These are the colors that we hear.

Look at any painting or photograph. But no picture would have turned out if it had all been painted with the same paint, without shades.
Take a look at how many of these talking shades are there.
Dozens of shades of the same color. Sound also has them.
The same note, sound of the same pitch, can be played by different musical instruments. And although the pitch of the sound is exactly the same, we recognize now the voice of the violin, now the voice of the flute, now the voice of the trumpet, now the human voice.
How do we do it?

Our hearing is as sensitive as our sight. Even the most Small child among many voices, she immediately recognizes the voice of her mother and does not confuse it with the voice of her grandmother. We recognize friends and acquaintances by the voice in the telephone receiver. You probably immediately recognize by the first sounds of the voices of your favorite artists and singers. And all together we have fun, guessing their voices in a playful imitation of a parodist artist. To achieve similarity, he changes the color of his voice, timbre.
And we recognize different musical instruments because each of them has its own color of sound. The sound can be of the same pitch, but sometimes with a whistle, sometimes slightly ringing, sometimes as if smooth, or sometimes rough. The string sounds different from the metal plate, and the wooden pipe does not sound like copper pipe... After all, every sound has overtones. These shades are overtones and change the "color" of the sound. The color of the sound is the timbre. And each musical instrument he is his.
TIMBRE- an important tool artistic expression... The same musical idea, depending on the timbre embodiment, can sound with varying degrees of brightness, brilliance, softness, tenderness, decisiveness, severity, severity, etc. Thus, the timbre enhances the emotional impact of music, helps to understand its semantic shades and ultimately contributes to a deeper disclosure of the artistic image.
The change in timbre, widely used in instrumental compositions, often becomes an important factor. musical expressiveness.
Original Voice Classification orchestral instruments is to divide them into pure (simple) and mixed (complex) timbres.
Clean (simple) timbre - the timbre of solo instruments, as well as all unison combinations of identical instruments. A clean timbre is used in both monophonic and polyphonic (for example, ensembles of accordions or button accordions, domras or balalaikas).
Mixed (complex) timbre is the result of combining different instruments. Used in monophonic and polyphonic. Such combinations are used in order to change the phonic qualities of voices and ensembles and are caused by expressive or formative factors.
In various formulations folk orchestra the greatest fusion is found in ensembles of identical instruments, as well as instruments - representatives of the same family. Balalaikas merge most organically with the group of domras, because performing techniques on domras, balalaikas, as well as on percussion instruments are based on general principles sound production: short sounds are performed by a strike (pinch), and long ones - through a tremolo.
They merge very well with button accordions and accordions wind instruments(flutes, oboes). The timbre variety of the accordion (button accordion) sound is due to the presence of registers. Some of them received names similar to those or other instruments. symphony orchestra: clarinet, bassoon, organ, celesta, oboe.
The most distant degree of timbre relationship and sound fusion occurs when wind and percussion instruments are combined.
TEMBRAL RELATIONSHIP of orchestral instruments and ensembles is a concept that determines the degree of their fusion and contrast while sounding simultaneously.

A. Ustinov

About the concept of "musical timbre" *

From the perspective of the issue we are considering, it is worth paying attention to the concept that is directly related to the assessment of the sound of a particular instrument and is its integral feature. This concept - timbre musical instrument. In psychology dictionaries, as well as in many musical sources, this concept is defined as follows: "Timbre is a subjectively perceived feature of sound, its color associated with the simultaneous effect of different sound frequencies."

It seems to us that the indicated concept still remains insufficiently defined clearly for both the "musician" and the "physicist". The roots of the existing ambiguity of the concept lie, on the one hand, in the psychology of perception of sound vibrations by a person, on the other, in the methods used to represent sound in technical acoustics.

