In the practice of working with a choir, it is common to divide rehearsals into two stages:

1. technical mastering of the work and its artistic interpretation;

2. disclosure of the inner content, emotional and imaginative essence.

In turn, depending on the form and content of the work, choral rehearsals can be divided into two groups:

1. consolidated (general), ensemble, group rehearsals by parties;

2. rehearsals are introductory (introductory), working, final and corrective.

Stages of reptilian work:

- introductory ( getting the first information about a new composition, creative, performing idea of ​​the conductor and mastering the musical text)

-singing(working stage). The main task is to achieve performing freedom, meaningfulness and expressiveness of the singing of each member of the group. Receptions , used at this stage: singing with a closed mouth, singing in a syllable, "reading".

- performing ( the ability of the choir singers to impart integrity, completeness and persuasiveness to the process of sound materialization of the musical text). The main form of work at this stage is a consolidated rehearsal. .

Methods for working on an essay:

1. Chanting in slow motion. The expediency of this technique is that a slow tempo gives singers more time to listen to a particular sound, to control and analyze it) .

2. Stops on sounds or chords. The premise of this technique is the same as when chanting in slow motion. However, due to the fact that it makes it possible to concentrate attention on a separate intonation, chord, its effectiveness is higher .

3. Rhythmic fragmentation. This is the way of conditional rhythmic splitting of large durations into smaller ones, which leads to the appearance in the choir artists of the feeling of constant rhythmic pulsation. An effective technique for overcoming such difficulties is to pronounce a literary text in one sound.

4. Use of auxiliary material. When working on technically difficult places, it is useful to refer to exercises that are built on the material of the work being learned and not related to it.

5. The relationship of artistic and technical elements in choral performance. The most correct and effective method of work will be, in which the conductor, while learning a specific choral part, gradually brings it closer to a character close to the composer's intention.

Anti-method:

- “coaching” (repeated repetition of musical material without a specific goal) does not develop the singers' aesthetic thinking.

Conducting techniques when working on an essay:

1. work gesture(timing, showing intros and offsets, showing pitch, gestures that clearly convey the rhythmic and intonational structure of the melody);

2. figurative gestures(gestures that convey certain features of the choral sound: the nature of sound science, culmination, gestures that convey the musical and expressive features of the melody, etc.)

Task number 6.

Reflect on your own activities (after each of the 6 rehearsals, orally to the head of the practice).

Correlate the set goals with the results of the activity; evaluate the methods of work chosen and used by you and their effectiveness; Name the reasons for possible failures in the work done.

Task number 7.

Conduct this work in concert conditions using appropriate conducting techniques.

In the conditions of a concert performance, conducting skills are of particular importance - the only means of creative communication between the conductor and the performers on stage. Consequently, the conductor is required to have an appropriate level of proficiency in the technique of expressive gestures, contributing to the transfer of the figurative sphere of the composition.

Bibliography

1. Zhivov VL Choral performance: Theory and practice: Textbook for students. institutions of higher education. - M .: VLADOS, 2003 .-- 272 p.

2. Kozyreva G.G., Jacobson K.A. Choir Dictionary. Editor Elovskaya N.A. - Krasnoyarsk, 2009-105s.

Rehearsal process in the junior choir

Report

TEACHER OF THE VOCAL AND CHOIR DEPARTMENT
MBUDOD "ZARECHNENSKAYA DSHI"
UMEROVOY ELVIRA SEITVELIEVNA .
Vocal education in the choir. The concept of vocal and choral skills.
Vocal education in the choir is the most important part of all choral work with children. The main condition for the correct formulation of vocal education is the preparedness of the leader for singing lessons with younger students. The ideal option is when the choirmaster has a beautiful voice. Then all the work is based on shows conducted by the choirmaster himself. But other forms of work also make it possible to successfully solve issues of vocal education. In such cases, the choirmaster often uses a show with the help of children. The best samples are selected by comparison. Each choir has children who, by nature, sing correctly, with a beautiful timbre and correct sound formation. Systematically applying, along with collective vocal work, an individual approach to choristers, the teacher constantly monitors the vocal development of each of them. But even with the most correct formulation of vocal work, it brings different results for different choristers. We know that just as there are no two outwardly identical people, there are no two identical vocal devices.

