State Educational Establishment of the Russian Federation

Rostov pedagogical college im.K.D. Shushinsky

ANNOTATION

on choiring for mixed choir acappella

R. Shumana "Night Silence"

Performed: Student 41 groups

Sapunkov Vera

Lecturer: Pisetskaya T.I

Rostov, 2008

Robert Alexander Shuman (1810-1856) is a German composer, a pianist, a musical critic. Born in the family of a book publisher. In 1828 he entered the University of Leipzig to the Faculty of Law. In addition, he studied at Friedrich Vika on the piano (1830). In 1829, Schumann translates to the University of Heidelberg, which in 1830 threw. Study at the university, he visited Munich, where he met Heine, as well as in Italy. He began to engage in composition and transfers from Dorna. In 1834, founded the "new musical newspaper." In 1840, Schumann married Clare Vic (during this period he wrote a lot of songs and cycles: "Myrti", "Love and Life of Women", "Poet's Love"). In 1850, he acted as a choral and symphony conductor. In 1856, after two years of unsuccessful treatment in a psychiatric hospital, Schumann died.

Expressive aesthetics of German romanticism. Creator of software piano cycles ("butterflies", 1831; "Carnival", 1835; "Fantastic plays", 1837; Craislerian, 1838), Lyrico-dramatic vocal cycles ("Poet's Love", "Circle of Songs", "Love and Women's life, all 1840); Made a contribution to the development of romantic piano sonata and variations ("Symphony etudes", 2nd edition 1852). Opera "Genovev" (1848), Oratoria "Paradise and Peri" (1843), 4 symphones, a concert for piano with orchestra (1845), chamber and choral works, music for the dramatic poem "Manfred" J. Bairon (1849). Posted by "Life Rules for Musicians".

Choir works - "Good nights", "Night silence", "Requiem" to the poetry of Goethe, "Scenes from Faust", "Rose Scenes" for the choir and orchestra, "Men's Choragles", "Black and Red Golden". In addition, more than 130 songs wrote, including the poems of Heine and Goethe, music to the drammatic comedy to Manfred.

R. Schumann belongs to romance, and they had the desire for miniatures, such a miniature is "night silence", where the music expresses the feelings of the composer, his thoughts, experiences. (Muto app)

At night, the stars on the velvet sky do not sleep,

In the river reflecting, burn.

Everything is calm, silently, fell asleep every sheet.

The air of the night is transparent and clean.

Pours on the ground moon his silver light.

Close early morning dawn,

And the sun flames the sun is golden,

Sun light over the ground.

Choral Genre: Acappella Choir

Production genre: Choral miniature.

Musical form.

Music shape: single-room

Thematic analysis

Music themes: 1st sentence (1-8 t) - a contrasting topic in comparison with others, in accordance with the musical form of similarity, there is no, complex melodic language (complicated by jumps in the melody), beautiful, bright melody.

Letter style: Letter warehouse - mixed, with a predominance of homophone-harmonic. With 1-11 tacts - a homophone-harmonic warehouse of letters, from 12-14 tact - elements of polyphony (immutation), then to the end - homophone-harmonic.

Ladotonal plan.

The main tonality is es-dur.

Deviations in the tonality are prevailing deviations in the subdominal sphere. In structure, it consists of three offers (1e -7 clocks, 2e -7 clocks, 3E -11 clocks) with an addition (4 clock).

Metroratmika

Rhythm: In general, the rhythmic pattern is quite complex. Characteristic rhythmic figures - dotted rhythm, triols. The basis of the rhythmic movement for all parties is a dotted rhythm (Fig. 1) (eighth with a point and sixteenth). In 22-23 tons. There is a crushing of rhythm in soprano, alt and tenors (triols) to activate movement when submitting to climax. There is an episode (21 clocks) where tenors, soprano and alt - triols.

Size: 3/4. In Elegy Choir Miniature, the Shuman is heard as if the waltz echo, a kind of cloves. This transmits the atmosphere of nature at night, predestrous nature. The total miniature size is unchanged.

Harmonic language. A colorful, rich harmonious language reflects the picture of nightlife, it is complicated by its structure, bright and at the same time bright, soft combinations of votes form a very rich harmonic language, especially beautiful and rich in the combination of parties of tenors, alto and soprano.

Vote. The entered and smooth melodic development of the melodic pattern corresponds to the figurative sector of rest or contemplating this choral product. Although at the beginning of the work with 1-7 tacts, the melody is hoppy, it emphasizes the text of the 1st sentence. The melody is expressive, it emphasizes the first 2 proposals for figurative-emotional equilibrium.

The soprano-jump melodic line is practically noticeable of the entire work, characteristic of the jackets on the quart and quint, from 18 to 23 the division of soprano on 1 and 2.

The alta is a smooth melodic line, but there are also jumps (for quarts).

The tenor is a jump-shaped melodic line with elements of immimitation, sound leaning, riding on one sound.

Basa - smooth melodic line, hold on one sound. In 28-29 t. Division on bass and octavists.

Temp: calm and peaceful pace Andante. Agogical deviation - farm in 23 tons.

Dynamics: Almost complete domination of the dynamics P and PP really create a feeling of night silence and complete peace. The text arises predestinous sensations ("close early morning dawn ..."), which are illuminated by sun paints in the climax (TT. 22-23) in the words "Sun light over the earth." All musical and expressive funds are aimed at achieving the climax: crushing the rhythm to activate the movement, CrescendOd F, sealing the invoice, due to an increase in the number of votes (forced on A1 and A2), the fixed movement up in S1, input sepkord with quarts in the DNA tonality of a strong share (with fermatomata), and smooth resolution with DiminuendOd PRP. (Pr.1)

Vocal choir analysis

Type of choir: mixed.

Range of parties

The tessectural inconvenience is among bass (si subcontrollays), soprano (la 2rd octave). This creates vocal choral difficulties from these parties, requiring permission when working with a choir. The unequalness of the testicular relationships of the votes of choral scorpies may entail the task of artificial dynamic "alignment" of non-instabitable consonance.

Ensemble: Natural ensemble (balanced in all parties).

