Types of children's singing activities. Vocal and choral education

Singing to develop musical perception:

listening to songs not meant to be sung;

listening to songs intended for their subsequent performance;

singing melodies and exercises to develop ideas about pitch, timbre, duration, strength of sounds (development of sensory abilities).

Song performance:

singing with and without accompaniment;

singing with your own accompaniment on children's musical instruments;

singing to accompany movements (round dances).

Singing in musical and educational activities:

singing exercises to acquire singing skills and musical knowledge;

pedagogical analysis of songs (the most vivid means of expression, structure, character, etc.).

Song creativity:

improvisation;

composing melodies for given texts;

composition of round dances.

Various types of singing activities are closely related to each other, have a mutual influence: performing and listening to songs, singing and exercises, listening to songs and singing, etc. The forms of their organization are also varied: classes (collective and individual), independent activities, holidays and entertainment.

The purpose and objectives of singing. The main goal is to educate children of a singing culture, to familiarize them with music. The tasks of singing arise from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. To develop musical abilities (emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm).

2. To form the foundations of singing and general music culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).

3. To contribute to the all-round spiritual and physical development of children.

These tasks are solved on the basis of a certain song repertoire, the use of appropriate methods and techniques of teaching, various forms of organizing the musical activity of children.

Song repertoire includes:

songs for various types of musical activities (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected in such a way that it corresponds to the physical and mental characteristics of the child, fulfills aesthetic and general educational tasks. Both the music and the lyrics play an important role here.

The singing exercises must be used in a specific system. Their main goal is the development of singing technique, musical ear. Each exercise has some kind of basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the entire complex of skills. Consistency of exercises is essential to keep core skills consistent. The following order of development of singing skills can be recommended (conventionally): diction and articulation, breathing, sound production, range expansion, sound science.

At the beginning of the school year, all age groups are invited to sing exercises for the development of diction and articulation. (This is especially important for younger groups, as they contain children with speech defects.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

Further, exercises are taken for the development of singing breathing. The sound quality, the singing of phrases, and the purity of intonation depend on the correct inhalation (calm but active). It is recommended to inhale simultaneously through the nose and mouth. The exhalation should be calm and slow so that there is enough breathing until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar tunes, songs at an average rate of 2/4, then the phrases are lengthened. There are also exercises with pauses for taking the correct breath.

Exercises for correct sound formation (natural singing, relaxed, melodious, light) take into account the importance of developing a "soft attack" of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jolting. A "firm attack" harms the child's voice, correct singing sound: it is rarely allowed, only as a performing technique. Among the exercises for children 3-6 years old there should be no "beating" on the vocal cords. It is necessary to teach the children to sing long, melodiously.

The same exercises are used to develop the singing ranges, but transposed into different keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble

The purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal feeling and musical-auditory representations), the feeling of the melody's gravitation to stable sounds, the presentation of melodic pitch pattern. Unclean intonation in singing is often the result of a small range of voice. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.

Sense of the ensemble also requires auditory attention, the ability to listen to each other. For children to listen to the singing, it is important to sing softly, at a medium pace.

Songs without accompaniment. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk tunes, small songs. Melodic moves, rhythm are very simple, easy to intonate. The melody consists of one or two repeating motives. Children 4-6 years old sing more difficult songs with a wider range, interesting rhythm and melody. The main goal of unaccompanied singing is to develop the purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and children can focus on pure intonation.

Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that they forgot over the summer. The melody of the song is exactly duplicated by the instrument; melodic moves are convenient for intonation, written in a medium tone, with a narrow range.

At the next stage of training, songs with a more complex rhythm, melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs with an introduction, conclusion, pauses, a chorus, a solo of a different nature are used, which requires melodious or mobile singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts can have a different character). There are already unexpected pauses, small durations, chanting (two notes on one syllable), wide ranges (septima, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with or without instrumental accompaniment.

Songs to accompany movements. When choosing a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, the songs should be calm, flowing in nature.

Movement activates the emotional manifestations of children. The guys always sing songs with movements willingly. Such songs are learned already in the younger groups.

Songs for accompanying movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with accompaniment" section. The combination of singing and movement requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases, simple, of a small range, are used, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes choppy and expressionless.

Songs for playing musical instruments. This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given theme (Bells, Rain, Stream, etc.). The purpose of these exercises is to introduce you to the instrument, to let you play with it like a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the children learn to select melodies by ear from a familiar repertoire (melodies from several sounds).

Pesn and - about samples for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the pitch and duration of sounds, timbre, tempo, rhythm, dynamics, etc. or melodic phrases from already familiar pieces. Children reproduce them as exercises, for example, slap, tap with a stick or play on one metallophone plate the rhythmic pattern of a melody, sing melodic turns on syllables la-la, doo-doo, mi-mi, mo-mo etc., so that the text does not distract from the reproduction of the pitch of sounds.

Singing teaching method. The singing capabilities of preschoolers (singing ranges, singing breathing characteristics, articulatory apparatus) are different in each age group.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years old, from 3 to 5 and from 5 to 6 (7) years. In the first age period, babies accumulate experience of perceiving music, initial musical impressions, experience of sensory-auditory and rhythmic performances, intonation of a melody with a voice. In the second age period, there is a coordination of hearing and voice, music and movements, the combination of knowledge and skills. At the age of 5 to 6 (7) years, practical actions are reinforced by knowledge about music, enriched by it, elements of aesthetic attitude to singing and music in general are formed and visibly manifested.

In the classroom with the youngest children, melodies and small songs of an imitative nature (voices of birds, animals, sounds of the surrounding reality, repetitive intonations) are used. With their help, hearing develops, diction and articulation are formed. It is desirable that the text contains sounds w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (re- salt), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are average, breathing is short.

Children 3-4 years old usually have a singing range re- la the first octave, breathing is still uneven, short, not all have developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands: re- si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average tempo), they pronounce words better. In this age period, songs and round dances about the nature of the surrounding reality are selected, singing exercises are based on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. Children by the age of 5 already use different types of breathing (clavicular, chest, lower rib, and mixed). The melodies are sung more complex, at a slow to medium tempo, the dynamics are quiet and moderately loud.

At 5-6 (7) years, the range is even wider: re the first octave - before second octave (sometimes even re the first octave - re second octave). Children are better at singing breathing - they can sing two-measure phrases at a slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to mobile, the dynamics is from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages - folk tunes, songs, round dances. Their tunes are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.

The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.

At the first stage of work on a song (familiarization, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to awaken interest in it, the desire to learn it. It is important that children feel the moods conveyed in the music, speak out about the nature of the song as a whole, the change in moods in its parts. Only a bright, expressive performance of a teacher is capable of evoking positive emotions in children, experiencing the content of music. A conversation about the emotional-figurative content of the song helps to tune the children to its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they explain to them that it is necessary to sing it melodiously, lingeringly.

At the second stage, the actual learning of the song begins (for 3-5 lessons). In addition to the visual and verbal methods, the practical method is of great importance here. Children master the necessary singing skills, memorize and reproduce the melody, song rhythm, expressive nuances. At this stage, exercises take on an important role. At first, the children learn by imitation, therefore, the teacher's demonstration of the performance techniques and their consolidation in the exercises are very important. The exercises are given as chanting, before the songs are sung. With their help, difficult melodic moves found in the song are learned. For example, before singing the song "Herringbone" by L. Beckman, beginning with a sixth move upward, you can use the song from "Musical Primer" by N. A. Vetlugina "Echo" to prepare children for the reproduction of this difficult interval.

Working on difficult melodies from the song itself requires repeated repetition, which inevitably diminishes children's interest in the song. The exercise, given in a playful way, helps to overcome difficulties and acquire singing skills.

Exercises that have a playful nature, children sing with pleasure not only in the classroom, but also in independent activities and at home. The guys like the tunes associated with the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, rhymes.

When performing singing exercises, children constantly train a singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises are also used, built on one or two intervals. For example, the exercise "cuckoo" is based on the minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of the modal feeling. (The minor third interval is included in the tonic triad, which forms the basis of the fret.) Other exercises can be created in a similar way: imitation of the chibis voice (fifth down), crow croaking (on one sound), etc.

Learning to sing requires considerable volitional efforts from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create play situations, use musical and didactic games, problematic tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical methods, to connect singing with other types of musical activity: movements, playing musical instruments.

At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, and ensemble.

To form the skill of correct sound formation, methods and techniques are used such as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. Melodiousness is associated with sound production. From an early age, it is important to teach children to stretch out vowels, the ends of musical phrases, and learn songs in slow motion. Melodies are helped by singing melodies without words, for a consonant m or l combined with vowels y, oh. In older groups, syllable-dominated exercises are useful. ku-ku, mo-mo. Exercises that begin and end with consonants (ding-ding, tuk-tuk) contribute to mobile light sound production. The method of comparing the sound with musical instruments is also used (smooth sound of a pipe, abrupt and light sound of a bell).

To help children master the correct breathing, they are explained and shown where and how to take breath, how to spend it according to musical phrases. The singing attitude is important for proper breathing - landing straight without lifting

To develop correct diction, the following techniques are used: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop in children the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) with the help of exercises. Deliberate pronunciation of the text makes the singing more expressive. This is facilitated by clear sounding of consonants, soft endings of phrases, semantic accents, etc.

The purity of intonation in singing requires constant work on improving hearing from an early age: from developing auditory concentration to distinguishing and reproducing sounds in pitch, reproducing the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, simulation is used (showing the movement of sounds with a hand, didactic games, demonstration of melody sounds on a flannelgraph, etc.).

The following techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performing a melody on the piano, other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn the song with simpler, more memorable passages, such as the chorus. In addition, the auditory attention of children is necessary. They should sing softly, expressively, listening to themselves and others. Singing in small groups and solo is helpful.

It is important for the educator to understand the reasons for impure intonation. It can be underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to study with impurely intoning children individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, transposition of the melody into a key, convenient for the child, helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitation, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for a person) sounds.

Along with this technique, the opposite also helps - "opening" the sounds of the upper register of a child's voice (la, si the first octave, before, re second octave). Children do onomatopoeic exercises first. (doo-doo, doo-doo), then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to high sounding. The third way - along with strengthening low sounds - immediately expand the upper register of a child's voice, accustoming him to high sounds (RT Zinich).

N.A.Metlov advised to seat children for singing so that uncleanly intoned children sat in the first row, followed by medium intonating children, and in the third row - well singing children. At the same time, children with poor intonation adapt better to the correct intonation: in front they hear the sound of the instrument and the teacher's singing, and in the back - purely intoning children. The systematic repetition of learned songs with or without accompaniment, listening to songs in good performance by adults and children helps to improve the purity of intonation in singing.

A sense of the ensemble (from the French ensemble - together) is also essential for choral singing. The teacher shows the children the moment of introduction, encourages auditory attention, sound coherence. One should strive not only for the simultaneity of singing, but also for its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science, corresponding to the nature of the music. Therefore, a vivid performance of a song by a teacher and a figurative word are also important at the second stage of work on a work, when learning it.

In the third stage, the songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If they like the song, the guys sing it as they wish, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

Question and tasks

1. Describe singing as a way of developing a child's musicality.

2. Tell us about the structure of the singing activity of preschoolers and the functions of its constituent elements.

4. Describe singing activity and define its educational value.

§ 2. RHYTHMIC (MUSICAL-RHYTHMIC MOVEMENT)

General characteristics. Rhythm is one of the types of musical activity in which the content of music, its character, images are transmitted in movements. The basis is music, and a variety of physical exercises, dances, plot-shaped movements are used as a means of deeper perception and understanding.

Movements to music have long been used in raising children (Ancient India, China, Greece). But for the first time the Swiss teacher and composer Emile Jacques-Dalcroze (1865-1950) considered rhythm and substantiated it as a method of musical education. Before rhythm, he first of all set the task of developing musical abilities, as well as plasticity and expressiveness of movements.