It is known what a great importance attention takes in the process of mastering any material. "Attention is the direction of mental activity and its concentration on an object that has a certain significance for the individual (stable or situational)."
Vocal work in a children's choir has its own specifics in comparison with work in an adult choir. This specificity is primarily due to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. It has been proven by many years of practice that singing in childhood is not only not harmful, but also useful. It is about singing that is vocal correctly, which is possible if certain principles are followed. Singing promotes the development of vocal cords, respiratory and articulatory apparatus. Singing correctly will improve the health of children.

And in order for the development of a younger student in the choir to go right, it is necessary to form him about basic vocal and choral skills. These include:
Singing set
Students should definitely learn about the singing installation, as the basis for the successful mastering of educational material.
Conductor's gesture
Students should be familiar with the types of conductor's gestures:
- Attention
- breathing
- the beginning of singing
- end of singing
- change the power of sound, tempo, strokes according to the conductor's hand
Breathing and pauses
The teacher must teach children to master the breathing technique - a silent short breath, support for breathing and its gradual expenditure. In the later stages of learning, master the technique of chain breathing. Breathing is developed gradually, therefore, at the initial stage of training, songs with short phrases with the last long note or phrases separated by pauses should be included in the repertoire. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movement and mood is not the same. For work on the development of breathing, Russian folk songs are best suited.

Sound production
Formation of a soft sound attack. Solid is recommended to be used extremely rarely in works of a certain nature. Exercise plays an important role in the education of the correct formation of sound. For example, singing to syllables. As a result of work on sound education - the development of a single manner of singing in children.
Diction
Formation of the skill of clear and precise pronunciation of consonants, the skill of active work of the articulatory apparatus.
Build, ensemble
Working on the purity and accuracy of intonation in singing is one of the conditions for maintaining the tuning. A clear awareness of the feeling of "harmony" contributes to the purity of intonation. It is possible to educate the modal perception through the development of the concepts of "major" and "minor", the inclusion in chanting of various scales, the main degrees of the scale, juxtaposition of major and minor sequences, singing a kappella.
In choral singing, the concept of "ensemble" is unity, balance in the text, melody, rhythm, dynamics; therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, breathing are necessary. It is necessary to teach singers to listen to the voices sounding nearby.

DEVELOPMENT VOCAL-CHOIR SKILLS WHEN WORKING WITH THE YOUNGER CHORUS GROUP
The initial stage of working with a junior choir
The younger choir, as noted above, is characterized by a limited vocal range. Up to the first octave -re - E-flat of the second octave. Here, the timbre of the voice is difficult to determine by ear. Rarely there are pronounced sopranos, even less often altos. In this regard, we believe that at the beginning of classes, the division into choral parts is inexpedient. Our main task is to achieve a unison sound of the choir.
The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, introduction, removal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention should be paid here to breathing - wide breathing in phrases. Each lesson of the junior choir (the choir practices once a week for 45 minutes) usually begins with chanting, followed by the choral solfeggio exercises. We write out all the songs we learn on the board. Sometimes we use a relativistic technique: instead of an inconvenient key with many signs on the board, we write the nearest convenient key, for example, instead of D flat major in D major, instead of F minor in E minor, etc. Learning a song can take place from the voice (by ear), especially in the first stage, because excessive use of notes can alienate children from classes (difficult!), But then you need to return to the notes.

Singing melodies from the notes is of some benefit. Firstly, children get used to singing according to notes, and secondly, a psychological restructuring takes place: "it turns out that it is interesting to sing according to notes, and it is not so difficult."