Stroy: Vertical (harmonic)

Vocal difficulties: Soprano - 1,2,4,5 tacks Large jumps on the quint, the sext b and m, in the 19 tact of 2 octaves, prevailing the positional irregularities in the execution of ascending and downstream melodic jumps, B17,18,19 tacks division 1 and 2 soprano, there are chromatic moves, in 22 trioli tact and in 23 clutches of the farm, in 26.27 clocks - jumps on the sext, quint down. The vocal difficulties of this kind are overcome in the process of "injections" of the work. Choral execution is impossible without active breathing, with which not only vocal difficulties are overcome, but also the difficulties of building. Alt is the positional evenness of the total product, with the exception of 4,5,18.25 clocks, where there are races on the quint, the seven. In 17,20,21,22 and 23 tact division on the 1e and 2e alta, in 23 ferment tact, there are chromatic moves. The vocal difficulties of this kind are overcome in the process of "injections" of the work. Choral execution is impossible without active breathing, with which not only vocal difficulties are overcome, but also the difficulties of building. The tenor is the positional evenness of the entire party, there are jumps in 4.14, 25 tacks on the sext, quart, there are chromatic moves (AF.2), alteration signs, difficulty - sixteenth durations, squinting individual sounds. The vocal difficulties of this kind are overcome in the process of "injections" of the work. Choral execution is impossible without active breathing, with which not only vocal difficulties are overcome, but also the difficulties of building. Basa is a positional flatness of the party, with the exception of 24,25,28,29 clocks. In 28,29 tacks of the counter-shirt - low for bass! Dotted rhythm, no chromatic moves. The vocal difficulties of this kind are overcome in the process of "injections" of the work. Choral execution is impossible without active breathing, with which not only vocal difficulties are overcome, but also the difficulties of building.

To overcome these difficulties, it is necessary to remember that a slow pace does not contribute to the preservation of the system, especially in the execution of a Cappella, and the rapid pace complicates the execution of intonational inconvenient moments. Therefore, in the process of rehearsal operation, various rates need to alternate, and separate melodic moves or chord connections vertically remove outside the rhythm by the conductor hand. The exhaustion of the system contributes to the execution of a closed mouth, in which the hearing control of the performers becomes more closely. The predominance of quiet belliness may entail a weakening of the role of respiration and the loss of the feeling of a strong vocal support in execution, so it is advisable to alternate the movement of the work or its fragments in different dynamics and using various vocal strokes.

Breathing: Since long-term musical phrases prevail at a slow pace, then chain breathing is mostly used. Breathing on pauses in 9,10,23 tacka, there is also a short breath associated with the rapid motion of music to climax from 18 to 22 tacts, which creates difficulties in the vocal choir technology. Supplied breathing at bass, thanks to small phrases in the party and Long pauses.

Soundwork Character and Sound Attack: Soundwork Smooth, Soft, on Legato. Sound, light, soft, gear, transparent, assembled, covered, neat, transmitting a feeling of night rest and silence, but by the end more saturated, bright, sunny, light, Leading to climax. Sound learning and sound attack are inextricably linked with singing breathing. C 1-7 Breath Breath Outcondition for S, A, T, C 8-11 and 14-18 tons. General group for S, A, T, V. from 18-22 chain breathing at Si A.

Character of singing breathing is calm, chain, lung. Feature in 23 tact - fermatity for all choir.

Dickening difficulties: Diction plays an important role in the disclosure of the image. The text should be pronounced gently, sowing, pronounced "P" in words exaggerated (example: velvet, reflecting, dawn, etc.), the endings of phrases on "T" (sheet, sleep, burn, clean, dawn, etc.), In a 22 tact with trioli "and the shine of the sun, a ray of golden" fast progress of the text, a clear embarrassment of ringing consonants. Basins in the last 2 tacks sounds closed with mouth. Since the work of slow and phrases is long-term, the reduction of "E" and "A" is used, to seclude the separation of words and therefore, the loss of character. Example: Night-Yuzvez Dynabar Hat-Nomenne Bene-sleep. The vowels come down, consonants at the end of the word are pronounced overly.

The timbres of votes and the infinite variety of their nuances depend on the nature of the pronunciation of the text, its figurative-semantic incarnation in singing. This ensemble task is one of the most important in the circle of performing funds characterizing the choir as one of its kind "speaking" musical instrument.

Conducting difficulties

Transfer using a small and soft gesture on the Legato-shame of the night nature, her beauty, peace and silence. Home Carrier difficulties: Little amplitude gesture, work brush, dotted rhythm, sustained sounds for 3 share, joining the bass batch with 8 tact, in 11 tact AUFTATAT Soprano and Alti "Air Nights", in 12 tact, the exact show of tenor entry - this creates an element of polyphony, the accuracy of the entry by hand in 8.9.10 tacks after a pause, in 22 trioli tact. Show active increasing amplitude gesture, change Dynamics, which means it is a gesture to a more active with an increasing amplitude when approaching the climax, a fermat, the end of the "P" and "T" - precise removal and reduction of the gesture, softness, care to the end to P. The removal and the auftacts are soft with a delay, the return is light, smooth.

Conclusion: In this choiring, the music is harmoniously combined with the literary text. Both words and sounds transmit the beauty of nightlife, her peace and peace. Text and dynamic shades are very well combined. Turning from the PC, the Fompozitor depicts first night rest, and then the arrival of the morning and waking up nature from night sleep. "Sun Ray Golden, Sun Light" for these words has the climax of all the work, as this reflects the significance of the Sun in our lives, because the sunlight is life, and every new day is a new life. This is also vividly emphasized and used by the composer. Means of musical expressiveness: dynamic transitions, timbre, melody, saturated harmony, moderate pace, not easy rhythm. Arcuring and performing this product Choir will gain very important qualities: a neat collected sound, soft and smooth sound, the ability to change the dynamics with PNA F, voice skills - singing at high and low sounds, riding complex jumps and harmonic combinations in the parties. The conductor also acquires important qualities: the ability to keep the choir on P, the ability to show a gesture to change the dynamics, the entry of various parties, becomes soft, ease, the smoothness of the gesture, followed by the activation by the end. This work can teach control over the choir singing on the PI mainly correct expression and show the idea of \u200b\u200bthe work, its character.

The choir is a team that sufficiently owns technical and artistic - expressive means of choral performance necessary to convey those thoughts and feelings, the ideological content that is laid in the work.

