Topics for an open pop vocal lesson. Open vocal lesson “Dynamic shades. Phrasing. Homework assignment

Perm region

Kungur municipal district

Municipal budgetary institution

additional education

"Kalinin Children's Art School"

Public lesson.

“Working with a pop ensemble in vocal class”

Prepared by: Guryanova N.L.
Pop vocal teacher

Kalinino village 2017

Working with a pop ensemble in vocal class.

The purpose of the lesson: show and reveal the main points of working with a vocal ensemble.
Lesson objective: show work with vocal exercises and work out vocal parts and arrangements.

During the classes.
1. Opening speech 3 min.
2. Explanatory note 2 min.
3. Chanting 8 min.
4. Work with vocal parts 20 min.
5. Performance in concert version 7 min.
6. Closing remarks 5 min.

Musical material.
1. D. Tukhmanov, An.Transverse."Stork on the Roof"

2 . “I would like to draw a dream”

Introduction.
The vocal ensemble of the art school has been in existence for three years and consists of a homogeneous two-voice composition with elements of 4 voices, students of the high school vocal department.
There are 4 people in total, 2 in each batch. The ensemble performs various works in Russian and English and is a regular participant in all school concerts, and also takes part in municipal and intermunicipal competitions.

Explanatory note.

To identify the character of the voice and determine which part to assign to it in the ensemble, you need to start with a “chanting”, with each individual. During chanting, the leader determines the type of voice, its range, and identifies the qualitative (timbre) characteristics of the singing sound. You need to know that in pop singing, the division into types of voices is conditional. This is due to the fact that pop vocalists sing in a natural register. They do not have an artificially extended high range using head resonators. In pop singing, voices differ according to their “mass”, such as high and low, plus the individual qualities of the singing sound.

Before starting work on developing a unified singing sound for all members of the vocal ensemble, it is important to identify such nuances of the character of the voice as transparent, dense, light, heavy, sonorous, muffled, sonorous, quiet, etc.

Each cast should select appropriate chants in order to achieve the ability to sing exercises without “its own” timbre, without “its own” vibration and “its own” sound strength. Everyone listens to their neighbor, while trying to “drown”, “hide” the timbre of their voice, in the timbre of the voice singing next to them. Everyone makes sure that his voice does not stand out and is not lost in the overall sound, which should be perceived by those singing as coming from the same source, the same timbre, the same volume and with a common vibrato.

The best exercises for developing a unified singing sound formation are diatonic scales and arpeggios. Exercises and scales are performed at moving tempos, with an energetic, full sound. The higher the tessitura, the more support there is on the lower abdominal muscles.

The chants are sung in unison (if the composition is mixed - in octave unison), in the range of sounds freely, without tension. At the same time, in the lower register, low voices sing in a subtone, the girls “turn on” the chest register of their voices and sing in pp.

Chanting.

Altos sing the exercise up to D of the first octave and return to the original one, sopranos sing up to B of the first, wait for the altos to sing their turn and join them from the same note. Three-quarter beats are counted out loud or marked with body movement.

The teacher plays the exercise with both hands in the minor and second octaves. In all exercises in the syllable uVa, vowel u pronounce like English W, performing it as a grace note to the syllable Wa.

The scale for the ensemble chants looks like this:

Sing in semitones up to D of the second octave. Altos begin with the note A of the small octave and sing up to F first. The leader plays the exercise with both hands in the minor and first octaves.

Sing all exercises from beginning to end, and only after that the leader makes comments, gives instructions for correcting errors, and again completely completes the entire course of the exercise.

You need to sing the exercises in that part of the range where the voices of the ensemble feel comfortable. Where, say, low voices are high, they drop an octave or skip high notes. You should monitor the dynamic and timbre balance of voices, and avoid highlighting any voice. The attack in all types of exercises is any, but the same for all singers in the ensemble.

Clearly articulate the scat. Use only the suggested syllables. The ensemble should chant for up to ten minutes. Be sure to use nuances, different timbre shades and dynamics.

While performing the exercises, students must beat beats with their feet. When the unison is performed confidently and clearly, the ensemble moves on to harmonic exercises.

Chord exercises.

Chord exercises to sing piano. The leader determines the type of attack, sets the piano tuning with one sound or chord, and calculates the pauses out loud. The pace is slow.

The ensemble members listen carefully to the tuning and begin the exercise with a light sound, without approaching. Listen to every sound, interval and chord. “Dissolve” their voice in the general sound.

All chord exercises are performed in crescendo.

The leader himself chooses a convenient tessitura for the exercises.

In the next exercise, pauses are noted by the leader. Execution is free, according to the teacher's hand.

Slow and very free.

Choose a scat that is comfortable, take pauses, observe the nuances. Memorize. Sing in different keys and tempos.

Learning the parts.

Before students each write out their own part to learn, it is necessary to familiarize them with the composition, sing each part, and pay attention to the details and nature of the interpretation. In the next lesson, students sing separately, each with their own part. The teacher plays the same part in octave unison, maintaining the phrasing of the intended overall sound of the song. Then the parts are sung in pairs of voices: first and third, second and fourth. And only in the third lesson does the connection of all voices take place. Immediately pay attention to the phrasing and balance of voices. In the fourth lesson, you can demand the execution of the nuances and intended dynamics of the composition.

The next two or three lessons will be to achieve the requirements of the eight points.