We must also take into account the peculiarities of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired quite quickly, their attention is dulled. To concentrate it, you have to alternate a variety of methodological techniques, actively apply game moments, build the whole lesson on an ascending line.

A choir lesson, in our opinion, should be fast and emotional. In the future, every good choral collective is an asset for conducting rehearsals, singing at the training camp. The use of a complex of various methods and techniques should be focused on the development of the basic qualities of the singing voice of children by stimulating, first of all, auditory attention and activity, consciousness and independence.

Also, a necessary condition for the formation of vocal and choral skills is the correct selection of the repertoire, and the choir leader should take care of this in advance, since this is very important: the way they sing depends on what the children will sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the chosen work should also be aimed at practicing some skills. The repertoire must meet the following requirements:
a) Wear an educational character
b) Be highly artistic
c) Match the age and understanding of the children
d) Match the capabilities of this performing team
e) Be diverse in nature, content
f) Selected difficulties, i.e. each piece should move the choir forward in the acquisition of certain skills, or consolidate them.

You should not take complex and voluminous works. For children who will sing this, it may turn out to be an insoluble task, and this will certainly affect the productivity of their work, and may lead to fatigue, lack of interest in the business in which he is engaged, in some cases even alienation from choral singing in general (depending on the nature ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of light pieces should be limited in the repertoire, since an easy program does not stimulate professional growth. And just as naturally, it should be of interest to choristers, this even gives some relief in their work, since children will strive to work as best as possible and listen to every word of the leader.

Hearing development techniques aimed at the formation of auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher's display for the purpose of subsequent analysis of what was heard;
comparison of different versions in order to choose the best one;
the introduction of theoretical concepts about the quality of the singing sound and the elements of musical expression only on the basis of the students' personal experience;
chanting;
modeling the pitch with hand movements;
reflection of the direction of movement of the melody using a drawing, diagram, graphics, hand signs, musical notation;
tuning to the key before singing;
oral dictations;
the allocation of especially difficult intonation turns in special exercises that are performed in different keys with words or vocalization;
in the process of learning a piece, changing the key in order to find the most convenient for children, where their voices sound best.

The main methods of voice development related to sound production, articulation, breathing, expressiveness of performance:
vocalization of the singing material with a light staccated sound to the vowel "U" in order to clarify the intonation during sound attack and when switching from sound to sound, as well as to remove the forcing;
vocalization of songs to the syllable "liu" in order to equalize timbre sound, achieve cantilena, hone phrasing, etc .;
when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals, on the contrary: the lower sound should be performed in the position of the upper one;
expansion of the nostrils at the entrance (or better - before inhalation) and keeping them in this position when singing, which ensures the full activation of the upper resonators, while the movement activates the soft palate, and the elastic tissues are lined with elastic and harder, which contributes to the reflection of the sound wave when singing and, consequently, sound resurfacing;
purposeful control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of sound support for breathing;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
pronouncing the words of songs in a chant at the same pitch in slightly elevated voices in relation to the range of the speech voice; the attention of the choristers in this case should be directed to stabilizing the position of the larynx in order to formulate a speech voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound science, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

Working on vowels.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, therefore, not quite accurate pronunciation of vowels has little effect on understanding words. In singing, the duration of the vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.

The specificity of the pronunciation of vowels in singing lies in their uniform rounded manner of formation. This is necessary to ensure the timbre evenness of the sound of the choir and to achieve unison in the choral parts. The alignment of vowels is achieved by transferring the vowel correct position from one vowel to another with the condition of smooth rearrangement of the articulatory patterns of vowels.
From the point of view of the work of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. The formation of vowels in a high singing position in a choir presents a certain difficulty.