Types of choirs:

In the choir there are party votes. They are grouped by the nature of the sound and range of votes. High female voices - soprano; Low female voices - alta; High men's tenor; Low men - bass; High children's voices - soprano (distances).

Characteristics of choral parties:

Soprano is characterized by high, movable light and light sound. Most often, this party is charged with the execution of the leading melody of the work. Range: until the first octave - re second octave.

The alta is characterized by lower, dense, saturated sound. In the female two-voice choir, the Alto often perform a leading role, by performing a melody independently or together with soprano. Range: La small octave - re second octave.

The tenor: inherent movable, light, but at the same time hard, strong sound. In a mixed choir, this is a middle voice, but sometimes it acts as a leading party, performing a melody independently or with soprano. Range: to a small octave - la second octave.

Basi: Usually - foundation, the base of the choir. Characterized by force, power. At the same time inherent in the ease of sound. In the men's two-voice choirs - the role of the second voice, but sometimes they play the main melody of the work. Range: Fa, a large octave salt - re small octave.

The quantitative composition of the choir.

The number of singers in each batch must be approximately the same. The smaller number of votes in the party equals three. The minimum composition of the mixed choir should be considered 12 people.

C.3 + A.3 + T3 + B.3 \u003d 12; C.3 + A.3 \u003d 6; T.3 + B.3 \u003d 6

Vocal ensembles

S.6 + A.6 + T.6 + B.6 \u003d 24 - Small choir.

Choir elements:

Ensemble (rhythmic ensemble). The ability of all singers sing, utter words, take the breath, start, finish the song at the same time.

Stroy (pure intonation of each singer).

Nuances (different sound of various places of work).

Dickey (pronounced singers text clearly, clear).

Alignment of Chora

For the successful work of the choir, a certain alignment of parties has an important meaning. There are various ways of alignment. It is more expedient to arrange a chorus in the form of a semicircle, since it creates the most concentrated sound. (see Appendix 1)

More than a quarter of a century, the Russian music team "Turkish Choir" is held on the crest of success and pleases Melomanians. Ten soloists who manage the People's Artist of the Russian Federation, found the way to the hearts of millions of fans not only with impeccable performance and talent, but also because the team has no repertoire restrictions. In the arsenal of the vocal group of hits of world classics, rock composition, jazz and folk songs.

Refusal of the phonogram and "live" voices turn every performance in a unique one. In the repertoire of the "Chora of Turkish" songs executed in 10 languages. More than 5,000 exits on the scenes of Russia, the countries of the post-Soviet space, Europe, Asia and America made the team world famous.

Music

The debut of the team took place in the 1990th, but the origins of creativity deeper. The art group was formed under the 1980s curtain in the choral synagogue in Moscow. At first, the repertoire included Jewish compositions and liturgical music. After a couple of years, ambitions of the team rose, and the soloists expanded the genre repertoire with popular songs and music of different countries and eras, opera and rock compositions.

According to the head of the team of Mikhail Turkish, to expand the circle of listeners in the repertoire, included the music of the last 4 centuries - from to chanson and pop hits of the Soviet pop.

The debut concerts of the "Choir Turkish" took place with the support of the Junta Charitable Organization and passed in Tallinn, Chisinau, Moscow, Leningrad and Kiev. Interest in the Jewish musical tradition, frozen after 1917, broke out with a new force.

In 1991-92, the "Turkish Choir" went to the tour of Canada, France, Great Britain, America and Israel. In Spanish Toledo, the ensemble participated in the festival organized by the 500th anniversary of Jewish exile, and went on stage with world stars Isaac Stern and.

In the mid-1990s, the Turkish Choir divided: one half remained in the Russian capital, the second moved in Miami, where the musicians worked under the contract. The repertoire of the second half expanded the Broadway classics and jazz hits.

In 1997, vocalists under the leadership of Turkish joined the farewell tour of the country and along with the singer were given over 100 concerts.

In 1999, the "Choir of Turkish" presented to the audience a repertory performance, named "Vocal Show Mikhail Turkish". The premiere took place on the stage of the Armored Theater of the Estrada.

In 2002, Mikhail Turkish received the title of "Honored Artist of the Russian Federation", and after 2 years, the choir gave the first concert in the Concert Hall of Russia. In the same 2004 at the National Award "Man of the Year" program, the program, called "ten votes that shook the world" nominated as a "cultural event of the year."

In the early 2005, "Turkish Choir" went on tour in America and gave concerts on the scenes of San Francisco Concert Halls, Los Angeles, Boston and Chicago. In the same year, vocalists visited hundreds of Russia and the CIS cities with a new program called "Born Sing".

In 2007, the "Choir of Turkish" became the laureate of the Prize "Record-2007", which was assigned an ensemble for the album "Great Music". The collection includes classic compositions.

In 2010-2011, the musicians went to the anniversary tour "20 years: 10 years: 10 votes", and in 2012, a concert was held in the Kremlin Palace, in which the stars of the Russian show business participated in the Kremlin Palace. In the same year, the ensemble presented to fans the song "Smile God of the Raduga", which was recorded by the clip.

In the spring of 2014, the Turkish team presented the show program that the choreographer put. She was called "male look at love." In order to see the speech, 19 thousand spectators who watched on the stage from interactive screens were gathered at the Olympic Stadium.

On the day of Victory, the musicians were given a 2-hour concert on the Poklonnaya Mount, collecting 150 thousand people. In April 2016, in the Kremlin Palace "Turkish Choir" presented fans an unforgettable show in honor of the 25-year-old anniversary of the team, calling him "with you and forever."

Structure

Over time, the composition of the art group changed, but the head remained unchanged - Mikhail Turkish. The path to the leader of the famous team, he passed after graduation in the mid-1980s of the institute. Gnesinic. The first wards of Mikhail became children - Turkish led by a young vocalist chorus. Then headed the choir team of the theater Yury Sherling.

In 1990, Mikhail Turkish organized a male choir in the capital choral synagogue, which was transformed into a famous team.

One of the oldest and at the same time of the youngest soloists of the Art Group - Alexandrov - joined the chorus in the 1990s. Moskvich in the mid-1990 graduated from Gnesinka. Alexandrov became famous for copying votes and. Vocalist has a rich dramatic baritone.

