Song repertoire for young children. Children's repertoire as a means of developing the vocal abilities of children of primary school age

The song repertoire for children should consist of highly artistic works that have a great educational and cognitive value. Listening and performing songs, the child emotionally responds to them, perceives their artistic images, comprehends the content as a whole. All this deepens his ideas about the surrounding life. Musical images embody events that are close and interesting to children, natural phenomena, social life. Songs, influencing feelings, cause a certain attitude to what is conveyed in them. So, for example, the child often paid attention to seasonal changes in nature: he noticed yellowed leaves, gloomy skies, early sunsets. Listening to T. Popatenko's song to the words of N. Naydenova "Golden Leaves", children recall the fall of the leaves, paths covered with a golden carpet, bouquets of yellow, red leaves brought to kindergarten. Children are very fond of musical works that have arisen on the basis of intonations taken from the surrounding life. With particular pleasure, they listen in the melody to the intonations of the cuckoo, which are well known to them, built on the interval of a major third. Pay attention to the pictorial moments that convey the chirping of birds. An example is the song of M. Krasev "Titmouse". It is structured in the form of questions and answers. The children ask the titmouse where she was, and the titmouse answers them. Children love songs in which they hear imitations of the sound of familiar instruments: drums, trumpets, strings. For example, in M. Krasev's song "Petya the Drummer" there are separate fragments where the drum beat is heard. Children are very interested in listening to the sound of “aucan” and “cradle”, transmitted by repeating ascending and descending intervals. In lullabies, descending intervals create a mood of peace (see the song “Sleep, dolls, bye, bye” from N.A. Vetlugina’s “Musical Primer”) However, these pictorial moments cannot be considered in isolation from the musical image of the work as a whole, just as reduce all vocal music for children to figurative sounds. The main thing in music is the expression of feelings, moods, emotions. By influencing the child's feelings with a song, the teacher educates him in an emotionally positive attitude towards reality.

The repertoire of children's songs should be varied in subject matter, include songs about nature, children's work, kindergarten, school, seasons; comic, playful, festive, songs on social topics.

In the kindergarten program, songs are selected in accordance with certain principles.

1. The songs that are offered to children in all groups must be highly artistic, educational in relation to the content of the text. For example, the text of the song "Winter" by V. Karaseva in art form reinforces the knowledge of a small child about winter nature, about sledding. A simple melodious melody, a short piano introduction and conclusion to the song deepen this artistic image, emotionally color it.

2. Song melodies should be simple, bright and varied in character.

3. The theme of the songs is varied, but close and understandable to children.

4. The melodies of the songs must correspond to the vocal abilities of the children in terms of the range, which should not exceed that specified in the kindergarten education program.

5. In the younger group, the song should consist of short musical phrases - no more than 2 measures. The preferred time signature is 2/4, and the melody ends with a quarter or half note. It is also desirable to end the phrases on long notes so that the children have time to take a natural breath before the start of another musical phrase. In the middle group, musical phrases are lengthened. In older groups, songs with longer phrases in 6-8 quarters are offered (for example, M. Krasev's song "On a walk").

6. The tempo of songs for younger groups cannot be fast, as it is difficult for younger children to pronounce the words at a moving pace. In the middle group, lively songs are also offered, for example, "Sanki" by M. Krasev. The repertoire of the older groups includes songs of different tempos, but most of them are still moderate.

7. The rhythm of the melodies of songs should be simple - consist of a combination of quarter, half and eighth notes.

8. The teacher makes sure that each subsequent song is somewhat more difficult than the previous one (in terms of vocal skills, song melody, rhythmic pattern). The form of the song may also become more complex. For example, from a one-part song, one should move to a two- or three-part song, from a simple couplet to a song with an introduction, conclusion, acting out, etc.

When choosing songs, the music director pursues, first of all, educational and educational tasks in order to evoke in children love for the Motherland, nature, parents, kindergarten, etc. At the same time, the teacher takes into account those vocal skills that can be instilled with the help of a particular song . When choosing a song, one must proceed not only from one literary text, but take into account the nature and structure of the melody, its accessibility for a given group of children. It is necessary to take into account the general musical development of children. We list the requirements for songs set out in the Kindergarten Education Program.

1. Songs should be pedagogically valuable, highly ideological, educating a feeling of love for the Motherland, its nature, work, friendship and comradeship, etc. For example, the songs of V. Agafonnikov “You can’t live without labor”, S. Razorenov Guys".

2. Songs must be highly artistic, i.e. uniform in content and form. For example, the song "Skvorushka Says Goodbye", music by T. Popatenko.

