Message musical timbres. Methodical development of an open lesson on musical literature “Tones of musical instruments of a symphony orchestra. Performance of the song "Friend with us!" G.A. Struve

Lesson 28

Topic: Voices. Timbres are musical colors.

Lesson objectives:

Learn to perceive music as an integral part of every person's life.

Develop an attentive and benevolent attitude towards the world around you.

To foster emotional responsiveness to musical phenomena, the need for musical experiences.

Develop an interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of a listener's culture based on familiarization with the highest achievements of musical art.

A meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Musical lesson material:

N. Rimsky-Korsakov. Scheherazade theme. From the symphonic suite "Scheherazade" (listening).

N. Rimsky-Korsakov. Flight of the Bumblebee. From the opera "The Tale of Tsar Saltan";

Musicians.German folk song (singing).

M. Slavkin, poetryI. Pivovarova. Violin (singing).

Additional material:

During the classes:

Organizing time.

Lesson topic message.

Work on the topic of the lesson.

Timbres - musical colors

Target: to acquaint students with the variety of timbres of a symphony orchestra.

Tasks:

to form the artistic culture of students: listening attention, performing activities, as self-expression of experiences in singing, musical and rhythmic activity (playing instruments);

Develop an ear for music;

Optimize the creative personality traits.

SLIDE number 1

Teacher:

Here are two works: one in black and white, and the other in color. Which one is more expressive, bright, beautiful?

And with the help of what the artist achieves this expressiveness and beauty?

With the help of PAINTS.

Sometimes a symphony orchestra is compared to a painter's palette. Can we talk about colors in music? And if so, what are these colors? ..

Of course, we will talk about the coloring of the voices of musical instruments or about timbres.

Music also has its own colors, which composers skillfully use. After all, each instrument has its own unique voice or, as the musicians say, its own timbre ...

Different instruments can play the same note, but ... a string sounds differently than a metal or wooden plate, and a wooden pipe will sound differently than a glass one.

The topic of our lesson: "Voices - musical colors" ( slide number 2 )

And our tasks ... (read on slide number 3):

Today weget to know with timbresbrass and percussion tools and will tryprove that the voices of these instruments are not onlydiffer from each other, but also havevarious colors .

This will help me not only the guys who prepared information about the tools, but all of you.

When listening to the voices of instruments, you need to choose a “color” that matches the timbre of the instrument: for example, sonorous - bright color, dull - dark. You can use shades of colors, you can also combine several colors ...

Teacher: So, let's get acquainted with the group of woodwind instruments. The very name "winds" speaks of how the sound is extracted from these instruments .... That's right, they blow. And they began to be called wooden because they were made of wood ...

SLIDE №4

Once upon a time, wooden tools were made from wood, hence their name "wooden". But nowadays they are made from other materials, such as plastic, metal and even glass.

SLIDE No. 5 Flute

Student: FLUTE is one of the oldest musical instruments. Its origin is lost in the mists of time, but the modern flute has gone far from the old one. She has the highest voice among the wind instruments. She has no equal in imitation of the natural world: bird voices, in the image of fairy-tale creatures inhabiting forests and rivers.

Her sound is light, sonorous, light and mobile

LISTENING(we select the color for the voice of the flute).

SLIDE number 6 Oboe

Student: Having joined the orchestra in the 17th century, the oboe immediately became the idol of musicians and music lovers.

Oboe is best able to express lyrical moods, tender love, submissive complaint, bitter suffering.

The sound is warmer and thicker than that of a flute, his voice can be recognized as if by the "nasal" tint.

LISTENING(we select the color for the voice of the oboe).

SLIDE No. 7 Clarinet

Student: It appeared only in the 18th century, but he was the only one of all to change the strength of sound from powerful to barely audible. Everything is available to the clarinet: it is good for expressing joy, passion, dramatic feelings.

The sound is very clean, transparent and round, distinguished by nobility.

LISTENING(we match the color to the clarinet's voice).

SLIDE number 8 Bassoon

Student: The last member of the group of wooden instruments- bassoon ... It appeared in the 17th century as the lowest sounding instrument. This is bass. Its wooden trunk is so large that it is folded in half. In this way, it resembles a bundle of firewood, which is reflected in its name: "bassoon" from Italian means "bundle".

Its sound is precisely characterized by the writer Griboyedov in "Woe from Wit": "... wheezing, strangled, bassoon ...". Indeed,the bassoon timbre is a little stifled, grumpy, like the voice of an old man.

He can be grumpy, mocking, and can be sad, sad.

LISTENING(we select the color for the bassoon voice).

SLIDE №9 COPPER SPIRIT GROUP

Teacher. The next group of wind instruments is COPPER. As the name indicates, the material from which the tools are made is metal, although not necessarily copper, often it is brass, tin, and other alloys. In an orchestra, brass can easily drown out other instruments, so composers use their sound with care.

This group appeared later than other orchestral groups. It includes: trumpet, French horn and tuba. Let's start our acquaintance with brass instruments with the Trumpet.

SLIDE No. 10 Trumpet

Student: In the Middle Ages, the trumpet accompanied festivals and solemn ceremonies, summoned the army to battle, opened knightly tournaments. She often performs belligerent signals, which have come to be called "FANFARA".