The special value and vitality of his system of musical and rhythmic education lies in its humane character. E. Jacques-Dalcroze was convinced that it is necessary to teach rhythm to all children. He developed in them a deep "feeling", penetration into music, creative imagination, formed the ability to express oneself in movements.

E. Jacques-Dalcroze created a system of rhythmic exercises, according to which he taught his students for tens of years; in it, musical and rhythmic tasks were combined with rhythmic exercises (with a ball, ribbon) and games.

Musical and rhythmic education of children and youth in our country was built on the basis of the leading provisions of the system of E. Jacques-Dalcroze. Domestic specialists in rhythm N.G. Aleksandrova, V.A.Griner, M.A.Rumer, E.V. Konorova and others paid special attention to the selection of a highly artistic repertoire for rhythmic lessons: along with classical music, they widely used folk songs and melodies, works of contemporary composers, bright and dynamic in their images.

Already in the 20s. In our country, systems of rhythmic education began to be developed, specific for kindergartens, music schools, theater schools and institutes, conservatories, as well as medical institutions, etc.

M. A. Rumer, T. S. Babadzhan, N. A. Metlov, Yu. A. Dvoskina, later N. A. Vetlugina, A. V. Keneman, SD Rudneva and others. In kindergarten, instead of the term "rhythm", at first they used the terms "rhythmic movements", "musical movement education", then "movement to music", "musical movement", "musical rhythmic movements". For many years there has been a discussion about the most accurate formulation. However, there is no fundamental difference between all these terms, since the majority of specialists in musical and rhythmic education in preschool institutions rightly considered music to be the “starting point” in rhythm, and movement as a means of its assimilation 1. So, TS Babadzhan absolutely correctly determines the practice of rhythm by the "musical core", the movement is considered as the identification of emotions associated with the musical image 2. These provisions are confirmed by the research of B. M. Teplov, where he writes that the center of rhythmic lessons should be music: “As soon as they turn into education lessons rhythmic movements in general, as soon as the music retreats to the position of the accompaniment to the movements, the whole meaning, at least the whole musical meaning, of these activities disappears. "

So, the question of the relationship between music and movement in rhythm has been resolved unequivocally: music is assigned the leading role, movement is of secondary importance. At the same time, experts made an important conclusion: only the organic connection between music and movement provides a full-fledged musical and rhythmic education of children.

In the world practice of musical education, the term "rhythm" is still used, therefore it is possible and advisable to recognize it in preschool education.

The purpose and objectives of rhythmics. The purpose of rhythm is to deepen and differentiate the perception of music (highlighting the means of expression, form), its images and the formation on this basis of the skills of expressive movement.

Rhythm tasks:

Teach children to perceive the development of musical images and express them in movements, to coordinate movements with the nature of music, the most vivid means of expression;

Develop the foundations of musical culture;

Develop musical abilities (emotional responsiveness to music, auditory performances, a sense of rhythm);

Learn to identify musical genres (march, song, dance), types of rhythm (play, dance, exercise), distinguish between the simplest musical concepts (high and low sounds, fast, medium and slow tempo, loud, moderately loud and quiet music, etc.) .);

Form a beautiful posture, teach expressive, plastic movements in play, dance, round dance and exercise;

To develop creative abilities: to learn to evaluate one's own movement and a comrade, to come up with “your” play image, character and “your” dance, combining various elements of physical exercises, dance and plot-like movements.

These tasks are successfully solved only if genuine works of art are used. The repertoire can be very diverse (folklore, classical music of all eras, contemporary music).

Let us consider the dynamics of the development of musical, rhythmic and motor skills in children of early and preschool age.

Types of rhythm closely related to the area of ​​movement from which they are borrowed. Sources of movements for rhythm are considered to be physical exercises, dance and plot-like movements.

From physical exercises in rhythm, basic movements are used (walking, running, bouncing and jumping), general developmental (without objects and with objects) and marching exercises (building, rebuilding and moving).

The rhythm uses simple elements of folk dances, round dances, ballroom dances, which form the basis of modern children's compositions.

Subject-like movements include imitation of the habits of animals and birds, the movement of various vehicles, actions characteristic of any profession, etc.

Based on the sources of movements, the following types of musical-rhythmic and motor skills are distinguished in

Development of young children in children:

The nature of the music, means of expression, movement of musical-rhythmic and motor skills	Group
First early age	second early age	first youngest
General character of music, register changes	Respond with general animation, rhythmically move your arms and legs. Respond to dance music; clap your hands on your own, wave your hands, dance, hit a tambourine, step over your feet, holding the hands of an adult, listening to the melody of the march	Convey the cheerful nature of the dance melody: stomp, stepping from foot to foot, clap your hands, turn your hands, spin in place	Convey the cheerful and calm nature of music in movements
Dynamic shades		Celebrate soft and loud music with claps, imitating an adult	Clap loud and quiet music
Pace changes
Metro rhythm		To ring a rattle to the music, to strike a tambourine to the singing of an adult	Notice in movements a different uniform rhythm
The form of a piece of music			With the change of parts of the march, change walking to bouncing
Physical education: basic movements (walking, running, bouncing, jumping) general developmental exercises		Convey the rhythm of walking and running, do rhythmic half-squats Walk with a flag	Walk to the accompaniment of an adult singing, walk and run to the music Move with objects - a tambourine, rattle, do exercises with objects

Types of rhythm: 1) musical rhythmic exercises; 2) dances, dances, round dances; 3) musical games.

Musical-rhythmic exercises can be conditionally divided into preparatory and independent. The first includes exercises in which certain types of movements are preliminarily learned. So, children learn to rhythmically, naturally perform a "spring", jumping from foot to foot, straight gallop, bouncing on two legs, etc. In the future, these movements are included in games, dances and round dances, and they serve as a means of expressive transmission of musical images , characters (bunnies, horses, parsley, etc.). For example, in the middle group exercises "Spring" (Russian folk melody), "Merry balls" (music by M. Satulina), "Boots galloping along the path" (music by A. Filippenko) help children learn the game "Horses in the stable" (music by M Rauchverger): the guys start easily, rhythmically, with the mood of "jumping" to dynamic, impetuous music.

There are not many independent musical and rhythmic exercises. These include "Horsemen" (music by V. Vitlin), "Turntables" (Ukrainian folk melody), "Exercise with ribbons" (music by W. A. ​​Mozart), "Mocking cuckoo" (Austrian folk melody). This type of exercise, in comparison with the previous ones, has a more complete form; at the same time, it does not yet have that combination of various images and moods that is characteristic of games, round dances and dances.

The next type of rhythm is dances, dances, round dances. They are usually divided into two groups: fixed and free.

The fixed ones include those that have the author's composition of movements, and the teacher exactly follows it when teaching. There are dances of different genres: with elements of folk, ballroom dances, round dance structures. These are, for example, "Dance with kerchiefs" and "Circular dance" (Russian folk melodies), "Pair dance" (Czech folk melody "Annushka") and "Amicable troikas" ("Polka" by I. Strauss), round dances "Yolochka" (music by M. Krasev) and Vesnyanka (Ukrainian folk melody), etc. A special place in this group is occupied by a characteristic dance - dance elements in it correspond to the movements of various characters in their characteristic manner (clowns, snowflakes, kittens, bears, penguins, etc. etc.).

Free dances include all those dances and round dances that the children themselves come up with. They use familiar dance elements. At first, the teacher actively helps, advises the children which movements are better to choose for this or that music in accordance with its character and form. Then the children try their hand on their own and, without the advice of an adult, create "their own" dance. These are “Mirror” (Russian folk melody), “Dance like me” (music by V. Zolotarev), “We are merry nesting dolls” (music by Y. Slonov), etc.

Musical play (the third type of rhythm) as a kind of play activity in kindergarten is an important method of musical development. Music enhances the emotional side of the game, immerses the child in the world of fairy-tale characters, introduces folk traditions - all this deepens the perception and understanding of a piece of music, helps to form musical-rhythmic and motor skills.

Musical games are divided into games with instrumental music (plot and non-plot) and games with singing (round dances and performances). In story games, you need to expressively convey the images of music, and in non-plot games, you need to complete a task related to the general mood of the music, its expressive means (tempo, dynamic shades, metro rhythm, form of the piece). For example, in the narrative musical game "Hares and the Fox" (music by S. Maykapar), children must figuratively perform the movements characteristic of these characters: an insinuating, light run of a fox and a high, soft run with stops and whirling (jumping) a hare, etc. e. In the non-plot game "Playing with tambourines" (Polish folk melody), the children change their movements to low-contrast parts of the play and dynamic shades; in addition, the flowing character of the melody is conveyed in the leisurely run of the dance character.

In games with singing, the composition of the movements depends on the character, images of the music, and the text. Elements of folk dances, various round dance structures (in pairs, ranks, circles with a change in direction) are used here. For example, in the game "The Raven" (Russian folk joke), the main task is to convey the fabulous image of a crow "in red boots, gilded earrings", the dance of which includes elements of Russian folk dance: whirling in a fractional step, putting feet on the heel. The game also uses a construction in a circle (decreases and expands): children go to the center and return to their places in fractional steps. When learning this game, the attention of the children is also drawn to the increase in the dynamics of sound, the variation form in the accompaniment of the piece. (The piano part should be played separately.) To feel a repetitive rhythmic pattern (with a slight change in the last variation), children are asked to clap, to sound like music. All work on individual means of expression helps to deepen the perception of the image of a raven in a joke and vividly convey it in movements.

Rhythmic repertoire. The selection of a rhythmic repertoire has always been of great importance. It is on what practical material children learn that largely depends on whether the goal and tasks set for rhythm will be fulfilled.

In the history of Russian musical and rhythmic education in kindergarten, there are several trends in the selection of musical compositions for games, dances, dances, round dances and exercises. In the 1920s and 1940s, when the Dalcroze school of rhythm was manifested to a greater extent, excerpts from the works of Western European composers, mainly dance music (K.M. Weber, I. Strauss, F. Suppe, J. Offenbach and etc.), as well as the arrangements and improvisations of the teachers themselves. In the 50-60s, when the modern system of musical education in kindergarten was gradually taking shape (under the leadership of N.A. Vetlugina, I.L.Dzerzhinskaya, A.V. composers are specially recruited for musical rhythmic movements. This trend has intensified especially in the last two decades. Composers take into account the capabilities of the children and the skills that need to be developed. In the repertoire they have created, music and movement find unity.

Thus, the repertoire in rhythm for kindergarten has gone through evolution - from the adaptation of music to movements or movements to music to the creation of musical-rhythmic works.

The basic principles for selecting a repertoire based on rhythm are as follows:

The artistry of musical works, the brightness, dynamism of their images;

The motor character of a piece of music prompting movement ("dancing");

A variety of topics, genres, nature of musical works based on examples of folk, classical and modern music;

Compliance of movements with the character, images of music;

A variety of movements (dance, plot-shaped, physical exercises).

The repertoire of musical rhythmic movements for all age groups was recommended by the program. It takes into account the basic principles of selection. However, the teacher in each group should select the repertoire depending on the specific conditions. This is the level of the general, musical and physical development of children, the material and technical base of the kindergarten, the level of qualifications of the music director and educators, the size of the group, etc.

Until now, kindergartens still have a seasonal-festive principle of repertoire selection. Of course, it is absurd to learn a winter song for the summer or a New Year's round dance - for the May holiday. But, in addition to this rule, the teacher must remember about the development of each child, and therefore, with great attention to select practical material, taking into account, moreover, the sequence of complication of the musical-figurative content of music, its expressive means. Since every piece of music includes a combination of all means, the repertoire should be systematized on the basis of the dominant means on which the composer assigned a particularly vivid expressive role. For example, the complication of dynamics is easier for children to perceive and reproduce in movements in the following sequence: sudden changes in the forte - piano, strengthening and weakening of sonority, sudden accents.

Chapter 2. Development of vocal and choral skills in music lessons in elementary school.

