Timbres - musical paints

1. The expression of the mood of the surrounding world in music through the timbres.
2. The characterity of the timbres of the violin (on the example of the topic of Shechherazada from Sixthonic Suite "Shehherazada" N. Rimsky-Korsakov and "Bumblebee flight" from the opera "Tale of the Tsar Saltan" N. Rimsky-Korsakov); Cello (on the example of "Walking" S. Rakhmaninova in Arrangement for Cello and Piano); Flutes (on the example of "jokes" from Suite No. 2 for Orchestra I. S. Baha).

Music material:

1. N. Rimsky-Korsakov. Theme of Shehherazada from Symphony Suite "Shehherazada" (hearing);
2. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "Tale of Tsar Saltan" (hearing);
3. S. Rachmaninov. "Vocaliz" (in the Arrangement for Cello and Piano) (hearing);
4. I. S. Bach. "Joke" from Suite number 2 for the orchestra (hearing);
5. M. Slavkin, poems I. Bivovarova. "Violin" (singing).

Feature activities:

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

The art of combination of orchestral tempering,
there is one of the sides of the soul of the essay itself ...

N. Rimsky-Korsakov

Musical timbres are often compared with paints in painting. Like paints expressing the color wealth of the surrounding world, and the diversity of his moods, musical timbres also transmit multipleness of the world, its images and emotional states. Whether the human voice or the shepherd sweater sings, hears the violin singing or overflowing the harp - any of these sounds is included in the multicolor palette of the timbre of music incarnations.

Composers never create such music that can be intended for any tone. Each, even the smallest, the work certainly contains an indication of the tool that should execute it.

Each musician knows that the violin is inherent in the special singer, so it is often entrusted with a smooth, song melody.

Here, for example, the topic of Shehherazada from the same symphony suite N. Rimsky-Korsakov. The charm of the Magic Arab night, and the gentle voice of Shehherazada hears.

Violin's virtuality is no less known, its ability to perform the most rapid melodies with extraordinary ease and glitter. Among the examples of such a role of violin - "Flight of the Bumblebee" from the Opera N. Rimsky-Korsakov "Tale of Tsar Saltan".

An angry bumblebee, preparing to worry bubarich, makes his famous flight. The sound of this flight, which music reproduces with visual accuracy and huge wit, creates a violin melody. This melody is so rapid that the listener really remains the impression of Grozny bumblebee.

Unusual heat and expressive cello brings her intonation with a living human voice - deep, exciting-emotional. Therefore, in music, there are cases when the vocal works sound in arrangement for the cello, hitting the naturalness of the timbre and breathing. A vivid example of this kind - "Vocaliz" S. Rakhmaninova.

The word "vocalization" means a vocal play without words.
The brilliant "vocalization" occupies a special place in Rakhmaninov's vocal lyrics. Rachmaninov wrote "Vocaliz" in 1912 and dedicated him to the famous singer A. V. Nezhdanova. "Vocaliz" adjoins the romance of the composer, in the origins of its associated with Russian songs. Elements of folk songwriting are organically poured here in the melody marked with a bright personality.
About the connection of "vocalia" with Russian standing song says the latitude of melodies, leisurely and, as it seems, "endless" nature of its development. Music is so expressive, so meaningful that the composer found it possible to abandon the poetic text. "Vocaliz" wants to call Russian "Song without words."

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

Adorable scherzo ("joke") I. S. Baha from Suite No. 2 for the orchestra - an example of such elegant-humoristic sound of the flute. Twitter flute in the virtuoso manner is such a graceful and cheerful, which seems as if the music can continue again and more ...

Scherzo - "Joke" - this word is translated. But it is not always "funny" music. The name it fastened to the instrumental works of an acute character, with alive intonations and unexpected musical turnover.

Questions and tasks:

1. Why do musical timbres can be compared with paints in painting?
2. What features are the sound of violin? Tell us on the example of the topic "Shehrazada" and "Bumblebee Flight" N. Rimsky-Korsakov.
3. What timbre can be compared the sound of the cello?
4. How did the character of the sound in the "joke", I. S. Baha, if instead of the flute solo the cello?
5. What do you think it is possible to instruct a melody written for one tool? If so, you call options for such replacements.

Presentation:

Included:
1. Presentation, PPSX;
2. Music sounds:
Bach Scherzo from Suite №2, MP3;
Rachmaninov. Vocaliz (2 version of the version - Violin and Cello performed by Vladimir Spivakov and Mstislav Rostropovich, solo for voice, electric guitar performed by Viktor Zinchuk), MP3;
Rimsky-Korsakov. Flight of bumblebee, mp3;
Rimsky-Korsakov. Theme Shehherazada (fragment) , mp3;
3. Accompanying article, DOCX.

