§ 6. Methods of introducing young children to singing
The development of initial singing manifestations on first year a child's life begins with the fact that the baby is taught to listen to the singing of an adult and respond to him with the sounds of his own voice, hum.

Therefore, the methodological techniques of musical education are based on the influence of expressive singing intonation, the warmth and sincerity of which evokes an emotional response in children.

The teacher, singing a song, leans towards the child and thus attracts his attention, evokes imitative intonations and creates a joyful mood in him. When working with older children, displaying toys is used to identify interest in singing.

On second year life, children are already beginning to pronounce and

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chant to sing along for tutor individual sounds, the end of a musical phrase. The program of education and training in kindergarten sets a task for the teacher - to encourage the child to sing along with the adult, reproducing individual intonations.

Songs reflecting images that are close and understandable to children (birds, dolls, etc.) help to solve this problem. Their correct selection makes it possible to gradually complicate tasks. If in the song "Bird" by M. Rauchverger children can mark the end of the song with the exclamation "Ay", then in the song "Yes, yes, yes" by E. Tilicheva they sing along with a short musical phrase on the repeating syllable "yes, yes, yes."

Studying with the kids, the teacher invites one or the other child to join in singing, to repeat a separate sound exclamation, intonation. The main method of forming the singing manifestations of children at this stage is imitation of the singing of an adult.

Arousing interest in the song, the desire to sing it, the teacher uses play techniques, uses a toy. For example, in the song "Vodichka" by E. Tilicheyeva, children, together with an adult, perform movements according to the text of the song. The expressive performance of the song evokes an emotional response in children, a desire to sing.

Repeating the song several times, the teacher invites the most active children to sing along with him. Their example has a positive effect on the more timid.

Individual singing with each child is of great importance for musical development at this age. This allows you to identify the more active, to combine them into a small group.
^ Song repertoire
The song repertoire for children of the first junior group is small. However, it reflected the holidays ("To the Parade" by Y. Slonov, "Holiday" by T. Lomova, "Christmas tree" by T. Popatenko), images close to children ("Bird" by T. Popatenko, "Beetle" by V. Karaseva), songs about children (“That's how big we are,” “Yes, yes, yes” by E. Tilicheeva). In the songs, children sing along with short musical phrases.

^ Stimulating onomatopoeia is one of the prerequisites for the development of singing intonations in children.
§ 7. Methods of teaching singing to children of primary preschool age
^ Objectives and content of training
On third year In life, the child's singing voice begins to form - there is no singing sound yet, the breath is short. But at the same time, children willingly join in the singing of an adult, singing along with the endings of musical phrases, intoning individual sounds.

The task is to develop and strengthen the initial singing intonations in children. The child cannot yet sing the entire song correctly, but one should strive for the correct intonation of individual motives.
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On fourth year In life, the singing voice of children sounds stronger, they can sing a simple song. Some children even get loud.

Shaping the singing sound, the teacher makes sure that the children sing in a natural voice, without tension in the range re-mi-la the first octave.

A large place in the younger groups is given to work on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words, to teach the correct pronunciation.

It is difficult for children of this age to sing at a general pace: some sing slowly, others are in too much of a hurry. The teacher must constantly monitor this, teaching them to collective singing.

By the end of the year, a child of the first youngest group can sing simple songs with an adult.

By the end of the fourth year of life, they should sing in a natural voice, without tension, lingeringly, clearly pronouncing words, not lagging behind and not getting ahead of each other, correctly transmitting the melody in tunes and songs, singing songs with the help of a teacher, with or without musical accompaniment.

These tasks are solved with the help of a song repertoire that includes simple, melodic, breathable songs of a small range.

Children of the third year in the songs "Cat" an. Aleksandrova, "Bird" by T. Popatenko sing along only the final phrase, which is most convenient for the initial intonation:

[Slowly] [Moderately]

They can sing the Russian folk song "Bunny" in its entirety, since it is built on a repetitive motive:

[Lively]

In the second youngest group, tasks gradually become more difficult, songs of a larger range are performed (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:
[At the pace of the march]

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[Leisurely]

Most of the songs for children of this age are performed slowly, at a moderate pace. But there are also more mobile ones ("Santa Claus" by A. Filippenko, "Playing with a horse" by I. Kishko).
^ Song repertoire
In the second youngest group, the song repertoire expands significantly. There are more public themes ("Machine" by T. Popatenko, "Airplanes" by M. Magidenko, "Young Soldier" by V. Karaseva) natural phenomena ("Winter" by V. Karaseva, "Rain" - Russian folk song, arranged by T. Popatenko ), songs for the day of March 8 ("Pies" by A. Filippenko, "We love mom" by Y. Slonov). Small range and short musical phrases allow children to sing the entire song.
^ Methodical techniques

Consider the methodological techniques used in singing with children of the third year of life. The main thing is emotional, expressive

performance of a song by a teacher. To do this, it is necessary to think well and convey the features of the song, its character, mood. When performing a song for the first time, the teacher uses toys, pictures that help children understand the content of the song.

In addition, game techniques are used. For example, introducing children to the song "Cat" An. Aleksandrova, the teacher shows the toy and after singing says: "The kitty asks for milk." "My-oo, me-oo," he hums and asks: "How does a kitty ask for milk?" This encourages the guys to sing the last phrase with him.

Learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active and helps the more timid with his participation.

Once you have learned the song, you can use different play techniques. “A bear has come to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Yolka” by T. Popatenko, children clap the words “yes-yes-yes”, and while singing the song “Holiday” by T. Lomova (in the second verse), they show how to “play the trumpet”.

In the second younger group, teaching techniques are more often used. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing with him.
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The most active ones start singing right away. Everyone gradually turns on.

Particular attention is required to work on drawn-out singing, since many children sing in a speaking voice. The teacher sings long sounds expressively. Children follow this example.

In the process of teaching singing, it is necessary to hear each child, to celebrate his performance. It is good for singers to offer to sing in a group for all children, with intoning inaccurately work out separately in order to teach them to "adapt" to the singing of an adult.

If there is a difficult interval in the song, it can be sung in any syllable. The text of the song is learned along with the melody, only the most difficult words are repeated separately.

At the end of the year, it is noted whether children will be able to sing some songs with or without musical accompaniment with the help of a teacher.

Forming collective (choral) singing, you need to train children to start and end a song at the same time, keep up with singing and not get ahead of each other, draw their attention to joint friendly singing.
§ 8. Methods of teaching singing to children of the middle group
Objectives and content of training
In the fifth year of life, children emotionally perceive and empathize with the different mood of the songs. Preschoolers already have a certain musical background. They developed some singing skills, strengthened their voices, increased the range slightly. (re-si the first octave), breathing became more organized, the pronunciation of individual sounds and words became more accurate. This allows you to expand the scope of singing skills.

First of all, you need to teach children to sing naturally and without tension. The teacher is constantly working on this skill, showing a sample of soft, relaxed melodious sound. At the same time, the skill of correct, timely breathing, the ability to sing a musical phrase to the end, develops. Attention is also paid to correct pronunciation: the content of the song is explained, the meaning of incomprehensible words, the expressiveness of the literary text is emphasized. At the same time, articulation is developed in the classroom, children are taught to actively open their mouths while singing.

The development of the skill of well-coordinated collective singing, which is expressed in the ability to simultaneously start and end a song, requires great attention. At this age, children still have a tendency to get ahead of singers or to lag behind them. The teacher teaches to observe the general tempo in singing and perform simple musical nuances in accordance with the content of the work.

Best practice experience has shown the need for unaccompanied singing training, which should be mastered as early as possible. The lightest, most convenient singing songs become
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are the property of children, and they successfully use them in their independent activities.

The program provides for the development of children's ear for music. The child is taught to listen to the vocal intonation of the teacher of his comrades, which subsequently will help everyone to sing consistently in the general choir. While teaching singing, educators systematically work on the development of children's sensory abilities, since they can already distinguish sounds in height, located at a fairly wide distance. (octave, sixth).

By the end of the year, five-year-old children should master the following programming skills: sing expressively, with a natural sound, without tension, drawlingly, take breath between short musical phrases, pronounce words clearly, correctly, start and end a song together, correctly convey a simple melody. Sing in concert within re-si the first octave, listen to the voices of others, distinguish sounds by their pitch, sing with or without instrumental accompaniment.
^ Song repertoire
The theme of the song repertoire is more diverse than in the younger groups. In accordance with this, the means of musical expression in songs for children of this age are also enriched. Interesting and accessible to them is the bright depiction of music in such songs as "Building a House" by M. Krasev, "Diesel Locomotive" by Z. Kompaneitsa, "Airplane" by E. Tilicheyeva. The world of natural phenomena in poetic Russian folk tunes and songs is also revealed to the child.

The song program repertoire corresponds to the peculiarities of the voice of children 4-5 years old. The songs have a small range, short musical phrases. But more and more often different endings of the same musical phrases appear in them ("Kitty" by V. Vitlin, "We sang a song" by R. Rustamov). This feature must be taken into account when learning songs.
^ Methodical techniques
Methodological techniques are aimed at the acquisition of singing skills by children. Working on the correct (clean) intonation and sound education, the teacher constantly exercises the children, remembering that even if 2-3 children sing incorrectly, this reduces the quality of the collective performance. When starting to learn the song, you should perform it with the piano accompaniment, and then without it. Children of this age sing better and intonate more accurately when they hear the performance of an adult. If children find it difficult to perform any melodic turn, it is advisable to practice this separately. If the child does not cope with the task, you should work with him individually before or after class.

