from part 5 to part 8, where part 8 can be observed between the parts of the female composition, also between the parts and the male composition of the choir.

Oleg Pavlovich knew exactly the Russian folk song, therefore, in his processing, he follows the basic textural principle, using subvocality, variation. Using the sound of different groups of the choir, both solo and duet between parties.

The middle section is interesting in revealing different timbres in the choir compositions. The fifth verse is performed by the male group of the choir, where the tenors solo on the lower ascending tetrachord of the Mixolydian and natural D, and the basses have a downward repetitive stepwise movement from 1 to 5.

In the second sentence, in the chorus, the basses solo against the background of the harmonic support of the tenors, then the theme of the chorus is intercepted by the female group. They perform in G major. They sound against the background of a triad in G major, followed by a resolution to the dominant second chord (to the original key) with the release of a fifth tone in the second tenors. Thus, a gamophone-harmonic warehouse of writing arises,

and the sixth verse is presented to us in reverse. It begins with a female three-part, with a tenor pickup, sounding against the background of a second in the female choir group.

In the seventh verse, the theme returns to the basses again, where they tell us that the wife sold her husband for a penny roll, and the tenors and the female cast hear the cry “oh”, as if with a mockery, mockery. In the second sentence, we hear the intonation of "Mistress" in the male group, and in the third - in the female in a sixth against the background of a second in men, based on D2, followed by the resolution of that in T.

The eighth verse represents the apotheosis of the whole arrangement. Here is a bright dynamic - ff, and a semantic culmination "I came home, repented ...". The last verse is performed by the whole choir, six voices sound. The theme is held in the upper voices. The second and third sentences sound like a roll call between girls and boys, like a tongue twister. Reception of speech.

The work ends with general cries of "oh" for seconds, followed by the resolution of that one in a third.

O. P. Kolovsky’s adaptation of “On the Mountain, on the Mountain” reflects humor, irony, sarcasm, coming from dance songs and ditties. Here are hidden features of the Russian character: a wife can say whatever she wants to her husband, make fun of him. Other peoples do not have this attitude. It is ironic here that the wife, having sold her husband, repented and groaned that she sold cheap.

The musical image is accurately revealed in the following means of musical expressiveness:

at a fast pace - Soon, = 184, but in many publications the metronome is not indicated)

in dynamics - from p to ff

in performing strokes - accents

in size change

in rhythmic groups -

in a different texture - mixed: melodic, gamophone-harmonic, sub-voice polyphony, which forms harmonic verticals

The tonality of the work is D mixolydian (major with a low seventh degree). There are deviations in G dur and cis moll.

Ladotonal plan.

Oleg Pavlovich makes extensive use of Mixolydian D in his arrangement. Natural D dur appears only in the fifth verse "The white stone knocked out ...", in the third sentence of the 7th verse "For kalach, for kalach ...". In the middle section, deviations appear in Gdur in the first sentence of the 6th verse for women (“Husband's wife sold ...”) and in cis moll in the third sentence for men. The eighth verse also sounds in G major, but the recitation is in D major.

The main organizational principle in dance songs is rhythm. Here you can find the simplest types of bipartite:

But in dancing ones you can also find the interpretation of odd sizes:

Of essential importance for dance songs are characteristic rhythmic turns, which largely determine the features of the Russian dance step - a combination of the main share with its own crushing:

The first phrase of each verse is built on the technique of slowing down the second beat, which is beloved in many songs:

There is a rhythmic contrast between the unhurried chant of the initial phrase of the verse and the twice as fast, clear rhythmic movement of the second sentence.

Thus, we encounter here a complex size and polymetry:

There are also intra-bar syncopations:

O.P. Kolovsky writes his arrangement at a fast pace, where a quarter equals 184, which is typical for dance songs. But the metronome is not indicated in some editions, so the author's indication of "Soon" may date from another metronome.

Harmonic analysis.

In harmonic terms, there are often chords with non-chord sounds:

In addition to simple T, D, S chords, their inversions appear more complex colors, such as DD (Double Dominant), a seventh second chord with a low third tone, D7 / D with a low fifth, D7 to G major, the first second in D mixolydian.