PERFORMANCE OF COMPOSITIONS

Performing pop music has its own characteristics:

a) deviations from the rhythmic pattern of the melody recorded in the musical notation are allowed.

b) the method of sound production and manner of intonation are of fundamental importance.

c) every performer must have a sense of swing and a keen sense of rhythm.

d) the ensemble needs a leader who is capable of leading the group and who is most proficient in pop performance skills.

CONCLUSION

When working with a pop ensemble, you should start by working on dynamic and timbre balance and vocal articulation. This can be achieved by competently and persistently working with vocal exercises - triads, scales, arpeggios and chords, throughout the entire working range of a given ensemble. You can start working with a vocal composition only after the vocal parts of the arrangement have been learned and worked out, and you can start working on the artistic and vocal interpretation of the composition when it has been sung and polished technically. When working with a vocal ensemble, you should achieve:

Simultaneous and silent inhalation.

Same attack.

Instrumental sound emission.*

Well mixed, "overall" timbre.

Clearly simultaneous beginning and ending of exercises.

Strict execution of strokes, pauses and nuances.

Steady and clean intonation.

* The normal pulsation of the voice in singing is considered to be 6-7 vibrations per second. Add here subtle deviations in one direction or another. And if four vocalists with different vibrato frequencies sing a chord, then at best it will sound uncomfortable for the ear. To achieve clear intonation, each singer must sing with an even (instrumental) sound, without vibrato. At the same time, try to “dissolve”, “drown” the sound of your voice, in the sound of a voice singing next to you

MBOU DOD "CEV and OD"

Kingisepp

Summary of an open lesson on the topic:

.

Additional education teacher

General information:

The date of the: __________

Room: pop singing class

Year of study: 2nd year of study

Age: 7 years

Topic of open training session

Working on diction in pop vocal class.

Articulation as the most important condition for working on a vocal work

Place in the educational program: corresponds to 2nd year of study

Purpose of the training session and objectives

Target: development of the fundamentals of singing diction and articulation, contributing to an increase in the level of vocal performance.

Tasks:

Educational

* learning proper singing breathing

*learning the correct pronunciation of tongue twisters

* training in expressive performance of musical training material and vocal work through singing articulation and diction

Developmental

Development of the student's musical and creative abilities

Development of aesthetic culture of stage vocal performance, vocal individuality, ability to convey the word to the listener

Development and liberation of the articulatory apparatus

Educational

Disclosure of the semantic content of the performed work; embodiment of exciting feelings and thoughts in the song

Formation of creative self-expression, interest in individual forms of vocal performance, solo singing, and concert performances.

Form of training session. Combined lesson.

Form of work organization. Individual.

Structure of the training session (stages).

Introductory part. 5 minutes

Greetings. Introduction to the topic.

Main stage. 30 min

Practice. Educational and training exercises.

The final stage. 4 min

Summarizing. Reflection. Homework.

VII. Content blocks of the training session.

1. Introduction to the topic « Working on diction in pop vocal class".

Articulation as the most important condition for work

over a vocal piece 5 minutes

2. Main stage:

Breathing exercises according to A. N. Strelnikova 5 minutes

Articulation gymnastics. 8 min

Vocal exercises 8 min

Working on diction and articulation in a vocal work 10 min

3. Final stage

Summarizing 4 min

Task: remember the content of the lesson, repeat and consolidate the basic concepts, thank. Homework.

The meaning of content blocks. Their implementation systematizes students' knowledge. The final stage (homework) motivates and develops students’ independent activity.

VSh. Planned outcome of the lesson

Good assimilation of the material and correct application of acquired knowledge in practice.

The ability to emotionally and expressively perform a vocal composition with good singing breath and good diction.

IX. Teaching methods.

Verbal, visual, search and research, practical

(conversation, performance of educational and training material, demonstration of exercises, learning and singing a song)

X. Equipment and materials.

Class

Piano

Microphone

Laptop

XI. Methodological support.

Literature:

Belobrova E. Yu. “Pop vocal technique” methodological manual; 2004

Dmitriev L. B. “Fundamentals of vocal technique” - Moscow, Music. 1968

Egorycheva M. I. “Exercises for the development of vocal technique.” Kyiv. 1980

Zebryak T. “Musical tongue twisters” - Kifara. 2006

Internet sites:

1. http://www.startvocal.ru
2. http://www.musicforums.ru/vocal
3. http://www.100 vocalists. ru

Visual aids. Didactic material.

Presentation with illustration on the topic.

Drawings

Summary of an open lesson.

Subject:“Working on diction in pop vocal class”

Articulation as the most important condition for working on a vocal work.

Psychological conditions in the lesson: establishing an atmosphere of joy and goodwill in the classroom

The class includes a 2nd grade student of TsEV and OD Georgy Musienko.

Organizing time

Teacher (P): Hello, Georgy! I'm glad to see you for an individual vocal lesson.

(a short conversation with the student about the emotional state, creating an atmosphere of joy and confidence through the teacher’s friendly smile and encouraging voice intonation)

Introductory part. Introduction to the topic. 5 minutes

(P – teacher, G – student)

P: Gosha, at every lesson we learn to sing correctly and beautifully, we work on our voice, we try to learn how to master it. What is a voice?

P: to make our instrument sound beautiful, what needs to be done?