This technique is also widely used in practice: a small group, sometimes soloists, alternately perform each musical phrase in a song. The alternate introduction activates the auditory attention of children. You can also do this: the whole group of Children sings the chorus, and the soloists sing the song. What is the use of this technique? Children listening to friend
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friend, inevitably fix the quality of performance, note inaccuracies. The element of competition makes you want to sing better, more precisely. Thus, the ear for music is activated.

The mastery of the skill of lingering singing is achieved by showing the correct performance by the teacher himself and using figurative comparisons: "Sing long, pull the melody like a thread."

The development of this skill is also helped by the technique of performing a melody without words for syllables ending in vowels (la-la-la). It must be remembered that each work has its own characteristics, requiring from the educator a creative search for pedagogical methods.

The following exercises help the development of the singing voice: small tunes, consisting of 2-3 sounds, are performed in all sorts of convenient syllabic combinations (doo-doo-doo, yes-yes-yes, la-la-la, ku-ku, ay-ay) at various levels of the scale, gradually expanding the singing range, taking into account the individual capabilities of children. Such exercises are advisable in every lesson. Singing unaccompanied when the child can perform a small song on his own is especially useful. Moreover, the quality of singing is controlled by the child in one way or another by ear. You can give figurative tasks that require the distinction of sounds in pitch. For example, to distinguish the voice of "mother bird" (before the first octave) from the voices of the "chicks" (before second octave) in E. Tilicheyeva's song "Big and Small Bird". 1 This gradually brings you closer to understanding pitch.

In the process of teaching singing, one should develop the prerequisites for some creative manifestations. “Think of and sing a lullaby (dance) to the doll,” says the teacher, holding a toy in his hands. The child improvises an unpretentious melody.

Learning songs requires consistency in teaching in the classroom: a preliminary musical analysis of the work, the definition of program skills, the clarification of pedagogical techniques. Let's trace the sequence of tasks when learning the song "Drummer" M. Krasev. This is a funny, marching song, built on the characteristic intonation moves of a pictorial character.

In the first lesson, the song is performed with a piano accompaniment, the chorus rhythm simultaneously depicts a "drum" (Tra-ta-ta, tra-ta-ta, give me your sticks). In the second lesson, the teacher will sing the song, and the children will perform the lighter chorus. In the third lesson, the children learn the tune of the song, in which there is a difficult melodic turn corresponding to the words "At the window on the wall." The teacher trains the children in reproducing this intonation, asking each one in turn: "Where is the drum hanging?" Children sing: "At the window on the wall." In the fourth lesson, children who perform well will sing the chorus, and the rest will sing the chorus. In subsequent classes
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the guys sing a song without accompaniment, march to it, play along with themselves on the drum.

At the end of the year, it is necessary to check the assimilation of singing skills, the development of voice and hearing, the quality of song performance in order to find out:

can every child sing familiar songs with piano accompaniment. In this case, the following techniques are used: each child is invited to sing one verse of a familiar song at will, to remember what other songs have been learned;

what is the quality of the collective (choral) sound: can children sing cleanly enough (not out of tune), harmoniously in tempo, accompanied by an instrument, but without adult singing? Children begin to sing after the musical introduction, the teacher listens carefully and at the end notes the shortcomings. The song is performed a second time - the teacher observes how the children are trying to correct mistakes;

can children identify sounds of different heights: octave, septim, sixth. Techniques: children are asked to find out who sings first: “mother-bird” (low sounds on one note) or “chicks” (high sounds on one note).
§ 9. Methods of teaching singing to children of the older group
Objectives and content of training
The content of the singing training program is based on the same principles as in the previous group. The increased capabilities of children allow them to acquaint them with a broader cool idea of ​​life phenomena by means of songs. This increases the cognitive role of singing.

The general development of the child in the sixth year of life, the strengthening of his physical strength have an impact on the improvement of the vocal apparatus. The skills that were worked on in the previous groups of the kindergarten are refined and consolidated.

Working on sound education, the teacher makes sure that the singing is relaxed. However, the nature of the sound acquires significant differences, children are taught to sing naturally, smoothly, melodiously, agile, easily, loudly. Developing singing breathing and diction, children are taught to control themselves, correct mistakes, regulate the strength of the voice, clearly, clearly pronounce all sounds and words.

Constant attention is paid to the development of pure singing. As practice shows, there are 5-6 children in the group who sing low and inaccurately. Individual lessons should be conducted with them. The sound quality depends a lot on the singing setup.

The expressiveness of singing is facilitated by the fulfillment of musical nuances, nuances, as well as a sense of ensemble, that is, consistency in the application of singing skills.

The child's voice is strengthened, the singing range is determined -
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re-si first octave and before the second (this sound is rare in the song repertoire). Constant attention is paid to the development of hearing, the ability to hear and distinguish between right and wrong sounds.

In the older group, preliminary work begins to prepare for school. This is expressed in the development of auditory self-control, sensory abilities that allow children to identify and reproduce sounds of different heights (within fifths, quarts, thirds) and duration (noting them with soft claps). In addition, children develop the skill of independent singing of simple songs without accompaniment, and more difficult ones with the partial help of a teacher - the skill of collective singing accompanied by a piano without the help of adults. Children should not just learn the songs, but memorize them, know well and be able to perform what they learned earlier.

By the end of the year, they acquire the following skills: sing expressively without tension, smoothly, with a light sound, take breath between musical phrases, pronounce words clearly, start and end a song at the same time, correctly convey the melody, sing moderately loudly and moderately softly at different rates with the teacher unaccompanied and independently accompanied by an instrument, sing collectively and individually in a comfortable range re-si the first octave, before the second, to remember and perform the learned songs, to note by ear the correct and incorrect singing, sounds of different heights and duration. Maintain the correct posture while singing. All this gives the singing expressiveness and spontaneity.
^
The song repertoire helps to solve these problems, first of all, taking into account their upbringing and educational purpose, which makes it possible for the children to express their attitude to our Soviet reality.

The song teaches children, allows them to acquire skills, develop musical abilities, melodic ear, singing voice. Teaching smooth, stress-free singing, the teacher can turn to such, for example, songs as the Russian folk “Bai, kachi-kachi” or “Let's go through raspberries into the garden” by A. Filippenko. The skill of a light, mobile sound is well mastered when learning the cheerful, lively song melodies "Blue Sledge" by M. Iordansky, "Song about a Christmas tree" by E. Tilicheeva.

For the development of singing breathing, songs are used in which a uniform length of musical phrases is given. However, while developing this skill, it is necessary to include songs that have some asymmetry of construction. For example, in the song "Geese-Gusenyata" An. Aleksandrova, long and short phrases alternate: “Geese-goslings in the woods. V Ha-ha-ha! V Red put on stockings V Ha-ha-ha! V etc. 1
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A clear, distinct pronunciation requires a drawn-out singing of vowels: “Come-la ves-na, oh, it's red-na” - and very clear underlining of consonants, especially at the beginning and end of words: “I am very glad today, my brother brought the drum ". In the older group, work continues on accurate vocal intonation (pure singing). This will be helped by songs that have many stable sounds of convenient melodic moves, for example, "The Blue Sledge" by M. Iordansky, and songs where more difficult intervals are encountered, for example, "Geese-Gusenyata" by An. Alexandrova.

Dynamic and tempo changes in songs for children 5-6 years old are not very diverse, but they require exact execution and compliance with all the instructions of the composer.
^ Methodical techniques
Methodological techniques are always aimed at developing a singing voice, melodic hearing, and teaching skills. Before singing, the children ate

Exercises for chanting, built on separate sounds, are lined: "ku-ku" (minor third),"Le-le" (prima), or Russian folk tunes "Bai, kachi-kachi", "Chiki-chiki-chikalochki", etc. Their systematic repetition forms the skill of pure intonation. Exercises for the development of hearing are also used: "musical echo" (the child reproduces a given sound).

For the development of the first musical-auditory ideas about pitch and rhythmic ratios, a comparison method is used: identical musical phrases with different endings are performed, and children are invited to identify higher and lower sounds.

In another case, two sounds are compared (intervals in a song). These tasks should captivate children and have a figurative or playful form.

Children acquire initial information about music while learning songs: they learn about the nature of the sound (melodious, abruptly), the tempo of the performance (slowly, agile), dynamics (louder, quieter). Children use this information in their answers, telling about the content of the song, about the nature of its sound.

The sequence of work on learning songs in the older group of the kindergarten is approximately the same as with the children of the middle group. After analyzing the song, the teacher at each lesson sets a new task for himself, for example, exercises the children in the difficult melodic course of the song, in the performance of dynamic or tempo shades, achieves a melodic or mobile sound. Two or three songs are performed at each lesson. In the beginning, vocal chanting and exercises that develop the ear are usually given. Then a new song is learned, which requires more focused attention. After that, a song is performed that is familiar to the children, but requires work on its expressiveness. In conclusion, the children sing their favorite and familiar songs.

At the end of the year, the level of development of hearing and singing skills can be determined as follows:
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to instigate how each child sings, and to note the quality of the performance of the song, accompanied by the piano;

to establish which songs (simple) and which of the children can sing unaccompanied: showing a sample, the teacher sings himself unaccompanied, the child repeats without the help of an adult; the teacher sings along if the child does not cope with the task;

invite all children to sing a familiar, but not performed for a long time, a song in order to test their musical memory;

give a task of the "musical echo" type, the melodic turns vary for each child - this checks the level of coordination of hearing and voice;

check the quality of collective singing performance by inviting children to sing two songs (with instrumental accompaniment) of a different nature - calm, melodious and light, mobile; this determines the sound quality;

find out how many songs from the passed repertoire children can sing with piano accompaniment.