In 1991, the poet, Bas-Profundudo Evgeny Kulmis, who previously led by a children's choir joined the Bass-Profundudo. Eugene was born under Chelyabinsk, began his career as a pianist and also passed the way from Gnesinka to work in the "Choir of Turkish". Kulum is the author of texts and Russian options for transfers of some songs.

In 1991-92, two more Muscovites joined the team: Dramatic Tenor Yevgeny Tulinov and Tenor-Altino Mikhail Kuznetsov. Tulanov with Kuznetsov - Honored Artists of the Russian Federation from 2006 and 2007, respectively. Both are graduates of Gnesink.

In the mid-1990s, Lyrian tenor from Minsk Oleg Blyakhorchuk, who plays the piano, accordion, melody, electric and acoustic guitars, joined the ensemble. Came to the team from Orchestra Mikhail Finberg, where he was a soloist.

In 2003, the "Turkish Choir" took on two more metropolitan inhabitants: previously fulfilled Russian spiritual music Boris Goryachev, possessing Lyrical Bariton, and Igor Zverev (bass-canthanto).

In 2007 and 2009, the Art Group enriched himself with the baritone tenor Konstantin Cabo and the counterpart of Vyacheslav Fresh. Both are indigenous Muscovites.

From those who left the staff of the team, Melomanans remember Boris Warriors, who worked in the "Choir of Turkish" from the day of education to 1993, tenor Vladislav Vasilkovsky (immigrated to the United States in 1996) and opera tenor Valentin Sukhodolets (left in 2009). From 1991 to 1999 in the "Chorean of Turkish", Tenor Mark Smirnov and Bass Vladimir Aranzon.

"Turkish Choir" now

In 2017, the art group presented fans a lyrical song "With you and forever", on which the director Olesya Aleinikova removed the video. The video was leading on the VII award of the TV channel RU.TV. The ceremony was held in the metropolitan "Crocus City Hall".

On the annual musical award, RU.TV first presented a nomination for the best clip that was shot in the Crimea. Behind the victory fought, Vladimir and "Turkish Choir".

In October 2017, the wards Mikhail Turkish made music lovers another surprise, giving a song and the clip "You know". In the clip starred the actress.

On the page "Khora Turkish" in "Instagram" and on the official website, the group fans will learn about the news in the creative life of the team. In February 2018, the ensemble gave a concert in the Kremlin.

Discography

• 1999 - "High Holidays (Jewish Liturgy)"
• 2000 - "JEWISH SONGS"
• 2001 - "Bravissimo"
• 2003 - "The Choir of Turkish represents ..."
• 2004 - "Star Duets"
• 2004 - "When men sing"
• 2006 - "Born Sing"
• 2006 - "Great Music"
• 2007 - "Moscow - Jerusalem"
• 2007 - "Music of all times and peoples"
• 2009 - "Alliluia Love"
• 2009 - "Music of all time"
• 2010 - "Music of our hearts"
• 2010 - "Show continues"

Main questions.

I..1) Determination of the choir prominent masters of choral art.

2) Directions in choiring.

3) Type of choir.

4) The number of choirs.

II.. Types of choir.

III. Alignment of choir team.

Purpose:Determine the value of the alignment of the choir collective for the most favorable sound of the choral product, due to the type and view of the choir.

Determination of the choir prominent masters of choral art

A. A. Egorov ("Theory and Practice of Work with Choir"): "Choir is called a more or less numerous group of singers that perform vocal choral works. At the same time, each party comes in several homogeneous voices. This choral team, as a vocal organization, is significantly different from the chamber vocal ensemble (duet, trio, quartet, etc.), in which each individual party is always charged only to one performer. The most typical, clean view of the choir collective is a Cappella choir, i.e.ollecting, singing without instrumental support. Another type of choir collective is a choral team with a piano, an ensemble of instruments or orchestra - is no longer quite independent: he divides his performing tasks with instrumental support.

Choir collective A Cappella is a kind of vocal orchestra, which based on the synthesis of sound and words transfers artistic images of the musical work with its rich paints. "

V. G. Sokolov ("Working with Choir"): "Choir is called such a team, which sufficiently owns the technical and artistic and expressive means of choral performance necessary to transfer thoughts, feelings, ideological content that are laid in the work."

P. G. Chesnokov ("Choir and Management of them"): "The choir A Cappella is a full association of a significant number of human voices, capable of transmitting the finest bends of spiritual movements, thoughts and feelings expressed in the compliance with the essay. The choir is such a meeting of singing, in the soundness of which there is a strictly balanced ensemble, accurately verified system and artistic, distinctly developed nuances.

Note that garlic attacks the nuances to choose choir, treating this concept is wider than a movable dynamic scale. The nuances, for garlicokov, cover the means of musical and choral expressiveness - the features of the rhythm, tempo, aggohiki, diction and D.R., due to their dynamic changes.

Choir - the concept of extremely capacious. It is usually considered as a musical-singing team, whose activities are the creative process of choral musitization (or choral acts). In this context, the choir is a vocal-performing team, combined and organized by creative goals and tasks. The principle of collective starts is required for all participants in the choir and must be set aside at any stage of the choir. Choir is a large vocal ensemble consisting of choral parties. The basic basis of each choir party - unison, suggesting the full fusion of all vocal cholar components of the performance - sound formation, intonation, timbre, speakers, rhythm, diction, otherwise the choir is an ensemble of vocal unison. Choral performance of expression by two formations of musication - singing without accompaniment (a Cappella) and singing with the accompaniment. Depending on the intonation method, in a natural or templar strictly, the role of intonation increases. Accurate intonation (STROY) and balanced sound (ensemble) in the choir - the main conditions for its professionalism. The coordinated choir team is always perceived as a vocal orchestra, consisting of human voices, and therefore requires itself a permanent and systematic attention of the Khommerster from the instance of the choir to a concert performance on the stage. Building in the choir depends on the skill and training of singers participating in it, as well as from the personal and professional qualities of Cerizer-Khmeuser, his will, knowledge, experience. Structure in the choir is always associated with the implementation of many different interrelated tasks - from the organization of the singer-choir process and education (training) of singers before embedding actually choral sounding with the identification of ensemble and building problems. At the same time, important tasks in the process of building the choir - the creation of an ensemble of vocal unions, a high-dimensional uniformity of executable sounds, their timbreous unity is solved under the condition of properly organized vocal choral work with singers. In choiring, various types of arts are organically combined - music and literature (poetics). The synthesis of these two types of art makes specific features in choir creativity. The logical and meaningful combination of music and the word determines the concept of the vocal-choral genre. A good choir always distinguishes technical and artistic and expressive execution, where, along with the problems of the ensemble, the tasks of musical and literary interpretation are solved.