G.: correct breathing, clean intonation, correct sound production

P: that’s right, this is all very important in singing. And without what can we not convey the meaning and content of a vocal work to the audience? Without what will our singing be meaningless?

G: without clear diction and words

Main stage. 30 min.

Explanation of the topic

P.: Absolutely right!

Our word, addressed to the audience either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium. Good diction is required, that is, clear, clear pronunciation, (singing) all the sounds and words of the text.

Today in class we will work on clear and correct pronunciation of words when performing a song, on diction.

The topic of our lesson today. " Working on diction in pop vocal class».

So, let's begin. What do we do at the beginning of each lesson?

G. breathing exercises.

We carry out the elementsbreathing exercises A.N. Strelnikova. 5 minutes.

P. Now let’s get down to the topic of our lesson.

Diction is a clear, clear, legible pronunciation (singing) of all sounds of the text. A person with good diction uses air sparingly and has no extraneous additional sounds.

P. What does it depend on?

G. (Student's answer)

P. It depends on the activity of the speech apparatus, lips and tongue, proper breathing and articulation in general.

P. How are sounds and speech formed? What organs are involved in the formation of sounds?

D. (Student's answer) cheeks, lips, tongue, jaws, soft and hard palate, pharynx, larynx
P. That’s right, all this is called the articulatory apparatus. It includes lips, tongue, jaws, larynx with vocal cords, teeth.

The work of the organs of the articulatory apparatus is aimed at creating vowels and consonants.

Try to say “blunt-lipped bull, blunt-lipped bull” without using your lips or tongue. ( student tries). You see, nothing works. What conclusion can we draw?

P., G.: all organs of the articulatory apparatus must work actively

The work of the articulatory apparatus (AA) to achieve good diction is called articulation. Correct operation of AA allows you to make your voice sound beautiful.

(To do this, do not pinch the bottom jaw, and lower it freely, the tongue should be soft, free, the soft palate - “on the yawn”, the larynx should be lowered. You can imagine that there is a hot potato or a small plum in your mouth.
To achieve good results, learn to speak and sing beautifully, you need to work on improving the articulatory apparatus, developing its technical capabilities)

To do this, you need to do articulatory gymnastics.

Articulation gymnastics 8 min

The first condition for the operation of the articulatory apparatus is naturalness and activity. The simplest exercises will help us:

Articulation exercises

1. Raise the upper sponge up – 5 times

Lower the lower lip down – 5 times

2. To activate the tongue. Let's move the tongue from side to side, forward, backward, right, left, circular turns in both directions, "cog", "tube". Stick out the tip of your tongue and quickly, quickly move it from corner to corner of your mouth.("Football" - "Comb" - "Pussy") “Pendulum”, “Kisses”, “Tease”,

3. To activate the lip muscles, we puff out our cheeks and release the air with a sharp “pop” through compressed (gathered in a “bun”) lips. ("Pout - smile")

4. Let’s vigorously pronounce the following sounds while practicing:

muscles of the lips on consonants P - B, muscles of the tongue T - D,

muscles of the larynx K-G,

lower jaw into the syllables Do, Yes. Doo.

5. Exercise “Bird Yard”, which trains the “breathing support”, lips, tongue, direction of sound. Without stopping we call on all animals: Whoop-whoop-whoop, Chick-chick-chick, Gul-gul-gul, Kitty-kit-kit.

Very good for practicing tongue twisters.

Tongue twisters are used to warm up the articulatory apparatus and activate singing diction. We will read tongue twisters slowly at first, gradually speeding up as we successfully improve. We monitor the rhythm of pronunciation. Don’t forget the tempo, diction (eachpatter repeated 4 times) .

Recommendations: in a tongue twister, the correct pronunciation of consonants is practiced, and work is also done on the emancipation of the speech apparatus. If the text of the tongue twister sounds clearly, then you can shift the tempo of pronunciation.

To make our speech apparatus work more actively, we will use our assistant – a cork – when pronouncing this tongue twister. We hold it between our front teeth and say the tongue twister again. (all organs of the speech apparatus begin to work more actively)

Bull - blunt-lipped, blunt-lipped bull,

The bull's white lip was blunt.

A water carrier was carrying water

From under the water supply.

Mom washed Mila with soap,

Mila didn't like soap.

From the clatter of hooves, dust flies across the field

Three magpies chattered on the slide

Sasha walked along the highway and sucked on a dryer

P.: Well done, Gosha! You did a good job with articulation gymnastics.

Now let's get started to vocal exercises .

P. Gosha, what do you think, why are vocal exercises needed? Maybe you can do without them?

G. You can’t... we have to warm up our ligaments...

P. It is imperative to warm up and sing, because your voice needs to be tuned. Exercises help the vocal cords become stronger.

P. I draw attention to the correct pronunciation and singing of sounds, accurate reproduction of intonation and rhythmic patterns.

Vocal exercises : 8 min

1. Sound “M” (mooing) - pull it like a “rubber” sound, direct it not “inward”, but towards the front walls of the teeth. The lips are softly closed. This exercise helps you feel the “breathing support”

2. “Lip trill” - when performing this exercise, you must remember to smoothly transition from the lower register to the upper register. It is also necessary to monitor your voice performance and do not forget about it.