^ Work on a certain amount of vocal and choral skills is the basis for the expressive performance of songs.
§ 10. Methods of teaching singing to children of the preparatory group for school
^ Objectives and content of training
The content of the program is determined, as in other groups, by the tasks of musical and aesthetic education.

In solving the problems of preparing children 6-7 years old for school, the educational impact of singing, its various forms, a more active introduction to musical literacy, the development of musical and auditory representations, is enhanced.

The school pays great attention to singing. Therefore, in working with children of the preparatory group of kindergarten, the requirements for singing increase, become more complicated and boil down to the following:

teach children the expressive performance of songs: sing in a sonorous voice, melodiously, in a light, moving sound; take breath before singing and between musical phrases, without raising your shoulders, and hold it until the end of the phrase; pronounce words clearly, correctly pronouncing vowels and consonants;

teach children independently and at the same time start and end a song, maintain a specified tempo (speed up, slow down, strengthen and weaken the sound); accurately perform the rhythmic pattern; correctly convey the melody, listen to yourself and others, correct mistakes; expressively perform familiar songs with the accompaniment of the instrument and without it; remember and sing songs learned in previous groups; determine the direction of movement of the melody up and down, distinguish between short and long sounds; know the names of the notes, understand that the high sounds are located on the upper rulers, and the low ones - on the lower ones;
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to teach to improvise onomatopoeia ("ay", "ku-ku") and various tunes based on the learned singing skills;

to learn to sing collectively and individually, maintaining the correct posture, posture (singing attitude) while singing;

Thus, the content of the program becomes more complicated in comparison with the tasks that were presented to the children of the previous groups.

In kindergarten, it is necessary to create all the conditions for active preparation for school studies, since at school children from singing by ear move to singing from notes. The latter requires the ability to correlate sounds and notes. By analogy, one can recall the connection between oral and written speech. That is why it is so important to form in a child musical-auditory ideas about pitch ratios, to give some information about musical literacy and to acquaint with the still conventional graphic symbols showing the ratio of sounds in pitch and duration.
^ Features of the song repertoire
The song repertoire includes works of various content, subject matter, means of musical expression: 1) songs, tunes, for mastering all program singing skills;

2) small songs, exercises that prepare children for learning to sing from notes;

3) sample songs that develop the songwriting of children.

Songs that teach singing skills are selected based on pedagogical objectives. Such songs, different in character of sound (smooth, melodious: "Leaves are falling" by M. Krasev, "In the field there was a birch tree", Russian folk song; light, mobile: "Happy holiday" by D. Kabalevsky, "We meet May" by V. Gerchik ), are based on musical phrases developing breathing, have a range convenient for a child's voice, a tessiture. The melodic line often includes difficult intonation moves; complications are found in both dynamic and tempo shades ("Mother's Holiday" by E. Tilicheyeva).

Exercises that prepare you to learn notation are used from the learned repertoire. To teach in this direction more successfully, you can use special exercises from the "Musical Primer".

Samples of songs 1, created by Soviet composers for creative tasks, are not used for copying, but help to reveal the child's abilities, enriching him with musical impressions. This is a kind of model, based on which a child can compose, invent his own melody that conveys the content, mood of a particular poetic text.
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Methodical techniques
Methodological techniques also meet the tasks of mastering program skills and repertoire. Consider methodological techniques aimed at developing singing skills.

Working on sound education (high, light, sonorous, melodious, mobile), the teacher uses a show by his own example or by the example of a well-singing child. Listening, the rest of the children try to do the same. Imitation must be meaningful: one must hear, compare, evaluate.

The melodiousness of the sound is helped by the correct lingering formation of vowels: uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh At the same time, the teacher trains children in singing on vowels and syllables ("la-le"), with a half-closed mouth. It is very important to pronounce consonants accurately, clearly, especially at the end of words. In this case, chanting on the syllables "ding-ding" helps.

The work on singing breathing is associated with sound production. Systematic exercise and reminders are needed.

Techniques for the development of diction (correct, clear pronunciation) are dictated by the characteristics of the literary text and are reduced to clarifying the semantic meaning of words. Every child should pronounce all words meaningfully, articulating well. Here are useful techniques of pronouncing the text in a whisper, in the rhythm of the song and with piano accompaniment, as well as expressive reading of the text without music. You can use the technique of emphasizing individual references ("Hey, stay away from the road" in the song "Winter Song" by M. Krasev) or characteristic features of the image, epithets, a clearly expressed attitude towards the characters of the song (affection, reproach, approval, etc.).

The most important skill is the correctness and purity of melody intonation in choral singing (tuning). All methods of developing this skill are closely related to the formation of musical and auditory representations, auditory self-control: listen and repeat as an adult sang, played an instrument.

You can use the following techniques:

"Tune in" before singing; the teacher sings (pulls) the first sound, and the children repeat it;

"Linger" on a separate (more often the last sound of a song) sound of a melody as instructed by the teacher and listen to how it sounds;

before learning songs, it is useful to perform musical tunes in different keys; perform a difficult interval of the song several times, achieving the accuracy of the sound from each child;

with some children with a wider range, you can sing the song in higher keys;

remind children of the direction of movement of the melody, of higher and lower sounds, forming musical and auditory representations;

deepen auditory representations using a show, the image of conventional signs (the bird sits high - sings above, sits low - sings below);
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use hand movements (conducting elements) showing how to sing higher or lower.

Singing without instrumental accompaniment (a cappella) is of great importance. It helps to develop accurate vocal intonation, allows you to sing at will, independently. If children find it difficult, you can use the following techniques to help in the future harmonious sound of the song:

to involve well-singing children in individual performance of small, simple songs without an instrument;

learn some songs without an instrument (with the voice of a teacher);

sing a familiar song with the accompaniment of an instrument, then without it, singing along to a child in the most difficult places or playing a melody on an instrument;

When performing songs, especially folk songs, children can be divided into two subgroups: singers perform better in the lead or chorus (more difficult).

To prevent children from lowering the key when performing a song without an instrument, it is useful to "tune" them beforehand, play a musical introduction, and at the end of the song - a conclusion. It is also very useful to repeatedly repeat previously learned songs, accumulating children's repertoire.

The skill of harmonious singing (ensemble) is formed through constant exercises in collective singing. At the same time, it is important to emphasize the importance of all musical nuances. If children understand the meaning, feel the mood, they know why a festive song should be sung solemnly, joyfully, and a lullaby - calmly, affectionately. The main thing is that the actions of the guys are united, so that everyone feels like a member of a singing group and “trims” his voice in strength, tempo, timbre to the overall sound.

Thus, in the method of teaching singing, the demonstration of expressive performance and direction takes an important place. It should also be noted a certain role of visual and motor visualization: the expression on the teacher's face, a cheerful smile or a serious expression during the performance of songs of the corresponding nature, as well as conductor's gestures (showing a moving or smooth sound with the hand, the beginning and end of singing, the direction of the melody movement, etc.) .).
^ Teaching basic knowledge of musical literacy
The system of methodological techniques that help a child in learning to sing from notes is described in the "Musical Primer", which shows the sequence of tasks and exercises, arranged according to the degree of difficulty of the song repertoire. Vivid illustrations help assimilate assignments.

The exercises given in the first part of the ABC book are mastered by the child by ear.

^ First task- children are taught to distinguish and sing sounds of different heights (2-3 sounds).
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Explanations are given while listening to the exercises: "Chicks", "Starlings and Crows", "Confusion". Children are told: “The chicks sing high, and the mother-bird - lower,” etc.

Gradually, the skill of identifying different sounds in pitch is developed. Exercise songs, for example "Swing", "Echo", are built at wide intervals (seventh, sixth), and such as "Trumpet", "Accordion", at narrower intervals (fourth, third, second).

The expressiveness of the intervals is conveyed figuratively: uniform movement minor third emphasizes the character of the lullaby; repeating intervals big seconds imitate the tunes of a children's harmonica; energetic "jumps" on septim up and down represent the movement of the swing.

^ Swing

[Leisurely]

Echo
[Moderately]

Bayu-bayu
[Calmly]

Sometimes it is useful to change the order of sounds. For example, in the song "Swing", invite children to listen to the following sound:

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and this:

If at the same time the children will raise their hand to the word “up” and lower it to the word “down”, then the singing becomes more conscious and pure.

When the children learn to distinguish well the pitch of two sounds, they should pay their attention to the fact that sometimes the pitch changes, but repeats itself (for example, in the Russian folk joke "Andrey-sparrow"). While learning the song "Bells", children look at the drawing, which depicts three bells. Showing one bell, hanging above the others, the teacher sings the word "ding" (si), then draws the guys' attention to the second (middle) bell and sings "dan" (salt# ) , pointing to the third bell, which hangs below the others, sings "don" (mi). Then the children sing this exercise several times, simultaneously showing the image. Thus, a visual-auditory relationship is developed - if the sound is high, then the note is depicted above.

Developing a modal feeling, children are taught to sing intervals in small songs and even independently find the tonic (the last final sound), for example, in the song "Our House" by E. Tilicheyeva.

^ Second task- to teach children to distinguish and sing sounds located next to each other in an upward and downward movement. So, in the song "Ladder" the guys sing a melody with the words "Here I am going up" and, looking at the picture, show it with a movement of the hand. At the same time, perception is based on auditory, motor, and visual sensations. 1 This is how the guys get to know the scale and can sing it with the name of the notes (before, re, mi, fa, salt, la, si, do).