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

SLIDE number 11 French horn

Student: descended from an ancient hunting horn. The name "French horn" from German means "forest horn". The length of the metal tube was almost 6 meters, so it was bent like a shell. Warm, soulful voice allows you to play wide, flowing melodies.Sound - soft, lazy, warm.

SLIDE No. 12 Tuba

Student: The lowest sounding instrument among the copper ones is the tuba. It was created in the 19th century.

The sound is thick and deep, "clumsy".

LISTENING(we select the color for the voice of the tuba).

SLIDE number 13 Percussion instruments

Teacher. We come to the last group of the orchestra - percussion instruments. This is a large group, which includes timpani, snare and bass drums, there-there, triangle, bells, bells, xylophone. All of them are united by a common method of sound extraction - blow. The element of these instruments is rhythm. No other instrument can give music as resilience and dynamism as drums do.

Only one instrument is a permanent, obligatory member of the orchestra - the timpani.

SLIDE №14 Timpani

Student: Timpani - an ancient instrument, represented by copper cauldrons, covered with leather on top, which is struck with a small mallet with a round soft tip.

The sound of various shades: from a barely audible rustle to a powerful rumble. Can convey the sensation of a gradual accumulation of rhythmic energy. LISTENING

SLIDE №15 Xylophone

Student: Xylophone – a tool with a set of wooden plates, which are struck with two hammers.

The sound is sharp, clicking, strong.

LISTENING(we select the color for the timpani voice).

Teacher: And now, while the assistants place your work on the board, we will expressively read the characteristics of the timbres of all instruments.

SLIDE number 16 (expressively read)

The flute: light, sonorous, light and mobile.

Oboe: warm and thick with a "nasal" tint.

Clarinet: clean, transparent and rounded, noble.

Bassoon: choked, grumpy, "wheezing".

Pipe: bright, flying far, festive, solemn.

French horn : soft, lazy, warm.

Tuba: thick and deep, "clumsy".

Timpani: from a barely audible rustle to a powerful rumble (with our hands we tap on the desk with an increase).

SLIDE No. 17 (Conclusion)

Why musical timbres are compared to paints.

Teacher : yes, the color of the sound of the instruments is rich and varied. They can really be compared to paints in painting andyour drawings demonstrate how varied the gamut of colors, and hence the voices of instruments, timbres are just as diverse.

BLOCK №2

PLAYING the instruments SLIDE number 18

Teacher. The orchestra is a special country. She lives by her own laws. Any instrument in the hands of a musician has its own responsibilities and if he does not fulfill them, then destroys the whole, violates HARMONY.

EXERCISE:

Now several students will try to come up with their own rhythmic accompaniment on percussion instruments (tambourine, spoons, flute and maracas).

CALL 2-3 times and assess the performance.

Teacher. The guys played the rhythm very well on percussion instruments, and felt that it was not very easy to create HARMONY IN THE ORCHESTRA.

Block No. 3 SLIDE No. 19 CROSSWORD (each word of the crossword opens on click)

Teacher. And now it's time to check how you memorized the instruments of the wind group, one of the most diverse voices in color.

You have Sheet No. 2 on your desks(Appendix 2) , in which you enter the answers, and then we check everything together.

SLIDE №20 Ancient Greek theater.

Teacher.

Vocal and choral work.

Music is generally inseparable from the timbre in which it sounds. Whether a human voice or a shepherd's pipe is singing, a violin hum or a grumpy bassoon voice is heard - any of these sounds are included in the multicolored palette of timbre incarnations of music.

Music encourages reflection, awakens imagination ... Imagine that we are in Ancient Greece and our class is "ORCHESTRA" - the place where the choir was located, and you and I were the choir. And we will finish the lesson with the beautiful song "MUSIC SOUNDS", and your works for this song can be viewed on the screen.

SLIDES 21 - 37 drawings of students for the song "Music Sounds".

Crossword

Horizontally.

He leads the entire orchestra.

In the Middle Ages, playing this copper instrument accompanied knightly tournaments and military ceremonies.

In ancient Greece, this was the name of the place for the choir.

This woodwind instrument has a deep voice.

The name of this brass instrument is translated from German as "forest horn".

Woodwind instrument.

The ancestors of this woodwind instrument are reed pipes and flutes.

Homework.

Pupils' drawings for the song "Music Sounds".

Often you have to deal with the fact that people who are at the beginning of their "vocal" path and are not very well versed even in basic concepts (not just in subtleties) do not understand well what is timbre and what is the type of voice.

On the one hand, you can learn to sing without knowing it thoroughly. Although, on the other hand, any vocalist who seriously embarks on his own path will be simply ridiculous in the eyes of his colleagues if it turns out that he does not understand such not too complicated things.

I'll start with the simplest QUANTITATIVE comparisons to immediately clarify the main difference in these concepts.

Each specific person has only ONE type of voice, but TEMBLES he can have a huge variety.

It is primarily due to the geometric dimensions of the vocal folds and larynx, especially the part that is called the "vestibule."

It is important to know here that other parts of the vocal apparatus, located above the larynx itself, are very mobile and controllable (subject to training, of course). But the folds and the larynx itself is given to a person to change once in a lifetime, and even then unconsciously.