The initial stage of work in music lessons using vocal and choral skills.

In modern methodological literature, in any paragraph related to choral singing, you can find the following phrases:

Academic work.

Musical work,

Vocal and choral work,

Vocal and choral activities.

With one exception (L. Shkolyar), the concepts of “work” and “activity” are not divorced in the textbook, but in fact there is a huge difference in them. Moreover, when we are talking about an art lesson, where “there should be no rules and exercises that are abstracted from live music, requiring memorization and multiple repetitions” (D. Kabalevsky). In other words, “memorization” and “multiple repetitions”, in other words, vocal-choral work, so separate schoolchildren from choral art and replace its comprehension with tedious and insensitive coaching, give rise to the formal. indifferent execution. which is not enlivened by any work on the creation of an artistic image.

One can talk about full-fledged activity in an art lesson in the event that “if schoolchildren reproduce the very process of the birth of music, comprehend the artistic meaning of works as their own, and carry out a creative selection of means. Which, in their opinion. They most fully and accurately reveal the artistic intent of the work. At the same time, children penetrate into the very nature of musical creativity. Putting oneself in the place of a composer, performer, listener "(L. Shkolyar). Of course, for a music teacher it is not at all easy to help children reproduce the "process of the birth of music" and penetrate into the holy of holies - the origins of the art of singing.

Of course, first you need to try it yourself and only then give the students the opportunity to create-experience-comprehend, i.e. perform a piece of music. Always remembering that every child must “first hear the music in himself, ... and ... only when it is no longer possible to“ sing ”to himself, without breaking the melody, to sing for people without a fake cry, without hysterical tears, but as the word is heard, expelled by life and sounded by the human heart ”(V. Astafiev).

And there will be no need for endless repetitions and consolidation - the experience will leave a mark on the child's soul and awareness, as well as in memory, because “you can remember in music only what is understandable and emotionally felt” (D. Kabalevsky). And the feeling, thinking and hearing student understands what he wants to sing about, maybe his speech will not be idle and empty then. Perhaps both deeds and life itself will make sense. What is it ...? Let every child look for himself.

The emphasis on music lessons in the system of mass musical upbringing and education should be placed, in my opinion, not so much on the acquisition of theoretical knowledge, but on the solution of the intonational-figurative baggage of the child, the development of his national response to music, the formation of a stable interest in musical art as part of the life around him. The main thing is not so much knowledge of music as the immersion of children in music itself, knowledge of music itself. This is facilitated primarily by the performing activity of schoolchildren, the development of collective music-making skills - singing, playing musical instruments, plastic intonation, the simplest improvisations, and others.

Possession of the methodology for organizing various types of musical activities of students in a music lesson.

Vocal and choral work:

a) The clarity of the presentation of the goals and objectives of the singing activity of students, taking into account their age characteristics;

b) The expediency of the selection of musical material for chanting and learning, its artistic value;

c) The quality of the vocal display of the song repertoire;

d) Clarity of setting educational tasks for students and the ability to achieve their implementation;

e) Possession of methods of work at various stages of learning a song (introductory, basic, final) and their compliance with each of them;

f) Fixing the attention of students on their own singing and involving students in its analysis;

g) Possession of techniques for working on elements of vocal and choral technique (breathing, sound production, sound science, structure, ensemble, diction), artistic and expressive performance;

h) The expediency of comments and methods used to correct the shortcomings of the choral sound;

i) The ability to teach schoolchildren to sing according to the conductor's hand, to anticipate possible inaccuracies and difficulties in performance with a gesture, to control the tempo, agogy, dynamics, phrase-mongering, strokes, etc .;

j) Ability to diagnose the levels of musical and singing development of students, to analyze and evaluate the effectiveness of choirmaster work.

Chapter 1. Theoretical foundations of the organization of the choir in music lessons in elementary school.

Vocal and choral education. The concept of vocal and choral skills.

Musical education of junior schoolchildren is aimed at developing a holistic understanding of the art of music in children, to give them basic key knowledge, skills and abilities of musical activity in a system that provides junior schoolchildren in its aggregate with a base for further independent communication with musical art, for self-education and self-education.

The subject "Music" in primary school has the following tasks:

* to captivate with music, develop interest and love for music, the ability to appreciate its beauty, evoke a musical and aesthetic response to works, a feeling of empathy for musical images, i.e. develop the emotional sphere of students;

* develop musical-figurative thinking, comprehension of the laws of art, perception of music, the ability to reflect on it in connection with life and other arts;

* to develop creative musical abilities, practical skills and abilities in the process of performing, listening and composing music (improvisation), movements to the music and its plastic intonation;

* to develop musical and aesthetic taste and the need for communication with musical masterpieces and musical self-education.

As you know, the methods and principles of working with a children's choir are specific. The main thing is to take into account the age of the children, their interests. The responsiveness of a child's soul is so spontaneous and unpredictable that it is simply unthinkable to go out to a rehearsal with a children's choir, having some “ready-made recipes”, with an understanding of the psychological and physical characteristics of children, to be a teacher, educator and just a friend at the same time. It is extremely difficult for a conductor to find such a form of communication with children, in which vocal and choral tasks would be performed. The joy of children's creativity is unique and inimitable in its essence. E.B. Abdulin in the study of a piece of music identified three such stages:

1) acquaintance with a piece of music, its emotional-figurative perception; comprehension from the point of view of the topic being studied;

2) a more detailed analysis, the formation of musical and auditory representations, performing skills;

3) holistic, more complete in comparison with the original perception of the work.

The indicated stages are inherently similar to the three main types of music lessons:

a) a lesson of introduction to the topic (the presence in the content of the lesson of the initial generalized characteristics of the new key knowledge);

b) a lesson to deepen the topic (the presence of a new characteristic of key knowledge in the lesson);

c) a lesson in generalizing the topic (the presence in the lesson of a holistic, but already enriched. in comparison with the lesson of the introduction to the topic of the characteristics of key knowledge).

When listening, one should determine the quality of the voice (type, range), ear for music, sense of rhythm, musical memory, and also find out musical training: knowledge of musical notation, possession of any musical instrument, experience of singing in a choir. There are various methods of listening to choir applicants. As a rule, an applicant is invited to perform a vocal work; song, romance, aria. After that, the range of the voice is determined, the type of voice (tenor, baritone, bass, etc.). On simple exercises, the quality of the ear for music is determined. For example, it is proposed to repeat after the instrument or voice sounds of different heights within the middle segment of the range of the applicant's voice, to repeat with the voice a simple construction of three to five sounds played on the instrument. If the applicant has a musical education or experience in singing in a choir, the exercises can be somewhat complicated. For example, an applicant is invited to determine by ear the simple intervals in the melodic form, and then in the harmonic form, to build different intervals from a given sound with a voice. It is advisable to include chromatic constructions in listening.

The mastering of a variety of musical and singing knowledge, skills, and skills by each choir member contributes to the formation of choral culture, helps to master the singing voice, expressive artistic performance of songs and choral works. Individual singing development is the basis on which choral education is built, any children's or youth choir collective is formed. This fundamentally distinguishes him from a professional adult choir.

The first condition for correct vocal and choral training is the emotional and aesthetic attitude of the choir, i.e. the creation of a relaxed atmosphere by the leader, naturally combining hard work with exciting creativity, which activates the interest, curiosity of children, creates optimism and high efficiency. This attitude should be maintained throughout the lesson.

For the activity of the vocal apparatus, it is important to observe the singing attitude, regardless of whether the children are singing while sitting or standing. The rules of the singing installation are known to the leaders; schoolchildren must comply with them in the process of singing. They need to be systematically reminded of this.

1.based on the development of ear for music,

2. accumulation of musical and auditory ideas.

All vocal and choral work with children is based on the comprehensive development of musical and vocal hearing: melodic, harmonic, polyphonic modal, dynamic, timbre.

The main method of sound production when working with children, adolescents and young people should be a soft attack. Hard attack is not acceptable for young children. A firm attack is possible only sometimes, as a separate pictorial device. The use of a firm attack as a constant method of sound production disrupts the uniform work of breathing, negatively affects the work of the vocal cords.

Particular attention should be paid to work on the sound quality of the child's voice - the development of the basic properties of the singing timbre: sonority, flight, vibrato, intelligibility, evenness. It is important to remember that forced singing brings great harm to the singing voice of children. It interferes with the development of its basic properties, causes various disorders and diseases of the vocal apparatus. Forced, loud singing runs counter to the demands of artistic performance.

Preserving the individuality of the sound of the child's voice in the classroom in the choir is of particular importance. As you know, a professional choir is required to merge the sound in its color, and not only in strength, intonation, pitch, etc. Since the voices of the choir members are in one or another stage of formation, it is necessary to create such conditions that would contribute to its maximum flourishing, and not leveling.

In most cases, individuality in children's voices is not clearly expressed. And if their singing development proceeds normally, children do not sing with a forced sound, there is no nasal or throat sound in their voices, then the individuality of the sound not only does not violate the general choral sound, but also enriches it. Removing great attention to the preservation of the individual timbre, one should require the chorus members to merge not in timbre, but only in pitch intonation. The preservation of the individuality of the sound does not interfere with the education in the voice of properties that are objectively characteristic of the singing voice. Preservation of the individuality of the sound of a healthy voice is one of the prerequisites for its correct formation.

The essence of the work on the quality of the student's voice in the process of working with the choir, in addition to what was said above, can be supplemented with the following: 1, a constant demonstration of the sound, in which the main singing properties would be present (showing a teacher or an example of a student);

It should be remembered that vocal skills are formed gradually and this is reflected in the quality of the voice timbre: sonority, flightiness, vibrato - objective indicators of the development of the singing voice, but objective landmarks are also objective - signals that insist on the activity of the vocal apparatus.

All work should be structured taking into account the age capabilities and individual characteristics of children. It should be emphasized that not only boys, but also girls need a special singing mutation mode.

Singing without the accompaniment of an instrument (a cappella) and without the support of the teacher's voice plays an important role in teaching good singing. This form is specific to fore singing. Nominal singing without accompaniment, like no other type of musical activity, contributes to the development of musical ear, its various aspects. The need to constantly monitor your singing and the singing of your comrades sharpens auditory attention, develops auditory self-control. It provides a cleaner and "sharp" intonation, contributes to the development of unity in the performance of the rhythm, pronunciation of the literary text, teaches children to understand the special beauty of the pure, perfect sounding of human voices that make up the choir. Even though singing a cappella- it is not only the highest form of choral art, but also its most organic, pure, natural manifestation, at the same time it is the most difficult type of choral performance.

Vocal and choral education takes place mainly in the work on musical compositions. When they are perceived and reproduced in the process of learning, the foundation of the singing culture of the choir participants is laid. Under the influence of the work itself, the nature of work on it, depending on the personality of the teacher and his skill and other factors, special abilities are formed, attention, memory and other qualities of students are improved.

Educational and training material and exercises play an important role in vocal and choral work. They can be aimed at developing and consolidating any skills and abilities, any qualities. At the same time, it is important that they contain an "aesthetic grain", not be "mechanistic". In order to save time, it is also advisable to select and form educational and training material in such a way as to solve not only one educational problem, although the emphasis should be on the main thing. The exercises include chanting. Their purpose: firstly, "warming up" the vocal apparatus at the beginning of the lesson, and secondly, solving the problems of vocal development of children "in their pure form" and concentrating their attention only on these tasks.

Along with the fact that learning a piece is to some extent possible by ear (this develops memory well and the ability to quickly navigate a piece), more and more importance is attached to teaching children to read music. Young age is very favorable for this. Therefore, special attention should be paid to the staging of this case in the junior choir. The choir leader should thoroughly familiarize himself with the solfeggio program and rely on this course in his work.