Gradually, children will learn that sounds can "go" up, down and each has its own name, the children will develop the ability to determine the direction of the melody.

The third task is to distinguish the duration of sounds. The fact that sounds are different in their length, children learn by analogy with various phenomena (for example, a bell rings for a long or short time). At first, exercises are mastered to compare two sounds of different duration in the tunes "The sky is blue", "The month of May", etc. The fourth is conventionally designated by the syllable "le", the eighth - "li". The songs are performed in the following sequence: first, they are played on the piano (without words, "
P. 113
shorter. After that, you can sing the melody with the words, at the same time slamming the rhythm.

Assimilation of pitch, durations of sounds to a greater extent helps "Note Lotto". 1 Children listen to the tunes and "lay out" cards or notes-circles on the flannelgraph in accordance with the location of this or that sound on the stave.
^ Creative tasks
Let us now consider the methodological techniques that help the development of songwriting. These are mainly creative tasks that develop the ability

to improvisation. In the classroom, in the process of teaching singing, children are offered tasks in a specific sequence. First, they find vocal intonations: they sing, calling their name or various roll calls ("Tanya, where are you?" - "I'm here." - "What's your name?" - "Marina", etc.). Sample songs are widely used, including the complication of creative tasks (improvisation of onomatopoeia, musical questions and answers, compositions of contrasting humor to a given text). Usually one of the guys improvises at the teacher's suggestion. The rest listen, evaluate, and then sing.

sing a few familiar songs (2-3) accompanied by an instrument. At the same time, the quality of singing, the nature of the sound, the purity of vocal intonation are noted;

sing a simple song unaccompanied to find out if the child can sing correctly without the support of an adult;

sing a song in two different keys; to see if the child is able to "tune in";

compose a musical "answer" (the teacher sings: "What is your name?" The child answers: "Light-la-na");

determine the direction of movement of the melody using the example of a song;

determine alternately high and low sounds performed (within a fifth);

answer who sang correctly;

find out which songs from the passed repertoire the child remembers and can sing with or without the accompaniment of the instrument;

sing onomatopoeia (small and big cuckoo sings, kitten and cat meows);

sing your names on 2-3 sounds, conveying a variety of intonations;

improvise a motive of 2-3 sounds for the syllables "la-la", each child comes up with his own motive. Children compete, who will come up with the most song;

play metallophones invented combinations of intonations and rhythms and try to reproduce them in singing;
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compose melodies, conveying a different character in accordance with the content ("Merry Song", "Sad Song", etc.)

^ The development of vocal and choral skills, exercises for the development of hearing and voice, singing improvisations contribute to the formation of versatile singing activities.

^ QUESTIONS AND ASSIGNMENTS
1. Explain the educational value of singing and provide evidence-based examples.

2. Why is it necessary to cultivate the coordination of hearing and voice in the process of teaching singing?

4. What are the pedagogical tasks of teaching singing.

5. What are the program requirements for the development of ear for music, their importance in preparing children for school?

6. Describe the songwriting, the conditions for its formation in preschool children.

7. List the basic requirements for the song repertoire.

8. Tell us about the sequential learning of the song in the older groups of kindergarten.

9. Give examples of techniques for teaching various singing skills.

10. Compare the methodology of teaching singing to children of younger and older groups.

11. How is the achieved level of musical development and the amount of acquired singing skills of children 5-7 years old checked?

12. Analyze the development of singing skills (diction, ensemble) of children of different age groups using Table 5.

13. Give a full characterization (analysis) of a song using the proposed scheme.

14. Analyze a song from the repertoire of one of the age groups and prove whether it meets the program requirements.

15. Sing a familiar song in different keys, transpose it by seconds, a third up and down.

16. Sing the song in the specified key, use the instrument, tuning fork to determine the tonic (the main sound of the tonality) and the tonic triad (I, III, V degrees of the scale).

17. What methodological techniques can be used when teaching singing to children of the younger and older groups?

18. Tell us about three types of singing exercises for preschool children.

19. List the basic singing skills and abilities.

20. How is the preparation of preschoolers for learning to sing with notes?

21. Give examples of using verbal and pictorial visuals to introduce children to a new song.

22. Play a familiar song with the children and invite them to dramatize it.

23. Observe if children perform familiar tunes, songs in their daily life (in games, on a walk, etc.).

24. Select poetic texts (quatrains) for older preschool children to compose singing improvisations of various kinds.

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Childrepertoirehowmeansdevelopmentvocalabilitieschildrenjuniorschoolage

singingschool vocal ability

Introduction

We all love songs, “Songs are the soul of the people”, we hear from the musicians. Indeed, the song accompanies a person always and everywhere, in all cases of life. A baby is born - his mother sings lullabies to him. The child grows up a little and begins to sing himself various children's comic tunes, songs, counting rhymes. And in adulthood, there are even more songs. In kindergarten and at school, children also sing. And in music lessons, and on holidays, and on a walk, and while playing.

Without a song, there would be no music. As the composer Dmitry Borisovich Kabalevsky said, she is one of the three "whales" on which music rests.

Great importance is attached to the song, since it is difficult to overestimate the impact that a good song has on a person, especially when sung in a circle of friends, relatives, and close people. Today this is becoming very important, because if earlier many good songs became "folk", there was a large repertoire of children's songs, now often the content level of songs is extremely primitive, and few good songs are written for children. But children love and want to sing even today! The question of the musical repertoire on which the development of children is based is very important and acute.

Having studied the necessary literature on this issue, it was revealed contradiction between the existing requirements of the educational standard of primary and basic general education for the development of vocal abilities of children of primary school age and the absence of criteria for selecting a song repertoire for vocal lessons. In the course of theoretical research, a problematic question arose: what are the criteria for selecting a song repertoire for the development of the vocal ability of primary school children.

To solve this problem, the object and subject of course research is determined:

An object - the process of developing vocal abilities in children of primary school age.

Item - children's repertoire as a means of developing the vocal abilities of children of primary school age.

Target course research: to determine the features of the selection of a song repertoire, taking into account the development of the vocal abilities of children of primary school age.

To achieve this goal, the following tasks have been identified:

1) To study the features of the vocal abilities of primary school children

2) Determine the criteria for the selection of a song repertoire for children of primary school age

Course research methods:

by search stages:

Material selection method

Method of directed transformation by the level of penetration into the essence:

empirical:

Theoretical literature study:

Analysis and synthesis

by function:

Explanation

1 . Peculiaritiesdevelopedand IabilitieschildrenjuniorNSkolnogoage

1.1 Educational meaning singing , his role v musical development junior schoolchildren

Singing - Performing music with a singing voice. Distinguishing from colloquial speech by the accuracy of pitch intonation, singing is one of the brightest and most expressive means of musical art.

In singing, as in other types of performance, the child can actively show his attitude to music. Singing plays an important role in musical and personal development.

Only in activity are perception, memory, thinking, sensations improved, knowledge is acquired, new needs, interests, emotions arise, and abilities develop. Consciousness and purposefulness are required in any activity. A child's consciousness is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, evaluate actions, actions, etc.

Expressive performance of songs helps to experience their content more vividly and in depth, to evoke an aesthetic attitude to music, to the surrounding reality. By joining the cultural musical heritage, the child learns the standards of beauty, appropriates the valuable cultural experience of generations. Repeated perception of works gradually orients the child in identifying important thoughts, feelings, moods for him, expressed in artistic images, in meaningful content for him.

In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm. In addition, children receive various information about music, acquire skills. In singing, the musical needs of the child are realized, since he can perform familiar and favorite songs at his will at any time.

Singing is closely related to the general development of the child and the formation of his personal qualities. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable positive effect on the physical development of children.

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, attitude towards it; on the other hand, singing gives rise to the ability to experience moods, the state of mind of another person, which are reflected in the songs.

The formation of musical abilities is inextricably linked with mental processes. Perception of music requires attention, observation. A child, listening to music, compares the sounds of its melody, accompaniment, comprehends their expressive meaning, understands the structure of the song, compares the music with the text. In addition to a variety of information about music that have a cognitive value, a conversation about it includes the characteristics of the emotional-figurative content. The children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music.

The impact on the physical development of children is obvious. Singing affects the general condition of the child's body, causes reactions associated with changes in blood circulation, breathing. The influence of music on the human body was established by physiologists.

PC. Anokhin, studying the influence of the major and minor scales on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person's state during work and rest, stimulate or calm him down. Correct posture results in even and deeper breathing. Singing, develops coordination of voice and hearing, improves children's speech. Correctly delivered singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice.

1.2 Peculiarities musical hearing and vote children junior school age

Musical hearing is the ability of a person to perceive and reproduce sounds, as well as to fix them internally in consciousness, that is, to reproduce them.

Under "ear for music" in the broad sense of this term is understood as pitch hearing, in its manifestation in relation to a monophonic melody is called melodic. It “has at least two bases - the modal sense and musical auditory representations. In this regard, we can talk about two components of melodic hearing. The first of them can be called the perceptual, or emotional, component ... The second component can be called reproductive, or auditory "

The perceptual component, according to P.M. Heat is necessary for full-fledged perception, recognition of a melody, which arises on the basis of an emotional criterion. Thanks to the reproductive component, a melody is reproduced, indicating the presence of more or less developed auditory ideas.

At the heart of melodic hearing is a feeling, which is the ability to distinguish the modal functions of the sounds of a melody, their stability, their attraction to each other.

