The timbre and voice type. What is general and what is different? Scenario lesson "Timbra - Musical paints Questions and tasks

20.06.2019

During the classes

1. Organizational moment. Greeting

Estimated leaf of studying in class:

"The best interlocutor" (the ability to listen and hear the responses of students)
"Best Researcher" (the ability to work with the text of the Tutorial - Tutorial, Workbook)
"Best Listener" (listening to music)
"Best Artist" (Fulfillment of the Song repertoire)

Record in notebook:

Topic of the lesson: timbres - Musical paints

The purpose of the lesson:

expand knowledge about tech
hear the role of the timbre in creating a musical and picturesque image

2. Experience of creative activities students in the process of mastering musical knowledge

Teacher: In elementary school, you compared musical sounds with paints in painting, said that every musical instrument has its own unique sound, its timbre. So, the organ and flute sound differently. Attachment 1 .

Record in notebook: Tembre - "Sound color"

Teacher: What do you think musical timbres often compare with paints in painting.

Pupil:Like paints expressing the color wealth of the surrounding world, creating flavoring works of art and his mood, musical timbres also transmit multipleness of the world, its images and emotional states.

(The student finds an expulsion response on the music textbook page 117).

Teacher: Explain the expression: "Music is inseparable from the timbre in which it sounds."

Student: Music consists of a variety of incarnations, and in each of them his own soul is guessed, a unique appearance and character. Therefore, the 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.

Pupil: ...(your answer)

Teacher: Consider a note example 38, page 117 of our tutorial.

Presented a fragment from Sixthonic Suite "Shehherazada" Nikolai Andreevich Rimsky-Korsakov (Appendix 2, Appendix 3)

The composer pointed to the Lento's music pace (slowly), the solo tool - the violin from the family of string tools (it is presented in the illustration) and determined the nature of the sound (expressive).

Teacher:What is known about the character of the violin?

Pupil:Each musician knows that the violin is inherent in a special singer, so it is often charged with a smooth, song melody, which has a special rounded line of lines. (Our tutorial, page 118, helps to remember previously acquired knowledge)

Record in notebook:Violin - Singing, Song.

Hearing music:CD 2, No. 8. N. Rimsky-Korsakov, Schehrazada theme, from Suite "Shehherazada", Fragment

Teacher:The violin has not only the ability to be a singers and a song. She has many talents. What other ability is the violin?

Pupil:Violin's virtuosity is also known, its ability to perform the most rapid melodies with extraordinary ease and gloss. (Helps our tutorial to reveal another violin ability).

We continue to record in the notebook: -virtose

Teacher:Indeed, this ability allows many composers to create not only virtuoso plays for violin, but to use it for the transmission of sounds of not musical nature! Today we will listen to the flight of the bumblebee from the Opera N.A. Roman Corsakov "Tale of Tsar Saltan." Recall the literary plot about the flight of the bumblebee.

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

Teacher:Before listening to music with a note of a tight example 39, page 118. The fast paced "VivaCh" is indicated - "alone". The rapid flight of the sixteenth notch draws us a circling bullet movement.

Hearing music:CD 2, No. 9. N. Rimsky-Korsakov, "Flight of Bumblebee", from the Opera "Tale of Tsar Saltan", Fragment

Teacher:A cello is also included in the strings of broken tools. Appendix 5. The tool is presented on page 119. What do we know about the character of the sound of the cello?

Pupil:The extraordinary heat and expressiveness of the cello brings it closer to the intonation with a living voice - deep, exciting - emotional.

Record in notebook:Cello - Heat, Sound Depth

Teacher:This surprise of the cello sound is unusually warm and expressively and allowed to perform vocal works in the instrumental arrangement. Page 119 presents an illustration of the tool and a notebook "Wise" S.V. Rachmaninova, with a wide, comprehensive, eating legato (arc connecting sounds).

Teacher:Let's open musical reflection diary, page 19. Read the task.

Pupil:Sign the name of musical instruments. Specify the symphony orchestra group in which these tools are included.

Task is performed: "Short ribbon" - fit the word "cello", "Long ribbon" - "Strong Scope Group".

Hearing music:CD 2, No. 10. S. Rakhmaninov, Vocaliz (in Arrangement for Cello), Fragment

Teacher:In our lesson, we will also hear the timbre of the tool from the family of wooden winds - the timbre of the flute. Appendix 6.

On the page 120 textbook presents its illustration. Where lightness, grace and grace in music, there and reigns flute. What do you think is characteristic of flutes?

Pupil:The sophistication of the leaky of the timbre in combination with its inherent high register give flute and touching expressiveness (as in the "melodies" from the opera K. Glitka "Orpheus and Eurydic"), and graceful wit.