This occurs during a period called "pubertal", or, in a simpler way, a transitional, mutational period. Although the word "mutational" in modern language is almost abusive, with a connotation of some kind of "monstrosity", in a word, genetic inferiority. Therefore, I will not use it.

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The pubertal period of life is a transitional age, the time for the transformation of a child's body into an adult. And the adult differs from the child (in addition to size, mass, strength), mainly in the ability to reproduce offspring. And the transition to it takes years!

All restructuring of the body occurs under the influence of an increasing amount of special substances in the blood - hormones. These are catalysts for the most complex processes that ultimately transform a boy into a boy and a girl into a girl. The processes of restructuring of the body themselves can continue for different people at different times. It is not known in advance when the "hormonal changes" will begin, and when it will end.

Since I am writing about vocals, I will immediately get down to business - during the period of hormonal changes in the body, the larynx grows and changes significantly, as well as everything that is INSIDE HER! Including the vocal folds.

When puberty ends (I repeat, it is impossible to predict this "date" in advance), the larynx and its internal organs acquire the structure with which a person will have to go through life until its, alas, end. That is, there will be no changes in this "node" of the organism, unless the "owner" himself begins to carry out destructive work with his way of life.

You could, by your own example and by the example of your relatives / friends, observe how a child's voice (usually called a treble) gradually turns into an adult voice. And those children who a couple of years ago spoke "thinly" suddenly turned almost into bass, so the voice became lower and "fatter". And someone - in the bass, and someone is not far from the qualities of their childish voice, although the voice still dropped.

This applies to both sexes, but the male is much better.

I cite as an example the performance by the same person of the same song, but at different times in his life. At one time in the USSR, an Italian boy named Robertino Loretti was very famous ...

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That is, it is during puberty that the human voice receives a certain TYPE OF... Modern vocals in this sense operate not with classical concepts (bass, baritone, tenor or contralto, mezzo, soprano), but with simpler and naturally understandable concepts - low, medium and high.

But the tradition of dividing voices into CLASSIC the types are so strong that it will not be long before those who do not intend to go to the opera will learn to express themselves "not in an operatic way." Although it is necessary to strive now, since, as I will tell below, the division of the types of voices in the "operatic" language for modern vocalists is not correct.

But, if so (about the transition period and the larynx), then how do girls and boys, however, these are rare cases, manage to sing adult songs no worse than superstars? If their larynx and ligaments haven't grown yet, haven't they become adults? You will soon find out ...

What "builds" the human timbre of the voice is the folds themselves and what is ABOVE vocal folds - CAVITY(empty, or rather air-filled) spaces along the path of air flow from the vocal folds to the exit of sound from the mouth.

We cannot change our folds after the end of "growing up", but we can easily change our cavities, at least every second ...

Such cavities are the pharyngeal, oral and nasal. And they are called resonators in vocals - respectively, pharyngeal, oral and nasal.

Here you need to strain yourself and understand that the voice is mainly built by “empty spaces” in our body, and not “material” organs. Although the role of "material" in this matter is huge too.

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As it was written a little above - these cavities can take on different sizes, narrow and expand, lengthen and shorten, or perform complex "maneuvers" - expand, lengthen, for example ... The nasal cavity can "connect" to the other two or "disconnect" from them (in the picture, you see, just, "disabled"), and immediately above the folds, on the eve of the larynx, an experienced vocalist can learn to "grow" another cavity that does not exist during a conversation, but it is very important for singing, namely professional singing ...

In ordinary speech, there are mainly two main cavities in our body - the pharynx and the mouth, because the nasal cavity is, let's say, an auxiliary one, and an inexperienced speaker or vocalist, as a rule, “from nature ”does not.

Now think for yourself how many different tones you can publish, having only TWO lever, the length and width of which (or it would be more correct to use the term - CONFIGURATION) can vary over a fairly wide range? We can change the pharynx by lowering or raising the larynx, expanding by anchoring some large muscles of the body.

Oral cavity - changing the size and shape of the oral opening, raising or lowering the jaw, but, most importantly, placing the tongue in it in one way or another ... Moreover, the placement of the tongue will affect the pharyngeal cavity at the same time ...

And if the vocalist is professional? And such "levers" does he have not two, but four?

Number of tone variations HUGE! And this is with the same TYPE vote!

But, alas, the timbre itself largely depends on the type of voice. That is, the timbre is not something "in itself", it is VOICE variations within its own type.

Let's say you bought a Zhiguli ... No matter what and how you do with the car, no matter how you decorate it, no matter what gadgets they put on the body or put in the salon - the Zhiguli will remain Zhiguli ... But you bought a Mercedes "? Continue further? I think the comparison is clear enough ...

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In addition, "typical" vocal structures, primarily the vocal folds themselves, can create a huge number of different variations in their vibration. That is, to offer the above-described "levers" completely different "primary material"!

The timbre of a voice is a phenomenon that, unlike its "type", can change from sound to sound, within, literally, a millisecond. That is, the time that ENOUGH to change the configuration of cavities-resonators and change the "way" of work of the vocal folds. Variability is the main difference between timbre and type.

The examples show the same phrase, the same male and female voices, but the timbres are different! That is TIMBRE- this is not at all "concreted" by the nature of the color of the voice, it can be changed, in contrast to TYPE!