None of the above properties can exist apart. All components are interrelated and are in constant consent.

Initially choir performance was amateur and only due to the special historical conditions gained the status of professional art. From here there are two main forms of choral activity - professional and amateur, from here and their own names - the choir professional and choir amateur (folk, amateur). Under the first one understands the choir, consisting of specially trained singers, under the second - choir in which everyone who wants to sing in it. Classes in amateur choirs are not as regulated as in professional.

In choiring, there are two main directions - academic and folk, which are characterized by high-quality differences in the manner of execution.

The academic choir (or chapel) relies on its activities on the principles and criteria of musical creativity and executing developed by the professional musical culture and the traditions of the centuries-old experience of the opera and chamber genre. Academic choirs have a single condition of vocal work - the academic Maneru of singing. In consideration of the issues of vocal choral singing, we will be repelled from the concept of academic style of singing.

Folk choir is a vocal team that performs folk songs with features inherent in them (choral texture, vocalism vocal manner, phonetics). Folk choirs tend to build their work on the basis of local or regional singing traditions. This determines the diversity of compositions and manners of the execution of folk choirs. A folk chorus should be distinguished in natural, domestic form from a specially organized, folk choir, professional or amateur, performing both truly popular songs and copyrighted works in the folk spirit.

Choral works can be characterized by the number of independent choral parties in them, which is determined by the concept of choir. There are works for the choir of a variety of compositions - one-haired, two-haired, three-, four- and more. The principles of applying Divisi (separation) in choral batches are associated with the high-dimensional ratios of singing votes, as well as with their harmonic and timbre-color combinations. It is known that Divisi harmoniously saturates a choral statement, but at the same time, the sound of choral votes is noticeably weakened.

The main and minimum in quantitatively the structural unit of the choir is the choral party, which is a coordinated ensemble of singers whose voices in the general parameters are relatively the same in the range and timbre. It is from the choral batch (a group of singers) the construction of choral sounding begins in a variety of aspects: the choral party is the initial object of the conductor in the establishment of an ensemble and a system, in the artistic decoration of the work. In this regard, the problem of the smallest number of singers (votes) in the choral party - 3-4 singers, as well as their timber and dynamic equilibrium is found.

Theoretically, according to the definition of P. G. Chesnokov, a homogeneous two-eye children, a female or men's chorus can be at least 6 singers, for example 3 soprano (driving) + 3 alta, 3 tenors + 3 bass. However, in modern executive practice, the choir is called a vocal ensemble. The double composition of the chorus is considered to be more comprehensive, where each party has two minimal composition: 6 first soprano + 6 second soprano + 6 first alt + 6 second alto, in the amount it turns out 24 singers. Here it is also possible to division (Divisi) of each batch into two groups.

The number of singers in the parties of the choir should be the same. It is unacceptable that the female or children's team of singers in 30 people consisted, for example, from the 11 first soprano, 9 second soprano, the first 6th alt and 4 second alto. It is recommended to slightly increase the number of singers in the parties of the first soprano and second alto in the female (child) four-voice choirs, which is associated both with dynamic choir party, performing the upper melody voice (with i) and with a more compact sound of the chord base (AI II) , eg:

soprano first - 8 people;

soprano second - 7 people;

the first is the first - 7 people;

the second is the second - 8 people.

Total: 30 people

The sound density of unison chamber parts, the number of which does not exceed 10 singers, is incommensurable with the sound of choral parties of a large choir, where the number of people singing in choral batches is 20-25 singers.

In the theory of choral studies, quantitative compositions of choirs are classified into three main species - small (chamber), medium and large choir. In modern performing practice, a chamber choir with an approximate number of singing - 20-30 people. The average mixed chorus, numbering up to 40 people, implies the division of each choral party into two. The size of a large mixed choir usually ranges from 80-120 people (occasionally more).

Under favorable conditions, mass and consolidated choirs of several hundred and even thousands of people can be created. In the choral literature there are examples of polyhistric compositions, as a whole, there are over one and a half dozen independent choral parties.

The essential concept of a double choir means a chorus divided into two credits, each of which is relatively independent; Both parts of the double choir can be both mixed (full and incomplete) and homogeneous composition. Triple choir respectively consists of three parts.

For any perforing composition of the choirs, there are special choral literature, which, of course, takes into account the timbre-cholemical features and the number of choir. So, works written for chamber choir, consequently focused on the small team, thick and hard to sound in a large choir, with about 100 singers. Conversely, score for a large choir with Divisi in different voices in the sound of a small composition loses shaped colorfulness.

Types of choir

The composition of the performing team in groups is characterized by a thermal type of choir. Singing voices are divided into three groups: women's, male and children. The choir consisting of the votes of one group is called homogeneous, and a choir consisting of female (or children's) and male voices or from the singing voices of all three groups is called mixed. Currently there are four types of choirs: female, male, children and mixed.

Mixed Choir (Full Composition)

The range of mixed choir is more than 4-EXs octave salt-la counter octave up to 3 octaves. Mixed choir has a great dynamics of sound strength from barely audible RR to FF, capable of competing with a symphony orchestra.

Male choir

The range of the octave is up to 2 octaves. Male choir has a lot of sound dynamism, bright timbre paints. The tenor party is a leading melodic voice and sings more dense infant.

Female choir

Range from fault octaves up to 3 octaves. Extreme sounds are rare. The most commonly encountered mixed and tight location of the votes. Many original essays and processing of folk songs for the female choir created Russian and foreign composers.

Children's choir

The expressive and technical capabilities of the children's choir are closely associated with the age characteristics of the composition.

Children's voice is characterized by transparency, softness, intonation sharpness, the ability to ideal and ensemble. The sound of children's choir is distinguished by the immediacy, sincerity of execution. Children's choir has great performing opportunities.