In the presentation, an additional Piez S. Rakhmaninova "Vocaliz" (electric guitar, in P. Zinchuk) - at the discretion of the teacher.

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

The timbre in music is what category?

The "Tombre" is translated from the FR. As a "distinctive sign". The timbre in music is a specific sound coloring. If on different tools take the same note the same height or volume, the sound will still differ significantly due to the timbre characteristics of the tool. The same vocal parties performed by two different vocalists are easy to distinguish between the special temperature color of the voice.

The concept of "timbre" The definition in music is far from the only one, but they all reduce the fact that Timbre is the same most important characteristic of sound, such as volume, height or duration. To describe the timbre, the most different adjectives are used: low, dense, deep, soft, bright, muted, ringing, etc.

Types of timbres by A.N. Savor

The timbre in music is a multi-storey phenomenon. Famous musicologist A.N. Savor allocates 4 types of timbre:

• instrumental - depends on the characteristics of the structure of the instrument and the nature of the extraction of sound;
• harmonic - depends on the nature of the combination of sounds;
• register - depends directly from Natural Testing Voice or tool Register;
• fact - depends on the level of density and "viscosity" of sound, acoustics, etc.

Voice timbres

The timbre in music is an important characteristic for a singing voice. Especially in variety of pop competition, it is important how much the vocalist has a memorable timbre.

The timbre of a human voice depends primarily on the structure of the voice apparatus. On the timbre characteristics, a sufficient impact also has a degree of development and "travelery" of the vocal apparatus. Often, after stubborn classes, vocalists change to higher, and after transferring diseases of the voice apparatus, the timbre becomes lower.

What are the timbre characteristics

The need to allocate among the characteristics of the sound another category - the timbre - is dictated by a number of reasons. The most important of them is that the timbre (no matter, instrumental or voice) helps to give a musical work the correct mood, arrange important accents.

When a musical arrangement is made (especially if it is an orchestration), not to take into account the creative task and the timbre characteristics of the tools is simply impossible. For example, it will not be possible to make ease and airiness sound, if you charge the fulfillment of the musical breakdown of the double bass or thrombone, in which sound the voice is characterized by a large number of low overtones; It is impossible to achieve the effect of the impact of the atmosphere using gentle overflows of the harp.

The same thing happens during the selection of the repertoire for vocalist. As a rule, blues and jazz batches are poorly managed by soprano or tenor performers, because it requires a dense, velvet, juicy, low sound timbre, possibly even with "hoarse" - this is required by the specificity of the genre (smoked atmosphere of cabaret, cafeshentans and etc.) At the same time, performers with low-tides are unprofitable in many other musical genres and performing techniques (for example, in Scriming, which is designed for high voices).

Thus, the timbre is the characteristic that largely determines the atmosphere of the sounding musical work, and most importantly, it causes certain emotions in a person about what he heard.

Many singers at the beginning of the vocal path can be interested in the key theoretical terms of this profession (among such concepts there are timbre). Voice timbre Determines which sound and coloring sound is heard when sounding.

It is very difficult to learn vocals, without having special theoretical knowledge, without them it can be difficult to assess our own vocal or simply speech data and skillfully adjust them.

To determine this characteristic of the voice in yourself, you need to begin to understand in general what the timbre is. Under this term, they understand how and how painted voice in the process of speech or singing, its individual characteristics, as well as the warmth of the pronounced sound.

Leading tone and overton (specific shade of lead tone) determines the sound of voice as a whole. If the overtones are saturated (bright), the pronounced sound will have the same qualities. The interaction of the tone and the corresponding obraton is an exceptionally individual voice characteristic, so it is very difficult to meet two people with the same tonal.

• anatomical shape of the trachea;
• tracheal size;
• the resonator (resonator - the cavity in the human body, responsible for enhancing the sound - the mouth and nasal cavity, as well as the throat);
• voice ligament closure density.

Psychological condition, like all these anatomical characteristics, determines which voice at the moment of time. That is why the timbre can be judged by the state of a person, as well as his well-being. This feature is a non-permanent - a person can change his tone arbitrarily.

• man's posture;
• word pronunciation speed;
• fatigue.

The tonality becomes less clear if the speaking tired or pronounces all the words very quickly. With a curved posture, a person also breathes incorrectly. From breathing, it depends on how the speech will sound, so the posture will not affect the voice of the voice.

Types of Tembrov

When a person has a calm, measured voice challenge, his speech for others becomes harder, "proper". Not all this quality has been developed since childhood. Pure can be any initial voice timbre if it is correctly trained.

At the professional level of singers, it is taught to manage the emotional component of speech and frequency of sounds. To master such skills, it is enough to turn to a person who disassembled in the vocal or formulation of the classical voice tone.