3. We sing the vowels I, E, A, O, U. We monitor the evenness of the sound (connect “pour” one vowel into another without pushing the sound), clean intonation, correctly forming (rounding) the vowels (we consolidate the skills of inhalation and exhalation, leveling vowels on one note). that the melody needs to be sung. The diaphragm and lips work. ( Cantilena singing. Cantilena is a continuously flowing sound, when the subsequent sound is a continuation of the previous one, as if “pouring out” from it).

4. On one sound - “Ma-me-mi-mo-mu, da-de-di-do-du, ra-re-ri-ro-ru.” The muscles of the lips and tongue are involved. When singing, it is necessary to ensure that consonant sounds are clearly pronounced, but at the same time, vowel sounds are not shortened. You should also pay attention to the use of breathing - exhalation should not be strong.

5. Up the sounds of the triad for the syllables “la-le-lyu”, down - incremental movement from step 5 to 1 for the syllables “la-li-le-li-lyu” - an exercise for working the tip of the tongue.

6. Within the third – “bra-bre-bri-bro-bru”. It is necessary to monitor active and clear pronunciation of consonants, but do not shorten vowel sounds. Pay attention to breathing - do not push out the air along with the sound.

7. According to the sounds of the triad - “may-may-may.

P.: Well done. Gosh! After we have prepared our vocal apparatus for work, we will begin working on our song. What should be the diction in singing?

D. Legible, understandable.

P. How should you pronounce words in singing?

G. Clearly, clearly.
P. What determines clear, clear pronunciation?

D. From the active work of articulatory organs (lips, tongue, soft palate, lower jaw, pharynx

Working on diction in a vocal work 10 min

P.: Gosha, in previous classes we worked on the song “Ah, School” with music and lyrics. V. Nachalova and your homework was to pronounce the text in front of the mirror at a pace, articulating well.

Recommendations: the song is moving. Based on this, the child should not sing sluggishly. But you can’t get carried away with a harsh attack of sound, otherwise singing will turn into conversation. The melody in singing is the main thing, so it is necessary to connect syllable by syllable.

Working on the song:

- Pronounce the lyrics of the song in front of the mirror at a pace with good articulation.

Performance of the work. 1 verse and chorus. We work on phrases, observing the correct pronunciation of consonants and vowels, sound control, and breathing. (We pronounce the consonants clearly, briefly, but without exaggeration. The vowels must be formed in the same way. The sound position should not be lost. The student’s attention should be directed to the connection of the vowels with each other. Then the flow of consonants will be correctly organized, which must be pronounced quickly and clearly)

The final stage4 min

Summarizing

P.: Let’s summarize our lesson. Gosha, do you think you managed to cope with the tasks in today's lesson?

G. (student analyzes his work in class).

P. Today we paid a lot of attention to the development of the speech apparatus, articulation, and diction. We worked on consonant and vowel sounds in exercises, tongue twisters, we worked on breathing, sound science.

What is diction in general?

G. - clear and competent pronunciation of sounds and words.

P. - Diction is a clear, clear, legible pronunciation (singing) of all sounds of the text, which depends on good articulation and proper breathing.

Homework

1. Reading tongue twisters.

2. Do breathing exercises.

3. Expressively pronounce the lyrics of the song with good diction in front of the mirror .

Thank you for the lesson. You've done a great job today. See you!

Anna Fedkina
Open vocal lesson “Dynamic shades. Phrasing"

Purpose of the lesson: Getting to know dynamic tones and phrasing.

Tasks:

1. Develop dynamic hearing;

2. Learn to perform musical works with phrasing;

3. Develop musical taste.

Equipment:

TV, mixing console, DVD player, microphone, sound amplification equipment.

Lesson volume: 45 minutes.

Progress of the lesson:

Introductory part:

Hello dear people present. I am Fedkina Anna Ivanovna teacher vocals t. O. "Merry notes". Today's lesson will be held with Anastasia Chinina, a 1st year student. The topic of our classes: « Dynamic shades. Phrasing» . Today we will get acquainted with dynamic shades, let's find out what it is; let's learn to perform songs with phrasing. Let's understand how important it is dynamics and dynamic shades to give artistic musical beauty to the work, to what extent it enriches it.

Main part:

Breathing exercises:

The most important thing in the production vocals- this is correct breathing. It is with him that training in professional singing begins, which serves as a guide to the vast world of the stage. It is with proper breathing that the performance of a song begins, because this is the support on which everything rests. vocal technique, and therefore I recommend doing breathing exercises before each chant to warm up.

During breathing exercises, you need to learn the mandatory rules:

monitor your body position. The neck should not be tense and stretched forward. We should be in a state of comfort, slightly relax. During exercise, only the stomach works.

1 exercise: Actively inhale and exhale through your nose. (repeat 6 times).

Exercise 2: Inhale vigorously through your nose and exhale through your mouth. (repeat 6 times). This will serve as a kind of “massage” for the ligaments.

Exercise 3: Inhale through the mouth, exhale through the nose (repeat 6 times).

Exercise 4: Inhale through one nostril, exhale through the other, pinching the desired nostril with your finger. (6+6 times).

Exercise 5: Inhale through your nose and exhale through pursed lips. Forcefully push the air through your lips as you exhale. This exercise will help develop your lip muscles and the intensity of your exhalation.

Exercise 6: Puff up your cheeks like a balloon. Sharply “exhale” the air through the tube lips. This exercise activates the cheek muscles and lip muscles, and is useful for developing good articulation.