Alignment of choir team

The alignment of the choir is this defined singers system with the aim of their joint executive activities. Domestic choral culture has accumulated a rich experience on the issue of choir alignment. The theoretical understanding of this experience was reflected in the works of P.G. Beszokov, G.A. Dmitterevsky, A.A. Georova, S.V. Popova, K.K. Pirogova, V.G. Sokolova, and others. So, V.G. Sokolov notes that "for the successful work of the choir, a certain alignment of parties has an important meaning during rehearsals and concert performances, both for the head and for singers."

One of the most important in this matter is the artistic aspect. It is known that the arrangement should provide singers of parties the most favorable conditions for ensemble. In this regard, A.A.Gorov writes: "Consistently rearing the voices inside the group and carefully selecting one voice to another on the basis of homogeneity and timbres, you can establish a complete merger and the majority to put the beginning of the choral batch."

The correct placement should provide the possibility of auditory contact and between singers of various choral couple, for "good interrelationship of choral parties creates the most favorable conditions for the emergence of the ensemble and building, which is the basis of the coherence of the choir."

Typically, in the placement of the choir, neither the stage is guided by well-established traditions. Related parties are in the same group. Voices of each batch correspond to each other on the timbre, sound range, etc. The choral team is located with such a calculation so that high votes are on the left hand from the conductor, right - low. In the mixed choir to the left of the conductor are placed soprano, behind them the tenor; Right - Alta, for them bass.

Among many options for the location of homogeneous choirs, such where each party is located a group, like the sector. In a female or children's choir (from left to right): Second soprano, the first soprano, the alty of the first, the alty of the second. In the men's choir: the second tenor, the first tenor, bass second, bass are the first, octavist are located in the center. It is believed that the premises of the first high votes (I soprano or tenors) in the middle of the choir improves the sonority, and the location of the second high votes (II soprano or II tenors) to some extent "covers" the sound of the first.

Female (children's) choir

Male choir

Such an arrangement of the choir usually use when recording. In this case, a separate microphone is placed before each choral parking. The placement of the mixed choir when recording sound occurs, taking into account the direction of the sound of each choral party on a separately exposed microphone.

In addition to the specified, other options for the arrangement of the groups of choral collective, for example, are applied, for example:

Female (children's) choir

At rehearsals, the choir should be positioned in the same way as during the performance. It is not recommended to place a choral team in one horizontal plane, since the proper visual contact of singers with a conductor is lost. In addition, the participants of the choir will be forced to sing "in the back" ahead of standing chorists. In the mixed choir, male lots have several above female.

The quartet alignment of the choir creates the best conditions for singers' hearing self-control, takes into account the individual singing capabilities of each participant of the team and is used in chamber choices.

The placement of the choir collective on the scene depends on the acoustic properties of the reversal. Reverbation is the acoustic property of the room due to the reflectivity of their internal surfaces to increase the strength and duration of sounds (the Echo effect). With insufficient reversal, the sound becomes "dry", with excessive - the execution will be "illegible, dirty". Based on this, currently in the St. Petersburg state singing chapel. M.I. Glinki (Hands. V.Chnushenko) An alignment of the choir is applied, in which women's voices make up the third and fourth rows, and men's voices occupy the first and second rows. At the same time, the head of this collective uses a wide placement of the choir.

The choir team is better in the form of a small semicircle (fan-forming) or in extreme cases in a straight line with small roundings on the edges. The location of the choir solely in a straight line is less appropriate.

In the performance of choral works, with the support of the piano, the tool is placed in front of the choir in the center or on the right (from the conductor); When executed with the orchestra or ensemble accompaniment, the orchestra or ensemble is placed ahead, and the chorus is put in a small semicircle behind it. For example, in the execution of the "three Russian songs", S. Rowhmaninova, written for incomplete mixed choir (alto and bass) and orchestra, choral voices are usually located on the left (alta) and on the right (bass) from the conductor behind the orchestra on a special elevation (choral machines) . In this case, the tempering of each individual party becomes more compact and monolithic. Long-term use of one choral party, such as in the specified work, allows you to characterize a choir batch a very rare term - choir of alto or the choir bass.

Conducted modern scientific research on the influence of acoustic patterns and the location of singers made it possible to make adjustments to the alignment of the choir and develop a number of practical recommendations aimed at ensuring appropriate conditions of the singers' hearing self-control:

do not put strong and weak voices in the neighborhood;

use a mixed variant of a wide placement with alternating related and heterogeneous voices.

The presented layout option has the following advantages:

Creates conditions for the achievement of artistic ensemble not on the basis of the timbre leveling, but by identifying the natural timbre capabilities of each voice, which reflects the trend of the progressive vocal choir methodology and contributes to the successful development and improvement of singing abilities.

Creates more efficient conditions for organizing the choir as a community of individualities (soloist ensemble).

Promotes the formation of a higher degree of responsibility for each singer for its "vocal products". Musication in such an arrangement requires the singer of the maximum manifestation of the initiative and independence.

It helps to identify individual timbre features of each voice and thus has a very significant impact on the quality of the sound of the choir, which becomes richer on the timbre, more rich and volumetric.

Keywords

Chorus; a type; view; number; choral batch; female; male; mixed; children; arrangement; execution; Temmes.

Short conclusions

The vocal-methodical aspect of the alignment of the choir will affect children's musical education. So, M.F. Zarinskaya notes the meaning of the singers to organize the influence of alone votes to others in the process of vocal education in the choir. It recommends placing in the last row and at the edges of the choir "singing the most beautiful chambers and naturally, also experienced chorists, ahead of children who sing more dim or those or other deficiencies in singing."

Control questions

1. What is the choir?

2. Let the characteristic of the mixed choir.

3. What do you know the choir alignment options?

4. What factors affect the location of the singers of the choir on stage?

Literature

Ossenneva M. S., Samarin V. A. Choral class and practical work with a choir. - M. 2003.

Keerig O. P. Gorovatiya - S.-P. 2004.

Sokolov Vl. Working with chorus - M., "Music" 1983

G l and in and in t about r and i

The composition of the choir

According to the composition of the choir, three main types are the most common: 1. Choir of female or children's votes (or those and others together), 2. Choir of men's votes, 3. Choir of mixed votes. *

The choir of the first type, consisting of soprano and alt, and the chorus of a second type, consisting of tenors and bass, is called homogeneous choir. From the connection of these two homogeneous choral groups (upper and lower), one mixed group is obtained, so that the first and second type choirs can be considered in two half of the third type choir. This is by no means denied their independent importance, but both together they form the most perfect type of choir - mixed chorus.