The position of "physics" seems to be simpler, since for him the concept of timbre does not include a subjective component, his own sensations. For him, timbre is only physical parameters - a certain set of frequency components - a spectrum and a certain waveform corresponding to it. For the "musician" the timbre in general view- this is the nature of the sound, described by such adjectives as "bright", "juicy", "deep", "sharp", etc. At the same time, the concept of timbre acquires greater certainty in connection with a specific instrument. Moreover, if, for example, it is said - "this is the timbre of the violin", then most often what is said is not understood as a separate sound, not some definite and characteristic stroke, technique, but the whole set of different sounds produced on this instrument, including characteristic techniques of performance and even noise overtones.

It is noteworthy that the automatic identification of a timbre, that is, its recognition or classification using electronic devices, is not such an easy task precisely because a musical instrument reproduces many related, but far from identical sounds. Human perception is based on associative principles and values ​​of physical parameters of sound vibrations are perceived by him not in absolute terms, but in proportions between individual parameters. However, the most important thing is that the perception of timbre occurs in some integral, generalized characteristics... For this reason, some, often negligible, changes in physical parameters become very noticeable for hearing, while others, much larger changes, are ignored. There is no doubt that such a function of the brain is due to the entire history of human development and is associated not only with the process of sound perception. For successful recognition of an object, faced with its transformations, the brain needs to select and evaluate the main characteristic signs objects that are saved when significant changes individual parameters.

Based on the above material, a remark should be made about the practical unsuitability of the definition of the concept "timbre", traditional for musicology and general psychology, but essentially private. At least about the unsuitability of this definition for a strict classification of sound objects. By the way, researchers involved in acoustic measurements and the psychology of sound perception are familiar with a simple experiment, the results of which tend to surprise most musicians. This experiment, in particular, is reported in the monograph "Psychology of auditory perception" by V. Nosulenko: "... it is enough to change the direction of movement of the tape, on which the sounds of the piano are recorded, to make the timbre of the sound completely unrecognizable." Our explanation is that the spectral composition of sound, that is, "its color", in in this case do not undergo changes, but dynamic and spectral changes over time (that is, integral characteristics), which in this case were just violated by inverse reproduction of the phonogram, turn out to be more important for the identification of timbre by a person.

* Fragment of the report at the scientific and practical conference in Rostov Conservatory(2000).

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The timbre of a musical instrument is determined by the material, shape, design and vibration conditions of its vibrator, different properties its resonator, as well as the acoustics of the room in which this instrument sounds. In shaping the timbre of each specific sound key value have its overtones and their ratio in pitch and loudness, noise overtones, attack parameters (initial impulse of sound production), formants, vibrato characteristics and other factors.

When perceiving timbres, various associations usually arise: the timbre specificity of the sound is compared with the organoleptic sensations from certain objects and phenomena, for example, sounds are called bright, shiny, frosted, warm, cold, deep, complete, sharp, saturated, juicy, metal, glass; the actual auditory definitions also apply (for example, voiced, deaf, noisy).

A scientifically based typology of timbre has not yet taken shape. It has been established that timbre hearing has a zonal nature.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be emphasized, contrasts can be enhanced or weakened; changing timbres is one of the elements of musical drama.

Quite extensive banks of new (mainly artificially synthesized) timbres have been created today in the field of electronic music.

see also

Literature

• Nazaikinsky E., Rags Yu., Perception of musical timbres and the meaning of individual harmonics of sound, in the book: Application of acoustic research methods in musicology, M., 1964.
• Garbuzov N., Natural overtones and their harmonic meaning, in the book: Collection of works of the commission on musical acoustics. Anthem Works, vol. 1, M., 1925.
• Garbuzov N., Zonal nature of timbre hearing, M., 1956.
• Volodin A., The role of the harmonic spectrum in the perception of the pitch and timbre of sound, in the book: Musical art and Science, Issue 1, M., 1970.

Wikimedia Foundation. 2010.