Articulation exercises:

Our word, addressed to the audience either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium.

Good diction is required, that is, clear, clear pronunciation of words. To achieve good results, you need to work on improving the articulatory apparatus and developing its technical capabilities.

The articulatory apparatus is the part of the vocal apparatus that forms the sounds of speech, and the organs included in its composition are the articulatory organs. The work of these organs aimed at creating speech sounds (vowels, consonants) called articulation.

To the articulatory apparatus relate: oral cavity (cheeks, lips, teeth, tongue, jaws, palate, pharynx, larynx). We must remember that the oral cavity is a very important resonator (a movable resonator, the “architecture” of which determines the sound quality.

The first condition for the operation of the articulatory apparatus is naturalness and activity. You can achieve active naturalness by removing various tensions and stimulating the precise functioning of various muscles and organs. Of course it's very simple say: “removing tensions” - but they must first be detected and only after long work in front of the mirror and with constant attention, these shortcomings will begin to disappear. The simplest will help us in this work exercises:

1. To activate the tongue. Let's move the tongue from side to side, forward, backward, right, left, circular turns in both directions, "cog", "tube". Stick out the tip of your tongue and quickly, quickly move it from corner to corner of your mouth.

2. To strengthen the muscles of the larynx, vigorously said m: K-G, K-G, K-G.

3. To activate the muscles of the lips, we inflate our cheeks, release the air with a sharp “pop” through the compressed (collected in a “bun”) lips. Said energetically m: P-B, P-B, P-B.

4. Very good for practicing tongue twisters. Tongue twisters are used to warm up the articulatory apparatus and activate singing diction. We will read tongue twisters slowly at first, gradually speeding up as we successfully improve. We monitor the rhythm of pronunciation. Don't forget tempo and diction (each tongue twister is repeated 4 times).

a) There is grass in the yard, there is firewood on the grass.

Don't cut wood on the grass in your yard.

b) The spider made a hammock for itself in a corner on the ceiling,

So that the flies, just like that, sway in the hammock.

c) Prokop came, dill was boiling, Prokop left, dill was boiling; Just as under Prokop the dill was boiling, so without Prokop the dill was boiling.

d) Thirty-three ships tacked, tacked, but did not tack.

e) The protocol about the protocol was recorded as a protocol.

Chanting:

Chanting is one of the most important parts of developing singing skills. Chanting is used to warm up the vocal apparatus and activate singing breathing. We will carry out the work on chanting by repeating the exercise in semitones up and down, but strictly within the range of the child vote: "before"- first octave - "re" second octave.

Chants:

1. How an old man was selling ash under a hill, my potatoes were all fried (repeat five times)

2. DO RE DO RE DO

DO RE MI RE DO

DO RE MI FA SOL FA MI RE DO SOL DO

3. We ran across the banks. Sing in a major key and raise it by half a tone.

4. Chanting in scales.

We live in a world full of sounds. And despite the fact that we have been studying for only 1 year, we know that we are surrounded by sounds, which are divided into noise and music. Musical sounds are combined by the composer according to their semantic content into a musical work. Each piece of music has its own unique abilities, which are referred to as a means of musical expression. The same piece of music can sound completely different, depending on what means of musical expression will be used during performance.

Now I'll play a short excerpt from the song twice, the melody will be the same, but with different means of musical expression. (An excerpt from the song is performed 1 time piano; 2 times forte).

Nastya, answer me, how does one excerpt from a song differ from another?

(answer : 1 passage sounded loud, and 2 passage sounded quiet.)

That's right, Nastya, you heard. 1 passage sounded loud, and 2 passage sounded quiet.

In music it is customary to call the force of volume dynamic shades.

Thus, dynamics– this is the power of the sound of music.

Think, Nastya, and tell me how music can sound in terms of volume and sound intensity?

(answer : loud, quiet, moderate).

That's right, Nastya. In life, we also don’t speak at the same volume. Usually, when we want to say something important, we strengthen our voice - we speak louder, and in music, the most important words, particularly in a song, are pronounced louder.

Why do you think?

(answer : to attract attention, emphasize importance, etc.)

We begin to perform the song quite quietly, because each piece of music has its own dynamic development. The sound strength gradually increases and then gradually decreases. In music this is called application. dynamic tones and phrasing, i.e., like a regular conversational phrases There is a logic of our own - we say some things louder, and some things more quietly.

Today we continue to work on the song "New Year's". You know the melody well, we’ve sorted out the lyrics, uh, we’ve arranged the bars, and today we’ll work on phrasing, i.e. let's add dynamic shades, and the song will immediately become alive, emotions will be added.

What do you think, with what dynamic shade will you start the performance?

(answer : I’ll start the song with a quiet performance). The strength of the voice will increase towards the chorus of the song. Verse 2 needs to be performed as loudly as possible, but not loudly, because this contains the main idea of ​​the song, we’ll find out what it’s called in the next lesson. And by the end of the song, since the author said everything he wanted to convey - the dynamics are declining.

Working on a song "New Year's". Difficult passages are sung with explanation over and over again.

Working on the next song "An association".

Final part, summary results:

Today we met ( answer: With dynamic shades, learned that music can sound loud and quiet. Moderately and this is dynamic shades, and in music are called means of musical expression.)

Nastya, continue to work with your breathing at home, do diction and breathing exercises.