Long-term musical and pedagogical practice has confirmed that children's melodic hearing develops mainly in singing and playing musical instruments. It is in singing that the level of development of the reproductive component of melodic hearing is diagnosed.

Modern research (K.V. Tarasova) makes it possible to identify six stages in the formation and development of a child's ability to intonate a melody with a voice.

First stage, the initial stage, is characterized by the fact that intonation in the generally accepted meaning of this word is practically absent: the child simply pronounces the words of the song in a certain rhythm, more or less coinciding with the rhythm of the song sample offered to him.

On second stage one can already recognize the intonation of one or two sounds of the melody, on the basis of which the whole song is sung.

On third stage the general direction of the melody movement is intoned.

Fourth stage differs from the previous one in that against the background of the reproduction of the general direction of the melody, a rather “pure” intonation of its individual segments appears.

On the fifth stage The whole melody is intoned “purely”. These five stages are revealed in the conditions of singing with piano accompaniment.

On sixth stage the need for accompaniment disappears: the child relatively correctly intones the melodic pattern without accompaniment.

Reproductive the component of melodic hearing, which we are talking about and which can be interpreted as the ability to actively and relatively number ("correctly") reproduce the melodic pattern with a voice, is formed in most children in the period from four to seven years. Significant progress in the development of this ability in the fourth year of life to laugh in the further smoother course of this process.

In general, assessing the situation according to its generalized, total indicators, we have to state that for most children, the purity of intonation (i.e., the development of reproductive hearing) remains very low today, and this despite the rather large amount of time allotted to singing on musical classes in schools. Perhaps one of the reasons for this is the absence in the practice of mass musical education of special and purposeful work on the production of a children's singing voice. The positioning of the voice, greatly facilitating the process of vocalization for children and relieving the difficulties of auditory-vocal coordination, can help increase the range of the child's singing voice and the development of his melodic hearing.

Concerning perceptive component of melodic hearing, then its elementary manifestations that precede the formation of a modal feeling can be diagnosed by the following criteria: recognition by a child of a melody familiar to him; identification of the presented melodic image with the original; revealing with more or less obviousness of the feeling of the tonic; comprehension of the pitch interval relations between the degrees of the fret.

The perceptual component of melodic hearing in its elementary manifestations is intensively formed up to the fifth year of life, and it is in the fourth year that a significant leap in its development takes place. In subsequent years, at further stages of ontogenesis, it develops less actively. It is necessary to add to this that the perceptual component in its own meaning - as the ability to distinguish the modal functions of the sounds of a melody - is formed only under conditions of specially directed and appropriately organized musical lessons.

The age stage (primary school) is of fundamental importance, when there are qualitative leaps in the development of the child and the perceptual and reproductive components of melodic hearing that coincide in time. This can be explained by the fact that at the indicated age, a new formation appears in the system of musical ear on the basis of the intonation of a melody with a voice - actually sound pitch hearing. Its appearance serves as the basis for the formation and further development of the so-called hearing. The latter, in turn, can serve as the basis for the lifetime formation of absolute hearing.

So, melodic ear develops in ontogenesis as a single integrative system, which is characterized by interaction perceptual and reproductive components; their formation goes from elementary to more and more complex components.

The development of children's ear for music, and above all of its main, pitch "component", largely depends on the direction and organization of those types of musical activity, which in this case are priority. These, as already noted, primarily include singing - one of the main and most natural types of musical activity of schoolchildren.

A.E. Varlamov, an outstanding composer and teacher, one of the founders of the Russian vocal school, spoke about the need for early introduction to correct vocalization. He believed that if you teach a child to sing from childhood (naturally, while observing all the necessary precautions), his voice acquires flexibility and strength, which are difficult for an adult. This idea is confirmed by modern pedagogy. Interesting techniques were proposed that could facilitate the formation of a singing sound, develop correct breathing, purity of intonation of a singing sound, develop correct breathing, purity of intonation, clarity of diction (N.A. Metrov, E.S. Markova, E.M. Dubyanskaya, etc.) ... In preschool music pedagogy, a number of studies were carried out that revealed internal relationships in the development of musical ear and singing voice, which proved the essential role of auditory-vocal coordination in the development of musicality in children.

However, despite the apparent interest in these issues, the method of forming the singing voice in children remained generally undeveloped, which negatively affected their musical development. Experts have repeatedly noted a low level of auditory-vocal coordination among junior schoolchildren, pointed out the dull sound of children's singing voices, and unsatisfactory intonation.

Noting this gap in the system of children's musical education, researcher K.V. Tarasova came to the conclusion that it was necessary to develop a special method for staging a children's singing voice. It should be based on the sequential development of the two leading links of the singing process, as a result of which the sound becomes positionally high, resonating and flowing in the breath ("flight").

The position on the need to identify the leading links arose in connection with the great complexity of managing the singing process, which, as you know, requires the obligatory coordination of many systems participating in it, thereby making high demands on the organization of attention and control over the singing actions. In childhood, which is characterized by a low level of arbitrariness and a small amount of attention, the tasks associated with the self-regulation of the singing process become practically unresolved if the leading links of this process are not found.

In addition, the author came to the conclusion that the voices of children already at primary school age are divided into at least three natural types - high and low, each of them has a characteristic timbre color, as well as its own pitch and primary ranges. ... The division of the children's choir into certain groups corresponding to the indicated types of voices, as well as conducting singing work adequate to the specifics of these voices, leads to significantly higher results in the musical-auditory, vocal and general musical development of children.

This provision is of particular importance for the system of mass musical education of children, since in most kindergarten choirs there are no differences between the voices of the singers up to the present time, as a result, for some children, the tonality, tessitura and range of songs performed are suitable, but for others not. ... The quality of music performance suffers and, even worse, children's voices suffer.

No less important is the conclusion about the need to carry out the initial stage of work on setting the children's singing voice within the primary range in singing practice, the voice most often goes down, only then up. The desire of some teachers and choirmasters to artificially expand the range, in particular to increase its upper "segment", can lead to negative consequences (including diseases of the child's singing apparatus).

The rule for teachers, kindergarten teachers and parents should be refusal from formation sound own vote in dealing with children. Preschoolers and younger students are known to be prone to imitation, and if an adult speaks or sings loudly, children also begin to force the sound of their voice, which is highly undesirable in all respects.

The soft, flowing, silvery sound of a child's voice can be seen as a kind of aesthetic standard. It is necessary to strive to achieve it in the real practice of musical, including singing, education of children.

The voices of children are significantly different from those of adults. This difference is especially noticeable between the voices of boys and men. Children's voices have a high head sound. In terms of the content of overtones, they are poorer than the voices of adults, especially at primary school age, but they have a special silvery and lightness. Although the voices of children are inferior in strength to the voices of adults, they are distinguished by great sonority and "flight". Such timbre properties as silverness and sonority give the children's voices a special charm. Qualitatively distinguishing children's voices are associated with the anatomical and physiological characteristics of the vocal apparatus and the entire growing child's body.

The larynx is high in children. It is approximately 2 - 2.5 times smaller than the larynx of adults. The cartilage of the larynx is flexible, soft, not fully formed. Therefore, the children's larynx is elastic and highly mobile. The muscles of the larynx are poorly developed. The vocal folds of children are short, narrow, and thin. In the thickness of the vocal folds in a child under five years old, there are no vocal muscles, their place is taken by loose connective tissue and glands, there are only muscles that bring the vocal folds together. By the age of five, individual muscle bundles of the vocal muscles are noticeable. From this time on, their gradual development begins.

Most children of seven to eight years old have an insignificant voice, that there is no reason to specifically work on its development, it develops as the correct skills are acquired with a light, quiet sound, calm breathing, a clear word and well-pronounced vowels and consonants.

In children of primary school age, when singing, the vocal folds vibrate only with their elastic edges and do not completely close, voice formation throughout the range is falsetto type, the voice consists of only one register - the head. The vocal muscles are underdeveloped, the range of the voice is limited. At this age, children's voices have approximately the same range within the first octave. Extreme notes of the range, especially "do", children take with difficulty.

In general, falsetto voice formation is characteristic of younger schoolchildren. Their respiratory muscles are still weak, the capacity of the lungs is small, and therefore the silt of the voice is less than that of older children.

The vocal mechanism of children is very flexible and malleable. The sooner a child is taught healthy sound skills, the sooner the relationship between voice and hearing is established.

Hygieneandsecuritychildren'sof votes

The development of a child's voice depends on how well the singer uses it. In this regard, it is necessary on basic principles that disrupt the normal operation of the vocal organs. Often, beginner singers sing in a tessitura unusual for their voice: high or low. Holders of high voices adapt to low voices, singing works for these voices. It also happens vice versa. Very often, beginning singers, trying to increase their range, independently practice the top notes, not knowing how to use it. Children especially sin this.

During singing, all organs involved in voice formation are actively involved. They bear a significant neuromuscular load. The situation is aggravated by the fact that at first there is still no clear consistency in the work of individual organs. Insufficient or excessive activity of some organs can lead to overstrain or disruption in the work of other organs. So, for example, it happens in the absence of breathing support, when the normal functioning of the muscles of the larynx and, in particular, the vocal folds is disrupted, they are overstrained and fatigue sets in.

Fatigue is common for novice singers. Therefore, the mode of training with them should be built taking into account this feature. The first individual lessons should not exceed 20 minutes with a short break after 5-10 minutes of singing. Natural endurance is different for different people, and in each case it is necessary to approach individually. At the first signs of fatigue (according to the sensation of the singer or the sound of his voice), the lesson should be stopped. As endurance develops, individual lessons are gradually extended to 30 - 45 minutes with 2 - 3 breaks of 5 - 10 minutes during this time.