See what "Timbre" is in other dictionaries:

Timbre, and [te] ... Russian verbal stress

timbre- timbre, and ... Russian spelling dictionary

timbre- timbre / ... Morphemic-spelling dictionary

- (fr.). The tone of the sound of the same tone on different voices or instruments. Dictionary foreign words included in the Russian language. Chudinov AN, 1910. TEMBR tone of sound of the same tone on different voices or instruments. ... ... Dictionary of foreign words of the Russian language

- [te], but; m. [French. timbre] The characteristic color of the sound, imparted to it by overtones, overtones, by which the sounds of the same pitch differ from each other. Pleasant, low t. Various timbres. T. voice, instrument. ◁ Timbre, oh, oh. ... ... encyclopedic Dictionary

- [tambre], timbre, husband. (French timbre). A characteristic coloration imparted to the sound of a particular instrument or voice by overtones, overtones. Soft tone. Sharp timbre. Cello, violin timbre. Vowel sounds of speech differ from each other by ... ... Dictionary Ushakova

timbre- a subjectively perceived feature of sound in the form of its color, associated with the simultaneous impact of different-frequency sound vibrations that are part of a complex sound. Dictionary of the Practical Psychologist. M .: AST, Harvest. S. Yu. Golovin. 1998. ... ... Big psychological encyclopedia

timbre- A definition commonly used in psychoacoustics. Timbre is an attribute of the auditory sensation, in the definitions of which the listener can judge the extent to which two sounds, presented in the same way and having the same loudness, differ ... Technical translator's guide

- (French timbre) ..1) in phonetics, the color of sound, determined by the position of the formants in the frequency spectrum of sound2)] In music, the quality of sound (its color), which makes it possible to distinguish sounds of the same pitch performed on different instruments or different ... Big Encyclopedic Dictionary

TIMBRE- TEMBR. Qualitative characteristic or a specific color of sound, in physical sense representing a certain combination of tones. T. is characteristic of musical sounds, for sounds human speech... Existing languages ​​differ in T. as ... New dictionary methodological terms and concepts (theory and practice of teaching languages)

TIMBRE- TEMBR, a sound quality that allows you to distinguish between the sounds of individual musical instruments, the sounds of a voice at the same pitch different people etc. Timbre is due to the presence of overtones in the composition of the sound and is determined by the relative intensity ... ... Great medical encyclopedia

Books

• A set of tables. Physics. Mechanical waves. Acoustics (8 tables),. Educational album of 8 sheets. Article - 5-8665-008. Wave process. Longitudinal waves. Transverse waves. Periodic waves. Reflection of waves. Standing waves. Sound waves... The pitch. ...

(Presentation for the lesson "Timbres- musical colors")

"Timbres - Musical Colors"

(lesson development for grade 6)

Target: Formation of the need for communication with music through artistic and creative activities.

Tasks:

Educational- Introduce the variety of timbres of a symphony orchestra

Educational - To cultivate musical taste, performing culture, listening culture; to form a sense of personal responsibility for the result of joint work

Developing - Develop skills, skills, ways of musical and creative activity ( choral singing, vocal and instrumental improvisation)

Lesson problem: Why timbres in music can be called musical colors?

Lesson type: Lesson in discovering new knowledge

Teaching methods:

Verbal inductive (conversation, dialogue)

The method of "playing music"

Complicity method

Immersion method

Forms of training: collective, group

Lesson material: Johann Strauss "Waltz of the Rose of the South" "; ON THE. Rimsky-Korsakov Symphonic Suite "Scheherazade"; I. Strauss "Polka - pizzicato"; P.I. Tchaikovsky "Neapolitan dance" from the ballet " Swan Lake"; I.S. Bach Suite No. 2 "Joke"; G.A. Struve "Friend with us!"; reproduction of A. Lyamin's painting "Waltz"; poem by the Japanese poet Hitakara Hakushu "Ton.ton.ton"

Lesson equipment: computer , projector, screen, musical instruments (piano, xylophone, metallophone, drum, darbuka, bells, clavis, boxes, maracas, triangle), 3MP3 player, colored pencils, musical instrument cards

Terms, concepts: pizzicato, image, harmony, tempo, dynamics, timbre

During the classes.

Introduction to the lesson:

Musical greeting.

W: Guys, we just greeted each other. How did our greeting sound?

D: Joyful, light and beautiful.

W: And if you mentally take paints, brushes and draw a greeting like a picture - what colors will prevail in it?