Teacher:"Joke" I.S. Bach from Suite No. 2 for the orchestra - an example of such an elegant - humorous sound of the flute. In a new example 41, we will see the "openwork", "fluttering" note record for flutes.

Teacher: Musical Reflection Diary again, page 19. We will continue to perform the task. What musical instrument, the group of the symphony orchestra you enter?

Pupil:"Short ribbon" - fit the word "flute", "Long ribbon" - "Wooden Spirit Group".

Hearing music:CD 2, No. 11. I.S. Bach, "Joke." From suite number 2 for orchestra, fragment

3. Conclusion

Teacher:The musical material of the lesson has been studied. What can be concluded?

(Students determine the output of the lesson on their own and using the textbook textual material studied)

Among them:

Each musical instrument has its own timbre.
Music timbres can be compared with paints in painting
The timbre helps "see" the musical hero
Music is inseparable from the timbre
... (your answer option)

Writing in notebook: Each musical instrument has its own timbre.(or write output previously voiced)

4. Homework

Diary of musical observations (p.18)

Teacher:At the lesson, you expanded our knowledge about Tembré, listened to music performed by violin, flutes, cello. Read in the diary of musical observations, page 18 tasks.

1. What instrumental timbres would be given different sounds of nature?

Overflows of sea waves ...

Singing nightingry ...

2. Can I "voice" silent nature, endow your own timbre

wild flower…

mighty tree (oak) ...

(Due to the fact that the task is determined in the framework of the material study of only this lesson, that is, the timbre of violin, cello, flutes, then the answers are heard in the lesson. The houses remain the answers only to write down.)

5. Vocal-choral activity

Diary of musical observations, pp. 72. "Violin", poems I. Bivovarova, M. Slavkin Music

Teacher:So, at our lesson:

we expanded our knowledge about Tembre
studied to listen and distinguish the timbre beauty of violin, cello, flutes
read musical texts in the textbook;
studied beautifully and correctly sing
considered the performance of the homework.

Thanks for creativity in the lesson!

Lesson 28.

Topic: timbres. Temmers - musical paints.

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

N. Rimsky-Korsakov. Theme Shehherazada. From the Symphonic Suite "Shehherazada" (hearing).

N. Rimsky-Korsakov. Flight of the Bumblebee. From the opera "Tale of Tsar Saltan";

Musicians.German folk song (singing).

M. Slavkin, poemsI. Bivovarova. Violin (singing).

Additional material:

During the classes:

Organizing time.

Message Topics lesson.

Work on the lesson.

Timbres - musical paints

Purpose: to acquaint students with the diversity of the timbres of the symphony orchestra.

Tasks:

forming artistic culture of students: listening attention, performing activities, such as self-expression of experiences in singing, musical and rhythmic activities (game on instruments);

Develop musical hearing;

Optimize the creative quality of personality.

Slide number 1.

Teacher:

Two works in front of you: one black and white, and the second is colored. Which one is more expressive, bright, beautiful?

And with what artist is achieving this expressiveness and beauty?

With the help of paints.

Sometimes the symphony orchestra is compared with the palette of the painter. Can we talk about paints in music? And if so, what is it for the paint? ..

Of course, we will talk about the color of the votes of musical instruments or about the timbers.

In music, too, have their own paints, which are skillfully used by composers. After all, each tool has a unique voice or as musicians say their timbre ...

The same note can play different tools, but ... the string sounds differently than a metal or wooden plate, and the wooden tube will sound not as glass.

The topic of our lesson: "The timbres - musical paints" ( slide№2. )

And our tasks ... (We read on Slide№3):

Today wewe introduce with timbrabrass I. shock tools and tryprove that the voices of these tools are not onlydifferent from each other, but also havea variety of color .

This will help me not only the guys who prepared information about instruments, but all of you.

Listening to the tool votes, you need to pick up "color" corresponding to the tool timbre: for example, a ringing is bright color, deaf - dark. You can use the shades of colors, you can connect several colors ...

Teacher: So, get acquainted with a group of wooden wind instruments. The name of the "brass" says how the sound of these tools is extracted .... That's right, they blow in them. And they began to call them wooden because they did from the tree ...

Slide number 4.

Once the wooden tools were made of wood, from here and their name "wooden". But in our time they are made from other materials, such as plastic, metal and even glass.

Slide number 5 flute

Pupil: Flute is one of the most ancient musical instruments. Its origin is lost in the depths of the centuries, but the modern flute is far away from the old one. It has the highest voice among the winds. She has no equal in the imitation of the world of nature: bird votes, in the image of fairy creatures, inhabiting forests, rivers.