Our lesson is over, Goodbye. Thank you for coming to my public lesson, I hope Nastya and I had a good time with you.

Municipal educational budgetary institution

additional education for children

Center for additional education for children “Raduga”, Sochi

Pop vocals

Topic: “Journey to the country “Melody””

Dombrovskaya Yulia Yurievna

Danilenko Svetlana Vasilievna

Explanatory note

An amazing musical instrument is the human voice. Each of us is endowed with it. And how unique the voices of children sound, how they love to sing and perform both at home for their parents and at holidays. This gives them self-confidence and develops aesthetic and artistic taste.

When they come to their first vocal lesson, they still don’t know what they have to do. And it is very important from the first lesson to reveal to the pupils the beauty of music, to show how necessary it is to master the means of vocal expressiveness, musical and rhythmic abilities, which helps children to be free and relaxed on stage, that today it is impossible to imagine a pop song performer who does not have choreographic and acting skills, that allows you to more clearly and expressively convey to the audience the nature of the songs being performed, and acquire knowledge of musical literacy. And the most important thing is to influence the emotional, and, consequently, the motivational aspects of the individual for vocal lessons.

Novelty and relevance of the development.

The development of this lesson was driven by the search for optimal forms of working with children in the additional education system. The lesson takes place in the form of a game - a journey, which promotes emotional communication between students and the development of their creative imagination. Each child finds an opportunity for creative personal expression through the completion of individual and group tasks. This lesson helps the teacher gain an initial understanding of the musical abilities of newly arrived students, how much they love music and want to learn how to sing beautifully and correctly, how much they are endowed with the ability and desire for creativity and the development of their vocal abilities.

Another distinctive feature of this lesson development is the coordinated activity of all areas of activity during training in a vocal studio (vocals, musical and rhythmic movements, choreography, acting), aimed at achieving a common goal.

When compiling the methodological development, the following methods were used:

the method of “running ahead” and “returning” to the material covered;

communication method;

improvisation method;

dramatization method.

All methods are closely interconnected. This helps the teacher to conduct the necessary live communication between the teacher and the children during the lesson, which allows them to easily move from one stage of the lesson to another, since it is emotional in nature and evokes a feeling of joy in the children. This process of information perception is the most effective.

The lesson is structured in such a way that the teacher can control the effectiveness of the implementation of the development of this lesson unnoticed by the students, since at the last station of the journey they themselves show in a playful way how much the goals and objectives set by the teacher have been realized.

The role and place of the lesson in the educational route of students, the practical purpose of the lesson.

Children, in this lesson, have the opportunity to get acquainted with all sections of the program in which they will study throughout the entire pop vocal course.

Expected results.

Positive attitude of children to vocal lessons,

Practical significance The educational development of the lesson is that it can be applied in circle work, in secondary schools, Children's Creativity Palaces, and cultural centers.

Target:

TARGET: creating conditions for the inclusion of children in the system of continuous musical and aesthetic education through classes in a vocal studio.

Tasks:

introducing children in a playful way to the basic concepts of the song genre;

development of initial skills in preparing the vocal apparatus for vocal performance;

development of children's cognitive activity;

promoting aesthetic education of children;

creating in children an atmosphere of joyful communication and success in a team.

Equipment:

Multimedia projector, screen, laptop (computer), musical equipment (deck for mini-discs), piano, coffee table, chairs for children, casket, stave, “magic” wand.

Children's age: 7 – 8 years

Lesson plan:

Greetings

Acquaintance

Preparing for the “trip”

Station "Notki"

Station "Major and Minor"

Teatralnaya station

Station "Grace"

Station "Scene"

Summing up the lesson. Identifying children's moods.

Parting.

Progress of the lesson.

Before the start of the lesson, children's songs are played in the recording. The guys get acquainted with the booklet. Children take their places in the audience. (slide number 1)

1. Organizational moment. Greetings.

Teacher: Hello, friends! Do you want to visit a fabulous musical land? Where are the wonderful students and kind teachers, where learning is not boring, not difficult, but fun and wonderful? There is such a country in the world, it’s called

"Melody"! (slide number 2)

2. Getting to know each other

Teacher: Before we go on our journey, let's get to know you. My name is Yulia Yuryevna. What's your name?

Children answer one by one.

Teacher:

This is how we met. Now let's greet each other.

Our greeting will be a little unusual, musical. Exactly

greetings in the beautiful country “Melody”.

Musical greeting: “Good afternoon”

Teacher's demonstration.

Children, together with the teacher, perform a greeting.

Teacher: Well done, you did great.

Now we can go on a journey. Let's take with us the most necessary things: a bright smile and a good mood. The main goal of our trip is to see how beautiful the musical country is, what heroes inhabit it.

3. Preparing for the “trip”

Teacher: For a magical journey, you need magical helpers: a fairy screen, a magic key and an extraordinary train. We have a fabulous screen, we will create an extraordinary train ourselves. I will be the locomotive, and you will be the carriages. Let's line up now and try to portray a real train.

The teacher takes a flag and a whistle. Children pretend to be a train.

Teacher: Here we are ready! How will we get to the country “Melody”?

The teacher takes out a treble clef from the casket

Teacher: Do you know what this is?

Children's answers

Teacher: That's right, it's a treble clef. He will help us open the road to the beautiful country of Melody.

The teacher attaches the treble clef to the staff.