All classes, especially at the first stage, should be subordinated to the main goal: to captivate children with choral singing, collective creativity, and the music itself. To achieve this goal, a creative atmosphere in the team is especially important. It is necessary to arouse interest in the song being learned, in its creators. It is very important to instill in children a love for the very process of singing together. Therefore, each rehearsal should be, first of all, an occupation in which the leader tries in every possible way to create a team of like-minded people (music empathizers).

The work with the younger choir should be diversified in every possible way. For example, in addition to performing ordinary songs, kids can perform a whole suite on one topic, or several songs connected with literary text. You can also make a thematic musical and literary composition.

When teaching choral singing, it is also taken into account that the vocal apparatus and the characteristics of the voice of a younger student also have their own characteristics, which the teacher must take into account in his work. Children's voices correspond roughly to the voices of a female choir. The difference lies in the width of the range (it is somewhat smaller), and also differs in the nature of the sound. Children's voices are lighter and more silvery than female voices. Soprano of the children's choir from "C" of the 1st octave - to "G" of the 2nd octave. Viola of the children's choir from "A" small to "D" of the II octave.

Children have a specific vocal apparatus (short and thin vocal cords, small lung capacity). Typically high head sound, characteristic lightness, "silvery" timbre (especially in boys), but there is no timbre saturation. Conventionally, children's voices in the choir can be divided into 3 groups, depending on age: junior group, middle schoolchildren and senior staff. The younger children's group - from the youngest age to 10-11 years. Falsetto sound production. Quite a small range, if at the maximum: up to I octave - up to II octave, or D I - D II octave. These are children of primary school age (grades 1-4). Low sound power. And moreover, there is no significant development between boys and girls. In the repertoire of such choral groups, there are essentially 1-2 pieces. At this initial stage of choral education, professional singing skills are laid: intonation, vocal technique, ensemble.

Vocal work in a children's choir has its own specifics in comparison with work in an adult choir. This specificity is primarily due to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. It has been proven by many years of practice that singing in childhood is not only not harmful, but also useful. It is about singing that is vocally correct, which is possible if certain principles are followed. Singing promotes the development of vocal cords, respiratory and articulatory apparatus; chanting done correctly improves the health of children.

The boys' choir occupies a special place among the choirs. Unfortunately, this traditional form of choral education is not in high demand in the practice of mass music education. Today boys' choirs practically do not exist in secondary schools.

This is largely due to the fact that music teachers at school do not have sufficient psychological and pedagogical knowledge of the history and theory of vocal and choral performance, the methodology for organizing vocal and choral work with the voices of boys, and singing is far from the most common occupation among them. Boys are often aloof from music. For many of them, nothing is more important than football, the computer or the street. In addition, boys are often distinguished by increased motor activity, "excessive" mobility, nervous excitability, and speech developmental defects. Boys develop all mental functions, mechanisms of speech, speech thinking, memory, social emotions, and control of voluntary movements for a longer time than girls. Boys are characterized by a strong search and research activity, they are less disciplined, their interest in something quickly fades away, especially if something does not work out. Discoordination of hearing and voice is more often observed in boys, among them there are more “gudoshniks” with a good ear for music.

According to research by psychologists, boys already in the preschool period suffer more from social instability, they clearly lack positive emotions either at home or in kindergarten. If such a child is not taught sympathy, empathy, assistance, then he can grow up narcissistic, callous, limited. Classes in the boys' choir, thanks to the teacher taking into account the developmental characteristics of boys, can in many ways help to improve the situation with regard to these problems. That is why this form of work is preferable in the practice of school music education.

Starting vocal and choral work with boys, the teacher should know well the peculiarities of the children's voice and master the methodology for its development. He must be familiar with the basics of vocal work, the work experience of masters of vocal and choral art, special literature, compare different points of view, accumulate his own practical experience (as a choir singer, conductor, teacher) and, on this basis, manage the choir, love children, understand them problems and treat them with respect.

When choosing the most effective methods of vocal work with children, one should rely on the experience of progressive methodologists of the past and present. The most common and preferred method in the practice of vocal and choral training is the concentric method developed by M.I. Glinka. It allows you to reinforce the mids, mids, and then the highs and lows. Recommendations from the “Complete School of Singing” by A.V. Varlamov, allowing to educate sonorous, silvery, gentle children's voices, to form a free, natural voice formation with an average sound strength, even from the first to the last note. The technique of I.P. Ponomarkova, based on taking into account the timbre features of the child's voice, singing exercises from top to bottom, causing a natural, sonorous childish sound of the voice, an individual approach to each singing in the choir.

At the initial stage of work, special attention should be paid to the formation of the vocal and choral skills of younger students, since these skills are the basis for the further musical development of the choir members. When organizing this work, it is important to use such methods of vocal education that will have a positive impact on the personal and psychological development of each participant and the establishment of organic relationships in the team.

At the initial stage of work, an important task of the teacher is to bring the choir to a common tone, i.e. development of unison. At the beginning, the work of the teacher in this direction should be focused on the students' mastery of the natural registers of the voice, starting with the register mode to which the child's natural tendencies are manifested. In the future, it is necessary to form the skill of students' conscious use of registers in the corresponding range. At the third stage, along with arbitrary switching, jumping from one register to another, it is necessary to form the ability to gradually and smoothly move from the falsetto register to the chest register through the mixed register.

The next step is to consolidate and improve the student's ability to freely use the voice registers while singing. The development of the singing voice of children can be effective on the basis of correct singing, in the process of which the correct singing skills must also be formed. The duration of each stage is determined in different ways, depending on how often the classes will be held, on the pedagogical influence, the student's receptivity, and his musical abilities. To solve all the problems described, it is not enough to use only a collective form of education; it must be combined with an individual form of work with children. With collective training in singing, it will be more expedient to use all types of register sound in the work. In addition to vocal skills, it is necessary to develop choral skills, which are formed in parallel with the singing ones and influence each other.

Work on the formation of vocal and choral skills solves a number of educational opportunities. In the course of classes in the choir, students develop endurance, the ability to hear each other, a positive reaction to the shortcomings of performance, removal of aggression, self-esteem, self-respect, patience.

The process of forming vocal and choral skills in boys in the choir classes is based on a combination of general didactic and special methods. Among general didactic methods, preference is given to explanatory-illustrative and search methods. The special ones include: concentric, phonetic, mental singing method, comparative analysis. Each method represents a system of techniques, united by the commonality of problems and an approach to their solution. The use of a set of these methods and techniques should be focused on the development of the basic qualities of the singing voice of boys by stimulating, first of all, their auditory attention and activity, consciousness and independence. The use of search situations and leading questions plays a special role in working with boys. They help boys find appropriate performing techniques, show initiative, which helps the development of thinking, show independence and be creative in the performance of works.

Thus, vocal and choral work in the process of extracurricular choir lessons with boys should be based on the main provisions of the general methodology for working with the choir. Its importance is determined by the need to educate all members of the choir of the correct and uniform skills of singing breathing, sound formation, and the culture of singing sound. All elements of choral sonority and the level of artistic performance of choral works depend on the quality of the vocal work.

The main task of the choirmaster-teacher in the classroom in the choir is to enrich the spiritual world of the boy who came to the choir. The teacher helps him to believe in his capabilities not only as a singer, but also as an organizer and assistant. In addition to the choir, students also attend solo singing classes. They serve as an auxiliary function to the choir class, since the sound quality of the choir depends on the individual sound of each choir. The experience of many choirmasters working with boys shows that at a younger age they focus more on visual rather than auditory impressions, and therefore have poor intonation. A child's discovery of his ability to correctly perform a melody with other children changes the attitude of schoolchildren to singing for the better.

Classes with boys began with simple exercises, always in a playful way; the repertoire corresponded to their age and psychological characteristics, took into account their interest, had an educational orientation. To identify positive dynamics in the formation of vocal and choral skills in working with first-graders in the choir classes, specially selected vocal and choral skills were used throughout the year. As the main methods allowing to build the course of the choir lesson in accordance with the peculiarities of the boys' development, the following were chosen: play, competition, improvisation, comparison and evaluation, a combination of rehearsal work with concert practice, methods and techniques.

The methods of musical education (from Greek means "methodos" as "the way to something") are understood as certain actions of the teacher and students aimed at achieving the goal of musical education of younger students.

From general pedagogical methods, a group of methods is used:

a) according to the source of knowledge (practical, visual, verbal, work with a book, video method),

b) according to the purpose (acquisition of knowledge, formation of skills and abilities, application of knowledge, creative activity, consolidation, testing of knowledge, abilities, skills),

c) by the nature of cognitive activity (explanatory-illustrated, reproductive, heuristic, research, play),

d) for didactic purposes (methods that contribute to the primary assimilation of the material, consolidation and improvement of the acquired knowledge).

The unification of boys in a separate choir group allows for extracurricular choral work with the maximum consideration of all the features of their development. It is very important that today every school has a choir of boys and young men, as choral singing has a number of obvious advantages from all activities. The song beginning lies at the heart of the original make-up of Russian national culture, and in our time it is really worth reviving the tradition of the existence of a boys' choir in school and not only.

Singing to develop musical perception:

listening to songs not meant to be sung;

listening to songs intended for their subsequent performance;

singing melodies and exercises to develop ideas about pitch, timbre, duration, strength of sounds (development of sensory abilities).

Song performance:

singing with and without accompaniment;

singing with your own accompaniment on children's musical instruments;

singing to accompany movements (round dances).

Singing in musical and educational activities:

singing exercises to acquire singing skills and musical knowledge;

pedagogical analysis of songs (the most vivid means of expression, structure, character, etc.).

Song creativity:

improvisation;

composing melodies for given texts;

composition of round dances.

Various types of singing activities are closely related to each other, have a mutual influence: performing and listening to songs, singing and exercises, listening to songs and singing, etc. The forms of their organization are also varied: classes (collective and individual), independent activities, holidays and entertainment.

The purpose and objectives of singing. The main goal is to educate children of a singing culture, to familiarize them with music. The tasks of singing arise from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. To develop musical abilities (emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm).

2. To form the foundations of singing and general music culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).

3. To contribute to the all-round spiritual and physical development of children.

These tasks are solved on the basis of a certain song repertoire, the use of appropriate methods and techniques of teaching, various forms of organizing the musical activity of children.

Song repertoire includes: exercises for the development of a singing voice and hearing; songs for various types of musical activities (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected in such a way that it corresponds to the physical and mental characteristics of the child, fulfills aesthetic and general educational tasks. Both the music and the lyrics play an important role here.

Singing exercises must be used in a specific system. Their main goal is the development of singing technique, musical ear. Each exercise has some kind of basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the entire complex of skills. Consistency of exercises is essential to keep core skills consistent. The following order of development of singing skills can be recommended (conventionally): diction and articulation, breathing, sound production, range expansion, sound science.

At the beginning of the school year, all age groups are encouraged to sing developmental exercises diction and articulation... (This is especially important for younger groups, as they contain children with speech defects.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

Further, exercises for development are taken. singing breath... The sound quality, the singing of phrases, and the purity of intonation depend on the correct inhalation (calm but active). It is recommended to inhale simultaneously through the nose and mouth. The exhalation should be calm and slow so that there is enough breathing until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar tunes, songs at an average rate of 2/4, then the phrases are lengthened. There are also exercises with pauses for taking the correct breath.

Exercises for correct sound production(natural singing, not tense, melodious, light) take into account the importance of developing in children a "soft attack" of sound (the initial moment of sound formation). Children should be able to sing calmly, without jolting. A "firm attack" harms the child's voice, correct singing sound: it is rarely allowed, only as a performing technique 4. Among the exercises for children 3-6 years old there should be no "beating" on the vocal cords. It is necessary to teach the children to sing long, melodiously.

For the development of singing ranges the same exercises are used, but transposed into different keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral ones (purity of intonation, ensemble). The purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal feeling and musical-auditory representations), the feeling of the melody's gravitation to stable sounds, the presentation of melodic pitch pattern. Unclean intonation in singing is often the result of a small range of voice. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.