D: yellow, red ...

W: Look around - the world is full of colors, it is colorful. Remember spring garden, summer meadows, autumn forest, winter glittering snow. Yes, we are surrounded colorful world, artists have learned to express it on canvas - with the help of paints, but in music? What will be colors in music that will help us to play and sing a multicolored world?

SLIDE number 1

The topic of our lesson is "Timbres are musical colors."

Each lesson presupposes a repetition of the known, the discovery of a new one. What would you like to learn new, what to learn?

D: Why timbre is called musical colors, learn how different instruments sound.

W: This will be the goal of our lesson.

Let's determine what tasks we have to solve in the lesson in order for our goal to be achieved?

D: You need to listen to musical pieces, try to hear how the timbre of musical instruments makes them colorful; you need to learn how to compare paintings by artists and musical works.

W: Great, that's what we will devote our lesson to. You are good learners, and we have completed the part of the lesson where you were just learners.

And now you and I will be transformed: there is a very rare professions, thanks to which from century to century the culture is preserved and passed on to the next generations.

Let's get acquainted:

Before you - restorers - this is group number 1.

Group number 2 - art critics.

Group No. 3 - musicians from the symphony orchestra.

Group No. 4 is the audience who, by subscription, came to the Philharmonic for a smart meeting dedicated to timbre in music.

Each group will carry out a very important task. And I will act as a senior assistant accompanying group research, as a moderator (host) of a music lecture hall and as a conductor.

(children receive cards with the task, within 3-4 minutes they answer questions)

Task for group number 1:

Dear restorers! A sad event happened: the painting contemporary artist Aleksey Lyamin has lost its colors and name. Please restore both.

What has changed in the picture after the return of the color and name?

Start the answer like this ...

“We examined the painting by the artist Alexei Lyamin and decided that it should contain ___________________________________________________________________

colors because ________________________________________________________

______________________________________________________________________.

When the painting took on color, we felt that it _____________________

___________________________________________________________________________________________________________________________________________________________________________________________________________________»

Task for group number 2:

Dear art critics! Look closely at the painting by the artist Alexei Lyamin and listen to a piece of music performed by a symphony orchestra. What unites a piece of music and a piece of painting? How do they differ?

(LISTENING TO THE RECORDING IN HEADPHONES) I. Strauss "Waltz"

Task for group number 3:

Dear Musicians! View a photograph of a symphony orchestra. Prepare to tell everyone what a symphony orchestra is. What instruments sound in a symphony orchestra? Divide the instruments into groups.

Get ready to share how you grouped them.

Arrange the instruments as they are in the orchestra. Why do instruments occupy this place in an orchestra?

Task for group number 4

Dear viewers! We already know that music and painting are in tune. But how is it built musical drawing a poetic work, especially one in which there is no rhyme? Let's try to catch musical rhythm and play with the timbre of your voice while reciting poetry by the Japanese poet Hitakari Hakoshu. Each of you - has its own timbre of voice, let's make an orchestra of voices.

Read the poem rhythmically, choosing the timbre of your voice.

And now - a word to the young keepers of culture!

SLIDE number 2

D: A word to the restorers:

(at this time on the screen - a slide of the picture). Children answer the question.

At: CONCLUSION. Thus, you felt that the picture sounded in a new way.

SLIDE №3

D: The word to you, art critics:

At this time, a color picture appears on the screen and waltz music sounds. Children answer questions .

W: Summing up your work, we can say that in music and painting there are general funds expressiveness.

D: The floor is to you, musicians!

Well done, each group did a very good job!

And now it's time to visit our music lecture hall. The topic of our conversation is the timbres of musical instruments.

So, the queen of music sounds - the violin.

SLIDE №4

Hearing an excerpt from symphonic suite ON THE. Rimsky - Korsakov "Shezerazade"

D: smoothly, melodiously, tenderly ...

At: In the next musical excerpt you will hear the sound not only of a violin, but also of other musical instruments. Notice if the sound of the violin has changed?