Its sound is lightweight, ringing, light and movable

Listen(We select the color of the flute voice).

Slide number 6 oboe

Pupil: Entering the orchestra in the 17th century, the oboe immediately became a cumome of musicians and music lovers.

Goby is best possible to express lyrical sentiment, gentle love, submissive complaint, bitter suffering.

The sound is warmer and thick than the flute, his voice can be recognized as if on the "nasal" shade.

Listen(We select the color of the gob's voice).

Slide number 7 Clarinet

Pupil: It appeared only in 18 months, but it is the only one of all the change in the sound of sound from a powerful to barely audible. The clarinet is all available: it is good for expressing joy, passion, dramatic feelings.

The sound is very clean, transparent and rounded, is distinguished by nobility.

Listen(We select the color of the vote of the clarinet).

Slide number 8 Bassoon

Pupil: Last Film Group of Wooden Tools- Bassoon . Appeared in the 17th century, as the lowest sound tool. This is a bass. His wooden trunk is so great that it is "folded" in half. By this, he resembles a knitting of firewood, which reflected in his name: "Fagot" from Italian means "knitting".

His sound accurately characterizes the writer of Griboedov in the "grief from the mind": "... Hircun, an extravantory, a baroon ...". Indeed,fagot's timbre is a bit harmful, grinding, as if the voice of an old man.

It can be a grumbling, mocking, maybe sad, sad.

Listen(We select the color of the voice of the Fagota).

Slide number 9 Copper Spirit Group

Teacher. The next group of wind instruments is copper. As the name shows, the material from which the tools are made are metal, although not necessarily copper, often it is brass, tin, etc. alloys. In the orchestra "Copper" can easily drain the rest of the tools, so composers enjoy their sound with caution.

This group appeared later than other orchestral groups. It includes: pipe, horn and tube. Acquaintance with copper tools Let's start with the pipe.

Slide number 10 Pipe

Pupil: In the Middle Ages, the pipe accompanied the festivities and solemn rites, convened the army to fight, opened knightly tournaments. Often it performs militant signals that began to call "fanfares".

Sound is a bright, far-flying, festive, solemn.

Slide No. 11 French

Pupil: It happened from the ancient hunting horn. The name "French horn" from German means "Forest Rog". The length of the metal tube reached almost 6 meters, therefore it was bent like a sink. Floor, sincere voice allows you to perform wide, smooth melodies.Sound - Soft, "lazy", warm.

Slide number 12 Tuba

Pupil: The lowest sound tool among copper is tube. She was created in 19VEK.

Sound - thick and deep, "badly".

Listen(We select the color of the tube tube).

Slide №13 percussion instruments

Teacher. We approached the last group of orchestra - shock tools. This is a large group in which Litales include, small and large drums, there, there, triangle, bells, bells, xylophone. All of them combines a general way to extract sound - a blow. Element of these tools - rhythm. No other tool can give music such elasticity and dynamic, as shocking.

The constant, mandatory participant of the orchestra is only one tool - Litavra.

Slide №14 Litavra

Pupil: Litavra - an ancient instrument is copper boilers, tightened on top of the skin, on which they hit a small beater with a round soft tip.

The sound of a variety of shades: from barely audible rustle to a powerful screen. Can transmit a sense of gradual accumulation of rhythmic energy. Listen

Slide №15 xylophone

Pupil: Xylophone – the tool, with a set of wooden plates, on which they hit by two hammers.

Sound is a sharp, tickling, strong.

Listen(We select Color Voice Litavr).

Teacher: And now, while assistants will place your work on the board, we will expressively read the characteristics of the timbres of all tools

Slide №16 (read expressively)

The flute: Easy, ringing, light and movable.

Oboe: Warm and thick with a "nasal" tint.

Clarinet: Clean, transparent and rounded, noble.

Bassoon: Slised, grinding, "hairches".

Trumpet: Bright, far away, festive, solemn.

French horn : Soft, "Lazy", warm.

Tuba: thick and deep, "badly".

Litavra: From barely audible shore to a powerful screen (tapping on the hand with an increase in the hand).

Slide number 17 (conclusion)

Why musical timbres compare with paints.

Teacher : Yes, the color of the sound of tools is rich and diverse. They can really be compared with paints in painting andyour drawings demonstrate how diverse the range of colors, and therefore the voices of the tools, the timbres are the same diverse.

Block number 2.

Game on tools Slide number 18

Teacher. The orchestra is a special country. She lives in his laws. Any tool in the hands of a musician has its own duties and if he does not fulfill them, then destroys the whole, violates harmony.