Feeling ensemble also requires auditory attention, the ability to listen to each other. For children to listen to the singing, it is important to sing softly, at a medium pace.

Unaccompanied songs... From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk tunes, small songs. Melodic moves, rhythm are very simple, easy to intonate. The melody consists of one or two repeating motives. Children 4-6 years old sing more difficult songs with a wider range, interesting rhythm and melody. The main goal of unaccompanied singing is to develop the purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and children can focus on pure intonation.

Songs with accompaniment... At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that they forgot over the summer. The melody of the song is exactly duplicated by the instrument; melodic moves are convenient for intonation, written in a medium tone, with a narrow range.

At the next stage of training, songs with a more complex rhythm, melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs with an introduction, conclusion, pauses, a chorus, a solo of a different nature are used, which requires melodious or mobile singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts can have a different character). There are already unexpected pauses, small durations, chanting (two notes on one syllable), wide ranges (septima, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with or without instrumental accompaniment.

Songs to accompany movements... When choosing a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, the songs should be calm, flowing in nature.

Movement activates the emotional manifestations of children. The guys always sing songs with movements willingly. Such songs are learned already in the younger groups.

Songs for accompanying movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with accompaniment" section. The combination of singing and movement requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases, simple, of a small range, are used, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes choppy and expressionless.

Songs for playing musical instruments... This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given theme (Bells, Rain, Stream, etc.). The purpose of these exercises is to introduce you to the instrument, to let you play with it like a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the children learn to select melodies by ear from a familiar repertoire (melodies from several sounds).

Sample songs for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the pitch and duration of sounds, timbre, tempo, rhythm, dynamics, etc. or melodic phrases from already familiar pieces. Children reproduce them as exercises, for example, slap, tap with a stick or play on one metallophone plate the rhythmic pattern of a melody, sing melodic turns on syllables la-la, doo-doo, mi-mi, mo-mo etc., so that the text does not distract from the reproduction of the pitch of sounds.

Singing teaching method. The singing capabilities of preschoolers (singing ranges, singing breathing characteristics, articulatory apparatus) are different in each age group.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years old, from 3 to 5 and from 5 to 6 (7) years. In the first age period, babies accumulate experience of perceiving music, initial musical impressions, experience of sensory-auditory and rhythmic performances, intonation of a melody with a voice. In the second age period, there is a coordination of hearing and voice, music and movements, the combination of knowledge and skills. At the age of 5 to 6 (7) years, practical actions are reinforced by knowledge about music, enriched by it, elements of aesthetic attitude to singing and music in general are formed and visibly manifested.

In the classroom with the youngest children, melodies and small songs of an imitative nature (voices of birds, animals, sounds of the surrounding reality, repetitive intonations) are used. With their help, hearing develops, diction and articulation are formed. It is desirable that the text contains sounds w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (pe 1-salt 1), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are average, breathing is short. Children 3-4 years old usually have a singing range re- la the first octave, breathing is still uneven, short, not all have developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands: re-si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average tempo), they pronounce words better. In this age period, songs and round dances about the nature of the surrounding reality are selected, singing exercises are based on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. Children by the age of 5 already use different types of breathing (clavicular, chest, lower rib, and mixed). The melodies are sung more complex, at a slow to medium tempo, the dynamics are quiet and moderately loud. At 5-6 (7) years, the range is even wider: re the first octave - before second octave (sometimes even re the first octave - re second octave). Children are better at singing breathing - they can sing two-measure phrases at a slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to mobile, the dynamics is from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages - folk tunes, songs, round dances. Their tunes are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.

The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.

At the first stage work on the song (familiarization, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to awaken interest in it, the desire to learn it. It is important that children feel the moods conveyed in the music, speak out about the nature of the song as a whole, the change in moods in its parts. Only a bright, expressive performance of a teacher is capable of evoking positive emotions in children, experiencing the content of music. A conversation about the emotional-figurative content of the song helps to tune the children to its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they explain to them that it is necessary to sing it melodiously, lingeringly.

In the second stage the actual learning of the song begins (for 3-5 lessons). In addition to the visual and verbal methods, the practical method is of great importance here. Children master the necessary singing skills, memorize and reproduce the melody, song rhythm, expressive nuances. At this stage, exercises take on an important role. At first, the children learn by imitation, therefore, the teacher's demonstration of the performance techniques and their consolidation in the exercises are very important. The exercises are given as chanting, before the songs are sung. With their help, difficult melodic moves found in the song are learned. For example, before singing the song "Herringbone" by L. Beckman, starting with a sixth move upward, you can use the poem from N. A. Vetlugina's "Musical Primer" by N. A. Vetlugina "Echo" to prepare children for the reproduction of this difficult interval.

Working on difficult melodies from the song itself requires repeated repetition, which inevitably diminishes children's interest in the song. The exercise, given in a playful way, helps to overcome difficulties and acquire singing skills. Exercises that have a playful nature, children sing with pleasure not only in the classroom, but also in independent activities and at home. The guys like the tunes associated with the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, rhymes.

When performing singing exercises, children constantly train a singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises are also used, built on one or two intervals. For example, the exercise "cuckoo" is based on the minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of the modal feeling. (The minor third interval is included in the tonic triad, which forms the basis of the fret.) Other exercises can be created in a similar way: imitation of the chibis voice (fifth down), crow croaking (on one sound), etc.

Learning to sing requires considerable volitional efforts from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create play situations, use musical and didactic games, problematic tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical methods, to connect singing with other types of musical activity: movements, playing musical instruments.

At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, and ensemble.

To form the correct skill sound production methods and techniques are used such as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. Melodiousness is associated with sound production. From an early age, it is important to teach children to stretch out vowels, the ends of musical phrases, and learn songs in slow motion. Melodies are helped by singing melodies without words, for a consonant m or l combined with vowels y, oh. In older groups, syllable-dominated exercises are useful. ku-ku, mo-mo. Exercises that begin and end with consonants (ding-ding, tuk-tuk) 5 contribute to mobile light sound production. The method of comparing the sound with musical instruments is also used (smooth sound of a pipe, abrupt and light sound of a bell).

To help children master the right breathing, they are explained and shown where and how to take breath, how to spend it according to musical phrases. For proper breathing, the singing attitude is important - landing straight without raising your shoulders.

To develop the correct dictions the following techniques are used: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop in children the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) with the help of exercises. Deliberate pronunciation of the text makes the singing more expressive. This is facilitated by clear sounding of consonants, soft endings of phrases, semantic accents, etc.

Purity of intonation in singing, it requires constant work on improving hearing from an early age: from the development of auditory concentration to distinguishing and reproducing sounds in pitch, reproducing the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, simulation is used (showing the movement of sounds with a hand, didactic games, demonstration of melody sounds on a flannelgraph, etc.).

The following techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performing a melody on the piano, other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn the song with simpler, more memorable passages, such as the chorus. In addition, the auditory attention of children is necessary. They should sing softly, expressively, listening to themselves and others. Singing in small groups and solo is helpful.

It is important for the educator to understand the reasons for impure intonation. It can be underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to study with impurely intoning children individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, transposition of the melody into a key, convenient for the child, helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitation, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for a person) sounds.

Along with this technique, the opposite also helps - "opening" the sounds of the upper register of a child's voice (la, si the first octave, before, re second octave). Children do onomatopoeic exercises first. (doo-doo, doo-doo), then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to high sounding. The third way - along with strengthening low sounds - immediately expand the upper register of a child's voice, accustoming him to high sounds (RT Zinich) 6.

N.A.Metlov advised to seat children for singing so that uncleanly intoned children sat in the first row, followed by medium intonating children, and in the third row - well singing children. At the same time, poorly intoned children adapt better to the correct intonation: in front of them they hear the sound of the instrument and the teacher's singing, and in the back - purely intoning children 7.

The systematic repetition of learned songs with or without accompaniment, listening to songs in good performance by adults and children helps to improve the purity of intonation in singing.

Feeling ensemble(from French ansamble - together) is also necessary for choral singing. The teacher shows the children the moment of introduction, encourages auditory attention, sound coherence. One should strive not only for the simultaneity of singing, but also for its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science, corresponding to the nature of the music. Therefore, a vivid performance of a song by a teacher and a figurative word are also important at the second stage of work on a work, when learning it.

On third stage songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If they like the song, the guys sing it as they wish, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

Singing Is one of the favorite types of musical activity for children. Thanks to the verbal text, the content of the song is more accessible to children than any other genre of music. Singing in the choir unites children, creates conditions for their musical emotional communication. The expressive performance of songs helps to experience their content most vividly and deeply, evokes an aesthetic attitude to the surrounding reality. In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm. In addition, children learn about music in a variety of ways. The musical needs of the child are realized in singing, because He can perform familiar and favorite songs at will at any time. Vetlugina N.A. believes that singing is one of those types of musical activity, in the process of which an aesthetic attitude to life, to music is successfully developed, the child's experiences are enriched, musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed "

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"Singing activity of children as a way of forming a child's musicality."

(Materials from work experience)

Vyachina Yulia Vladimirovna;

musical director of MBDOU number 196,

Orenburg

Singing is one of the favorite musical activities for children. Thanks to the verbal text, the content of the song is more accessible to children than any other genre of music. Singing in the choir unites children, creates conditions for their musical emotional communication. The expressive performance of songs helps to experience their content most vividly and deeply, evokes an aesthetic attitude to the surrounding reality. In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm. In addition, children learn about music in a variety of ways. The musical needs of the child are realized in singing, because He can perform familiar and favorite songs at will at any time. Vetlugina N.A. believes that singing is one of those types of musical activity, in the process of which an aesthetic attitude to life, to music is successfully developed, the child's experiences are enriched, musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed " 1 .

Singing is closely related to the general development of the child and the formation of his personal qualities. In the process of singing, the mental abilities of children are activated. Perception of music requires attention, observation. A child, listening to music, compares the sounds of its melody, accompaniment, comprehends their expressive meaning, understands the structure of the song, compares the music with the text.

The impact of singing on the physical development of children is obvious. Singing affects the general state of the child's body, causes reactions associated with changes in blood circulation and respiration.

Correctly delivered singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture results in even and deeper breathing. Singing, by developing coordination of voice and hearing, improves children's speech. Metlov N.A. in his book "Music for Children" writes about the basic qualities of the child's voice, that "the vocal apparatus is very fragile, delicate, continuously growing in accordance with the development of the child's entire body ... The vocal cords are thin, short, so the sound of the child's voice is high and very weak ... It is amplified by resonators. Distinguish between the upper head resonator (the cavity of the pharynx, mouth and paranasal cavities) and the lower chest cavity (the cavity of the trachea and bronchi) ... In children, the chest resonator is poorly developed, the head one prevails. Therefore, the voice is weak, but clear. Resonators give the sound different colors. When forcing the sound while singing, children develop an unpleasant, uncharacteristic low sound " 3 .

The problem of setting the singing voice of a preschool child is one of the most difficult and least developed in musical pedagogical theory and practice. At the same time, this is one of the most important problems in the practice of musical education of preschoolers. Its importance is determined by the sensitivity of this age in relation to the formation of singing skills, the connection with the health of the child, the value of vocalization for the development of musical ear, the influence of singing activity on the formation of the child's system of musicality as a whole.

Based on the research and experience of leading musicians-theorists and practitioners, widely using the latest achievements of musical pedagogy, she built a system for developing the singing skills of preschool children.

I begin this work with children of three years of age. I pay special attention to sound education: I teach to sing in a drawn-out, natural, light sound without tension and shouting.

In groups of general developmental orientation for children 4-5 years old, 5-6 years old and 6-7 years old, work on singing skills continues.

I conduct more in-depth work in this direction in individual lessons, which are attended by children of 5-7 years of age.

My studies are based on the ideas of children's musical education of V.V. Emelyanov.