There are different types of timbres. The simplest classification takes into account the sexual and age signs - that is, the tone is male, female, childish.

• mezzo-soprano;
• soprano (high singing tone - soprano is divided into coloratura, lyrical, dramatic);
• contluto (singing low female voice).

• baritone;
• bass (male low voice, divided into central, singeling);
• tenor (high singing tone in men, divided into dramatic, lyrical).

Children's tonality:

• alt (height is above the tenor);
• the clutch (the sound is similar to soprano, but is characteristic of boys).

• soft;
• melodic;
• pleasant;
• metal;
• deaf.

Scenic tonality (it is important that it is characteristic only for singers):

• velvet;
• golden;
• copper;
• silver.

• cold;
• soft;
• heavy;
• weak;
• solid;
• hard.

All these characteristics are not final - the same singer can change them arbitrarily during training.

What can affect timbre

There are several factors that can change the voice of voice in humans spontaneously. These include:

• the publity period (in humans as a result, the tone is changing, becoming stronger, rough; it is impossible to stop this process, the sound will no longer be the one that it happens at an early age);
• cold, supercooling (so with a cold may be sick and cough, the tone is changing during this period, it becomes more hoarse, deaf, prevailing low voices during cold);
• chronic lack of sleep, emotional overvoltage;
• smoking (with long smoking the voice grads gradually becomes smarmer);
• chronic alcohol consumption (alcohol annoying voice ligaments and transforms voice to low and husky).

Almost all factors can be eliminated. That is why it is better to abandon bad habits, try to avoid stress and do not smoke to keep the tone of speech so clean, what it happens initially.

Is it possible to change the timbre

The voice timbre is not laid genetically, and therefore gives up correction during classes with a vocal specialist. The anatomical qualities of the ligaments (these are folds in the field of the sound-forming center) can conservatively change the person, as they are laid anatomically from the moment of the formation of genetic qualities. For this, there are special surgical operations during which the defects have corrected.

The emergence of sound begins in the larynx, but the final formation and giving it to the tone occurs in the resonator cavities (mouth, nasal, throat). Therefore, various adjustment of the production and voltage of certain muscles can affect the timbre.

How to determine and change the timbre

Due to the lack of special knowledge, determine the voice of the voice at home can be difficult, you can only assume it. To accurately determine, contact a vocal specialist or use a special spectrometer.

The spectrometer determines the voice of the voice most reliably. The device analyzes the sound pronounced sound, simultaneously classifying it. The apparatus is present the sound amplifier and the microphone - the spectrometer using filters divides the sound to the elementary components and determines the height of their sound. More often the device reacts to consonant letters (enough to analyze those three consonant letters that sounded the first in speech).

Spontaneous tone changes only in the adolescence - at the same time a person ceases to use his speech potential, since most of it goes to control the pronounced sound - intonation or volume. Sometimes the tone and timbre is changing in stress, but this happens less often.

How to hear your real voice

A person cannot objectively determine the voice of sound in his opinion that he hears himself wrong, as others hear. Sound waves pass inside, and therefore are distorted in the inner and middle ear. The technique fixes the real sound that surrounding them - that is why it is sometimes difficult to learn on the record.

You can also take 2 sheets of cardboard (sometimes take a stack of sheets or folder), and then attach to both ears. Paper shields sound waves, so when pronouncing words in such a position, a person will hear a real sound, since this screening affects the audio tone.

The timbre of female and male voices - for singers, an important characteristic of the voice and speech. It matters for ordinary people. The timbre can be corrected specially selected exercises or gymnastics, as it is often from an ordinary person it is not entirely right.

A. Austinov

On the concept of "musical timbre" *

In the perspective of the question under consideration, it is worth paying attention to the concept that is directly related to the assessment of the sound of a tool and is its integral sign. This is a concept - timbre Musical instrument. In dictionaries in psychology, as well, and in many musical sources, this concept is given such a definition: "The timbre is a subjectively perceived feature of the sound, its painting associated with the simultaneous impact of various sound frequencies."

It seems to us that the indicated concept still remains definitely not clearly both for the "musician" and for "physics". The roots of the established ambiguity of concepts lie on the one hand in the psychology of the perception of sound oscillations by man, on the other - in the applied ways of representing sound in technical acoustics.

The position "Physics" seems simpler, because for it the concept of the timbre does not include the subjective component, their own sensations. For him, the timbre is only physical parameters - some set of frequency components - spectrum and some wave form, it is appropriate. For the "musician" the timbre in general is the nature of the sound described by such adjectives as "bright", "juicy", "deep", "sharp", etc. At the same time, the concept of the timbre acquires a greater certainty due to a specific tool. And, if, for example, it is said - "This is a timbre of a violin", then most often under what is said not a separate sound, not some specific and characteristic barcode, and the whole set of various sounds extracted on this instrument, including the characteristic techniques and even noise ghosts.