THE TASK:

Now a few students will try to come up with their rhythmic accompaniment on impact tools (tambourine, spoons, flute and maratas).

Call 2-3 times and evaluate execution.

Teacher. The guys performed very well rhythm on the drum tools, and felt that this was not very easy to create harmony in the orchestra.

Block number 3. Slide number 19 Crossword (Each word crossword opens by clicking)

Teacher. And now it's time to check how you remember the tools of the brass group, one of the most diverse voices in color.

You have on the desks there is a sheet number 2(Appendix 2) In which you enter the answers, and then check all together.

Slide №20 Ancient Greek theater.

Teacher.

Vocal choral work.

Music is generally inseparable from the timbre in which it sounds. Whether the human voice or the shepherd sweater sings, hears the violin singing or the burdulous voice of the Fagota - any of these sounds is included in the multicolor palette of the timbre incarnations of music.

Music sets up on thinking, wakes fantasy ... Imagine that we are in ancient Greece and our class is "Orhestra" - the place where the choir was located, and we are a choir. And finished the lesson of the beautiful song "Music sounds", and your work to this song can be viewed on the screen.

Slides from 21 - 37 pupils for the song "Music Sounds".

Crossword

Horizontally.

He leads the whole orchestra.

In the Middle Ages, the game on this copper instrument was accompanied by knightly tournaments, military ceremonies.

In ancient Greece, the place was so called for the choir.

This wooden-braided tool has a low voice.

The name of this copper tool translated from German means "Forest Horn".

Wooden-brass instrument.

The ancestors of this wooden-brass instrument are reed twinkles and swirls.

Homework.

Pupils for the song "Music Sounds".

"The most difficult subjectively sensible parameter is the timbre. With the definition of this term, difficulties are comparable to the definition of the concept of "life": everyone understands what it is, however, for a scientific definition of science has been fighting for several centuries. "
(I. Aldo)

In nature, we almost do not encounter clean tones. The sound of any musical instrument is complex and consists of a variety of frequency components - overtones.

Even with very complex sound fluctuations, human hearing is able to recognize the height of the sound. However, at the same height, the sound, for example, violin differs for rumor from the sound of the piano. This is due to the fact that, in addition to the height of the sound, the hearing is able to evaluate the "color" of the sound, i.e. His timbre.

The sound of sound is called such a sound quality, which, regardless of frequency and amplitude, allows you to distinguish one sound from the other. The sound timbre depends on the total spectral composition of the sound (that is, on which overtones are present in it) and the ratio of the amplitudes of spectral components (i.e. overtones):

Ochtons

The concept of tone is closely related to the concept of sound height. The fact is that sound oscillations are usually complicated.

For example, if we took the first octave note on the violin (frequency of 440 Hz), then multiple frequencies 880, 1320, 1760, 2,200 Hz, etc. will also be present in the fluctuations of this string.

At the same time, the amplitudes of these frequencies (overtones) may be different, i.e. Opertones will have different volume.

German physicist Georg Ohm first expressed the idea that a simple auditory is caused by simple sinusoidal oscillation ( such oscillation is also called harmonic, it is important not to confuse harmonic oscillations, i.e. Those described by the functions y \u003d sin x, etc., and harmonic overtones, which are also harmonious oscillations, but their frequencies are also multiple the frequency of the main tone). As soon as the shape of the oscillation becomes more complicated, overtones appear - the impression of the color of the sound or its timbre.

An example of the occurrence of complex oscillation by adding two simple (harmonic) oscillations.
Blue is marked with the main harmonic oscillation, pink - oscillation twice as long as the overtone or first harmonic), and green - the resulting complex (non-harmonic) oscillation.

We managed to establish that the ear perceives individual harmonic components of sound, and these components cause separate sensations. With a certain training, you can even mentally divide the complex periodic oscillation and determine which harmonics are present in sound.

Thus, the human hearing is able to perceive the complex form of sound oscillations as a color or timbre.

Harmonic overtones or harmonics

Obertones are harmonious and non-harmonic.

The frequencies of harmonic overtones are multiple the frequency of the main tone (harmonic overtones together with the main tone are also called harmonics):

In real physical situations (for example, with oscillations of a massive and rigid string), the frequency of overtones may noticeably deviate from the values, multiple frequency of the main tone - such overtones are called non-harmonic.

Spectral composition and timbre

The amplitude-frequency ratio of all components of complex oscillations is called the spectrum of sound, and the sounds corresponding to each frequency present in complex oscillations, spectral components or components.

A set of spectral components determines the timbre of sound. And since each spectral component is the sound of a certain height, talking about the rubre as a separate property of the sound is not entirely correct. However, it is the voice of sound (or rather - the spectrum) is usually the focus of attention when it comes to sound processing technologies.