WHAT IS THE REASON FOR THE DIFFERENCE OF WOMEN'S VOICE FROM MEN

The reason for these characteristics is in the type of voice, that is, in the size of its main sound generator, the vocal folds. And in the size of the larynx itself. And in the case of gender differences (man-woman), also in the size of the cavities-resonators.

"But what about the counter tenor?" And I wrote - IS TALKING, but not SING! Singing is a more complex function ...

DOES THE VOICE SPEAK ABOUT THE TYPE OF VOICE, AND THE TYPE OF VOICE SPEAKS ABOUT THE VOICE?

Is a high male voice capable of creating a timbre similar to that of a low voice on some characteristic low note? Unfortunately no. And vice versa? Also no. And the high note sung by the middle voice will be different from the same note sung by the high voice. But (this is important!) If AND THE QUALIFICATION OF VOCALISTS WILL BE THE SAME!

Otherwise, a professional baritone (by type) will easily "plug in the belt" a beginner tenor, who, although he has a typical tenor timbre, his voice is simply not yet developed to the level of a professional one! Nature is one thing, learning is another!

Voice type is important for academic vocals. And, of course, to a certain extent for modern vocals, but only to a much lesser extent. The classics will definitely require an exact definition of the type of voice before you start developing it in her, the classics, traditions.

Just because the operatic parts are written for this or that TYPE vote. The tenor will not sing the bass part in the opera, and the soprano will not cope with the contralto part. And reciprocally, of course. Therefore, if you want to become an opera singer (singer), they will first try to determine your type of voice, simply in order to give you appropriate exercises for training and musical material corresponding to your type of voice - arias, ariosos, etc.

And in the matter of determining the type, the initial timbre is very important. The timbre that you have "in life" exists, since the vocalist who has come to study does not yet know how to control it. This "uncontrollable" (so far, due to lack of education) timbre will be a "beacon" for the teacher. Because the uncontrollable, or in a simple way, the "normal" timbre of the voice will clearly show itself VOICE TYPE.

They call him that - typical.

Further, depending on the type of voice determined by the teachers, the whole study will be built. From a low voice will come out (if it does) - bass, from a middle voice - a baritone, and from a high voice - a tenor. More subtle gradations, defined by the expressions "lyric", "dramatic" or "lyric-dramatic" will be determined already in the course of study and in the course of training. It's the same with women.

And only when "comes out" you will be called bass or soprano. Until it comes out - you are not a bass or a soprano yet. You are a low type, or a high one ... To consider yourself a baritone, you need to develop your voice to the capabilities of an operatic baritone. And the timbre of the baritone will be just a consequence here.

WHY VOCAL TECHNIQUE IS NECESSARY AND HOW IT AFFECTS THE VOICE

Another reason for the effect, that is, a change in timbre is ... VOCAL TECHNIQUE! It differs significantly among the classics and modern vocalists, which is described on the site in many articles.

A person who is proficient in vocal technique can change his timbre arbitrarily (although still - only within the framework of the type of his voice). And the palette of sounds, which is subject to the modern vocalist, in many ways significantly exceeds the capabilities of an academic vocalist. But there are also features in which the classics wins, no doubt. You just need to understand that the timbres of the voice that a classical vocalist achieves are needed precisely for the classics.

But for songs of other styles and timbres you need to be able to create others!

Perhaps such a metaphor will be quite figurative and understandable - a typical timbre of a voice is similar to an undressed human body. Each of us has our own figure, and it is far from always perfect and perfect. When we start to learn vocal technique, then, to some extent, we begin to "dress". And clothes can hide flaws and emphasize advantages!

And our future capabilities, singing style, depend on what technique we are taught. Or, metaphorically, what kind of clothes we wear on our voice. A classic tailcoat or costume, a ball gown will look great in an opera house, but look strange at a rock concert or in a pop star show. And vice versa, in fashionable jeans and a blazer, with some original accessories or piercings, you can not get into a serious restaurant or club ...

That is, everything has its place. True, if a person can change his costumes as many times as he wants, then in the case of a voice, this "trick" will not work. The vocal technique obtained during training is almost impossible to change; it will always be "noticeable" like clothes that are out of size.

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Vocal technique is not intended to CHANGE the timbre of the voice, she is needed to ENRICH! Or "ennoble", as they often say, referring to classical vocals. One way or another, the timbre of the singer's voice is not just his (her) colloquial timbre, it is significantly different, it is much richer. If, of course, we are talking about a qualified singer, and not a young man with a guitar on a hike ...

But there is not only a typification of voices in vocals, but also a typification of timbres. This does not mean the personal timbres of a particular human voice (naked body), but his "clothes", timbres acquired with training, experience ...

In modern vocals, there are several basic timbres most often found among singers, which are called VOCALITIES. And unlike modern vocals, classical is built on only one basic timbre, which is called so - opera vocal.

We listen to tenor or baritone, soprano or contralto, but with all the difference TYPES their voices VOCALITY one sounds - opera! Tailcoat or ball gown!

Whereas vocalists singing a modern repertoire, firstly, have a completely different timbre, that is, they don’t use the opera vocal, and, secondly, during the song, the vocals can change many times. Yes, and different rock or pop, soul or r "n" b vocalists with the same type of voice, we completely distinguish by their characteristic "dress", according to the vocals they usually use.