It is noteworthy that automatic identification of the timbre, that is, the recognition or classification of it using electronic devices is not such an easy task precisely because the musical instrument reproduces many related, but far from the same sounds. The perception of a person is built on associative The principles and values \u200b\u200bof the physical parameters of sound oscillations are perceived by them not in absolute expressions, but in the proportions between the individual parameters. However, the most important thing is that the perception of the tone occurs in some integrated, generalized characteristics. For this reason, some, often insignificantly small, changes in physical parameters become very noticeable for hearing, and others, significantly large changes - remain ignore. There is no doubt that such a function of the brain is due to the entire history of human development and is associated not only with the process of sound perception. To successfully recognize one or another object, facing its transformations, the brain needs to be allocated and evaluating the main characteristic features of the object, which are stored with significant changes in individual parameters.

Based on the material outlined above, a note should be made on the practical unusability of determining the concept of "timbre", traditional for music recognition and general psychology, but in essence the case is private. At least about the unsuitability of this definition for the strict classification of sound objects. By the way, researchers associated with acoustic measurements and the psychology of sound perception are well acquainted with a simple experiment, the results of which, as a rule, are surprising for most musicians. This experiment, in particular, is also reported in the monograph "Psychology of the auditory perception" V.Nesuleko: "... it is enough to change the direction of the magneto-counter ribbon, on which the sounds of the piano are recorded to make the sound the sound are completely unrecognizable.". Our explanation is that the spectral composition of the sound, that is, "its painting", in this case there are no changes, but dynamic and spectral changes in time (that is, integral characteristics), which in this case were just violated by inverse reproduction Phonograms, turn out to be more important to identify the tone by man.

* Fragment of the report at the Scientific and Practical Conference in the Rostov Conservatory (2000).

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10. Special tool

We met with almost all the means of musical expressiveness. But one more is one - special. And it is related not only to music, but also to physics. Let's think about what another property has every sound, except height and duration. Volume? Yes. But there is also a property. One and the same melody can also play on the piano, and on the violin, and on the flute, and on the guitar. And you can sing. And even if you play it on all these tools in the same tonality, in the same pace, with the same nuances and strokes, the sound will still be different. With what? The color of the sound, his temmbrom.

Remember the overtones? Here they are mainly and affect the timbre. Each sound is an air oscillation in the form of a wave. Together with the main tone, the height of which we hear, it includes overtones, which give this wave a special paint - the timbre. Can the sound be without overtones? Yes, but you can only get it in special laboratory conditions. And he sounds pretty disgusting. There is no such sounds in nature - it is brighter and more beautiful.

Research and spreading timbre waves, scientists invented a synthesizer, which can create new timbres and imitate existing ones, sometimes quite successfully. Of course, artificial timbres of the synthesizer cannot replace live voices and tools. But modern musical life without a synthesizer is no longer possible.

Some sound waves look like this:

But what attitudes do these physical graphs do with musical expressiveness? Very big. The rubras for the composer is like paints for the artist. Do you think how many different timbres in the Symphony Orchestra? At least twelve (and tools are much greater). And in large, extended compositions of the orchestra of various timbres can be more than thirty (and the tools are greater than a hundred). But it is only clean The timbres of individual tools. In the same way, as artists mix paint to get new colors and shades, composers often enjoy mixed Tombs, combinations of various tools.

And how many timbres can be in piano music? Only one - The timbre of piano. If the orchestral music can be compared with the painting written by oil paints, then the piano music is a drawing with a pencil. But the great artists so own a pencil that they can transmit the smallest shades in pencil black and white drawings and create the illusion of paints. Great pianists can create an impression of a large colorful orchestra on their "black and white" tool. And by the subtleties of the transmission of the smallest nuances of the piano, even exceeds the orchestra. Some pianists talk about different piano timbers and learn to play different timbres. And although it is not quite true from a physical point of view, but we can really hear these different timbres. Because art is a miracle, and a miracle can contradict the laws of physics.

Why is the timbre - a special means of musical expressiveness? Because the nature of this expressiveness is special, not like other means. Melody, harmony, road and rhythm - ours main funds, "face" of music - entirely depend on composer. The composition and register depend on the composer, but not always. You can treat a musical play without changing it "faces", but changing the registers and textures. Pace, strichi, dynamics may be indicated by the composer, but very much depend on performer. It is because of the tempo, strokes and dynamics of each musician, the same works sound a little differently. BUT timbre Depends on the tool. From the composer only the choice of the instrument depends, and from the artist is his beautiful sound.