Examples of the spectral composition of musical sounds:

Sound timbre, i.e. Relationship amplitudes of its harmonic, affects the perceived height of complex tone.

Phantom frequencies

Sometimes a person can hear sounds in a low-frequency area, although there were no such frequency in reality. The brain perceives the height of the tone not only by its main frequency, but also in the frequency defined by the attitude between the harmonics. We can perceive the same height (possibly with another voice) even if the main frequency is not audible (or lost) when playing. (The frequency signals of the complex spectrum without the main frequency (first harmonics in the spectrum) are called residual.)

For example, if a note (that is, not pure tone) has a height of 100 Hz, it will consist of frequency components that are whole to be multiple of this value (for example, 100, 200, 300, 400, 500 .... Hz). However, small speakers may not play low frequencies, so there may be no 100 Hz component when playing. Nevertheless, the frequency corresponding to the main tone can be heard.

This effect was called the "phenomenon of missed fundamental" - the 1940 experiment demonstrated that the feeling of the tone height of the spectral complex sound will not change if it is removed its main frequency, it will be completed with a brain based on the existing harmonics. It is used in the sound-reproducing equipment to expand the area of \u200b\u200breproducible low frequencies, if it is impossible to adequately reproduce such frequencies directly, for example, in headphones, mobile phones, low-budget speakers (acoustic systems), etc.

The timbre of a musical instrument is determined by the material, shape, design and conditions of fluctuating its vibrator, various properties of its resonator, as well as the acoustics of that room in which this tool sounds. In the formation of the timbre of each specific sound, its overtones and their ratio in height and volume, noise ghosts, attack parameters (initial sound removal pulse), formants, vibrato characteristics and other factors have the key value.

During the perception of timbres, various associations usually arise: the voice specificity is compared with organoleptic sensations from certain objects and phenomena, for example, sounds called bright, shiny, matte, warm, cold, deep, full, sharp, saturated, juicy, metal, glass; Actually auditory definitions are applied (for example, ringing, deaf, noisy).

The scientifically based tone typology has not yet developed. It has been established that the timbre rumor has a zone nature.

The timbre is used as an important means of musical expressiveness: with the help of the timbre you can select one or another component of the musical integer, strengthening or weakened contrasts; Changing the timbres is one of the elements of musical dramaturgy.

Very extensive banks of new (mainly artificially synthesized) timbres are created today in the field of electronic music.

Literature

Hazaykin E. , PAGS Y., The perception of musical timbres and the importance of individual sound harmonics, in the book: Application of acoustic research methods in music science, M., 1964.
Garbuzov N. , Natural uluses and their harmonic importance, in the book: Collection of work of the Commission on Music Acoustics. The truths of the hymn, vol. 1, M., 1925.
Garbuzov N. , Zone nature of timber hearing, M., 1956.
Volodin A., The role of the harmonic spectrum in the perception of height and sound of sound, in the book: musical art and science, M. 1, M., 1970.

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Synonyms:

Watch what is "timbre" in other dictionaries:

Tembre, and [TE] ... Russian verbal emphasis

timbre - Tombre, and ... Russian spelling dictionary

timbre - timbre / ... Morphemno-spell dictionary

- (FR.). The shade of the sound of the same tone on various voices or tools. A dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. The timbre of the tint of the sound of the same tone on various voices or tools. ... ... Dictionary of foreign words of the Russian language

- [TE], and; m. [Franz. Timbre] The characteristic color of the sound, communicated to it by obhrothons, the pride, according to which the sound of the same height differ from each other. Pleasant, low t. Various timbres. T. Votes, tools. ◁ Temmers, Aya, Oe. ... ... encyclopedic Dictionary

- [TEMBR], timbre, husband. (Franz. Timbre). Characteristic color, communicated by the sound of a tool or vote by obhtonami, the pride. Soft timbre. Sharp timbre. Cello, violin timbre. Public sounds of speech differ among themselves ... ... Explanatory Dictionary Ushakov

timbre - A subjectively perceived feature of the sound in the form of its coloring associated with the simultaneous effect of different-frequency sound oscillations included in the complex sound. Dictionary of a practical psychologist. M.: Ast, Harvest. S. Yu. Golovin. 1998. ... ... Big psychological encyclopedia

timbre - The definition commonly used in psychoacoustics. The timbre is an attribute of the auditory feeling, in whose definitions a listener can judge the extent to which two sounds are distinguished, represented similarly and having the same volume ... Technical translator directory