Choir of the first type is: 1st soprano, 2nd soprano (or mezzo-soprano), 1st altu and 2nd altu (or contralto).

If you illustrate this composition with the simplest choir chord, the choir's voices are located like this:

The chorus of the second type is: 1 tenor, 2nd tenor, baritones, bass and octavists.

The same chord for the choir of this composition should be positioned like this:

Connecting homogeneous choir groups of the 1st and 2nd type, we get a full mixed choir, the most perfect type of choir, which should consist of nine parties: 1) 1st soprano, 2) 2nd soprano, 3) 1-e Alti, 4) 2nd Alta, 5) 1-e-tenor, 6) 2nd tenor, 7) baritones, 8) bass and 9) octavista.

The location of the chord for a complete mixed choir will be as follows:

In compulsion of the ranges and registers of choral parties, we will see (in detail in ch. III, part i) that a full mixed choir breaks into four groups of related votes:

1) 1st soprano and 1st tenor, 2) 2nd soprano and 2nd tenor, 3) Alti and baritons, 4) bass and octavists.

Graphically, this can be portrayed like this:

However, on registers, the choir is divided (we attach particular importance to this unit) by three layers, respectively, the chord sounds (with doubling): 1) a layer of upper votes, 2) a layer of medium votes and 3) a layer of lower votes, as can be seen from the plate and Description:

1. Layer of the top goal. - 1st CONP. + 1-ten.

2. The layer of the middle goal. - 2nd CONP. + 2-E Ten. + Alt. + Barity.

3. Layer bed. - Basi + Octavists

It is not enough good choral tempering. It is often due to, by the way, and the fact that these three layers of votes sound in the choir unevenly, unbalanced by sound strength: the top layer is strongly, the lower is weaker, the average is even weaker. (More about this we will talk in the chapter on the ensemble.)

An important value is the question of the smallest number of singers in each choral batch. It will give it the right permission to substantiate further conclusions.

If we take one singer to the party, then, of course, the choral batch will not work, as one singer is a soloist.

Will the choral batch make two singers? No, do not make up: at that moment, when one singer will take breathing, the other will be in the position of the soloist.

If we take three singers on the party, then the party will be: when one of the three will take breathing, then two people remain. Consequently, with three skillful singers, it is possible to form a minimal choir party. The smallest number of singers for each choral batch is three.

If we make each batch from the smallest number of singers, then we will succeed:

Therefore, to form a properly organized mixed choir, at least 12 singers are required, distributed three to each batch. Such a choir we call a small mixed choir. A small choir is at the same time an incomplete choir **, he is forced to be limited to, as it is customary to be expressed, "pure four-glazes".

Evenly increasing each part of the small choir, we will approach the smallest number of medium (but already complete) mixed choir. When the number of singers in each small choir party doubles (and in the bass party - triples), it will turn into a medium mixed choir with the least number of singers, namely:

In the bass batch, as can be seen from the plate, rearrangement is made: one singer in the bass batch is added due to octavists. It is recommended to do because the bass batch, as the main, you need to enhance a little. In relation to octavists, deviation can be allowed from the basic principle - "the smallest number of singers for the party - three"; The Octavistov Party is essentially not a separate party - this beautiful party to some extent is already luxury in the choir (however, almost necessary). This party should be used very carefully, not allowing abuse, otherwise the colorfulness of its sound will be impaired and even becomes annoying.

The average mixed choir of the smallest composition (27 people) can perform almost all choir literature for very small exceptions, since this is a complete choir, that is, compiled from 9 choral parties.

Equally increasing all his parties, we will approach the smallest composition of a large mixed choir. When the number of singers of the Middle Mixed Choir doubles, it will turn into a large mixed chorus with the smallest singers:

This powerful choru is available all choral literature, since each party can form four correct groups of 3 singers for each.

The calculations may seem somewhat distracted. We categorically do not insist on them, but we consider it necessary to indicate that they are the result of perennial observations and experience. Pointing the initial smallest number of a large mixed choir singers, we do not undertake to define its maximum number, but we consider it necessary to specify that there is a border behind which the musical challenge of a large choir will develop into noise soundness.

As for the arrangement of the choir, the question is interpreted differently. We will try to find objective justifications to solve it.

The choir, as described above, is divided into four groups of related votes. Put the party of the first group in opposite ends of the pop. Is it convenient for them to sing? Of course, no: they are, as having homogeneous ranges and registers and singing when doubling in the octaves, always seek to be closer to one another. Try the octavists to set out from bass, and you will hear the ropes of the first: "Uncomfortable, not heard bass who do not learn anyone." Therefore, related parties should stand in the same group. At the same time, the parties constituting the layer of the upper votes and the most of the melodic material must stand on the right side of the conductor. Parties of the middle layer filling in harmonic material space between the upper and lower layers are placed throughout the chorus. Finally, the batch of the lower layer, as the fundamental batch, as the basis on which the whole severity of the choral chord is resting, should be kept to the center.

The proposed choir alignment is verified by experience and observations. But this is not anything unconditional; Sometimes the room and acoustic conditions may require some changes in the alignment of the choir ***.

Having considered various types of choir and the order of its placement, we will stop on some organizational issues.

The conductor of the choir must have helpers both in musical and artistic and organizational part. Assistant conductor on the music part leads preparatory work with a choir and replaces the conductor in case of its absence for any reason.

The Assistant of the conductor on the music part is part of the choir, participates in all the work of the conductor, absorbing his demands so that in cases of replacement not to make any new interpretations. There should be no two influences on the choir and different directions. It goes without saying that the Assistant of the conductor must have an appropriate musical education.

The helper of the conductor on the organizational part must be the elder of the choir.

The main task of the elderly choir is to ensure that order, the organizationalness that is necessary for artistic work.