The door opens on the screen, (slide number 3) and the children see a map of the country “Melody” (fairytale music plays) (slide number 4)

Teacher: The road is open, the journey begins.

But what is a trip without a happy song? To make the journey more fun, I will sing a song, and you try to remember the simple words of the song and sing along with me. Remember.

Chorus:

Chug-chug-chug, tu-tu-tu,

White lambs

Blows out on the go

Bug steam locomotive.

Well done, you are doing great! Now with a cheerful song they will definitely let us into the musical land! I will sing the verse, and with the chorus our train will start moving. The chorus is the beginning of the movement. So, get ready! (slide No. 4, 5)

The children, together with the teacher, begin to move around the classroom. Music sounds, the teacher sings a song: (plus 1 verse and chorus of the song “Locomotive-bug”)

The train stops. On the screen is a house with windows. (slide number 6)

4. Station “Notki”

Teacher: Our first stop. Look guys, how wonderful it is

house. This house is home to 7 very friendly residents.

Do you know their names and who lives on what floor?

Children's answers (Do, re, mi, fa, sol, la, si).

Teacher: Right! The note “DO” lives on the ground floor.

The window of the house on the first floor opens, and the children see the note “DO”

Teacher: In the country "Melody" the note "C" is a symbol of kindness and friendship. This note will help you find many friends. Guys, do you know songs about friendship?

Children name songs about friendship (“Strong friendship”, “When my friends are with me”, etc.)

Teacher:"RE" lives on the second floor

The window of the house opens and the children see the note “RE”

Teacher: This is the joy of creativity, work. Do you think that in order to sing beautifully and correctly, you need to work hard REGULARLY?

Children's answers

Teacher: Yes, singing is regular practice and a lot of work. Let's find out who lives on our 3rd floor - the note "MI", which means the World of Song.

The window of the house opens and the children see the note “MI”

There are different types of songs: folk songs and songs created by composers and poets. And the note “MI” will be able to introduce us to these songs in the future.

Tell me, who lives on the next floor?

Children's answers

Teacher: Right! Note "FA".

The window of the house opens and the children see the note “FA”

In my country, everyone is a great fantaser and inventor.

The window of the house opens and the children see the note “SALT”

Teacher: Here we are on the “SALT” floor. In our country this means cooperation, agreement, co-creation. These qualities are very important when the inhabitants of the country sing in chorus. But in our country they learn to sing one by one. Such singing is called solo and such a performer is a soloist.

Teacher: Floor note "LA". EARTH... This note introduces your friends to what is happening on our land. She talks about different events.

The window of the house opens, and the children see the note “SI”.

Teacher: The last inhabitant of the house is the note “SI”. "SI" is strength. The power of creativity, the power of imagination, the power of friendship.

There are hooks between them.

Come on, say them -

Children: Do, re, mi, fa, salt, la, si!

Teacher: And now it’s the other way around -

Children: Si, la, sol, fa, mi, re, do.

Teacher: To make friends with them,

We need to study music.

You will discover a beautiful world,

If you master all the notes.

You will find yourself in a magical world -

You'll sing along with them!

You will be friends with notes -

You will live musically.

Live without music, my friend,

No one on earth could.

So we met seven new friends. We will definitely meet them again, but for now we are going on a journey in search of new friends.

The children, together with the teacher, begin to move around the classroom. Music sounds, the teacher sings a song: “Locomotive-bug.” (Plus chorus) (slide number 7)

The train stops. On the screen is a one-story cozy house. (slide number 8)

5. Station “Major and Minor”

Teacher: Our second stop. And we ended up with two brothers, with whom, I hope, we will become friends. And their names are Major and Minor. And now I want to introduce you to one wonderful fairy tale. Once upon a time there were two brothers: Major and Minor. Major was the eldest, and minor was the youngest. The older brother always had fun:

I am in a major mode: joyful, perky!

And the younger one was sad and sighed:

I've been sad for a long time because I'm a minor.

Despite their different characters, the brothers never quarreled and lived amicably. One day they went into the forest to pick mushrooms and berries and got lost...

“Oh, we’ll be lost, we’ll fall into a hole,” the minor key wailed. We will never leave this forest...

Why did you cry, his older brother reassured him. Don’t worry, but rather sing a song!

Performs a song: I am a minor scale, there is a long row of sad sounds, I sing a sad song and now I will roar...

The song turned out to be very sad in minor key. The whole forest became sad along with him, the grass rustled sadly, the breeze died down, even the birds fell silent. And the sun hid behind a cloud from a sad song in a minor key.

No, brother, that won’t do! - the major exclaimed. Let me sing!

And the major sang his song: We all stood together in unison, creating a scale. Not simple - major, joyful, perky.

The forest shook, the sun came out, the birds chirped cheerfully, singing along with their older brother Major.

Come on, brother, have fun! Look how brightly the sun shines and how the birds chirp! Do you hear? The stream is babbling! This is the direction we should go!

So, with a cheerful song, the brothers got out of the forest!

Did you like the fairy tale?

So what are the names of the two brothers of music?

Children's answers (Major and minor).

Two men appear on the screen near the house. (slide number 9)

Teacher: What do you think can be done to the music of a major key? And the minor?

(Major - active: clapping, jumping, etc., minor - smooth.) We will now play a game. Music will play one by one. When you hear the major key, you will need to clap your hands; as soon as the minor key sounds, swing your arms from side to side above your head. Is the task clear to everyone? Let's see which of you is the most attentive!