Lessons can be conditionally divided into 4 sections, which are interconnected and interact with each other:

1. Phonopedic exercises Emelyanov V.V. For correct sound production, the clear work of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance, therefore, to achieve this goal, I conduct a warm-up at each lesson - articulatory gymnastics according to V.V. Emelyanov's system. These exercises not only develop the singing voice, but also contribute to its protection, strengthen the health of the child.

Articulatory gymnastics includes:

Working with the tongue (biting the tip of the tongue, chewing the tongue alternately with the left and right lateral teeth, clicking the tongue in different positions, stretching the tongue, rolling it into a tube, etc.);

With lips (bite the lower and upper lip with your teeth, protrude the lower lip, giving the face an offended expression, raise the upper lip, opening the upper teeth, giving the face a smile), massage the face from the roots of the hair to the neck with your own fingers.

Articulation exercises for children are interesting, accessible, because I spend them in a playful way.

Play is a child's favorite activity. In the game, he asserts himself as a person, his imagination develops. Without noticing it, preschoolers solve complex problems in the development of diction and articulation in the game.

After carrying out articulatory gymnastics, I use intonation-phonetic exercises that help to overcome speech defects, align vowels and consonants. When singing exercises from a number of vowels, in order to align them, one vowel sound should, as it were, be poured into the other smoothly, without a jolt (uuuaaaooo). Singing vowels in one sequence or another pursues a specific goal, depending on what timbre you need to tune your voice to. To form the sound of a child's voice closer to falsetto sound, use the vowel sounds [y], [o], [a] (among which the vowel [y] is most preferable). In practical work with children, the location of the lips in a half smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light, light. The location of the lips in a half-smile contributes to finding a close vocal position, which characterizes the correct sound formation. Particular attention should be paid to chin relaxation. "Checking" is carried out by opening the mouth with hands applied to the cheeks (fingers lie through the cheeks on the lower teeth), while the vowel sound [y] sounds.

2. Playing with sound is an indispensable condition in our classes. The child must get a completely accurate picture of him. We are talking about the fact that sound has certain properties. You cannot touch it, you can only hear it. The sound can be flat, round, high, low, angry, affectionate, gentle. Anything can serve as a material for sound: elementary instruments, threads, balloons, hoops, balls, soap bubbles - in general, everything that the teacher's fantasy tells. I often play the Magic Box game.

Children love to pull a string out of the box. They see how the thread stretches, and with it the sound. Understand that sound has a beginning and an end. Children pull the thread on any vowel sound; it can be sung from top to bottom and vice versa. The thread is smooth, silky and the sound should also be smooth. If the thread makes wavy movements, then the sound can also be wavy, etc.

3. Working with hands is a prerequisite in the classroom. Hands are "responsible" for certain areas of the cerebral cortex. They help to carry out musical actions in a more meaningful, aesthetically pleasing, expressive and diverse way, which allows you to achieve success even with the weakest children. In the classroom, I create situations when the child necessarily begins to work with his hands. Hands below - a low sound, above - a high one, hands make abrupt movements - the sound is abrupt on staccato , soft hand movements - smooth sound. This technique helps children consciously manage the process of sound production.

In vocal work I use exercises withfretting gestures. With the help of gestures, children learn to sing steady steps from any sound.

In the classroom, I like to use such a technique as expressive reading of a poem. I work on poems in this way: the group reads a poem to my conducting (as if it were a piece of music). Each child repeats these movements, which offer several options for contrasting images (kind, evil, whiny, joyful, etc.). For classes, I select poems containing a vivid game image or dialogue.

Beautiful, plastic hand movements, high-quality conducting, active, wide movements, positive emotions - all this has a beneficial effect on the psychological and physical health of children.

Finger games are another necessary technique in the lessons of the vocal circle. They develop fine motor skills, are responsible for speech, develop creativity, imagination, develop expressiveness of speech. Either fast, now measuredly unhurried, sometimes chanting tempo of rhymed lines fosters smoothness, regularity, rhythm of speech, develops breathing.

4. Singing games are of great importance for strengthening singing skills. The play situation enhances children's interest in singing, makes the perception and content of the song more conscious.

For the formation of the palatonal sound, tasks for the development of songwriting are indispensable "What do you want, kitty" by G. Singer, "Bunny, rabbit, where have you been?" and others. I invite children to play musical questions and answers. The question-and-answer form of the exercise or the task to finish the melody, the beginning of which was sung by the teacher, helps to activate the inner hearing, the development of creative initiative.

Fantasy, imagination, elements of creative expression accompany each game, and the ability to play unaccompanied, to your own singing, makes these games the most valuable musical material. In singing games, children practice singinga cappella. Under the influence of the emotions caused by the game, the child tries to accurately convey the melody, text, and, most importantly, the mood that this song carries. The general enthusiasm in the game, the joy of performance, activate timid, indecisive children. It is important to maintain interest in each child, to help children acquire faith in themselves, to get rid of tension and embarrassment.Thus, the use of a system of special exercises of various games, individual and circle work with children - all this made it possible to achieve positive results in the development of singing skills in older preschool children. Music has firmly entered the life of the children. They sing in a group, at home for parents and with their parents, not only accompanied by an instrument, but also on their own without anyone's help.

My musical and pedagogical activity at the preschool educational institution is determined by the pedagogical idea of ​​teaching a child to sing well, clearly, distinctly, with love and mood, and most importantly beautifully, with great dedication, which we are trying to implement in the course of classes.

The formation of singing skills is one of the most difficult and important sections of the musical education of preschool children. When teaching the kids vocals, I took into account that the child's vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the child's entire body. Therefore, it is necessary not only to master the method of teaching singing, but also to protect the voice of the child, I have selected such vocal technique techniques that most effectively contributed to the development of the child's voice. Systematic work allows us to take into account the physiological and vocal characteristics of each child, therefore, I consider an individually differentiated approach to the abilities of each child as a priority in my work.

The purpose of my work was to master singing skills by preschool children.

Based on modern methods and recommendations of famous teachers, we built our own system for the formation of the singing skills of a preschool child. For this, vocal exercises by E. Tilicheva, N. Vetlugina, M. Kartushina, O. Katser, A. Bitus, exercises for the development of the vocal apparatus according to V. Emelyanov's system and exercises for the development of melodiousness by D. Ogorodnova.

To achieve the goal, tasks :

1. education in children of love and interest in singing;

2. development of emotional responsiveness in children;

3. formation of singing skills;

4. development of performing skills;

5. expansion of the musical horizons and ideas about the world around;

6. mastering the skills of choral singing;

7. development of children's songwriting.

To start learning to sing, it is necessary to determine the range of sound, the type and characteristics of the child's voice, and systematically strengthen it, creating a favorable "sound atmosphere" conducive to the development of voice and hearing. And the coordination of voice and hearing is the most important condition for the development of the singing abilities of children.

The singing range is the volume of sounds that is determined by the interval (distance) from the highest to the lowest sound within which the voice sounds good. It is necessary to constantly monitor that children sing and talk without tension, not imitating the excessively loud singing of adults, to explain to parents the dangers of loud singing and talking in children, not to allow them to sing outside in cold and damp weather.

When working with children, I was guided byfollowing principles:

1. Purposefulness, consistency, planning.

It consists in a clear planning of classes with children, their systematicity and purposefulness. For the musical development of children, it is very important that the song is played in various activities of preschoolers, and not only in music lessons. The song can be played in the morning gymnastics, on a walk in the warm season, during labor processes, and so on.

2. The principle of a differentiated approach to working with children and taking into account their individual characteristics

3. The principle of benevolence and openness.

The selection of a repertoire is perhaps the most important and difficult task - to find a song that would be in tune with the mood of children, reflect their interests and ideas about the world around them, spiritually develop them, and be available for performance. For each age group, interesting and accessible material has been selected, with the help of which it is possible to solve various problems of the development of vocal skills. After all, songs, nursery rhymes cause a surge of positive emotions in children, create a joyful mood, bring up an optimistic character.

After the selection of the repertoire, vocal and choral work begins.

First of all, the children are reminded of the rules of the singing set, and their implementation is constantly monitored, because the appropriate physical condition, correct breathing, the necessary character of sound, emotionality depend on how freely and at the same time, how actively the singer feels.

The singing set is the correct position of the body when singing, on which the quality of sound and breathing depends to a large extent. When teaching children to sing, it is necessary to monitor how children sit, stand, hold their head, body, how they open their mouths.

Singing set (singing rules):

sit (stand) straight;

do not slouch;

do not strain the body and neck

keep your head straight, not throwing it back or lowering it, but without tension;

take breathing freely (do not take in the middle of a word);

the mouth should be opened vertically, and not stretched wide, to avoid a loud, "white" sound;

the lower jaw should be free, the lips are mobile, elastic.

At the stage of formation of vocal-choral skills, almost all elements of vocal-choral technique are simultaneously included in the work, and in subsequent periods they deepen. Their sequence and gradualness is as follows.

Vocal and choral skills:

Breath,

Sound education,

Diction,

Purity of intonation,

Ensemble.

First, work is underway to develop a melodious sound based on the elementary mastery of singing breathing, which significantly affects the purity and beauty of the sound, the expressiveness of the performance. This is a complex and lengthy process, therefore, at the initial stage of training, it comes down to mastering a smooth and uniform inhalation and exhalation that does not interrupt a musical phrase. This exhalation largely depends on the correct breath taken. It is very important to teach the child to take breath correctly and in the right place. It is necessary that the child understands what is wanted from him.

For example: “Look, I am singing the whole phrase in one breath, but I can’t finish singing. Why? Try you. " Child ... "Can you feel it?" "There was not enough strength." “That's right, just not strength, but air. So it is necessary to recruit it again into the lungs. Sigh and sing on. "

Exercises from breathing exercises by A.N. Strelnikova ("Ladoshki", "Drivers", "Pump", "Kitty" and others) and D. Ogorodnov's system ("Smell a flower").

In the future, the task becomes more difficult - children learn to breathe quickly and calmly in moving songs and between phrases. The work on singing breathing is associated with sound production. And here, of course, a system is needed - singing exercises and gradual reminders. I use a gesture to help catch the breath in time. I suggest after the introduction to the song "smell the flower" and immediately start singing. So that the children do not break the word, I show the correct and incorrect execution. Then we perform the exercises correctly. For the development of breathing, we sing vowel sounds on exhalation, open syllables (for example: yes, ta, la), phrases, starting with short ones and gradually moving on to longer ones (for example: “I go and sing”).

Sound formation with the correct formulation of the voice should be natural, sonorous and light, children should sing without screaming and stress. For correct sound production, the clear work of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance. Sound quality such as melodiousness is closely related to sound production.

The length of singing depends on the correct breathing and on the predominance of vowels, which is typical for folk songs (for example, "There was a birch in the field"). The development of length is aided by singing songs written at a moderate or slow tempo, as well as learning songs at first in a slow tempo. For good sound production, the correct pronunciation of vowels and consonants is of great importance. Diction in singing is somewhat different from speech pronunciation.

Work on diction begins with the formation of rounded vowels and a distinct pronunciation of consonants in songs of moderate tempo, and then in funny, comic songs that require the mobility of the articulatory apparatus. I try to teach children singing diction, explain to them that it is necessary to sing a song so that listeners can understand what is being sung in it, I show how certain phrases and words are pronounced. The condition for good diction and expressive singing is the children's understanding of the meaning of words, the musical image of the song. The phrasing in the song is determined by the content in its verbal and melodic expression.

Therefore, we first define the content of the song, decipher the incomprehensible words, find the culmination.

To develop the skill of expressive diction, it is recommended to use: exercises of articulatory gymnastics, tongue twisters, tongue twisters.

Articulatory gymnastics. The main goal of articulatory gymnastics is the development of high-quality, full-fledged movements of the articulation organs, preparation for the correct pronunciation of phonemes. As a result of this work, our children have an increase in the level of development of children's speech, singing skills, musical memory and attention improve.