That is why it is wrong to call the type of voice of modern singers operatic, classical names. It's like saying “denim tailcoat” or “ball gown made of sackcloth” ... This is a stereotype and a rudiment inherited from academic vocals, and you need to use these terms only within the framework of the classics.

CONCLUSION

But how do children manage to sing like adult "stars"? Returning to the question I asked myself in the middle of the article ...

Close your eyes and listen to the performance ... Do you really decide what an adult is singing? In any case, the type of voice will show itself. Yes, great, yes, beautiful ... But you can hear what the children are singing! And the reason for this "shade" is the geometry of the vocal organs responsible for the voice FIRST OF ALL!

And why is the sound so close to the original, such dynamics and expressiveness, such a magnificent timbre? That's right - timbre! Because this is how girls know how to control their timbre! But, at the same time, I repeat, anyone will hear that these are girls, not adult women ...

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Therefore, the most important advice that follows from the entire article is not to try to change the type of your voice, because this cannot be done. Try to "squeeze" out of it as much as possible what it is possible to squeeze out of it, that is, learn to change the timbre of your voice at your own will at any given moment, achieving the desired sound, the desired vocal!

It is not easy, but this is the maximum of professionalism!

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And from the next article we'll talk about the types of voices in more detail ...

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In the music of the 20th century, such a characteristic of sound as timbre began to play a key role in the concept of new and in the formation of new vocal techniques. What is timbre and what are its varieties?

Timbre in music - what is this category?

"Timbre" is translated from fr. as a "distinctive sign". Timbre in music is a specific coloration of a sound. If you play the same note of the same pitch or volume on different instruments, the sound will still differ significantly due to the timbre characteristics of the instrument. The same vocal parts performed by two different vocalists are easy to distinguish by ear due to the special timbre coloration of the voice.

The concept of "timbre" is not the only definition in music, but they all boil down to the fact that timbre is the same most important characteristic of a sound, such as loudness, pitch or duration. A variety of adjectives are used to describe the timbre: low, dense, deep, soft, bright, muffled, sonorous, etc.

Types of timbres by A.N. Sokhoru

Timbre in music is a multi-component phenomenon. The famous musicologist A.N. Sokhor distinguishes 4 types of timbre:

• instrumental - depends on the structural features of the instrument and the nature of sound extraction;
• harmonic - depends on the nature of the combination of sounds;
• register - depends directly on the natural tone of the voice or register of the instrument;
• textured - depends on the level of density and "viscosity" of the sound, acoustics, etc.

Voice tones

Timbre in music is an important characteristic for a singing voice. Especially in the context of pop competition, it is important how memorable a vocalist's timbre is.

The timbre of the human voice depends primarily on the structure of the vocal apparatus. The timbre characteristics are also sufficiently influenced by the degree of development and "training" of the vocal apparatus. Often, after hard training, vocalists change to a higher one, and after suffering diseases of the vocal apparatus, the timbre becomes lower.

Why timbre characteristics are important

The need to single out one more category among the characteristics of sound - timbre - is dictated by a number of reasons. The most important of them is that the timbre (no matter whether it is instrumental or vocal) helps to give a piece of music the right mood, to place important accents.

When making a musical arrangement (especially if it is orchestration), it is simply impossible not to take into account the creative task and timbre characteristics of the instruments. For example, it will not be possible to give lightness and airiness to the sound if you entrust the performance of a musical fragment to a double bass or trombone, in which the timbre of the sound is distinguished by a large number of low overtones; it is impossible to achieve the effect of pumping the atmosphere using the gentle play of the harp.

The same happens when choosing a vocalist's repertoire. As a rule, blues and jazz parts are poorly performed by sopranos or tenors, because this requires a dense, velvety, juicy, low timbre of sound, possibly even with a "hoarseness" - this is required by the very specificity of the genre (the smoky atmosphere of cabaret, cafes, etc. etc.). At the same time, performers with low timbres look unfavorable in many other musical genres and performing techniques (for example, in "screaming", which is designed specifically for high-pitched voices).

Thus, timbre is the characteristic that largely determines the atmosphere of a sounding piece of music, and most importantly, evokes certain emotions in a person about what he has heard.

Lesson Development (Lesson Notes)

Basic general education

UMK line V.V. Aleev. Music (5-9)

Attention! The site administration site is not responsible for the content of methodological developments, as well as for the compliance of the development of the Federal State Educational Standard.

UMK"Music" by V.V. Aleev and others.

The purpose of the lesson: to hear and feel the role of timbre in creating a musical and picturesque image

Lesson Objectives:

1. emotionally, consciously, holistically perceive music at the level of key knowledge;
2. education of the culture of the listener, reader, viewer, performer;
3. the formation of vocal and choral skills.