The sounds "U, Y" are formed and sound deeper and more distant. But phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to give in to individualized pronunciation than "A, E, I, O". For different people, they sound about the same.
Hence follows the specific choral application of these sounds when correcting the "variegation" of the sound of the choir. And unison is achieved more easily on these vowels, and the sound is also well balanced in timbre. When working with works, after singing a melody to the syllables "ЛЮ", "ДУ", "ДЫ" - the performance with the words will acquire a greater evenness of sound, but again, if the singers of the choir carefully monitor the preservation of the same setting of articulatory organs, as when singing vowels "U" and Y ".

A pure vowel sound "O" has the properties of "Y, Y" but to a lesser extent.
The vowel sound "A" gives the greatest diversity to singing, since it is pronounced differently by different people, including in different language groups, this should be taken into account when performing a work in foreign languages. For example, among the Italians - "A" is from the depth of the throat, among the British - deeply, and among the Slavic peoples, the vowel "A" has a flat chest sound. The use of this phoneme in classes with novice students should be very careful.
"I, E" - stimulate the work of the larynx, cause a denser and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx, they brighten sounds and bring the vocal position closer. But these sounds require special attention in terms of sound rounding.
The vowel "I" should sound close to "U", otherwise it acquires an unpleasant, piercing character. And that would not sound "narrow" Sveshnikov considered it necessary to combine it with the vowel "A" (IA).
The vowel "E" should be formed as if from the articular way of "A".
The vowels "E, YU, YA, YO" are sung easier than pure vowels due to the sliding articular structure.
Thus, working in a choir on vowels is the sound quality and consists in achieving pure pronunciation in combination with a full-fledged singing sound.

Working on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. Pronunciation of consonants requires increased pronunciation.
Formation of consonants as opposed to vowels. associated with the occurrence of an obstacle in the path of air flow in a speech cycle. Consonants are divided into voiced, sonorous and voiceless, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus to the 2nd place after the vowels, we put the sonorous sounds: "M, L, N, R". They got this name, because they can stretch, often stand on a par with vowels. These sounds achieve a high singing position, and a variety of timbre colors.
Further, voiced consonants "B, G, C, F, Z, D" - are formed with the participation of vocal folds and mouth noises. Voiced consonants, like sonorous ones, achieve a high singing position and a variety of timbre colors. The syllables "Zi" achieve closeness, lightness, transparency of sound.
Deaf "P, K, F, S, T" are formed without the participation of a voice and consist of noises alone. These are not sounding sounds, but guides. An explosive character is characteristic, but the larynx does not function on voiceless consonants, it is easy to avoid forced sounding when vowels are vocalized with previous voiceless consonants. At the initial stage, this serves to develop the clarity of the rhythmic pattern and creates conditions when the vowels acquire a more voluminous sound ("Ku"). It is believed that the consonant "P" rounds the vowel "A" well.
Hissing "X, Ts, Ch, Sh, Sh" - consist of noises alone.
The voiceless "F" is good for using in breathing exercises without sound.

The consonants in singing are pronounced short in comparison with the vowels. Especially hissing and whistling "S, W" because it is well caught by the ear, they must be shortened, otherwise, when singing, it will create the impression of noise, whistle.
To connect and disconnect consonants, there is a rule: if one word ends and another begins with the same, or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphatically separated, and at a fast pace when such sounds fall on short durations, they need to be emphatically combined.

Work on rhythmic clarity
We begin the development of rhythmic instinct from the very first moment of the choir's work. We actively count the durations using the following counting methods:
- out loud in chorus rhythmic pattern.
- to tap (clap) the rhythm and at the same time read the rhythm of the song.
After this setting, solo, and only then sing with words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right pace. When changing tempos or during pauses, do not lengthen or shorten the duration. An extraordinary role is played by the simultaneous introduction of the singers taking breath, attacking and removing the sound.

To achieve expressiveness and accuracy of the rhythm, we use exercises for rhythmic crushing, which subsequently turns into internal pulsation, and gives timbre richness. The crushing method, in our opinion, is the most effective and has been known for a long time.