3. Songs must meet didactic requirements: accessibility, regularity and consistency, consciousness, activity. Namely: the gradual complication of songs should go from easier to more difficult in terms of melody, harmonization, structure. Children must comprehend the content of the text and the requirements for the performance of the song, be able to perform songs on their own - solo and in chorus.

When choosing songs, you need to proceed from:

♦ plan of pedagogical work;

♦ the interests of the children they live in given time;

♦ accessibility to children's perception of the feelings expressed in the song.

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Children'srepertoireHowmeansdevelopmentvocalabilitieschildrenjuniorschoolage

singingschool vocal ability

Introduction

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

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

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

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

To solve this problem, the object and subject of the course research are defined:

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

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

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

To achieve this goal, the following tasks are defined:

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

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

Course research methods:

search steps:

material selection method

The method of directed transformation according to the level of penetration into the essence:

empirical:

Theoretical literature study:

analysis and synthesis

by function:

explanation

1 . Peculiaritiesdevelopedand IabilitieschildrenjuniorshKolnyage

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

Singing is the performance of music with the help of a singing voice. Differing from colloquial speech in the accuracy of pitch intonation, singing is one of the most vivid and expressive means of musical art.

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

Only in activity perception, memory, thinking, sensations are improved, knowledge is acquired, new needs, interests, emotions arise, abilities develop. In any activity, consciousness and purposefulness are necessary. The mind of the child is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, evaluate deeds, actions, etc.

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

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

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

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

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

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

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

1.2 Peculiarities musical hearing And vote children junior school age

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

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

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

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

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

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

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

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

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

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

On fifth stage"purely" intonation of the whole melody. These five stages are revealed in the conditions of singing with piano accompaniment.

On sixth stage there is no need for accompaniment: the child relatively correctly intones the melodic pattern without accompaniment.

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

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

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

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

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

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

The development of a musical ear in children, and above all its main, pitch “component”, largely depends on the direction and organization of those types of musical activity that are priority in this case. These, as already noted, primarily include singing - one of the main and most natural species musical activity of schoolchildren.

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

However, despite the apparent interest in these issues, the methodology for the formation of a singing voice in children remained generally undeveloped, which negatively affected their musical development. Specialists have repeatedly noted a low level of auditory-vocal coordination in younger students, pointed out the dull sound of children's singing voices, and unsatisfactory intonation.

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

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

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

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

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

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

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

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

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

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

In children of primary school age, when singing, the vocal folds oscillate only with their elastic edges and do not completely close, voice formation over the entire range follows the falsetto type, the voice consists of only one register - the head. The vocal muscles are underdeveloped, the voice range is limited. At this age, children's voices have approximately the same range within the first octave. The extreme notes of the range, especially “to”, are difficult for children to take.

In general, falsetto voice formation is typical for younger schoolchildren. Their respiratory muscles are still weak, their lung capacity is small, and therefore their voice is less than that of older children.

The voice mechanism of children is very elastic and malleable. The earlier healthy sound production skills are instilled in a child, the sooner the relationship between voice and hearing is established.

HygieneAndsecuritychildren'svotes

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

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

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

All the changes that occur in the body of the singer, one way or another affect his voice. The general state of health sometimes determines the possibility of singing. With all chronic diseases that cause general weakness, malaise, lethargy, singing lessons will not be effective. The voice sounds good only when the singer is healthy, alert and in a good mood.

Thus, successful work and accuracy of sound reproduction during singing is possible with full coordination of musical hearing and voice, and protection of the child's voice.

1.3 Psychological peculiarities junior schoolboy

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

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

All of the above concerned the objective psychological readiness of the child for schooling. But the other side should also be emphasized - subjective psychological readiness, desire and desire to study at school, a kind of readiness for new forms of relationships with adults. Of course, there are also very large individual differences.

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

From the first days of schooling, the main contradiction arises, which is the driving force behind development in primary school age. This is a contradiction between the ever-growing demands that educational work announces, the team in the personality of the child, to his attention, memory, thinking, and the current level of psychological development, the development of personality traits. Demands increase in time, and the current level of psychological development is continuously drawn up to their level.

Many years of research by psychologists have shown that old programs and textbooks clearly underestimated the cognitive capabilities of younger students, which is not rational to stretch the already meager educational material for four years. The slow pace of progress, endless monotonous repetition led not only to an unjustified loss of time, but had a very negative effect on the mental development of schoolchildren. New programs and textbooks, which are much more meaningful and profound, make much greater demands on the psychological development of the younger student and actively stimulate this development.

Educational activity in the primary grades stimulates, first of all, the development of mental processes of direct knowledge of the surrounding world - sensation and perception.