- (Franz. Timbre) ..1) In the phonetics of the color of the sound, defined by the position of the formant in the frequency spectrum of sound2)] in music, the sound quality (its painting), which allows distinguishing the sounds of the same height, performed on various tools or different ... Big Encyclopedic Dictionary

TIMBRE - timbre. Qualitative characteristic or specific coloring of sound, in the physical sense, which is a certain combination of tones. T. is characteristic of musical sounds, for the sounds of human speech. Existing languages \u200b\u200bdiffer on T. How ... New dictionary of methodical terms and concepts (theory and practice of learning languages)

TIMBRE - Tombre, sound quality, allowing when one and the same height distinguishing the sounds of individual musical instruments, the sounds of the voice of different people, etc. The timbre is due to the presence in the composition of the sound of overtones and is determined by the relative intensity ... ... Big medical encyclopedia

Books

Set of tables. Physics. Mechanical waves. Acoustics (8 tables) ,. Educational album of 8 sheets. Article - 5-8665-008. Wave process. Longitudinal waves. Transverse waves. Periodic waves. Reflection of waves. Standing waves. Sound waves. Sound height. ...

Often, it is necessary to face the fact that people who are at the beginning of their "vocal" path and not too breaking even in basic concepts (not that in the subtleties), poorly understand what the timbre is, and what is the type of voice.

On the one hand, learning to sing can not understand this thoroughly. Although on the other hand, any vocalist, seriously standing on his way, will be just ridiculous in the eyes of his colleagues, if it turns out that such not too complex things he does not understand.

I'll start with the most simple Quantitative Comparisons to immediately explain the main difference in these concepts.

Each specific person has only ONE Voice type, but Tembra He can have a huge set.

It is due to, first of all, the geometric sizes of voice folds and larynx, especially the part named "in anticipation".

It is important to know that other parts of the vocal apparatus, located above the larynx itself, are very mobile and manageable (subject to training, of course). But the folds and the mountains herso themselves can be changed once in his life, and even something unconsciously.

This occurs in a period called "puberty", or, in a simple - transitional, mutational period. Although the word "mutational" in modern language is almost crumpled, having a shade of some "Monsterness", in a word, genetic inferiority. Therefore, I will not use it.

*****

A publ of life is a transitional age, the time of turning the children's body into an adult. And the adult from childish is different (in addition to the size, mass, strength), mainly the ability to reproduce offspring. And the transition to it takes years!

All the restructuring of the body occurs under the action of increasing the amount of special substances in the blood - hormones. These are catalysts of the most complex processes, ultimately turning the boy to the young man, and the girl is in the girl. The processes of restructuring the body can continue from different people at different times. It is not known in advance when "hormonal restructuring" starts, and when it is over.

Since I am writing about vocals, I will immediately go to business - in the period of hormonal restructuring of the body, the larynx is growing significantly and modified, as well as everything that is Inside her! Including voice folds.

When the puberty period ends (I repeat, it is impossible to predict this "date" in advance), the larynx and its internal organs acquire the structure with which the person will have to go through her, alas, ends. That is, there will be no change in this "node" of the body, if only the "owner" himself will not begin his lifestyle to destructive work.

You could on your own example and on the example of our relatives / acquaintances to observe how a children's voice (it is called, as a rule, a discount), gradually turns into an adult voice. And those children who spoke "thinly" a couple of years ago, suddenly turned almost to bass, so much the voice was lower and "meat". Moreover, someone - to bass, and someone and not far from the qualities of his childhood, although the voice has all the same way.

It belongs to both floors, but the male is noticeably better.

I give an example execution by the same person of the same song, but at different times of my life. At one time in the USSR, the Italian boy, named Robertino Loretti, was very famous ...

*****

That is, it is in the pubertal period that the human voice receives a certain A TYPE. Modern vocals operate in this sense not to classical concepts (bass, baritone, tenor, or counterpart, mezzo, soprano), and simpler and natural - low, medium and high.

But the traditions of dividing votes on Classic Types are so strong that there are no one who is not going to go to the opera soon will learn to be expressed "not operating". Although it is necessary to strive now, because, as I will tell below, dividing the types of votes by the "opera" language for modern vocalists is not correct.

But, if so (about the transitional period and larynx), then like girls and boys, however, are rare cases, worse to sing adult songs are not worse than a superstar? If their ladins and ligaments have not grown yet, did not become adults? Soon you will learn ...

What "builds" human voice timbre is the folds themselves and what is ABOVE voice folds - Cavities (Empty, or, rather filled with air) spaces located along the path of the flow of air from voice folds before the sound of the sound from the mouth.

Change your folds after the end of the "growing" we cannot, but it can easily change their cavities, at least every second ...