Hearing an excerpt from piece of music I. Strauss "Polka-pizzicato"

D: changed

At: What caused the different color of the sound?

D: from the extraction method.

At: This method of extraction is called pizzicato. (ON THE SCREEN)

SLIDE №5

At: Now let's get acquainted with the timbres of wind instruments. In the Middle Ages, this instrument accompanied festivities and ceremonies, summoned the army to battle. What instrument do you think in question? Look at the screen.

D: it is a pipe.

Hearing an excerpt by P.I. Tchaikovsky "Neapolitan dance"

from the ballet "Swan Lake"

At: Find adjectives that describe the sound of the trumpet.

D: The sound is bright, flying far, festive, solemn.

W: Look: I have in my hands one of the most famous wind instruments: the flute. Hear how it sounds (teacher plays the flute). This is an instrument for aspiring musicians, and on the screen you see the flute of a symphony orchestra. Pay attention to the sound of the flute.

I.S. Bach "Joke from Suite No. 2

W: How did the flute sound?

D: (children's answers)

D: Thank you for being active and creative participation in our lecture hall, and we move to the stage: now we are an orchestra, and we have a rehearsal of one of the fragments of the future lecture hall: we need to combine the timbre of the voice and the timbre of musical instruments. We have a youth orchestra, and therefore we love the rhythm very much, and, therefore, percussion instruments... Percussion musical instruments are on the table - choose the one you like. Each of them has its own timbre: listen to the selected instrument, how does it sound?

SLIDE number 7

D: Now I ask you to show the completed work to the participants of group No. 4.

W: Guys, be careful, now the adult participants will read the text of the poem, and the task of our orchestra is to choose the timbre of this or that musical instrument to the poetic image of the poem.

ADULTS READ.

Y: How many poetic images can you highlight?

D: maple leaf, mountain wind, moonlight.

W: Do they sound the same or different? What tools will best convey the image maple leaf? (maracas, spring)

Mountain wind? (plates)

Moonlight? (metallophone, triangle)

D: And now let's try together: adults read, and we voice these lines.

(CONDUCTING)

W: Thank you. We have a good creative team.

Do you think we managed to combine the timbre of voice and timbre of musical instruments?

(thank you adults, sit down)

W: Creating and presenting multi-colored pictures under the influence of the timbre of the voice and the timbre of the instruments, can we say that timbre is the colors in music?

Thanks for the clever answers, put down the tools and sit down in your seat.

What is most important for an orchestra?

Professionalism and talent of musicians, solidarity, cooperation.

W: At the beginning of the lesson, you defined what an orchestra is. Remember your feelings when working in an orchestra, and in one word say: an orchestra is ... ..

W .: Do you think such qualities as co-creation, solidarity, friendship will remain important if we create an orchestra, only from voices - a choir? And how, with the help of the timbre of our voices, to convey the joy that there are real friends nearby, that together we can do many, many good deeds?

D: Sing a song together!

SLIDE number 8

Performance of the song "Friend with us!" G.A. Struve

Timbres - musical colors

1. Expression of moods of the surrounding world in music through timbres.
2. The specificity of violin timbres (on the example of the Scheherazade theme from the symphonic suite "Scheherazade" by N. Rimsky-Korsakov and "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov); cello (on the example of "Vocalise" by S. Rachmaninoff, arranged for cello and piano); flutes (on the example of "Jokes" from suite No. 2 for orchestra by JS Bach).

Musical material:

1. N. Rimsky-Korsakov. Scheherazade theme from the "Scheherazade" symphonic suite (hearing);
2. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" (hearing);
3. S. Rachmaninoff. Vocalise (arranged for cello and piano) (listening);
4. J.S.Bach. "Joke" from suite No. 2 for orchestra (listening);
5. M. Slavkin, poems by I. Pivovarova. "Violin" (singing).

Description of activities:

1. Explore the variety and specificity of timbre incarnations in musical works.
2. Define tones while listening instrumental music(taking into account the criteria presented in the textbook).
3. Establish external connections between the sounds of nature and the sounds of musical timbres.