Subject competencies

• expand the understanding of timbre as a means of musical expression
• find out what is common between timbre and pictorial paints and how they differ from each other
• to enrich knowledge about the timbre features of the violin, cello, flute
• to get acquainted with the work of composers Nikolai Andreevich Rimsky-Korsakov, Sergei Vasilievich Rachmaninov, Johann Sebastian Bach
• learn about the role of timbre in depicting a musical "hero" (symphonic suite "Scheherazade", opera "The Tale of Tsar Saltan", Suite No. 2 for orchestra
• learn to listen attentively to the timbre-picturesque beauty of music
• develop vocal and choral literacy

Information competence

• find key knowledge in textual material (timbre as a means of musical expression, timbre as pictorial colors, timbre as a reflection of images and emotional state)
• develop an understanding of reading a musical-cognitive text (by reading musicological terms, memorize their writing, reading expanded, artistically designed texts enriches speech culture, reading the text creates the effect of theatricalization in the lesson)
• be able to draw up short notes of lesson material

Social competence

• find productive cooperation with peers in the process of preparing for song contests, musical concerts (song selection, selection of the ensemble members, coordination of rehearsal time)

Communicative competence

• foster a culture of communication through reading and playing musicological educational text (hear and listen to the answer of another student)
• to form a culture of text analysis using the example of the "description" technique - a description of the timbre characteristics of musical instruments

Personal competence

• direct yourself to building an independent route of communication with art (listening to music on your own at home, purchasing classical music recordings for your home music library, attending concerts, participating in music song competitions, learning to play musical instruments, reading art literature)

UMK: Music. Grade 6: according to V.V. Aleeva, T.I. Naumenko, T.N. Kichak:

1. Naumenko, T.I., Music. 6th grade: textbook. for general education. Institutions / T.I. Naumenko, V.V. Aleev. - 6th ed., Stereotype.-M .: Bustard, 2006. - 117
2. T.I. Naumenko, V.V. Aleev, Music. 6 cl. Phonokrestomatiya. - M .: Bustard, 2009, 2CD
3. T.I. Naumenko Music. Diary of Musical Reflections. 6th grade: a guide for general education. institutions / T.I. Naumenko, V.V. Aleev, T.N. Kitchak. - M .: Bustard, 2009. - P.72
4. T.N. Naumenko, V.V. Aleev Music reader and guidelines for teachers. - M .: Drofa

Musical instruments: accordion, piano.

Equipment: computer, multimedia projector, screen.

Sources:

1. Aleev V.V. Music. Grades 1-4: Program for educational institutions / V.V. Aleev, T.I. Naumenko, T.N. Kichak-M .: Bustard, 2010 .-- P. 53
2. Aleev V.V. Music. 1-4 grades, 5-8 grades: programs for educational institutions / V.V. Aleev, T.I. Naumenko, T.N. Kichak. - 6th ed., Stereotype.-M .: Bustard, 2008. - p. 53
3. V.V. Aleev On the role of a textbook in music lessons // Art and Education. The journal of methodology, theory and practice of art education and aesthetic education. No. 5 (55) .- M .: 2008.- P.71
4. Ivanov D. Competence and competence-based approach in modern education / Dmitry Ivanov. - M .: Chistye prudy (Library "September 1", series "Education. Education. Pedagogy". Issue 6 (12)). - 2007. - P. eight
5. O. Lokteva Interior design through the prism of 20th century art // Art № 14 (446), July 15-31, 2010. Educational - methodical newspaper for teachers of the Moscow Art Exhibition, Music, Fine Arts. Publishing House "First September". - M. 2010. - P.4
6. T.V. Merkulova, T.V. Beglova Time - management for children, or How to teach schoolchildren to organize their time. - M .: Pedagogical University "September 1st" 2011. - 40 p.
7. Shelontsev V.A., Shelontseva L.N. Implementation of a competency-based approach in teaching: Textbook. Omsk: BOU "RIATs". - 2009. - P. 4; 5

Teacher's Home Library: Reading for Music Lesson

1. Mikheeva L. Musical Dictionary in Stories.-M .: 1984.-C.141
2. Rapatskaya L.A., Sergeeva G.P., Shmagina T.S. Russian Music at School / Ed. L.A. Rapatskoy.-M .: Humanit. ed. center VLADOS, 2003. - C.185
3. A word about music: rus. Composers of the XIX century .: Reader: Book. For students of Art. classes / Comp. V.B. Grigorovich, Z.M. Andreeva. - 2nd ed., Rev.-M .: Education, 1990. - P. 191
4. Smirnova E. Russian Musical Literature: for VI -VIIkl. Children's music school. Textbook.-M .: Muzyka.-2000.- P.106
5. Sposobin I.V. Elementary Music Theory: A Textbook for Music Schools.– 7th ed. M .: Music: 1979.-P.48

During the classes

1. Organizational moment. Greetings

The student's grade sheet in the lesson:

1. "The best interlocutor" (the ability to listen and hear the answers of students)
2. "The best researcher" (the ability to work with the text of the textbook - Textbook, Workbook)
3. "Best Listener" (listening to music)
4. "Best performer" (performance of the song repertoire)

Note in the notebook:

Lesson topic: Voices - musical colors

The purpose of the lesson:

1. expand knowledge of timbre
2. to hear the role of timbre in creating a musical and picturesque image

2. The experience of students' creative activity in the process of mastering musical knowledge

Teacher: In elementary school, you compared musical sounds with paints in painting, you said that each musical instrument has its own unique sound, its own TEMBR. So, organ and flute sound differently. Annex 1 .

Note in a notebook: Timbre - "sound coloration"

Teacher: Why do you think musical timbres are often compared to paints in painting?

Student: Like paints expressing the color richness of the surrounding world, creating the color of a work of art and its mood, musical timbres also convey the diversity of the world, its images and emotional states.