Such cavities are pharyngeal, mouth and nose. And they are called resonators in vocals - respectively, pharyngeal, oral and nasal.

Here you need to lie and understand that the voice is built basically "empty places" in our body, and not "material" authorities. Although the role of "material" in this business is huge too.

*****

As it was written somewhat higher - these cavities can take different sizes, narrowing and expanding, lengthened and shorten, or make complex "maneuvers" - expand, extending, for example ... the nasal cavity can "connect" to two other or "disconnection" from them (in the figure you see, just "disconnected"), and immediately over the folds, on the eve of the larynx, an experienced vocalist can learn to "grow" another cavity, which does not exist when talking, but it is very important when singing, it is professional singing .

With ordinary speech in our body, they work mainly two main cavities - a throat and mouth, because the nasal cavity, this, let's say, auxiliary, and the small cavity that you want to create, inexperienced speaker or vocalist, as a rule, "from Nature "has no.

Now think about how many diverse timbres can be published, having only TWO lever, length and width of which (and more correctly will take advantage of the term - CONFIGURATION) Can change in fairly wide limits? We can change the throat, lowering or raising the larynx, expanding the anchoring method of some large muscles of the body.

The oral cavity is changing the size and shape of the oral hole, lifting or lowering the jaw, but most importantly, by placing the language in one way or another ... and the placement of the language at the same time will affect the pharyngeal cavity ...

And if vocalist is professional? And he has two "levers", and four?

Number of variations of timbre Hugely! And this is at the same thing Type vote!

But, alas, the timbre itself is quite large depends on the type of voice. That is, the timbre is not something "in itself", it variations Voice As part of its own type.

Suppose you bought "Zhiguli" ... What and how you would do with the car, no matter how they were decorated, whatever the "increments" neither loose on the body or put in the salon - "Zhiguli" will remain "Zhiguli" ... and bought "Mercedes "? Continue to continue? I think the comparison is quite understandable ...

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In addition, "typical" vocal structures, first of all, the voice folds themselves can create a huge number of different variations of their vibration. That is, to offer the above-described "levers" completely different "primary material"!

Voice timbre - a phenomenon that, unlike its "type", can change from sound to sound, for, literally, milliseconds. That is, of that time Enough To change the configuration of cavity resonators and changes in the "method" of the work of voice folds. The variability is the main difference between the timbre from type.

In the examples, the same phrase, the same male and female voice, and the timbres are different! I.e TIMBRE - this is not at all the "concreted" nature of the color of the voice, it can be changed, unlike Type!

What is the reason for the difference between a female voice from male

The reason for these characteristics is in the type of voting, that is, in the sizes of its main sound generator, voice folds. And in the size of the larynx. And in the case of sex differences (a man-woman) also in the sizes of cavities resonators.

"What about counter-tenor?" And I wrote - HE SPEAKS, but not Sings! Singing - the function is more complicated ...

Does the timbre about the type of voting, and the type of voice about the tech?

Is a high male voice Create a timbre, similar to a low voice timbre on a characteristic low note? Unfortunately no. And on the contrary? Also no. And the high note, Spetya, the middle voice will differ from the same notch, the spell voice is high. But (this is important!) If And the qualifications of vocalists will be the same!

Otherwise, the professional baritone (by type) will easily "shut up for the belt" of a beginner tenor, who, even though a typical tenor timbre, but simply the voice is not developed to the level of professional! Nature is one thing, and learning is completely different!

Voice type is important for academic vocals. And, of course, to a certain extent for the vocal of modern, but only in much smaller. The classic will necessarily require accurately determining the type of voice before you start developing it in it, classics, traditions.

Just because the opera parties are written for one or another Type vote. The tenor does not sing in the opera batch for bass, and soprano will not cope with the party for contralto. And mutually, of course. Therefore, if you want to become an opera singer (singer), first will try to determine your type of voice, just to give you to workout the appropriate exercises and the corresponding voice of the music material - Aria, Arioso, etc.

And in the case of type determination, the initial timbre is very important. That the timbre that you have "in life" exists, since the victorious to learn vocalist can not manage them yet. This "uncontrollable" (so far, by virtue of the unlike) timbre and will be a "bearing" for the teacher. Because uncontrollable, or in a simple "ordinary" voice challenge will clearly show himself Voice type.

It is called it - typical.

Further, depending on the voting type defined teachers, all studies will be built. From a low voice will be released (if it comes out) - bass, from the middle - baritone, and from the high - tenor. Thinner gradations determined by the expressions "lyrical", "dramatic" or "lyrical-dramatic" will be determined already in the course of study and as it is trained. Similarly, with women.