All changes in the singer's body affect his voice in one way or another. Your general health sometimes determines your ability to sing. For all chronic diseases that cause general weakness, malaise, lethargy, singing will not be effective. The voice sounds good only when the singer is healthy, cheerful and in a good mood.

Thus, successful operation and fidelity of reproduction of sounds when singing is possible with full coordination of musical ear and voice, and the protection of the child's voice.

1.3 Psychological peculiarities junior schoolboy

Younger student age ... corresponds to the years of study in primary school. Preschool childhood is over. By the time he enters school, the child is already, as a rule, a physicist, and psychologically ready for learning, prepared for a new important period in his life, for fulfilling the diverse requirements that school presents to him. Psychological readiness is also considered from the subjective side. The child is psychologically ready for schooling, first of all, objectively, that is, he has the level of psychological development necessary to start learning. Well-known is the sharpness and freshness of his perception, curiosity, brightness of imagination. His attention is already relatively long and stable, and this clearly appears in games, in drawing, modeling, and elementary construction. The child has gained some experience in managing his attention, organizing it independently. His memory is also quite developed - he easily and simply remembers what particularly strikes him, which is directly related to his interests. Now not only adults, but he himself is able to set himself a mnemonic task. He already knows from experience: in order to remember something well, it is necessary to repeat it several times, i.e. empirically masters some techniques of rational memorization and memorization. The child has a relatively well developed figurative memory, but there are already all the prerequisites for the development of verbal-logical memory. The efficiency of meaningful memorization increases. The child's speech is already quite developed by the time he enters school. It is, to a certain extent, grammatically correct and expressive.

As you can see, the opportunities for children by the time they enter school are large enough to begin their systematic education. Elementary personal manifestations are also formed: by the time they enter school, children already have a certain perseverance, they can set more distant goals and achieve them (although they often do not finish things), make the first attempts to evaluate actions from the standpoint of their social significance, they are peculiar the first manifestations of a sense of duty and responsibility.

All that has been said related to the child's objective psychological readiness for schooling. But the other side should also be emphasized - subjective psychological readiness, desire and desire to study at school, a kind of readiness for new forms of relationships with adults. Of course, there are also very great individual differences.

From the moment a child enters school, his entire way of life, his social position, position in the team, in the family changes dramatically. From now on, his main activity is teaching, the most important social duty is the duty to learn, to acquire knowledge. And teaching is serious work that requires a certain degree of organization, discipline, and considerable volitional efforts on the part of the child. More and more often you have to do what you need to do, and not what you want. The student joins in a new team for him, in which he will live, study, develop and grow up.

From the first days of schooling, a basic contradiction arises, which is the driving force behind development in primary school age. This is a contradiction between the ever-growing requirements that are announced by educational work, the collective in the child's personality, to his attention, memory, thinking, and the current level of psychological development, the development of personality traits. Requirements grow during time, and the current level of psychological development is constantly being pulled up to their level.

Long-term studies of psychologists have shown that the old programs and textbooks clearly underestimated the cognitive capabilities of primary schoolchildren, which is not rational to stretch the already meager educational material for four years. The slow pace of advancement, endless monotonous repetition led not only to an unjustified loss of time, but very negatively affecting the mental development of schoolchildren. New programs and textbooks, much more meaningful and profound, make much greater demands on the psychological development of a primary school student and actively stimulate this development.

Learning activity in primary grades stimulates, first of all, the development of mental processes of direct cognition of the surrounding world - sensation and perceptions.

The possibilities of volitional regulation of attention, its control at primary school age are limited. In addition, the production attention of a younger student requires short, in other words, close, motivation.

Involuntary attention is much better developed in primary school age. The beginning of learning at school stimulates his further development. Everything new, unexpected, bright, interesting attracts the attention of students by itself, without any effort on their part.

An age-related feature of attention is its relatively low stability (this mainly characterizes students in the 1st and 2nd grades). The instability of attention of younger students is a consequence of the age-related weakness of the inhibitory process. First graders and sometimes second graders do not know how to concentrate on work for a long time, their attention is easily distracted.

Memory in primary school age develops under the fusion of learning in two directions - the role and specific weight of verbal-psychological, semantic memorization (in comparison with visual-figurative memorization) increases, and the child masters the ability to consciously control his memory and regulate its appearance (memorization, reproduction, recollection).

The child begins to study at school with a concrete mindset. Under the influence of learning, there is a gradual transition from the knowledge of the external side of phenomena to the knowledge of their essence, the reflection of essential properties and features in thinking, which will make it possible to make new generalizations, the first conclusions, give the first analogies, and build elementary inferences. On this basis, the child gradually begins to form concepts, which, following L.S. We call Vysotsky scientific (in contrast to the everyday concepts that a child develops on the basis of his experience in non-purposeful learning).

At the primary school age, the foundation of moral behavior is laid, moral norms and rules of behavior are assimilated, and the social orientation of the individual begins to form.

Thus, when working with children, you need to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal and choral skills , principles and methods vocal learning

A skill is a partially automated way of performing an action that is a component of a singing act.

NSevicheskaya installation... The term singing installation is understood as a set of mandatory requirements that contribute to the correct sound formation. A singing set consists of many external techniques and skills. In choir singing, it is usually recommended to stand (or sit) upright, but not tensely, not stooping, taut. A straight and collected position of the body, even support on both legs, freely lowered arms, an unfolded chest, the head is kept straight, not tense, - is considered the correct position of the body. When sitting, you should not cross your legs, as this restricts breathing. The mouth in singing serves as a "bell" through which the vocal sound receives its direction, therefore the main position of the mouth should be wide, open. The palate serves as an important resonator. Due to the raised palate, a rounded sound is formed (the palate is a kind of specific "dome"). Most of the initial exercises for developing the singing attitude (especially with younger children) are aimed at organizing the correct position of the body and vocal apparatus. This is of great importance in the choir's rehearsal work, as it tunes young singers to a working mood and strict discipline.

Singing set is directly related to skill singing breathing... Vocal pedagogy considers abdominal breathing as the most appropriate for singing, as well as options for displacement of chest and abdominal breathing, depending on the individual characteristics of the singer. Abdominal breathing involves, when inhaling, the expansion of the chest in its middle and lower parts with a simultaneous decrease in the dome of the diaphragm, accompanied by the expansion of the anterior abdominal wall. When developing the correct breathing skills in children, it is necessary to ensure that the shoulders do not rise when inhaling, which would indicate the use of shallow, so-called clavicular breathing by children.

Breathing is usually considered in its three constituent elements: inhalation, instantaneous breath holding and exhalation. Inhalation should be performed quietly. Holding the breath directly mobilizes the vocal apparatus to start singing. The exhalation should be completely calm, without any hint of forcible "pushing" the air taken into the lungs.

Do not overfill your chest with air. When working with a choral group, it is appropriate to recommend taking a breath, as if feeling the delicate aroma of a flower, and exhaling so that the candle flame located at the mouth does not move. It is extremely important to develop in young singers the ability to use their breath economically, "in order to obtain a large volume of sound and, moreover, of the best quality with the least amount of air."

The concept is associated with singing breathing singing supports, which is the result of the correct organization of breathing, sound production and resonance of the voice, the interaction of all components. The support provides the best qualities of the singing sound, its energy, concentration, elasticity, accuracy, flexibility, flightiness.

The character of the singing breath is reflected in the character of the sound of the singer's voice. Smooth, calm, light breathing contributes to the achievement of a beautiful, light sound. Hard, tense breathing creates a hard and tense sound. With excessive breathing pressure on the ligaments, they lose their elasticity. With all the freedom of breathing, it should retain the feeling of muscle elasticity, vigor of movement. Teachers usually closely monitor the singers' breathing process, and if, due to excessive effort, children interpret the concept of "breathing support" in reality as hard breathing, they must correct the incorrect execution of the respiratory process, sometimes even changing the terminology. The pedagogical position in finding the correct musculoskeletal sensations is important here. An economical and even exhalation is necessary for the performance of smooth, broadly chanted melodies. Singing in the lower end of the range requires the most air. When performing the upper sounds, the least amount of breath is consumed. It should be remembered that the pressure of the air column must not be increased. This leads to harshness and loudness, and also causes the sound to be overestimated. When performing fast passages and technical, moving melodies, breathing should be light, but very active. In choral singing, the simultaneity of breathing is the basis of the simultaneity of sound attack and introduction. Equally necessary is uniformity in the delivery of breath, its volume. Resumption of breathing by all singers should be carried out at the moments set and marked in the parts. Usually they coincide with the boundaries of constructions, phrases, with caesura in musical and poetic text. In cases where the duration of the sounding of the phrase exceeds the physical capabilities of the singing voice, the chain breath... Basic recommendations for chain breathing:

· Do not inhale at the same time as the person sitting next to you;

· Do not breathe in at the junction of musical phrases, but only, if possible, in the nutria of long notes;

· Take breath quickly and imperceptibly;

· Blend into the overall sound without an accent, with a soft attack (beginning) of the sound, intonationally accurate;

· Listen carefully to the singing of your neighbors and the general sound;

Equally important in singing is skill sound processing, the main requirements, during the formation of which should be the following:

· Before its appearance, the sound should be formed by the mental auditory representations of schoolchildren;

· The sound during the attack is carried out intonationally accurately, without glissando.