Singing breath.
According to many choral leaders, children should use abdominal breathing (formation like in adults). We will certainly control and check each student, how much he understands how to take the breath correctly, we will definitely show it on ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouths with completely lowered and free hands. With daily training, the child's body adapts. We consolidate these skills with a breathing exercise without sound:
A small breath is an arbitrary exhalation.
A small inhale - a slow exhalation on the consonants "f" or "v" up to six, up to twelve.
Inhale with the account of the chant at a slow pace.
Take a short breath through your nose and exhale through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
1) Warming up and tuning the singers' vocal apparatus to work.
2) Development of vocal and choral skills, achieving high-quality and beautiful sounding in the works.
The most common disadvantages of singing in children, according to our observations, are inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.

Choir chanting organizes and disciplines children and promotes the formation of singing skills (breathing, sound production, sound science, correct vowel pronunciation).
At the beginning, 10-15 minutes are allotted for chanting, and it is better to sing while standing. The chanting exercise should be well thought out and given systematically. When chanting (albeit for a short time), we give various exercises for sound science, diction, breathing. But these exercises should not change at every lesson, because the children will know what skill this exercise is given to develop, and with each lesson the quality of the chant will improve. Most often, we take the studied material for chanting (usually we take difficult places).

In order to tune and focus the children, to bring them into working condition, we start chanting as if with a "tuning", we ask the children to sing in unison with their mouths closed. This exercise is sung evenly without jerks, on uniform, continuous (chain) breathing, soft lips are not quite tightly closed. The beginning of the sound and its ending must be certain. In the future, this exercise can be sung with weakening and strengthening of sonority.

Chanting can be sung in syllables ma and yes. This exercise will teach children to round and collect the sound, maintain the correct mouth shape when singing the vowel "A", as well as monitor the active pronunciation of the letters "H, D" with firm lips. It is very convenient for syllables liu, le, because this combination is very natural and easy to reproduce. Here you need to monitor the pronunciation of the consonant "L", it will not be with the weak work of the language. And the vowels "Yu, E" are sung very close, elastic lips.

Learning a song
This is the next stage in the work on vocal and choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; if the history of the song's creation is known, then we introduce the guys to it as well.
Then the song is shown. How it is conducted often depends on the attitude of the children to learning - their enthusiasm or indifference, lethargy. Therefore, we always use all our possibilities when showing, we prepare well for it in advance.

As a rule, in choir lessons we never write down the words of a song (with the exception of foreign texts that are difficult to remember, requiring additional study with the teacher of the given language). This is not necessary, since with the method of phrased memorization of a song, with its numerous repetitions, the words learn by themselves.

Repeated, long-term memorization of the same place, as a rule, reduces children's interest in the work. And here one must have a very precise sense of proportion, a sense of the time allotted for the repetition of this or that fragment of the work.
We try not to rush to learn all the verses, since the guys are more than happy to sing the already familiar melody with new words than with the known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to the difficult places that did not turn out well enough when the previous verse was performed.

We also attach great importance to the development of active articulation, expressive diction when singing. After the choir has learned the basic melodies, you can move on to the artistic decoration of the piece as a whole.
Another option is possible: close interaction, a combination of solving technical problems and artistic decoration of the work.

After learning a new song, we repeat the songs we have already learned. And here it makes no sense to sing each song from beginning to end - it is better to perform some parts separately in parts, then together to build an interval (chord), you can work on some particulars, enriching the work with new performing nuances. With such work on familiar material, he will never get bored.
At the end of the class, one or two songs are sung, ready to be performed. A kind of "run-through" is being arranged, the task of which is to activate the contact of the choir leader as a conductor with the performers. Here the language of conductors' gestures, understandable for the choristers, is practiced.

In the moments of "runs" it is good to use a tape recorder - for recording and subsequent listening. This technique has an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings in the performance and, during the subsequent recording, try to eliminate them. We do not use this technique in every lesson, since otherwise the novelty is lost and interest in it disappears.