In Oleg Pavlovich Kolovsky's arrangement, halftone intonations are found that are not typical for folk music:

One can of course represent this as G Lydian (4+).

In this verse, parallel triads sound, considered as subvocal polyphony, forming harmonic verticals.

3. Vocal-choral analysis

RNP's adaptation of "On the Mountain, on the Mountain" was written for a professional academic mixed four-part choir with divisi elements in the upper voices. The latter lead to five and even six voices.

choir range.

The soprano part has the largest range, which is duodecima. Used part of the lower, middle and upper tessitura. Sopranos will cope with dan tessitura, since the lower notes will sound on p, and the upper ones on ff.

The range of violas covers a large nonu. They have medium and high tessitura. Mostly violas will use a mixed sound in their sound.

The range of tenors is represented by a small decima. Used medium and high tessitura. Tenors will sound quite bright and rich, as this is their working tessitura.

Small bass range. It is a pure octave. The voices are used in a working tessitura, so it will be convenient for the basses to play their part here.

Mostly in the choir, a natural ensemble sounds. But it will be difficult to perform ff in the 8th verse (climax). For the first sopranos and tenors, “la” sounds, for the second tenors, altos and second sopranos - transitional notes that need to be smoothed out - to sing with a feeling of the chest register.

In the gamaphon-harmonic texture, the background sounds a nuance quieter, revealing the brilliance of the theme:

In polyphonic conduct, the themes of the melody and the second are important:

Features of intonation.

The performance of this work a cappella requires the singers to have a good understanding of the main key with their inner ear, hearing deviations into other keys. Also, the difficulty of accurate intonation will be the ratio of the background and the superimposed melody. So in the 5th verse in the second sentence on the tonic organ point, the bass chant is revealed. Tenors should sing the note "D" with its constant increase in order to stay in the key and not "leave" in the key below. In the third sentence of the same verse, basses need to think in a different key - G major, the third step should be intoned with a tendency to increase. In the third sentence of the sixth verse (“Husband's wife sold ..”), the bass sounds in cis moll against the background of a second. Here it will be a difficult place for the basses, since from the female second they will need to adjust to a new key and anticipate the “C sharp”:

Women's second should sound bright. The women's group must perform it confidently, as there is a crossover here - G sharp for basses and natural G for altos.

The system is complicated by the introductions of the parties at different times: in the 7th verse, the basses have a theme, and the rest of the choir cries “oh”. To begin with, you should separately learn these shouts, with clapping, timing, counting, and then only sing along with the solo part. The basses here need to confidently lead their theme and not stray from the tempo and rhythm.

In addition, in this processing there are such intervals as part 4, part 5, part 8, thirds and sixths. They need to be intoned, maintaining a single vocal position. Sing the lower sound in the same way as their upper one. You can offer singers the technique of singing notes in reverse: first sing the upper sound, then the lower one, or first the lower one, and then the upper one. Take the intonation of the intervals before the slave over the work, in chanting. Pure intervals are intoned steadily. Small sixth - the interval is wide enough, so it is intoned to narrow.

There are chromatic steps. When changing the Mixolydian mode to the natural major, the 7th step is intoned high, with a tendency to increase and resolve into the tonic. And 7 Mixolydian, it sounds up to bekar, intoned as low as possible.

It is also important to build unisons between parties. For example, in the third verse there is a unison between the altos and sopranos. For altos, the note “re” is included in the working unison, this note for girls will sound quite bright and juicy, but for sopranos, difficulties may arise here, although this is their working range, but problems may arise in the ensemble due to the different sound of timbres . Difficulty will be in octave unisons. It is important that each part hears the main key.

Difficulties may appear in the following: come in unison after intervals.:

The following technique should be applied: repeating the interval to unison, followed by hitting unison, and then moving to a new interval. Each interval should be sung along the conductor's hand, on a sustained fermata.

Difficult for intonation chords with second combinations, as well as the second quintsext, dominant to G major, double dominant.