Of the three types of sound attack, the main one is considered to be soft, creating conditions for the elastic work of the ligaments. A firm attack, in which the glottis is tightly closed before the start of the exit, and an aspirated attack, in which the vocal cords are closed after the start of the exit, is extremely rare in the singing of younger schoolchildren. As a rule, a firm attack can be recommended for a child prone to lethargy, inertia, and vice versa, an overly active student is better advised to an aspirated attack.

Formation skill articulations suggests the formation of the timbre relationship of vowels, the main condition of which is the desire to maintain a stable position of the larynx when singing various vowels.

In children of primary school age, the timbre is uneven. This is mainly due to the "variegation" of the vowels. To make them sound even, children should constantly strive to maintain a high pitch (position) on all sounds of the singing range. For this, singing, vowel exercises are used. Have, NS, as well as songs with a downward movement of the melody, great attention in vocal education is paid to the vowel sound O... Singing exercises and melodies in vowels O,Yo helps to produce a rounded, beautiful sound. Sounds require special rounding AND(it is brought closer to the sound NS),A(closer to the sound O), E(closer to the sound NS).

The manner of pronouncing words also contributes to the correct formation of the singing sound - diction. At the same time, pronunciation in singing is based on the general rules of orthoepy.

Singing is based on vowel sounds. All the vocal qualities of the voice are brought up on them. The beauty of the timbre depends on the correct formation of vowels.

One of the specific features of singing diction is the "transfer" of the last consonant sound in a syllable to the beginning of the syllable following it, which ultimately contributes to the length of the vowel sound in the syllable. At the same time, the role of consonants should not be diminished in the least, since otherwise negligence of pronunciation will complicate the perception of the listener.

Concept ensemble means artistic unity, the consistency of all components of the performance. Due to the specificity of tasks in singing, a dynamic, rhythmic and timbre ensemble is distinguished. The prominent master of choral singing P.G. Chesnokov, determining the conditions of singing in the ensemble, believing that the singer should be as balanced as possible in terms of the strength of sound and merge in timbre with his part, the parts should be balanced in the choir, and the conductor should regulate the strength and color of the sound as individual singers and whole parties.

The work on the ensemble in the choral singing of younger schoolchildren is hampered by an insufficient degree of attention and endurance. So, V.S. Popov noted: "There will certainly be a boy or girl in the team who suddenly start singing louder than others, or accelerate the pace, or, finally, just look away, disconnecting from the creative process."

Singing in an ensemble is closely related to the choral system - accurate intonation in monophonic singing (horizontal tuning) and polyphonic singing (vertical tuning).

In working on the difficulties of the tuning, one should adhere to the rules of intonation of the degrees of the scale.

The method of vocal teaching is based on general didactic and special teaching principles inherent in musical pedagogy. Leading among the general pedagogical principles of teaching are: the principle of upbringing education, scientific character, conscientiousness, connection with life (with practice).

Principle educating learning is very important, its goal is the all-round development of the personality. The upbringing nature of vocal training is associated with the principle of its scientific nature, which proceeds from the objectively existing phenomena of the singing process, from the laws of their relationship. In vocal pedagogy, the scientific principle is especially important. Until recently, training in singing was conducted in a purely empirical way ("sing as I sing"). This led to a subjective, scientifically unsubstantiated interpretation of various phenomena of singing voice formation (such as the dogmatic requirement for all singers to have a low position of the larynx, regardless of the type and nature of the voice, which was refuted by scientific data). Compliance principle scientific in vocal training at the Faculty of Music and Pedagogy, it is of particular importance. If the vocal values ​​and skills of the future music teacher do not correspond to objective data, he will not be able to successfully teach singing to schoolchildren to correctly influence the development of their vocal apparatus. Modern scientific information about the singing voice and the process of voice formation ensure the implementation of the principle of the scientific nature of vocal training.

For the future music teacher, it is necessary to assimilate scientifically proven practical vocal knowledge and skills as consciously as possible. To this end, the student must have a good understanding of the essence of each vocal phenomenon (singing register, attack, breathing, etc.) and the practical value of the learned skills. So, when mastering the singing inhalation, he must know how such an inhalation differs from the usual one, what qualities are characterized, how it is performed, what is its influence on the singing phonation.

Consciousness in vocal training is inextricably linked with understanding the causes of the formation of various qualities of sound. It is important to know what the correct sound is, and to be able to reproduce it, while having a good idea of ​​what needs to be done to form the desired meaning. The future teacher also needs the meaning of the reasons for the formation of undesirable qualities of sound (throat, nasal, hoarse sound) and ways to eliminate them. The disclosure of causal relationships between the phenomena of the singing process is based on the analysis of the reproduced sound (consequence) and the technology of voice formation (reason), which in essence constitutes the vocal-methodical preparation of the future singing teacher.

Knowledge of the methods of education of various qualities of the singing sound, the peculiarities of the sound of the voices of schoolchildren, the work of their vocal apparatus helps the student to master the ability to bring the sound of his own voice closer to the sound of the voices of children. A deeply conscious mastery of his voice allows the student to quickly master the techniques of bringing his voice closer to the voices of children by removing chest resonance, facilitating the voice, decreasing the sound power, switching to folds. The connection of individual vocal training at the Faculty of Music and Pedagogy with practice, with the school is also expressed in the formation of future music teachers of such special skills as singing a song to their own accompaniment and singing unaccompanied.

On principle scientific learning is based on the principle of its feasible difficulty. Without knowledge of the process of voice formation, methods of acting on it, without a clear understanding of the level of musical, vocal-technical and artistic development of the student, it is impossible to determine what is within his power in each certain period of study. The correctness of determining the level of development of a student depends on the reliance on the necessary objective scientific data.

The principle of feasible difficulty is closely related to the principle of gradualness and consistency legalized in vocal pedagogy. Gradualness and consistency presupposes the obligatory adherence from simple to complex, from easy to difficult in the formation of singing skills and the development of educational material (exercises, vocalizations, works of art with text). A feasible difficulty in vocal training as the student is trained, the development of his abilities gradually and steadily rises up. And the optimality of increasing its level is ensured by strict adherence to the rule of gradual complication of vocal-technical and artistic skills, their competition.

Principle feasible difficulties replaced didactics with the principle of educational accessibility, which is quite natural. The principle of feasible difficulty includes the availability of learning, it clarifies the meaning of this concept. In Soviet didactics, accessibility is understood not as ease, but as a measure of the feasible difficulty of learning.

The personality of each student is purely individual: each has his own special psychological makeup, character, volitional qualities, to one degree or another, expressed musical abilities. The general position of pedagogy about an individual approach to a student becomes important for individual vocal teaching. Among other things, in the solo singing class, the need to take into account the peculiarities of the sound of the voice and voice formation of each student, which are due to the peculiarities of the structure and operation of his vocal apparatus, comes to the fore. Each new student for a vocal teacher turns out to be a unique task that he has to solve, flexibly refracting and combining methods and techniques of pedagogical influence.

In Soviet musical pedagogy, the fundamental is principle unity artistic and technical aspects of training. This principle, special for musical pedagogy, is extremely important when teaching solo singing. The singer, unlike other musicians-instruments, his instrument is in himself, is a part of his organism. When teaching singing, the organs of the vocal apparatus are specially adapted to the performance of singing tasks, they have their own function. Between them, functional connections are established, dynamic stereotypes are created, that is, a "singing instrument" is formed, tuned. It should be borne in mind that a significant part of the vocal apparatus and, above all, the larynx, are not directly subordinate to our consciousness. Many organs of the vocal apparatus are controlled indirectly through the idea of ​​sound, through the auditory organs, which act on the motor centers associated with singing. The idea of ​​a singing sound, the nature of the sound is determined by its emotional content, musical and semantic expressiveness, which significantly affect the operation of the vocal apparatus, on the establishment of its function.

Singing teaching methodology is based on general didactic and special vocal methods. In a solo singing class at the Faculty of Music and Pedagogy, it is extremely important not only to use these teaching methods in a highly qualified manner, but also to familiarize future music teachers of a general education school with them, taking into account the peculiarities of their application when working with children.

The explanatory and illustrative method consists in providing teachers with ready-made information about singing sound and voice formation. It includes traditional methods: explanation using the spoken word and demonstration (demonstration) of professional vocal sound and the way the vocal apparatus works to create such sound. The explanatory-demonstrative method is aimed at conscious perception, comprehension and memorization of the information communicated.

The explanatory and illustrative method in vocal teaching is closely combined with the reproductive method, which consists in reproducing and repeating by students of the singing sound and methods of working of the vocal apparatus in accordance with the explanation and demonstration of the teacher. Such reproduction and repetition is specially organized by the teacher, turns into an activity aimed at improving the actions performed with the help of educational material: a system of exercises. Vocalizations, vocal works. As a result, students develop and develop vocal skills. Thus, the use of both described methods is a prerequisite for the formation of vocal skills and abilities, knowledge in the field of singing voice formation.

But both of these methods contribute little to the development of the student's creative abilities. In this regard, the use of partially search, or heuristic, as well as research methods is of great importance, and the first of them is the initial stage of the second.

The heuristic method is introduced as the mastering of vocal, technical and artistic skills. It consists in the fact that the teacher outlines and organizes the implementation of individual search steps by students. Often this is a task to search for the character of the sound corresponding to the mastering vocal work. The teacher leads the student to the task, helping him to clearly define the emotional and semantic content of the vocal work. Based on the revealed content, the student attracts, updating his knowledge and skills, forms the desired sound, motivates his qualities.