We finish our classes musically - the guys, standing, perform "Goodbye", which is sung in a major triad.

According to the hypothesis of our research, the development of vocal and choral skills of choral singing in music lessons is more effective when musical instruction is carried out systematically, in close connection between the teacher and students, against the background of the formation of the general musical culture of the child at primary school age and, finally, taking into account age and personal qualities of the child. This is proved by the system of methods and techniques used by us for the formation and development of basic vocal and choral skills in children of primary school age. By the end of the year, children steadily master the correct singing breathing, develop correct diction, learn to sing in unison without disturbing the overall pattern of the choir's singing, that is, they become a collective, a single singing organism, with which they can work further, learning new more complex pieces.
In conclusion, I can say that it is very difficult to achieve success without interest in your profession and love for it. And only striving for the top of your success will help you overcome the thorny path from beginning to end !!!
2016 year.

Organization of the rehearsal process.

Having chosen a piece, the choirmaster must first carefully study it. To do this, you need to outline a general plan of execution, analyze difficult places.

Before starting to learn the work, the leader conducts a conversation about its content and character, provides brief information about the composer and the author of the literary text.

Acquaintance forms are different. It is better to organize it by listening (audio recording, etc.) performed by a highly qualified choral group. If it is not possible to listen to the recording, then the choirmaster himself must reproduce this work: play or hum the main melodies to the accompaniment. This will help choristers master the musical texture and the ability to listen attentively to the harmonious surroundings of the melody. This contributes to the musical development of children, and brings activity and consciousness into the process.

In general, it is useful to learn a piece without playing the instrument, because this destroys independence. It can be noted that many of the famous conductors played the piano magnificently, which means they introduced the singers to the new work by playing the score, as it would sound in the chorus (A.A. Arkhangelsky, N.M.Danilin, M.G. Klimov) - the most oriented singers in content, style, musical form.

Initial work is solfeging. During the formation of a young collective, teaching the choir the ability to solfege is important. There are also choirs for whom sight-reading is fluently worked out. During solfegging, the accuracy of intonation is checked, the correctness of rhythmic patterns, i.e. the musical theoretical basis of the work. During solfeging, the chorus's understanding of the harmonic, metro-rhythmic features of the new work, detached from the emotional side, occurs.

In choirs where the participants are hesitant to read notes from sight, or do not know them at all, the inability to sing solfeggio deprives the choristers of the understanding of the musical composition from the inside.

The choral work must be performed by the entire choral collective in terms of musical familiarization, or otherwise it must be sung "from the spot" (preferably 1-2 times), even with technical and performance errors. When reading sheet music, the choir still gets a primary idea of ​​the piece. Egorov A. Theory and practice of working with the choir - M., 1951 - p. 226

The work should be taught in pre-planned parts, and divided them in connection with the structure of musical speech and literary text, so that there is a certain completeness.

It is possible to move from one part to another only when the previous part is mastered. But if the part is difficult, learning the song should be continued, but you should return to fixing the difficult place after familiarizing yourself with the whole piece.

The process of learning a song and working on the artistic and technical side of the performance is complicated; requires from the leader a lot of experience, knowledge and skills. Conclusion: first, the analysis of the work in parts, then work on overcoming technical difficulties and artistic finishing of the work. “The most important thing is to make each batch separately, down to the nuances. And the one, the choirmaster, who knows how to work with the choral part. " Vinogradov K. Methods of work of Russian masters of choral culture of the XIX and early XX centuries - Typewritten manuscript.

Firstly, the impossibility of recommending any terms for one or another phase of work with the choir on a song, and even more so to determine their boundaries. Much depends on the skill and skill of the leader, on the qualifications of the choir, on the degree of difficulty of the piece. When analyzing, one cannot discard the ideological and artistic side. An experienced leader at such a moment will find a way to bring artistry to a technical phrase, at least in small doses. This is expressed in vivid figurative comparisons and comparisons, in addition, these images may not directly relate to the ideological and artistic image of the given work. This is natural and necessary.