These chords should be built from the bass (B - A - T - C)

Difficulties may arise when performing sixth chords, since the third tone is at the bottom and it needs to be intoned especially cleanly, with a tendency to rise.

When working on a word, it is important to identify the specifics of working on a folk song. This is the timbre scoring of choral parts and a characteristic dialect. For example, the emphasis “go right” shifts, falls on the syllable “on the mountain”, “to ask me”, we can find the same examples in such songs as “In the dark forest”, “Behind the forest”, “How do I feel like a baby ".

But since this is an adaptation of the third type (an essay is equated to a free one), Oleg Pavlovich emphasizes a large share in the word "at the young man." And the word “sold” is dated in different ways, where we can find stress on different syllables.

Often we hear a recitation, a tongue twister sounds, a chanting of the text.

"Knocked out, knocked out, go right, knocked out"

"Husband's wife sold, go right, sold"

"For kalach, for kalach, go right for kalach"

“I would like to ask for three rubles, three rubles, three rubles”

"I would like to buy three horses, three horses, three horses."

Therefore, diction in this processing plays an important role. It is important to pronounce consonants clearly and clearly and attach them to the next syllable:

You - bi - wa - lions - bi - wa - lho - di; for ka - la - chza - ka - la - chho - di; about - si - tby - me, etc.

Vowels are sung and reduced if they are not stressed:

Go, on the mountain, sold, in the yard, a crow, a hoof, for a penny, home - the vowel "o" here will sound between "a" and "o".

The choir will also need general choral breathing for 4 measures. Mostly chain, flow, support on tied durations. At the end of the 8th verse in the 3rd sentence, the breath is taken in 2 measures, due to pauses.

The nature of the sound in general depends on the word and the nature of the work. Namely - humor, mockery, mockery, joke, perkyness. From here, the sound will be loud. In legato sound science, at the beginning of verses, a clear, sung word, using a soft attack, is required.

With the use of light non legato at the end of the first sentence of each verse and in the choruses, active, fast pronunciation of words with fine articulation will be required.

The eighth verse is played wide, here the conductor can use an extension using the legatissimo gesture. But on accents, a firm attack and marcato sound science is used.

Executive plan.

The text of the musical and the text of the song enrich each other. In processing, a kind of performance takes place: the wife repents that she sold her husband for a penny kalach, but she could have sold and bought three horses for three rubles. In response, the people are ironic, mocking, sarcastic. This is expressed in different dynamics (from pp to ff), recitation and imitation of everyday speech, "bazaar" speech.

In terms of dynamics, the processing is very bright, there are only minor dim and cresc in each verse, mainly the dynamics of mf and f. The semantic and dynamic climax occurs in the eighth verse, where the entire choir has fortissimo.

In my performance, verse 8 will sound wide, and the recitation will be at the original tempo, but it is important that there is no acceleration and a quarter remains equal to 184. In my performance, there will also be a slowdown and fermata at the end of the sixth verse:

It will be interesting for the listeners what exactly the wife sold her husband for, so I want to prepare the listeners for the next verse and talk about the fact that she sold her husband for a penny roll.

Also, pianissimo and piano is used when the choir plays the role of the background, so as not to drown out the leading part, or is used for sharp contrast:

Conducting difficulties.

The conductor's task is to reveal the genre through such means of musical expression as conductor's strokes, sound science, words, diction, dynamics, timbre colors of singers, couplet-variation form.

Gestures such as: legato, non legato, morcato are used here.

Works in five beats are conducted at fast tempos according to the two beat scheme, but in this arrangement the five beat meter, as an exception, fits into the three beat scheme. This gives rise to uneven proportions:

It is conducted according to the three-part scheme, the quadruple fits into the two-part scheme:

Summed up by 2 cycles. One two beat measure is conducted at a time.

The main difficulty for the conductor is the VTP, which is worked out when counting in quarters or eighths.

The conductor's task is to show the exact introduction to the first beat and the withdrawal of the first, second and third beats. It is important to show different-time entry of voices.

Here, the right hand la legato leads the theme at the basses, and the left hand gives precise auftacts to the short introductory eighths due to the "throw-out of the hand". Also here you need a general choral introduction and removal of 1, 2, 3, 4 shares.