The research method is considered as a way of organizing the student's search, creative activity. In the conditions of teaching solo singing, this method is used at later stages of training and is mainly reduced to students' independent analysis of the musical and poetic text, the emotional content of the master of art, the search for vocal means of expression. To create your own performance, interpretation of the work. Taking into account the specifics of musical education, it would obviously be more correct to call this method creative.

Thus, vocal and choral skills are at the heart of expressive singing, ear and voice formation. A prerequisite for successful work is their strict adherence and implementation. With the help of the principles and methods of vocal teaching, the student not only acquires knowledge about singing voice formation and forms, improves vocal and technical, artistic skills, but also develops a voice, performing skills, musical and aesthetic taste, mental abilities: memory, observation, thinking, imagination, speech, moral feelings,

2 Peculiaritiesselectionsongrepertoire

2.1 General methodical provisions on organization vocal-choral work with junior schoolchildren

The purpose of organizing vocal and singing work at the first stage of acquainting children with musical art is to develop the physiological and psychological basis of the singing culture of the performer. A.N. Karasev believed that "the first way to get acquainted with musical material is listening to others, and this listening, depending on how they sing with a child, should have an impact on the child's future musical development." At the heart of this cultural mastery lies the propensity of children to imitate. Therefore, it is pedagogically expedient for children to listen to the teacher's voice. Hearing the teacher's voice gradually develops the stability of auditory attention in children. Already at the first acquaintance with children, the teacher should, in a playful way, diagnose the level of development of musical ear and singing skills of students. Based on the data obtained, children should be taught in parallel in three intonation groups. The first group consists of children with a range of at least sixths, intoning a melody without the support of an instrument, singing bells, in a natural sound. The second is children with a somewhat predestined range, unstable intonation. The third group includes "Gudoshniks".

Poor intonation can be caused by the following: dislike of singing, shyness, general apathy or excessive activity, lack of coordination of hearing and voice, diseases of the vocal cords, physiological disorders of the hearing system, weakness of auditory attention, muscle tightness. If the cause of poor intonation is not associated with physical pathology, for many students the problem of pure intonation is, as a rule, solvable provided that lessons are systematic and pedagogical control is constant.

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Objectives and content of training

On third year In life, the child's singing voice begins to form - there is no singing sound yet, the breath is short. But at the same time, children willingly join in the singing of an adult, singing along with the endings of musical phrases, intoning individual sounds.
The task is to develop and strengthen the initial singing intonations in children. The child cannot yet sing the entire song correctly, but one should strive for the correct intonation of individual motives.
On fourth year In life, the singing voice of children sounds stronger, they can sing a simple song. Some children even get loud.
Shaping the singing sound, the teacher makes sure that the children sing in a natural voice, without tension in the range re-mi-la the first octave.
A large place in the younger groups is given to work on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words, to teach the correct pronunciation.
It is difficult for children of this age to sing at a general pace: some sing slowly, others are in too much of a hurry. The teacher must constantly monitor this, teaching them to collective singing.
By the end of the year, a child of the first youngest group can sing non-difficult songs with an adult.
By the end of the fourth year of life, they should sing in a natural voice, without tension, lingeringly, clearly pronouncing words, not lagging behind and not getting ahead of each other, correctly transmit the melody in tunes and songs, sing songs with the help of a teacher, with or without musical accompaniment ...
These tasks are solved with the help of a song repertoire that includes simple, melodic, breathable songs of a small range.
Children of the third year in the songs "Cat" an. Aleksandrova, "Bird" by T. Popatenko sing along only the final phrase, the most convenient for the initial intonation:
[Slowly] [Moderately]

They can sing the Russian folk song "Bunny" in its entirety, since it is built on a repetitive motive:
[Lively]

In the second youngest group, tasks gradually become more difficult, songs of a larger range are performed (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:

[At the pace of the march]

[Leisurely]

Most of the songs for children of this age are performed slowly, at a moderate pace. But there are also more mobile ones ("Santa Claus" by A. Filippenko, "Playing with a horse" by I. Kishko).

Song repertoire

In the second youngest group, the song repertoire expands significantly. There are more public themes ("Machine" by T. Popatenko, "Airplanes" by M. Magidenko, "Young Soldier" by V. Karaseva) natural phenomena ("Winter" by V. Karaseva, "Rain" - Russian folk song, arranged by T Popatenko), songs for the day of March 8 ("Pies" by A. Filippenko, "We love mom" by Y. Slonov). Small range and short musical phrases allow children to sing the entire song.

Methodical techniques

Consider the methodological techniques used in singing with children of the third year of life. The main thing is emotional, expressive
performance of a song by a teacher. To do this, you need to think well and convey the features of the song, its character, mood. When performing a song for the first time, the teacher uses toys, pictures, which help children understand the content of the song.
In addition, game techniques are used. For example, I know the guys with the song "Cat" An. Aleksandrova, the teacher shows the toy and after singing says: "The kitty asks for milk." "My-oo, me-oo," he hums and asks: "How does a kitty ask for milk?" This encourages the guys to sing the last phrase with him.
Learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active and helps the more timid with his participation.
Once the song is learned, you can use different play techniques. “A bear has come to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Yolka” by T. Popatenko, children clap the words “yes-yes-yes”, and while singing the song “Holiday” by T. Lomova (in the second verse), they show how to “play the trumpet”.
In the second younger group, teaching techniques are more often used. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing with him.

The most active ones start singing right away. All are gradually included.
Particular attention is required to work on drawn-out singing, since many children sing in a speaking voice. The teacher sings long sounds expressively. Children follow this example.
In the process of learning to sing, it is necessary to hear each child, to celebrate his performance. It is good for singers to offer to sing in a group for all children, with intoning inaccurately work out separately in order to teach them to "adapt" to the singing of an adult.
If there is a difficult interval in the song, it can be sung in any syllable. The text of the song is learned along with the melody, only the most difficult words are repeated separately.
At the end of the year, it is noted whether children will be able to sing some songs with or without musical accompaniment with the help of a teacher.
Forming collective (choral) singing, you need to train children to start and end a song at the same time, keep up with singing and not get ahead of each other, draw their attention to joint friendly singing.

Methodology of musical education in kindergarten: “Doshk. education "/ N.А. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. ON. Vetlugina. - 3rd ed., Rev. and add. - M .: Education, 1989 .-- 270 p .: notes.

"SO WHAT'S GOOD!"

1. How good it is! The sun is shining!

How good it is! The butterfly flies!

How good it is! Run on the meadow!

How good it is! Collect flowers!

2. How good it is! Dolphins are swimming!

How good it is! Eat tangerines!

How good it is! Swim in the lake!

How good it is! Smile to people!

3. How good it is! Rain over the fields!

How good it is! Sing a song with mom

How good it is! To be needed by someone!

How good it is! Live with everyone amicably!

Georgy Struve - A friend with us

1. A friend is with us - a friend with us,
Together - together
Sing along - sing along
A song! - a song!
And then - and then
The sun is the sun
Smiles at us from above
And then - and then
Bright - bright
Flowers will bloom all over the Earth.

Chorus:
Together we will build a house
Together we will plant a garden
Sing this song together
They know everything that is together with us,
They know everything that is together with us,
Together we are always more interesting!

2. Birds of us - birds of us
They called - they called
Behind yourself - behind yourself
In the distance - in the distance,
But then - but then
Who is - who is
Walk barefoot on the grass?
But then - but then
Who is - who is
Will he plant a garden and build a house?

3. Let the Earth - let the Earth
It is spinning - it is spinning
Children are everything - children are everything
Friends - friends.
We then - we then
Fast - fast
We will grow mushroom under the rain.
We then - we then
Home - home
Let's call the earth a common home.

Reader of songs for kindergarten

accompanied by a piano

Music: S.V. Krupa-Shusharina
Lyrics: M. Druzhinina
Phoenix, 2009
Series: Reader of the pedagogical repertoire

The collection is addressed to music workers of preschool educational institutions, teachers of vocal studios, working with preschool children
and primary school age

Part 1. MY FAMILY songs about mom, dad, grandmother - about the whole family and family holidays.
Kindergarten
Birthday
Mommy Mommy
Granny
Mom's holiday
Portrait of aunt
Granddad
My sister
Older brother
We asked daddy somehow
Mom and son went to the store
Murka the cat
Puppy
Sad fish
Boy and cactus
White snow
Happy New Year!

Part 2. GAMES AND TOYS
Dollhouse
Bathing doll
Friend visiting
Fashionista monkey

Part 3. WHAT IS ON OUR STREET? animal songs
Hippopotamus in the museum
Porcupine and hairdresser
Parrot in the mail
The cow goes to the hospital
Elephants in atelier
The cockerel and the hen go to the pharmacy
Teddy bear in the library
Goose choir
At the monkey's bakery

Part 4. SONGS-READERS
Musical rhyme 88
Carnival rhyme 90
Christmas tree reading-out 92
Clown rhyme 94
Bird counting 96
Berry rhyme 98
Nut counter 100
Carousel reading 102
Flower rhyme 105
Mushroom counting 108
Insect rhyme 111
Fishing rhyme 114
Car rhyme 117
Sports rhyme a 120

Part 5. TRANSPORTATION. RULES OF THE ROAD will help you to get acquainted with transport and traffic rules in song form.
In the yard
Look at the traffic light
How to cross the road?
Motorcycle and bike
On a green scooter
Passenger car
Tram
Trolleybus
Bus, minibus and metro
Fire engine
"Police"
"Ambulance"
Truck
Concrete mixer
Watering machine

Little songs for toddlers (singing along) muses. and sl. G. Vikhareva

Mice, sl. and muses. G. Vikhareva