Something similar happens in the last, artistic period of work on a song, when attention is focused on the artistic side of the performance. Here, there is an inverse relationship: in the process of artistic finishing of a choral work, purely technical methods are also incorporated, this is also necessary and natural.

Thus, it can be argued that the process of working on a piece with a choir cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each phase. This will be formal, and can only be accepted as a scheme, following which the leader, to the extent of his experience, skill and ability, will accept certain methods of work.

The principles of the selection of the repertoire in the children's choir.

In order to choose the right repertoire, the conductor must remember the tasks set for the choir and the selected piece must also be aimed at practicing some new skills.

The repertoire must meet the following requirements:

1) be educational

2) be highly artistic

3) Suitable for the age and understanding of the children

4) Match the capabilities of this performing group

5) Be diverse in nature, content

6) Selected difficulties i.e. each piece should move the choir forward in the acquisition of certain skills, or consolidate them

You should not take complex and voluminous works. For children who will sing this, it may turn out to be an insoluble task, and this will certainly affect the productivity of their work, and may lead to fatigue, lack of interest in the business in which he is engaged, in some cases even alienation from choral singing in general (depending on the nature ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of light pieces should be limited in the repertoire, since an easy program does not stimulate professional growth. And just as naturally, it should be of interest to choristers, this even gives some relief in their work, since children will strive to work as best as possible and listen to every word of the leader.

As mentioned above, the work must correspond to the age level in the subject matter. And if this is not the case, the performance is usually unsuccessful and causes bewilderment of the audience.

The work of the repertoire should differ in stylistic and genre orientation. A successful concert choir has in the list of performed works, compositions from different eras and schools of composition:

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Rehearsal is the main link in all educational, organizational, methodological, educational and educational work with the team. From the rehearsal, one can judge the level of his creative activity, the general aesthetic orientation and the nature of the performing principles.

The rehearsal can be presented as a complex artistic and pedagogical process, which is based on collective creative activity, which presupposes a certain level of training of the participants. Without this, the meaning of the rehearsal is lost.

The artistic director is forced to constantly look for such techniques and methods of working with the team at rehearsals, which would make it possible to successfully solve the creative and educational tasks facing him at one time or another. Each leader gradually develops his own method of building and conducting rehearsal classes, organizing the work of the team in general. However, this does not exclude the need to know the basic principles and conditions of rehearsals, based on which, each leader can choose or select such techniques and forms of work that would correspond to his individual creative manner. This is especially true for young, novice art directors, who sometimes find it difficult to find the most suitable form and interesting methodology for rehearsal classes, to prepare the team for a performance in a short period of time.

Their knowledge of the basic methodological and pedagogical conditions for organizing rehearsal work and the ability to critically rethink them in accordance with their individual creative manner and specific characteristics of the team is an important prerequisite for the successful organization and conduct of rehearsals.

It is necessary, at least in the most general terms, to know a number of organizational and pedagogical issues on which the quality of rehearsal work depends. Indeed, its pedagogical effectiveness depends on how carefully and comprehensively the rehearsal is prepared.

The manager can use these rules.

Rehearsal is necessary:

1. Start on time, with a warm-up.

2. Try not to leave the rehearsal room to the phone, the director, and so on.

3. It is imperative to plan a rehearsal, otherwise an element of spontaneity, scattering, and gravity will appear.

4. Alternate numbers (easy with technically difficult, fast with slow).

5. Involve not one group of performers in the rehearsal, but all (if you rehearse with two, the rest should also be interesting).

6. The necessary props must be prepared in advance.

7. You should not rehearse the same number more than 2-3 times, after 40-45 minutes after starting work you need to take a break.

8. The speech of the leader should be competent, cultured, the tone of remarks should not be rude and offensive.

9. It is necessary to distinguish working rehearsals from general runs, they have different tasks.