And only when "comes out", you will be called bass or soprano. Until "came out" - you are not yet bass and not soprano. You are a low type, or high ... To consider yourself a baritone, you need to develop a voice to the capabilities of the Opera Bariton. And the timbre of Bariton here will be only a consequence.

Why do you need vocal technique and how it affects voice

The other reason for the consequence, that is, the changes in the tone is ... Vocal technique! It in the classics and modern vocalists differ significantly, as written on the site in many articles.

The person who owns the vocal technique can change its timbre arbitrarily (although still - only within the type of his voice). And the palette of sounds, which is subject to the modern vocalist, is largely significantly superior to the possibilities of vocalist academic. But there are features in which the classic wins is undoubtedly. You just need to understand that the timbres of the voices that the classic vocalist seeks, is needed for the classics.

But for songs of other styles and timbres you need to be able to create others!

Perhaps this is such a metaphor will be enough and understandable - the typical voice timbre is similar to a naturally human body. Each of us has its own figure, and it is not always ideal and perfect. When we begin to learn vocal technique, then, to some extent, we begin to "dress." And clothing you can hide disadvantages and emphasize the advantages!

And our future opportunities, the style of singing, depend on what technique we will teach us. Or, metaphorically, what clothes we put on your voice. Classic fracture or costume, a ball gown will look great in the Opera House, but it is strange to look at the rock concert or in a pop star show. Conversely, in trendy jeans and blazer, with some original accessories or piercing you can not get into a serious restaurant or club ...

That is, everything has its place. True, if a person can change his costumes as many times, then in the case of voice, this "trick" will not pass. It is almost impossible to change the vocal technique during training, it will always be "noticeable", like clothing not in size.

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Vocal technique is not intended to Change voice timbre, she needs him Enrich! Or "refer", as they often say, having in mind classic vocals. Anyway, the timbre of the singer's voice is not just his (her) colloquial timbre, it is significantly different, it is much richer. If, of course, talk about a qualified singer, and not a young man with a guitar in the campaign ...

But there exists in the vocal not only typing votes, but also typing timbres. In view of not personal timbres of a particular human voice (naked body), and his "clothes", timbres, purchased with training, experience ...

In modern vocals, there are several basic timbres that are most common from singers who are called vocalities. And unlike the modern vocal, the classic is built only on one basic tech, which is called - Opera vatility.

We listen to the tenor or baritone, soprano or contralto, but with the difference Types their votes Valtility Sounds one - Opera! Frak or ball gown!

Whereas in vocalists singing a modern repertoire, firstly, a completely different timbre, that is, the Opera vocality is not used, but, secondly, during the song, vocality can change many times. Yes, and different rock or pop, soul or r "n" b vocalists, having the same type of voting, we completely distinguish them on their characteristic "dressing", according to the vocalities used, as a rule.

That is why it is wrong to call the type of voices of modern singers with opera, classical names. I don't care what to say "denim fraction" or "Blank Ball Gown" ... This is a stereotype and rudiment, which got from academic vocal, and use these terms only within the framework of the classics.

Conclusion

Well, how do children manage to sing, how are adults "stars"? Returning to the question, which herself asked himself in the middle of the article ...

Close your eyes and listen in performance ... Do you decide that the adult sings? In any case, the type of vote will show itself. Yes, great, yes beautiful ... But the fact that these children sing is heard! And the reason for this "shade" - the geometry of vocal bodies responsible for the voice FIRST OF ALL!

And why so close to the original sound, such a speaker and expressiveness, such a magnificent timbre? That's it - the timbre! Because you can manage your timbre so much! But, at the same time, I repeat, anyone will hear that it is girls, not adult women ...

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Therefore, the most important advice arising from the entire article - do not attempt to change the type of your voice, because it is impossible to do this. Try to the maximum "squeeze" from it that it is possible to squeeze at all possible, that is, learn to change the voice to the voice at every particular moment, reaching the right sound, the necessary vatility!

It is not easy, but it is precisely that is the maximum of professionalism!

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And with the following article, let's talk about the types of votes in more detail ...

Use of materials of the site is allowed subject to a mandatory reference to the original source

The timbre and voice type. What is general and what is different? Scenario lesson "Timbra - Musical paints Questions and tasks

Read also

During the classes

1. Organizational moment. Greeting

2. Experience of creative activities students in the process of mastering musical knowledge

3. Conclusion

4. Homework

5. Vocal-choral activity

Ochtons

Harmonic overtones or harmonics

Spectral composition and timbre

Phantom frequencies

see also

Literature

Watch what is "timbre" in other dictionaries:

Books