(The student finds a detailed answer on page 117 of the "Music" textbook).

Teacher: Explain the expression: "Music is inseparable from the timbre in which it sounds."

Student: Music consists of a variety of incarnations, and in each of them its own soul, unique appearance and character are guessed. Therefore, composers never create such 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.

Student: …(your own answer)

Teacher: Consider Note Example 38, page 117 of our tutorial.

A fragment from the symphonic suite "Scheherazade" by Nikolai Andreevich Rimsky-Korsakov is presented (Appendix 2, Appendix 3)

The composer indicated the musical tempo of Lento (slowly), the solo instrument - VIOLIN from the family of stringed bowed instruments (shown in the illustration) and determined the character of the sound (expressively).

Teacher: What is known about the character of the violin sound?

Student: Every musician knows that a violin has a special SOUNNY, so it is often entrusted with melodies of a SMOOTH, SONG CHARACTER, which has a special rounded lines. (Our textbook, page 118, helps to remember previously acquired knowledge)

Note in the notebook: The violin is melodious, melodious.

Listening to music: CD 2, No. 8. N. Rimsky-Korsakov, Theme "Scheherazade", From the suite "Scheherazade", fragment

Teacher: The violin has not only the ability to be melodious and song. She has many talents. What other ability does a violin have?

Student: The VIRTUOSITY of the violin is also known, its ability to perform the most impetuous melodies with extraordinary lightness and brilliance. (Our Tutorial helps to reveal another ability of the violin).

We continue to write in the notebook: -virtous

Teacher: Indeed, this ability allows many composers to create not only virtuoso pieces for the violin, but also use it to convey sounds of a non-musical nature! Today we will listen to "Flight of the Bumblebee" from the opera by N.А. Rimsky-Korsakov's "The Tale of Tsar Saltan". Let us recall the literary story about the flight of the Bumblebee.

Student: 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, so impetuous that the listener really has the impression of a formidable bumblebee hum.

Teacher: Before listening to music, let us study Notation example 39, page 118. The fast tempo “vivache” - “alive” is indicated. The swift flight of the sixteenth notes draws us the circling movement of the Bumblebee.

Listening to music: CD 2, No. 9. N. Rimsky-Korsakov, "Flight of the Bumblebee", from the opera "The Tale of Tsar Saltan", fragment

Teacher: The family of stringed bowed instruments also includes CELLONCHEL. Appendix 5. The instrument is shown in the illustration on page 119. What do we know about the character of a cello?

Student: The extraordinary warmth and expressiveness of the cello brings its intonations closer to the living voice - deep, exciting - emotional.

Note in the notebook: Cello - warmth, depth of sound

Teacher: This amazing ability of the cello to sound unusually warm and expressive and made it possible to perform vocal works in instrumental arrangement. On page 119 there is an illustration of the instrument and the musical version of "Vocalise" by S.V. Rachmaninoff, with a wide, all-encompassing, singing legato (arc connecting sounds).

Teacher: Let's open the Diary of Musical Reflections, page 19. Let's read the assignment.

Student: Sign the names of the musical instruments. Indicate the groups of the symphony orchestra to which these instruments are included.

The task is being completed: "short ribbon" - write the word "cello", "long ribbon" - "string bow group".

Listening to music: CD 2, No. 10. S. Rachmaninov, "Vocalise" (arranged for cello), fragment

Teacher: In our lesson, we will also hear the timbre of an instrument from the woodwind family - the FLUTE timbre. Appendix 6.

An illustration of it is presented on page 120 of the textbook. Where there is lightness, grace and grace in music, there the flute reigns. What do you think is characteristic of a flute timbre?

Student: The sophistication and transparency of the timbre in combination with its inherent high register give the flute both touching expressiveness (as in "Melody" from K. Gluck's opera "Orpheus and Eurydice") and graceful wit.

Teacher:"Joke" by I.S. Bach from Suite No. 2 for Orchestra is an example of such a gracefully humorous sound of the flute. In Note example 41 we will see an "openwork", "fluttering" musical notation of the score for the flute.

Teacher: Let's reopen the Diary of Musical Reflections, page 19. Continue the assignment. What musical instrument, symphony orchestra group will you include?

Student:“Short ribbon” - we enter the word “flute”, “long ribbon” - “woodwind group”.

Listening to music: CD 2, No. 11. I.S. Bach, The Joke. From Suite No. 2 for orchestra, fragment

3. Conclusion

Teacher: The musical material of the lesson was studied. What conclusion can be drawn?

(Students determine the conclusion of the lesson independently and using the studied textual material of the textbook)

Among them:

1. Each musical instrument has its own timbre
2. Musical timbres can be compared to paints in painting.
3. Timbre helps to "see" the musical hero
4. Music is inseparable from timbre
5. ... (Your own answer)

Writing in a notebook: Each musical instrument has its own timbre(or recording the output previously sounded)

4. Homework

Diary of musical observations (p. 18)

Teacher: In the lesson, you expanded your knowledge of timbre, listened to music performed by violin, flute, cello. Let's read in the Diary of musical observations, page 18 of the assignment.

1. What instrumental timbres would be assigned to various sounds of nature?

Overflow of sea waves ...

Singing nightingale ...