The conductor needs to accurately show syncopations

It is important to pay attention to the accents, you need to prepare the chorus in advance, making a swing with your hand and a power punch.

The conductor must unite the thought and not lose it in the pauses. A pause is a continuation.

The forte gesture should be more full, especially at the climax. When sounding non-legato, the brush is light, collected, active, and extremely energetic on accents.

Most importantly, the conductor must show the leading of the sound in different parts: this is the soprano in the 3rd verse, the altos in the fourth, the basses in the 5th verse of the second sentence, and in the third sentence the sopranos and altos. The conductor's task is to work out the chants to help the choir with a gesture.

This arrangement was performed by many choirs, including the choir of the Astrakhan Conservatory, the Novgorod Capella, the choir of the St. Petersburg Conservatory.

Used Books

1. "Choral Dictionary". Romanovsky

2. "Choral Literature". Usova

3. "Fundamentals of Russian folk music". T. Popova

4. "Methods of teaching choral conducting." L. Andreeva

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Main questions

1. Analysis of the score in the work of the conductor

2. Brief annotation of the choral score

3. Plan for a detailed analysis of the choral score

4. Methodical literature

a) Method of analysis

b) Exemplary analyzes of choral scores

Target: Determine the value of score analysis in the work of a choir conductor. Analyze all the points of the main questions of the analysis of the choral score. To identify all the performance difficulties in working on the choral score for the maximum disclosure of the musical image.

Analysis of the score in the work of the conductor

Conducting is a difficult and complex art that requires great knowledge, bright musical performance, strong-willed qualities, and outstanding organizational skills.

All the diverse activities of the conductor are ultimately concentrated around one goal - the work on the work. The work of a conductor on a choral work consists of three successive stages:

Independent study;

Rehearsal work with the choir;

Concert performance.

It is difficult to say which of the stages is more important - they are all interconnected. There is no doubt, however, that the basis of all the work of a conductor is the first stage, when not only a comprehensive study of the work takes place, but also the fundamentals of the performing idea are thought out. It is no coincidence that such great importance is attached to the independent work of students in the educational process.

Conductor-choral pedagogy has developed certain methods of independent work of the conductor on the piece, prior to learning and performing it with the choir. They are:

Piano performance;

Vocal and intonation development;

Conducting and technical development;

These methods - the result of the experience of the best choir conductors of the past - have now become accepted and unshakable. However, it is not uncommon for choir conductors (especially novice amateur choir directors) to neglect some of them, thereby significantly reducing the effectiveness of their work. With the main attention to the conductor's technical side, much less space is given, for example, to the independent vocal and intonation mastering of the work, and the analytical side sometimes simply falls out of the novice conductor's field of vision. This is largely facilitated by the insufficient methodological development of the analysis of choral scores.

Analysis of choral scores is one of the means of independent study of a choral work by a conductor.

The need to analyze a work as a prerequisite for preparing a conductor to work with a choir has developed in the process of many years of experience of the best Soviet conductors and teachers. Requirements for the analysis of choral scores, formulated by the luminaries of Russian and Soviet choral art P.G. Chesnokov (1877 - 1944) and N.M. Danilin (1878 - 1945), are also put forward in the well-known works of G.A. Dmitrevsky, A.A. Egorov, K.K. Pigrov, K.B. Birds, V.G. Sokolov, I.I. M.F. Svetozarova and others. Serious attention is paid to this issue in manuals devoted to the methodology of working with an amateur choir.

The significance of a deep and comprehensive analysis of the choral score for the education and work of a choral conductor basically boils down to the following:

Firstly, the analysis of the score contributes to a better assimilation by the conductor of the musical and literary text of the work, which, as you know, he must know perfectly (by heart). Conscious - on the basis of a comprehensive analysis - the study of the score is fundamentally different from the often used rote memorization, usually short-lived and much less effective in work.

Secondly, the analysis of the score is necessary to identify the technical, stylistic, vocal and other features of the work, to determine the difficulties that may arise in the process of learning and performing. When working with a group and being usually limited in time, the conductor must do everything possible in his independent preparation to take into account in advance the various details of his work with the choir.