The art of combining orchestral sonorities,
there is one side of the soul of the composition itself ...

N. Rimsky-Korsakov

Musical timbres are often compared to paints in painting. Like paints expressing the color richness of the surrounding world and the diversity of its moods, musical timbres also convey the diversity of the world, its images and emotional states... Whether a human voice or a shepherd's pipe is singing, a violin melody or a harp play is heard - any of these sounds is included in the multicolored palette of timbre incarnations of music.

Composers never create music that can be designed for any timbre. Every piece, even the smallest one, certainly contains an indication of the instrument that must perform it.

Every musician knows that a violin has a special melodiousness, so it is often entrusted with melodies of a smooth, song-like character.

Here, for example, is the theme of Scheherazade from the symphonic suite of the same name by N. Rimsky-Korsakov. The beauty of the magic is heard in it Arabian night, and soft voice Scheherazade.

The virtuosity of the violin is no less famous, its ability to perform the most impetuous melodies with extraordinary lightness and brilliance. Among the examples of such a role for the violin is "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov.

An angry Bumblebee, preparing to sting Babarikha, makes its famous flight. The sound of this flight, which the music reproduces with fine precision and great wit, is created by the melody of the violin. This melody is so impetuous that the listener really gets the impression of a formidable bumblebee hum.

The extraordinary warmth and expressiveness of the cello brings its intonation closer to the living human voice - deep, exciting and emotional. Therefore, in music, there are often cases when vocal works sound in arrangement for cello, striking with natural timbre and breathing. A striking example of this kind - "Vocalise" by S. Rachmaninov.

The word "vocalise" means a vocal piece without words.
The ingenious "Vocalise" occupies a special place in Rachmaninov's vocal lyrics. Rachmaninoff wrote "Vocalise" in 1912 and dedicated it famous singer A. V. Nezhdanova. "Vocalise" adjoins the composer's romances, in their origins associated with Russian songwriting. Elements of folk song style organically flow here into the melody, marked by a bright personality.
The breadth of the melody, the unhurried and, as it seems, “endless” nature of its development, speaks of the connection between Vocalise and the Russian lingering song. The music is so expressive, so meaningful that the composer considered it possible to abandon the poetic text. I would like to call "Vocalise" a Russian "song without words".

Where lightness, grace and grace are required, the flute reigns. The sophistication and transparency of the timbre in combination with its inherent high register give the flute a touching expressiveness.

The charming Scherzo ("Joke") by JS Bach from Suite No. 2 for Orchestra is an example of such a gracefully humorous sound of the flute. The chirping of the flute in a virtuoso manner is so graceful and cheerful that it seems as if the music can go on and on ...

Scherzo - "Joke" - this is how this word is translated. But this is not always "funny" music. This name was assigned to instrumental works of a sharp nature, with lively intonations and unexpected musical turns.

Questions and tasks:

1. Why can musical timbres be compared to paints in painting?
2. What are the characteristics of the violin sound? Tell us about the theme "Scheherazade" and "Flight of the Bumblebee" by N. Rimsky-Korsakov.
3. What timbre can you compare the sound of a cello with?
4. How would the character of sounding in JS Bach's "Joke" change if a cello were soloing instead of a flute?
5. Do you think it is possible to assign a melody written for one instrument to another? If so, what are the options for such substitutions?

Presentation:

Included:
1. Presentation, ppsx;
2. Sounds of music:
Bach. Scherzo from Suite No. 2, mp3;
Rachmaninov. Vocalise (2 versions - violin and cello performed by Vladimir Spivakov and Mstislav Rostropovich, solo for voice, electric guitar performed by Viktor Zinchuk), mp3;
Rimsky-Korsakov. Flight of the bumblebee, mp3;
Rimsky-Korsakov. Scheherazade theme (fragment) , mp3;
3. Accompanying article, docx.

In the presentation, an additional piece by S. Rachmaninov "Vocalise" (electric guitar, in Spanish by V. Zinchuk) is given - at the discretion of the teacher.