A game is played and different types of music are played.

Teacher: Well done, you all learned to understand the mood of the music, which means you made friends with Major and Minor. But our journey continues, and the extraordinary train sets off again.

The children and their teacher form a train again and “go on the road” with a song. Music sounds (the “Locomotive-Bug” chorus).

Children sing along with the teacher. (slide number 10)

The train stops. On the screen there is a house - a station. (slide number 11)

6. Teatralnaya station

Teacher: It was not in vain that we stopped at this station. Any person performing on stage, be it an actor, musician or singer, gives the audience not only his creativity, but also emotions. Do you know what emotions are?

Children's answers: joy, sadness, sadness, admiration, etc. How can we convey these emotions? Voice intonation and facial expressions

Teacher: Now I will read the text of a song we are already familiar with, and you will listen carefully, and then answer, did I manage to convey the character and content of the text with my intonation of voice and facial expressions?

The teacher reads the lines out of character, sad and drawn out.

Teacher: Fields and forests float past the window,

We are going to where miracles await us,

And the sun is shining and the river is sparkling

And our little train flies so fast.

No, I couldn’t convey the mood, because the lyrics are from a cheerful, perky song. And Alexander wrote it, and one of our friends Major helped him. Let's read the lines together for fun?

Children try to pronounce lines cheerfully, cheerfully, loudly. (slide number 12)

Teacher: Well done, you have completed this task. It's time to move on...

The children, together with the teacher, begin to move around the classroom. Music is playing. Children sing together with the teacher “Locomotive-bug” (chorus plus). The train stops. (slide number 13)

7. Station "Grace"

There is a dancing girl on the screen. (slide number 14)

Teacher: So that we can sing joyfully,

We need to own the body.

Everyone dance to the song,

Conquer with song and dance.

When a singer sings on stage, he must not only sing well, but also be able to move beautifully. At the Grace station, we will try to learn several dance moves that you will definitely need for performances. And the train from Romashkov will help us with this. Be careful, listen to the music and follow me and the magical assistants on the screen.

On the screen, fairy-tale characters show dance moves. Children try to remember and repeat the movements with the help of a teacher.

(slide no. 15, 16, 17)

Teacher: Amazing! You are just real dancers. All your movements are great. We will definitely need them at the next station. And again on the road.

The children, together with the teacher, begin to move around the classroom. Music is playing. Children sing along with the teacher (chorus plus). (slide number 18)

8. Station "Scene"

There is a scene on the screen. (slide number 19)

Teacher: Well, guys, you and I have arrived at one of the most important stations in the country, “Melody” - the “STCENA” station. Everyone who comes to this station becomes real artists. And the Microphone becomes their true friend.

Look carefully and say: “How many microphones are there in our audience?”

Children's answer (10).

Teacher: You are very attentive and counted correctly - there are exactly 10 of them. Look how they smile and are really looking forward to being in your hands, but...

But for a microphone to truly be an assistant to a performer, you need to know how to use it. How do you think a microphone should be used?

Children's response

Teacher: You have interesting assumptions. And in many ways you are right. Like all friends, your microphone should be handled with care.

You don't have to shout into the microphone, but you don't just have to hum either.

You need to sing clearly, distinctly and cleanly into the microphone so that all the words can be heard and there is no falsehood.

Don't be afraid of the microphone. At first, your own voice will not seem like yours, since the microphone tends to distort sounds.

Do not hold the microphone by the head, otherwise the sound will be muffled.

But that is not all.

You need to hold the microphone in one hand. 4 fingers should be placed all together at the top, and the thumb at the bottom. The microphone should not cover your face and should be located at a distance of 5-10 centimeters. The sound should hit the middle of the microphone.

So, I hope that you are now armed with knowledge and ready to work with

microphone.

Throughout the story, the teacher demonstrates the correct handling of the microphone.

Teacher: Now you and I will try to sing a song with microphones, remember how we learned to be actors at the Teatralnaya station and the movements that we learned when we were at the Gratsia station. If you and I are attentive, we will have a real performance by little artists.

The teacher distributes microphones to all children. Music is playing. Children, together with the teacher, perform the song “Locomotive Bug”, trying to combine emotions, movements, and correct handling of the microphone in their performance.

(slide no. 20, 21, 22, 23, 24, 25)

9. Summing up the lesson. Identifying children's moods. (slide number 26)

Teacher: Our journey today has come to an end. But in the country “Melody” there is still much, much more interesting. By engaging in vocal creativity, you will be able to learn more and more about this country. Did you enjoy our adventures?

Children's answers

Teacher: Do you know that our new friends liked you so much that they gave you a gift.

The teacher takes out a music box. The box opens. Magic music sounds.

Teacher: This box contains multi-colored notes, with the help of which we will compose our real MELODY today. If you liked our trip, it was fun and interesting for you, take a note from the box and attach it to the staff where the treble clef is located, which opened the door to the country “Melody” for us.

Children take notes and attach them to the stave.

10. Farewell.

Teacher:

Look what a wonderful major melody we have created.

Yes, from communicating with music we have become a little more beautiful and kinder today. Bring these feelings into our world, and it will become better! You have been wonderful travel companions, promise not to forget the road to the musical land of Melodiya. I am very glad that I met you today. Thank you very much. See you again, friends!