Thirdly, on the basis of the analysis, the conductor establishes the performing main issues of the work and determines the specific expressive means for its creative embodiment.

Fourthly, the work on the analysis of the score significantly enriches the conductor's knowledge in the field of music history, harmony, polyphony, musical form, choral studies, and conducting. The ability to be well versed in matters of general and musical culture contributes to his improvement as a performer and significantly increases his authority as a team leader. The constant accumulation of this knowledge is a necessary condition for the work of a conductor.

In addition, the work on the analysis of the work brings up the ability to correctly express one's thoughts, which is also important for the conductor, as the leader of the team.

Thus, the significance of the analysis of a choral work is not limited to the scientific and theoretical side - it is very important for practical conductor's work.

The study analysis of the choral score is done in writing. Depending on the tasks facing the student and the degree of his special training, there may be two type analysis: a brief annotation and a detailed analysis.

The purpose of creating brief annotation is the establishment of basic data about the work and the work of its author.

An annotation should be made for each piece studied in the conducting class (at least 5 pieces per semester). Having 40 - 50 abstracts for the final exam, the student accumulates significant creative and scientific baggage, which is always useful in work.

Other requirements are set when creating detailed score analysis, which in educational practice is usually called a written work on the analysis of the score.

Written work is submitted for each examination or test in conducting (hence, every semester). One written work is also submitted for the exam in choral studies. That. during the period of study, the student must complete 8-10 written works on a detailed analysis of choral scores.

For analysis, in agreement with the teacher, one of the works studied in the conducting class is selected (primary attention is recommended to be given to works for mixed choir a cappella- the most typical for choral performing practice). At the same time, it is necessary to strive to ensure that students in the learning process work on the analysis of works of various styles and genres.

The size of a written work is determined by the size and complexity of the analyzed work, as well as the degree of depth of analysis. The usual size of the work is 12-15 pages of a school notebook format. However, when students are just starting to master the skills of analysis, it can be somewhat smaller (10-12 pages). Subsequently, the size of the work, as a rule, increases to 15-20 pages.

The work must be written competently, neatly, legibly and carefully edited. It must be accompanied by the score of the analyzed work (in its entirety) with the numerical designations of measures, to which references are made during the analysis. If a work of a large form with accompaniment is being analyzed, then it is not necessary to write out the accompaniment part - it is enough to confine oneself to the necessary musical examples.

Regardless of the features of the work and the level of special training of the student, the analysis of each choral score should consist of the following main sections:

General information about the work;

Literary text analysis;

Analysis of musical expressive means;

Choral texture analysis (vocal-choral analysis);

Development of performing Key issues.

The difference in the requirements for students in the analysis of scores in different courses is:

In the increasing complexity of the analyzed works;

In the growing demands on the quality of analysis, its depth and versatility;

It should also be borne in mind that while all sections of the Core Questions are important and necessary, not all of them are of equal importance. The sections devoted to the analysis of the choral texture and the development of the performing main questions are the main ones, while others are, to a certain extent, auxiliary in nature, which, however, should not affect their theoretical level. Therefore, the question arises about aspect of analysis, i.e. about its purpose. The author must have a very good idea of ​​the purpose of his work in order to accurately define his tasks. For the conductor, the main task of analysis is to identify specific choral performing means necessary to reveal the content of the work. Therefore, the analysis of the choral texture for the performer of a choral work is the main task: not an analysis “in general”, but an analysis of the vocal and choral features of the work and the development of performing main questions based on knowledge and understanding of these features. It is always important to remember this in order to avoid a chaotic and inconsistent presentation without a clear and definite goal, which, unfortunately, is often found in student work.

Often, too, when analyzing the score, an excessively large place is given to the description of the composer's life path and the characteristics of his work. Information about the authors of the work should be brief. The main attention should be paid to the direct analysis of the work itself.

In the analysis of choral texture, the definition of specific methods of choral presentation(choral writing) used in this work, as well as identifying features choral style composer. These are the most difficult sections. In addition, work on them is hampered by the lack of a sufficiently complete and systematically presented educational and methodological material - the least developed in choral theory.