For example, the game "Tongue". The game consists in the fact that the tongue "travels" over the child's mouth and thereby heats up all the necessary muscles. During the game, the children are told a rhyme and they must repeat all the movements after the leader).

"Left to the right	(we pierce the cheek on the left with our tongue), (now the cheek to the right),
Once, two	(left again) (again on the right).
Up way down	(we pierce the upper lip with our tongue), (bottom),
Up down Tongue, don't be lazy!	(one more time on the upper and lower lip).
Lips, wake up! Mouth, open up	(vibrate with our lips) (open your mouth very wide)!
Tongue, show yourself and don't be afraid of your teeth	(we bite the tip of our tongue) (we stick out the tongue forward and remove it back, while biting the entire surface of the tongue)!
And teeth, and teeth bite even lips	(we bite the lower lip).
They bite, bite and do not let up.	(bite the upper lip)
And the lips are laughing then they are very offended	(we open our upper teeth in a smile), (we twist the lower lip, giving the face an offended expression).
They laugh merrily then they are offended again	(open upper teeth in a smile), (turn out the lower lip).
Teeth tired of biting - they began to chew their tongue	(we chew our tongue with our lateral teeth).
The tongue is not a cabbage leaf, it is not tasty at all, not at all!
Teeth, teeth, calm down, wash yourself well	(we run our tongue between the upper lip and teeth).
Don't be angry, don't bite, but smile with us!	(we run our tongue between the lower lip and teeth) (smile)

Exercises according to V. Emelyanov's system, which are divided into static and dynamic, are also invaluable. These articulation exercises are preliminarily worked out in the classroom with a speech therapist in front of a mirror, so that children have the opportunity to control the quality of each movement. In music lessons, children perform already learned articulation exercises, so visual control in this case is not necessary. In one music lesson, no more than five exercises are taken before singing. As children assimilate them, new exercises are introduced.

Examples of static articulation exercises. Static articulation exercises should be performed at a slow pace (each articulation posture is held for 3-7 seconds, after which the tongue, lips and cheeks take a neutral position for the same time). The purpose of static exercises is to develop the child's ability to hold the organs of articulation in a certain position.

1. "Chick" - open your mouth wide;

2. "Smile" - to smile broadly so that the upper and lower teeth are visible (the jaws are clenched at the same time);

3. "Tube" - the lips are extended forward, as when pronouncing the sound U.

In contrast to static exercises, dynamic exercises are used to develop the ability to switch from one arthosis to another, therefore they should be performed at a faster pace.

Examples of dynamic articulation exercises.

1. "Watch" - mouth open, lips in a smile. The sharp tip of the tongue makes movements "one" - to the left corner of the mouth, "two" - to the right. Instead of counting "one-two" we pronounce onomatopoeia: "tick-tock";

2. "Smile - a tube" - on "one" - lips in a smile, on "two" - to pull the lips forward with a tube. We present the same exercise to children as "Merry and Sad": a smile is a cheerful little man, lips in the "Tube" position is sad. Musical accompaniment - "Clowns" music by D. Kabalevsky;

Rhythmic declaration is a synthesis of poetry and music. In the modern musical methodology of teaching preschoolers, rhythmodeclamation is considered as one of the promising forms of development of musical ear, voice, sense of rhythm and expressive speech intonation in children. Until a child learns to control his speech, it is difficult to hope that he will be able to sing correctly and expressively. In the classroom, even poorly singing children take part in rhythmic declaration with great pleasure. Why it happens?

Firstly, it is an interesting combination of beautiful, modern, emotionally imaginative music and vivid original poetic texts. Reliance on speech intonation makes it possible for all children to participate equally in the process of playing music, despite the singing range of the voice and the level of development of vocal-auditory coordination. Thus, rhythmodeclamation develops in children a sense of self-confidence, an awareness of their importance in the team.

For example, speech charging:

I start working on intonation (accurate reproduction of the melody) with the concept of pitch. The purity of intonation depends on the child's musical environment. The purity of intonation in singing requires constant work to improve the ear. One of the reasons for incorrect intonation is not knowing how to use the middle and upper register. In this case, I use transposition of the melody into a key that is convenient for the child. First, I invite the children to do onomatopoeia exercises, then sing jokes. It is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound.

So that children can easily determine the direction of movement of the melody, I use simulation (showing the movement of the hand, didactic games, and so on).

For efficiency, I use the manuals "live pictures" with moving details (exercises "Ladder", "House on the mountain", "Sing with me" and others). Also, to improve the purity of intonation in singing, I use a systematic repetition of learned songs with accompaniment and a cappella, exercise "draw with a voice"

Drawing with voice. This type of activity is the free movement of the voice along the drawn lines. Before starting to work with the drawn models, children try to depict with their voice the howling of a blizzard, wind, a beetle or a bird flying, jumping frogs, a bouncing ball, raindrops, falling stars. ... From the point of view of methodology, this is one of the most unusual and original forms when the child does not feel badly singing. This is a method that teaches the child to independently control the line of movement of the voice, directing it as he can. In the future, such models are performed according to the drawing and according to the teacher's hand, showing in which direction to lead the voice. The performance should be calm and unhurried, without harsh cries, with gentle inhalation and exhalation. Ascending, descending, whirling lines should hang in space, melt.

For example,

Slender, clean singing in unison lays the foundations of the ensemble - integrity, fusion of sound. In singing in chorus, I try to teach children to listen to themselves and others, to merge with the general singing, to make sure that not a single voice stands out. This can be achieved by focusing the attention of children on the simultaneous introduction, maintaining the general tempo, and simultaneously starting and ending the singing of phrases. One should strive not only for the simultaneity of singing, but also for its expressiveness, soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music.

The ensemble in children is achieved gradually. In the second youngest group, at the beginning of the year, the kids start singing only after the teacher starts singing, and at the end of the year they start the song after the musical introduction.

A noticeable result in the formation of the skills of the ensemble and the ordering in both toddlers and older children is the technique of singing in a "chain". Kids learn it by "playing with a song." Songs with repetitive musical phrases are suitable for such a game (for example, the RNP "Petushok" model M. Krasev, "Bunny" model G. Lobachev and others). In the middle group, a variety of roll calls are used: singing "in a chain", duet, trio (together with the teacher), alternating singing (teacher, children, and music director). In the same sequence, the ensemble structure is being improved in children of older groups. Here, singing “along the chain” is supplemented with “echo songs” and “singing to oneself”. Such work on developing the skill of harmonious, continuous singing has the goal of teaching children to accurately perform melodies intonationally when collectively singing in unison. You can also use the following techniques to teach your children to sing along well. First of all, before you start singing, you need to collect the attention of the children. If the song has a piano intro, give a sign - a wave of your hand or a movement of your head so that everyone starts the song at the same time, after the intro. If there is no such introduction, then it is recommended to play the beginning of the song (solo, the first musical phrase), and sometimes the whole song.

You can collect the children's attention by playing the first interval of a song or the first sound of it. Children sing it softly on the syllable "tu" or with their mouths closed, and then begin to sing at the teacher's signal. Singing quietly makes it easier for children to focus on the sounds.

I resort to conducting a children's choir when children sing without instrumental accompaniment (a cappella) or when they are at some distance from the instrument while singing, as often happens at a festival. With the help of conductor gestures, you can specify the exact beginning of the introduction and end of the song, the amplification and attenuation of the sound, its delay, the pitch, and the change in tempo. However, conducting should not be overused. We need to teach children to feel the music and make shades without the help of a conductor.

Song creativity. In the development of singing skills, great importance is attached to children's song improvisation. The ability to create, to independently search for song intonations of children should be taught, to form their musical taste, to achieve stable singing skills. And most importantly, to develop the ability to purely intonate with or without musical accompaniment, to sing in a natural voice.

The desire for songwriting is manifested early in children. Starting with the younger, middle groups, we identify these tendencies and contribute to their successful development. In the senior and preparatory groups, work continues on consolidating the skills acquired by children in early preschool age, but at a higher quality level. The main goal is to expand the musical experience of children, develop the skill of independent improvisation, as well as help children overcome insecurity, embarrassment, relieve tension, develop imagination, attention, memory.

Children not only enthusiastically improvise, but also try to draw songs graphically. For example, a song of a smooth, melodious character is drawn with a wavy continuous line; the high and low sounding of the song is marked with ascending or descending lines; songs based on the alternation of long and short sounds are drawn with long and short lines.

All of the above vocal skills (sound production, diction, breathing, purity of intonation, harmonious, continuous singing) are closely related. They are worked on at the same time, and skills are developed gradually.

Work on the song (it can be conventionally divided into several stages):

Stage 1 - acquaintance with a new piece of music.

Various methodological techniques, which I use in the educational process, prepare children for purposeful listening to a song:

a short introductory speech about this work (title of the song, authors of music and lyrics);

explanation of incomprehensible words;

reading poems and a mini-story that tune children to a deeper perception of the musical image;

solving riddles, puzzles;

involving children in dialogue when discussing the song image.

Such techniques help to awaken in children an interest in the song, a desire to listen to it more carefully and start learning.

Stage 2 - learning the song.

The task of this stage is to create an atmosphere of empathy for this piece. It is very important, when children perceive music, to develop their imagination, emotional response, thinking, judgment. It is necessary to sing so beautifully, emotionally in order to interest the children in a new song.

After listening to the song, a conversation is held with the children about the nature of the composition, its content, the most striking means used by the composer, and performing techniques are outlined. Such an analysis prepares children for learning the song and, at the same time, shows how carefully they listened to the music and how deeply they understood it, and helps to reveal the artistic image of the work.

At this stage, exercises for the development of singing skills play an important role. Children learn by imitation, so I show the techniques of execution, and their consolidation takes place in the exercises. The exercise I give as a chanting, before singing songs. With their help, children learn the difficult melodic moves found in the song. Working on difficult melodies from the song itself requires repeated repetition, which dampens children's interest in the song. Therefore, exercises that help to overcome difficulties, acquire singing skills are given in a playful way.

In order for the children to quickly remember the song, I help with instructions ("This song is easy, you must quickly memorize it") and questions ("How does the first verse begin?", "What is sung about in the second?" "Or the chorus?")

We play "Hint" with the children: I sing a song with stops and wait for the children to suggest the word that I "forgot". Or I propose to guess by the lips the word that the children have forgotten. At the subsequent stages of learning, I pay attention to the fact that the children start each verse on time, without delay. Of course, this often causes difficulties in children with speech impairments due to insufficient concentration of voluntary attention. In such cases, I try to praise the children more so that they do not develop the complex “I can’t, I can’t.” The quality of a song's performance depends not only on its correct choice, but also on the teaching methodology.

Stage 3 - performing a song. Children have already mastered singing skills and freely perform the learned material. If they like the song, the children sing it of their own free will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure. Each song requires its own stage incarnation. Children love this stage of working with a song.

Interaction of the music director with educators and parents in the development of singing skills. For the successful mastering of singing skills by children, the joint work of the musical director of educators and parents is necessary. Working with parents helps in teaching children to sing. At parent-teacher meetings and in individual conversations, I talk about what children learn in music lessons, about protecting the child's voice, and so on. Moving folders with materials on musical education in the family, as well as on the development of singing skills in preschoolers are exhibited for parents. During the period of purposeful work on the development of singing skills in preschool children, parental corners were formed: "Child voice protection", "Sing to health", "Melodies for the little ones", "Lullabies - lyrics of motherhood", "Tips for those who want to learn sing". Also, in the parent corners, the texts of the songs being learned are placed. The parents of our pupils are happy to take part in holidays and entertainment evenings, in the preparation and conduct of events, and in the creation of a musical developmental environment. This kind of collaboration between the kindergarten and the family has a beneficial effect on preschoolers. Parents trust our advice and recommendations, and therefore many children, having become schoolchildren, continue to sing in vocal studios, enter a music school. The success of the lessons is impossible without the joint activities of the music director and educator, who actively helps, organizes independent music-making of children in a group. In the work with educators, open views are used ("Tongue's Travel", "We are all not too lazy to sing songs" and others), consultations ("Tips for Adults on the Protection of the Voice of Preschool Children", "Round Dance Games in Working with Young and Middle-aged Children" , and others), conversations, a round table, seminars where kindergarten teachers get acquainted with the program tasks, methods and techniques of teaching children to sing. Each teacher individually learns the song repertoire, gives recommendations on using the familiar musical repertoire in other classes and in the daily life of the kindergarten. Educators provide effective assistance in teaching children to sing, they skillfully organize a developing subject-spatial environment for the development of children's musical abilities. The groups have a center for musical development, discs and cassettes with music for children, including music for regime moments: lullabies, music of a different nature. Educators conduct musical, didactic and round dance games with singing with children, include songs in the daily life of preschoolers. Due to the presence in each group of vocal didactic material (pictures, schemes, algorithms, collections of songs), pupils can engage in independent vocal activities, organize role-playing games with vocal themes (concerts, holidays in a puppet family, and so on), in addition, children often sing spontaneously in independent activity, in regime moments, in free play.