2. Is it possible to "sound" the silent nature, endow it with its own timbre

wild flower…

mighty tree (oak) ...

(In view of the fact that the task is determined within the framework of studying the material of only this lesson, that is, the timbre of the violin, cello, flute, then the answers sound already in the lesson. At home, all that remains is to write down the answers.)

5. Vocal and choral activities

Diary of Musical Observations, P. 72. "Violin", Lyrics by I. Pivovarova, Music by M. Slavkin

Teacher: So, in our lesson:

1. we have expanded our knowledge of timbre
2. learned to listen and distinguish the timbre beauty of the violin, cello, flute
3. read musical texts in a textbook;
4. learned to sing beautifully and correctly
5. considered doing homework.

Thanks for the creativity in the lesson!

“The most difficult subjectively perceived parameter is timbre. With the definition of this term, difficulties arise, comparable to the definition of the concept of "life": everyone understands what it is, however, science has been beating over the scientific definition for several centuries. "
(I. Aldoshina)

In nature, we almost never come across pure tones. The sound of any musical instrument is complex and consists of many frequency components - overtones.

Even with very complex sound vibrations, human hearing is able to recognize the pitch. However, at the same pitch, the sound of, for example, a violin differs by ear from the sound of a grand piano. This is due to the fact that, in addition to the pitch, the ear is also able to assess the “coloration” of the sound, i.e. its timbre.

Sound timbre is a sound quality that, regardless of frequency and amplitude, allows you to distinguish one sound from another. The timbre of a sound depends on the general spectral composition of the sound (i.e., what overtones are present in it) and the ratio of the amplitudes of the spectral components (i.e., overtones):

Overtones

Timbre is closely related to pitch. The fact is that sound vibrations are usually complex.

For example, if we played the note "A" of the first octave (frequency 440 Hz) on the violin, then multiple frequencies of 880, 1320, 1760, 2200 Hz, etc. will also be present in the vibrations of this string.

In this case, the amplitudes of these frequencies (overtones) can be different, i.e. the overtones will have different volumes.

The German physicist Georg Ohm was the first to suggest that a simple auditory sensation is caused by a simple sinusoidal oscillation ( such an oscillation is also called harmonic, it is important not to confuse harmonic oscillations, i.e. those that are described by the functions y = sin x, etc., and harmonic overtones, which are also harmonic oscillations, but their frequencies are also multiples of the fundamental frequency). As soon as the form of the vibration becomes more complex, overtones appear - the impression of the color of the sound or its timbre arises.

An example of the emergence of a complex vibration by adding two simple (harmonic) vibrations.
Blue represents the fundamental harmonic vibration, pink represents an vibration of twice the frequency (overtone or first harmonic), and green represents the resulting complex (nonharmonic) vibration.

Ohm was able to establish that the ear perceives separate harmonic components of sound, and these components cause separate sensations. With a certain training, you can even mentally separate a complex periodic oscillation and determine which harmonics are present in the sound.

Thus, the human hearing is able to perceive a complex form of sound vibrations as a color or timbre.

Harmonic overtones or harmonics

Overtones are harmonic and non-harmonic.

The frequencies of the harmonic overtones are multiples of the frequency of the fundamental (harmonic overtones together with the fundamental are also called harmonics):

In real physical situations (for example, when a massive and rigid string vibrates), the frequencies of the overtones can deviate noticeably from values ​​that are multiples of the frequency of the fundamental tone - such overtones are called nonharmonic.

Spectral composition and timbre

The amplitude-frequency ratio of all the components of a complex vibration is called the spectrum of sound, and the sounds corresponding to each frequency present in a complex vibration are called spectral components or components.

The set of spectral components determines the timbre of the sound. And since each spectral component is a sound of a certain pitch, it is not entirely correct to speak of timbre as a separate property of sound. However, it is the timbre of the sound (more precisely, the spectrum) that is usually the focus of attention when it comes to sound processing technologies.

Examples of the spectral composition of musical sounds:

The timbre of the sound, i.e. the ratio of the amplitudes of its harmonics also affects the perceived pitch of the complex tone.

Phantom frequencies

Sometimes a person can hear sounds in the low-frequency region, although in reality there were no sounds of such a frequency. The brain perceives the pitch not only by its fundamental frequency, but also by the periodicity given by the ratio between the harmonics. We can perceive the same pitch (possibly with a different timbre) even if the fundamental frequency is not audible (or lost) during playback. (Frequency signals of a complex spectrum without a fundamental frequency (the first harmonic in the spectrum) are called residual.)

For example, if a note (that is, not a pure tone) has a pitch of 100 Hz, it will have frequency components that are integral multiples of this value (for example, 100, 200, 300, 400, 500 .... Hz). However, small speakers may not reproduce bass frequencies, so a 100Hz component may be missing during playback. However, the frequency corresponding to the fundamental tone can be heard.

This effect is called "The Phenomenon of the Missing Fundamental" - an experiment in 1940 demonstrated that the sensation of the pitch of a spectrally complex sound will not change; if its fundamental frequency is removed, it will be completed by the brain based on the available harmonics. It is used in sound reproducing equipment to expand the range of reproducible low frequencies, if it is impossible to adequately reproduce such frequencies directly, for example, in headphones, mobile phones, low-budget speakers (acoustic systems), etc.