Each of the four choral parties should be, in addition, the headman of the choral party, which is responsible for it both from the organizational and musical side. The heads of the choral batch should be an excellent experienced singer, quite musically educated. The headman of the choral Paria is its representative, his life with a conductor. He must comprehensively know every singer of his party. Note the shortcomings of singers of their party, he may and should indicate them, thus achieving the improvement of each singer individually and the entire party as a whole. A little serious, technically poorly prepared singer of the headman must give under the leadership of an experienced singer, which leads them until he becomes parables and does not improve the equipment. This guide has great practical importance. No matter how good the singer joined the choir, he meets the manner of singing, with the receptions of the conductor, he is not yet familiar with him, and therefore it is irrational to immediately put it on the position of a completely independent singer. The head of the choral party is in this case an indispensable Assistant of the conductor. Understanding when testing the voice, hearing, knowledge and skills of the singer's chorus, the headman must immediately allocate an experienced singer in his choral party and give a novice under his leadership.

It is clear from here that only so many singers can be taken again in a choir party, but there are experienced who may lead newcomers in it. Upon compliance with this order, the newly joined can be brake for his party, to interfere with it: at the first mistake, he will be stopped by the senior singer leader. Over time, when such a newbie will gradually acquire an experiment, there is a conductor techniques, learn how to support both private and general ensemble, system, etc., - he becomes an independent singer. For such a tutorial experience, the singer is useful to give someone out of time: watching the mistakes of his student, he will clearly understand, KIC was necessary for him to go through this "course."

The heads of the choral party should, choose from its composition of one singer, who would have given notes of his party. It is recommended to start five good, durable folders - four for the choir (one on the party) and one for the conductor. The librarian, receiving an indication from the conductor, which writings and in what order will be worked out at the rehearsal, according to this, it lays notes on folders and transfers them allocated to singers. The conductor announces a thing to be worked out. Music folders will distribute notes and, at the end of work on this thing, they immediately collect them back to the folders; Even the headman should not, besides the victims of the folders, to dispose of notes, - while complying with this, the folder with notes will arrive at the end of the rehearsal to the librarian in the same order, in which he issued them. The conductor is directly the librarian directly.

All listed organizational events are of great practical importance. In the choir everything should be connected, bonded, snap. With a clear organization, no violation of the musical or public side of the case should take place: organizational functions are precisely distributed, each section of organizational work is given to the appropriate hands. Each link wisely coordinates its work with another in the name of the interests of a common cause, the organicity and discipline necessary for fruitful artistic activities are implemented in the chorus.

Often on a conductor requiring discipline, there are complaints: it is reproached in excessive rigor, in excessively increased requirements. Of course, all unreasonable requirements are subject to condemnation.

We will try deeper to delve into this question.

We are known from experience, which disappointing results sometimes have such "requirements." How can it be required, for example, a personal location or sincere and heart participation in general artistic work? This can only be desired, but it is achieved by not the requirements, but in other ways. It is necessary to be demanding primarily to yourself and know that all the work of the conductor with a choir should be a creative act that the rise, controlled by a sense of artistic measure, should be a permanent satellite of the conductor and in preparatory work, and in public performance.

The conductor should always be externally tidy, welcoming, never to allow rudeness: it should firmly assimilate that rudeness and fine artwork exclude each other.

The discipline of the choir is divided into external and internal. External discipline is an order, a prerequisite for any collective work. This external discipline is necessary as a means for upbringing and approving the discipline of the internal required during artistic work. Caring for the maintenance of external discipline is a direct business of the choir's heads and the elder of choral parties, they calmly and reasonably establish an external order needed for work. But if only headmasters take care of the maintenance of external discipline, then this is not firmly. The conductor and himself should gradually and patiently instill a sore sensible and conscious external discipline. It is necessary that the singer, under the influence of the soft persistent impact of the conductor, disciplined himself, clearly realized that the outer discipline depends on it that it was necessary and that only the choir is capable of creative artistic work.

External discipline creates in the choir the atmosphere of seriousness, deep respect for art, the external order and the concentration that is introduced in the region of the internal artistic discipline. Thus, the domestic discipline is closely related to the discipline of the external. Without it, the conductor, along with the choir, it will be difficult to make his classes creatively meaningful. Creative work and the more artistic performance - the process is thin and complex. It requires extraordinary concentration, thoughtfulness, mood, depth. Creative ascent, which causes genuine artistic performance, can not be caused artificially and hastily. But we can prepare for him. These paths are the strengthening of external discipline and ensured by overcoming the technical difficulties of the material being worked. When the disciplined chorus overcomes these difficulties, then the paths leading to the area of \u200b\u200bthe discipline of the internal artistic order, if there is only a rise and inspiration may appear.

Only with a thorough observance of all the requirements of the external and internal discipline chorus becomes capable of inspired and artistic execution and the case of the choir becomes a genuine business of art.

For the successful operation of the choir, the musical gifts of each singer is of great importance. Therefore, when taking a new singer, a conductor should pay sufficient attention to his musical gifts. The musical gifted singer has an idea of \u200b\u200bthe beauty of sound, and therefore, and the desire to find such a sound; It will take very few instructions and tips so that the proper sound was found. When learning elementary information about the breath and formation of sound, a musically gifted singer with very few exercises quickly reaches good results. The more in the choir of musically gifted singers, the easier the choir understands and perceives the requirements of the conductor, the more he has time in his work.

Two words about the number and duration of rehearsals. From the practice of many years we come to the conclusion that the smallest number of rehearsals for amateur choirs are two per week. With one rehearsal, the results of the work done almost without the residue are dissipated to the next, the acquired skills are smoothed. Under these conditions, the results are not felt, the singers have an interest in work.

Professional choirs should be engaged daily (except weekends). The duration of rehearsals should not exceed 2½ hours: the first compartment 1¼ h., Rest - ¼ h. And the second - 1 h.

__________________

* Considering the question of the compositions of the choir, P. G. Chesnokov does not give the characteristics of the artistic possibilities of one or another type of choir. (Approx. S. Popova).

* Pay attention to the peculiar use of terms: "Full choir" and "incomplete choir." Under the "incomplete" - P. G. Chesnokov understands the Choir of a small composition, "Full" the same choir is such a choir in which choral buses can share to groups. This is contrary to the current understanding of the above terms. Under the "incomplete" means a chorus, in which there is no choral batch, such as a chorus consisting of sopranova, alterate and tenor parties. "Full" consider the choir, in which all choral batchs are evident (spray, alte, tenor and bass), regardless of their number. (Approx. S. Popova).