Summing up the work on the development of singing activity in preschoolers, we can say that the goal has been achieved:

Children love to sing

Understand many vocal terms, conductor's gestures,

Learned to hear and transmit in singing the gradual and leap-like movement of the melody,

Learned to start singing on their own, after a musical introduction and a play, as if falling on the first sound,

Learned to hear and evaluate correct and incorrect singing.

All this can be clearly seen in the results of the final diagnostics.

Comparative diagnostics of the level of development of musical abilities for 4 years (2011-2012; 2012-2013; 2013-2014, 2014-2015 y.y.) showed the following results:

H - 18%

2013-2014

5-6 years old

B - 27%

Wed - 59%

H - 14%

B - 41%

SR - 50%

H - 9%

2014-2015

6-7 years old

B - 36%

SR -55%

H - 9%

B - 62%

Wed - 38%

H - 0%

The combination of music and words helps children express their feelings and experiences. In the lessons on the development of singing skills, preschoolers participated in performing activities, which helped them to better understand the song, while the repeated repetition of the song did not reduce interest in it, but, on the contrary, gave it a new life. Purposeful work increased the interest of children in music lessons, songwriting, and the song has firmly entered the life of children.

Pupils of our preschool educational institution now sing not only at the GCD, but also in an informal setting on their own, take an active part in concerts at different levels. They have developed such performance qualities as confidence, the ability to freely stand in front of the audience, to perform a song beautifully, conveying the character and meaning of the song to the audience.

Summing up the results of my work, I would like to emphasize that there are a lot of methods and techniques for forming the singing skills of preschoolers, but organizing work in this direction, you should, first of all, focus on the capabilities of children, carry out work systematically and consistently, actively involve educators and parents in cooperation. ...

List of used literature:

1. Katser OV "Game method of teaching singing", ed. "Musical Palette", S-P - 2005

2. Orlova T. article "We teach children to sing" // "Music Director" No. 5.6 -2004, p.21, No. 2-2005, p.22

3. Tarasova K. article "To the production of a child's voice" // "Music Director" No. 1-2005, p. 2

4. Sheremetyev V. article "Choral singing in kindergarten //" Musical leader "No. 5-2005 g, No. 1-2006

5. Volkova G.V. "Speech therapy rhythm." M., Vlados, 2002.

6.Emelyanov V.V. "Phonopedic method of voice development", 1999

Singing is one of the favorite musical activities for children. Thanks to the verbal text, the content of the song is more accessible to children than any other genre of music. Singing in the choir unites children, creates conditions for their musical emotional communication. The expressive performance of songs helps to experience their content most vividly and deeply, evokes an aesthetic attitude to the surrounding reality. In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory performances, a sense of rhythm. In addition, children learn about music in a variety of ways. The musical needs of the child are realized in singing, because He can perform familiar and favorite songs at will at any time.

Vetlugina N.A. believes that "singing is one of those types of musical activity in the process of which an aesthetic attitude to life, to music is successfully developed, the child's experiences are enriched, musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed" 1 .

Singing is closely related to the general development of the child and the formation of his personal qualities. In the process of singing, the mental abilities of children are activated. Perception of music requires attention, observation. A child, listening to music, compares the sounds of its melody, accompaniment, comprehends their expressive meaning, understands the structure of the song, compares the music with the text.

The impact of singing on the physical development of children is obvious. Singing affects the general state of the child's body, causes reactions associated with changes in blood circulation and respiration.

Correctly delivered singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture results in even and deeper breathing. Singing, by developing coordination of voice and hearing, improves children's speech. Metlov N.A. in his book "Music for Children" writes about the basic qualities of the child's voice, that "the vocal apparatus is very fragile, delicate, continuously growing in accordance with the development of the child's entire body ... The vocal cords are thin, short, so the sound of the child's voice is high and very weak ... It is amplified by resonators. Distinguish between the upper head resonator (the cavity of the pharynx, mouth and paranasal cavities) and the lower chest cavity (the cavity of the trachea and bronchi) ... In children, the chest resonator is poorly developed, the head one prevails. Therefore, the voice is weak, but clear. Resonators give the sound different colors. When forcing the sound while singing, children develop an unpleasant, uncharacteristic low sound " 3 .

The problem of setting the singing voice of a preschool child is one of the most difficult and least developed in musical pedagogical theory and practice. At the same time, this is one of the most important problems in the practice of musical education of preschoolers.

Its importance is determined by the sensitivity of this age in relation to the formation of singing skills, the connection with the health of the child, the value of vocalization for the development of musical ear, the influence of singing activity on the formation of the child's system of musicality as a whole.

Based on the research and experience of leading musicians-theorists and practitioners, widely using the latest achievements of musical pedagogy, she built a system for developing the singing skills of preschool children.

I begin this work with children of three years of age. I pay special attention to sound education: I teach to sing in a drawn-out, natural, light sound without tension and shouting.

In the middle, senior and preparatory groups, work on singing skills continues.

I conduct more in-depth work in this direction in the lessons of the vocal circle, which is attended by children of 5-7 years of age.

My studies are based on the ideas of children's musical education by Karl Orff, Ogorodnov D.E. and Emelyanova V.The.

Lessons can be conditionally divided into 4 sections, which are interconnected and interact with each other:

1. Phonopedic exercises Emelyanov V.V. For correct sound production, the clear work of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance, therefore, to achieve this goal, I conduct a warm-up at each lesson - articulatory gymnastics according to V.V. Emelyanov's system. These exercises not only develop the singing voice, but also contribute to its protection, strengthen the health of the child.

Articulatory gymnastics includes:

working with the tongue (biting the tip of the tongue, chewing the tongue alternately with the left and right lateral teeth, clicking the tongue in different positions, stretching the tongue, rolling it into a tube, etc.);

with lips (bite the lower and upper lip with your teeth, protrude the lower lip, giving the face an offended expression, raise the upper lip, opening the upper teeth, giving the face a smile), massage the face from the roots of the hair to the neck with your own fingers.

Articulation exercises for children are interesting, accessible, because I spend them in a playful way.

Play is a child's favorite activity. In the game, he asserts himself as a person, his imagination develops. Without noticing it, preschoolers solve complex problems in the development of diction and articulation in the game.

After carrying out articulatory gymnastics, I use intonation-phonetic exercises that help to overcome speech defects, align vowels and consonants. When singing exercises from a number of vowels, in order to align them, one vowel sound should, as it were, be poured into the other smoothly, without a jolt (uuuaaaooo). Singing vowels in one sequence or another pursues a specific goal, depending on what timbre you need to tune your voice to. To form the sound of a child's voice closer to falsetto sound, use the vowel sounds [y], [o], [a] (among which the vowel [y] is most preferable). In practical work with children, the location of the lips in a half smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light, light. The location of the lips in a half-smile contributes to finding a close vocal position, which characterizes the correct sound formation. Particular attention should be paid to chin relaxation. "Checking" is carried out by opening the mouth with hands applied to the cheeks (fingers through the cheeks lie on the lower teeth), while the vowel sound [y] sounds.

2. Playing with sound is an indispensable condition in our classes. The child must get a completely accurate picture of him. We are talking about the fact that sound has certain properties. You cannot touch it, you can only hear it. The sound can be flat, round, high, low, angry, affectionate, gentle. Anything can serve as a material for sound: elementary instruments, threads, balloons, hoops, balls, soap bubbles - in general, everything that the teacher's fantasy tells. I often play the game "Magic Box"

Children love to pull a string out of the box. They see how the thread stretches, and with it the sound. Understand that sound has a beginning and an end. Children pull the thread on any vowel sound; it can be sung from top to bottom and vice versa. The thread is smooth, silky and the sound should also be smooth. If the thread makes wavy movements, then the sound can also be wavy, etc.

3. Working with hands is a prerequisite in the classroom. The hands are “responsible” for certain areas of the cerebral cortex. They help to carry out musical actions in a more meaningful, aesthetically pleasing, expressive and diverse way, which allows you to achieve success even with the weakest children. In the classroom, I create situations when the child necessarily begins to work with his hands. Hands below - a low sound, above - a high one, hands make abrupt movements - the sound is abrupt on staccato, soft hand movements - smooth sound. This technique helps children consciously manage the process of sound production. (Picture 1 ).

In vocal work I use exercises with fretting gestures. With the help of gestures, children learn to sing steady steps from any sound. (Picture 2 ).

In the classroom, I like to use such a technique as expressive reading of a poem. I work on poems in this way: the group reads a poem to my conducting (as if it were a piece of music). Each child repeats these movements, which offer several options for contrasting images (kind, evil, whiny, joyful, etc.). For classes, I select poems containing a vivid game image or dialogue.

Beautiful, plastic hand movements, high-quality conducting, active, wide movements, positive emotions - all this has a beneficial effect on the psychological and physical health of children.

Finger games are another necessary technique in the lessons of the vocal circle. They develop fine motor skills, are responsible for speech, develop creativity, imagination, develop expressiveness of speech. Either fast, now measuredly unhurried, sometimes chanting tempo of rhymed lines fosters smoothness, regularity, rhythm of speech, develops breathing.

4. Singing games are of great importance for strengthening singing skills. The play situation enhances children's interest in singing, makes the perception and content of the song more conscious.

For the formation of the palatonal sound, tasks for the development of songwriting are indispensable "What do you want, kitty" by G. Zinger, "Bunny, rabbit, where have you been?" and others. I invite children to play musical questions and answers. The question-and-answer form of the exercise or the task to finish the melody, the beginning of which was sung by the teacher, helps to activate the inner hearing, the development of creative initiative.

Fantasy, imagination, elements of creative expression accompany each game, and the ability to play unaccompanied, to your own singing, makes these games the most valuable musical material. In singing games, children practice singing a cappella... Under the influence of the emotions caused by the game, the child tries to accurately convey the melody, text, and, most importantly, the mood that this song carries. The general enthusiasm in the game, the joy of performance, activate timid, indecisive children. It is important to maintain interest in each child, to help children acquire faith in themselves, to get rid of tension and embarrassment.

Thus, the use of a system of special exercises of various games, individual and circle work with children - all this made it possible to achieve positive results in the development of singing skills in older preschool children. Music has firmly entered the life of the children. They sing in a group, at home for parents and with their parents, not only accompanied by an instrument, but also on their own without anyone's help.

List of used literature

Vetlugina N.A. "Methodology of musical education in kindergarten", M., "Education", 1989.

Emelyanov V.V. "Phonopedic method of voice development", 1999

Metlov N.A. "Music for children", M., "Education", 1985

Orlova T.M., Bekina S.M. ”Teach children to sing. Songs and exercises for the development of voice in children 5 - 6 years old ", M.," Education ", 1987

Orlova T.M., Bekina S.M. ”Teach children to sing. Songs and exercises for the development of voice in children 6 - 7 years old ”M., 1988