The specific results of the analysis, its quality in each case depends on many factors, the most important of which are: the general musical and theoretical knowledge of the author, his special choral knowledge (knowledge of choral studies), experience in conducting and choral work, analytical abilities and skills. We pay special attention to the importance of educating a conductor analytical skills. For a conductor as an organizer and leader of a performance, rational-analytical abilities and skills are no less important than emotional-intuitive qualities. Only their combination gives rise to true professionalism.

For the development of analytical skills of choir conductors, the course of choral studies is of great importance, one of the main tasks of which is a deep and systematic study of the features of choral texture, expressive means of the choir, and specific methods of choral writing. No less important is the study of the genre and stylistic patterns of choral music, both in relation to the work of individual composers and choral genres in general. Considerable help in this can also be provided by a course in the analysis of musical works, where more space should be given to choral creativity - not only in the main issues of structural analysis, but also textural, choral.

Work on the analysis of a work is a matter that requires great attention and a real creative attitude. Analysis of the score and its study in the technical and performing areas. The main issues are mutually enriching processes. If familiarity with general information about the work and its authors is an important prerequisite for the practical creative development of the score, then without knowledge of the score, all its details, it is impossible to exhaustively analyze its musical and expressive means, the features of the choral presentation, and develop performing main questions. Therefore, work on the analysis of the score should begin with the first acquaintance with it and continue until the work is finally mastered by the conductor. At the same time, it should be borne in mind that without fulfilling all the requirements for studying a choral work in the conducting class (performing the piano, singing choral parts, intonation of chords, careful conductor-technical work), its exhaustive, deep and comprehensive analysis is impossible.

Brief annotation of the choral score

The annotation consists in a concise presentation of the main data about the work, in a specific fixation of indicators of tempo, meter, modal and tonal features, features of form, texture, etc. The following is recommended Key abstract questions :

Title of the work. Year of creation.

Type of choral creativity and choral genre.

If the work being analyzed is part of a larger composition, general information about the entire cycle (number and name of parts, composition of performers ..)

The composition of the performers (for choral works with accompaniment and soloists).

Form (definition of the form with indication of the parts and their size - the number of measures).

Tonality (basic, modulation, deviations).

The pace and nature of the performance (translation). Metronome.

Meter and size.

rhythmic features.

Dynamics.

Sound science.

Invoice (general type of invoice).

The composition of the choir.

Ranges of choral parts and the overall range of the entire choir.

Tessitura.

Choral performances.

The abstract can be supplemented with brief information about the composer's work (list the main works), as well as some of the most significant performance notes. If there are other editions of the analyzed work, they should be indicated.

Creating such annotations is a relatively simple matter, the main thing is the ability to clearly formulate answers to all the questions indicated in the Main Questions.

The main and most common types of choral scores are: choral miniature a cappella and a large-form choir with instrumental accompaniment.

Their annotation quite fully covers all the necessary issues that arise in the process of a student's work on this section of the conductor-choral specialty.

Plan for a detailed analysis of the choral score

General information about the work and its authors

General information about the work. The exact and detailed title of the work. Year of creation. Authors of music and texts. Type of choral creativity (chorus a cappella, chorus with accompaniment). Choral genre (choral song, transcription, miniature, large form, adaptation, part of an oratorio, cantatas, suites, a scene from an opera, etc.). If the work being analyzed is part of a larger composition, then the rest of its parts should be briefly described in order to have a general idea of ​​the entire cycle (the composition of the performers, the number and name of the parts, the role of the choir, etc.).

Information about the life and work of the composer. Years of life. General characteristics of creativity. Main works. A more detailed description of choral creativity.

literary text

Comparison of the text used by the composer with the literary original; changes and their causes. If the text used is a fragment of a larger work (poem, poem, etc.), it is necessary to give a general description of the entire work.

Presentation of the literary text (write out the entire text used).

Relationship between text and music. The degree of their compliance. The embodiment of literary themes and images by means of music. The relationship between the structure of the text and the form of the choral work.