Possibilities of volitional regulation of attention, management of it at primary school age are limited. In addition, the production attention of a younger student requires a short, in other words, close, motivation.

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

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

Memory at primary school age develops under the confluence of learning in two directions - the role and specific weight of verbal-psychological, semantic memorization (compared to visual-figurative memorization) is enhanced, and the child seizes the ability to consciously manage his memory and regulate its appearance (memorization, reproduction, recollection).

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

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

Thus, when working with children, it is necessary to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal and choral skills , principles And methods vocal learning

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

Pevcheskaya installation. The term singing installation is understood as a set of mandatory requirements that contribute to the correct sound formation. The singing setup consists of many external techniques and skills. In choral singing, it is usually recommended to stand (or sit) straight, but not tense, not stooping, taut. A straight and collected position of the body, uniform support on both legs, freely lowered arms, an expanded chest, the head is held straight, not tense, is considered the correct position of the body. When sitting, do not cross your legs, as this restricts breathing. The mouth in singing serves as a “bell” through which the vocal sound receives its direction, so the main position of the mouth should be wide, open. The palate serves as an important resonator. Thanks to the raised palate, a rounded sound is formed (the palate is a kind of specific “dome”). Most of the initial exercises for the development of a singing attitude (especially with younger children) are aimed at organizing the correct position of the body and vocal apparatus. This is of great importance in the rehearsal work of the choir, as they set up young singers in a labor mood and strict discipline.

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

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

Do not overfill your chest with air. When working with a choir, it is appropriate to take a breath, as if feeling the delicate aroma of a flower, and exhale so that the flame of the candle located at the mouth does not stir. It is extremely important to develop in young singers the ability to use their breath economically, “in order to obtain a large supply of sound and, moreover, of the best quality with the least amount of air”

The concept associated with singing breathing singing supports, which is the result of the correct organization of breathing, sound production and resonation of the voice, the interaction of all components. The support ensures the best qualities of the singing sound, its energy, composure, elasticity, accuracy, flexibility, flight.

The nature of the singing breath is reflected in the nature of the sound of the singer's voice. Smooth, calm, light breathing contributes to the achievement of a beautiful, light sound. Harsh, strained breathing gives rise to a harsh and tense sound. With excessive breath pressure on the ligaments, they lose their elasticity. With all the freedom of breathing, it should maintain a feeling of muscle elasticity, energy of movement. Teachers usually closely monitor the respiratory process of the singers, and if, due to excessive effort, the children interpret the concept of “breathing support” in reality as hard breathing, they will definitely correct the incorrect execution of the respiratory process, sometimes even changing the terminology. Here the pedagogical position is important in finding the correct musculoskeletal sensations. An economical and even exhalation is necessary for the performance of smooth, widely chanted melodies. Singing in the lower part of the range requires the most air. When performing upper sounds, the least amount of breath is consumed. It should be remembered that it is impossible to increase the pressure of the air column. This leads to harshness and loudness, and also causes an overestimation of the sound. When performing fast passages and technical, moving melodies, breathing should be light, but very active. In choral singing, the simultaneity of breathing is the basis for the simultaneity of the sound attack and introduction. Equally necessary is uniformity in the supply of breath, its volume. The resumption of breathing by all singers must be carried out at the moments established and marked in the parties. Usually they coincide with the boundaries of constructions, phrases, with caesuras in a musical and poetic text. In cases where the duration of the sound of the phrase exceeds the physical capabilities of the singing voice, the chain breath. Basic recommendations for chain breathing:

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

· Do not take a breath at the junction of musical phrases, but only if possible in the interior of long notes;

Take breath quickly and imperceptibly;

· To merge into the general sound without an accent, with a soft attack (beginning) of the sound, intonationally accurate;

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

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

Before its occurrence, the sound must be framed in the mental auditory representations of schoolchildren;

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

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

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

In children of primary school age, the timbre is uneven. This is mainly due to the "variegation" of vowels. In order for them to sound even, children must constantly strive to maintain a high sound (position) on all sounds of the singing range. For this, singing, exercises for vowels are used. At, YU, as well as songs with a downward movement of the melody, much attention in vocal education is paid to the vowel sound ABOUT. Singing exercises and melodies on vowels ABOUT,Yo helps to develop a rounded beautiful sound. Sounds require special rounding AND(it is brought closer to the sound S),A(get closer to the sound) ABOUT), E(get closer to the sound) E).

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

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

One of specific features Singing diction is the "transfer" of the last consonant in a syllable to the beginning of the next syllable, which ultimately contributes to the length of the vowel in the syllable. At the same time, the role of consonants should not be diminished at all, since otherwise careless pronunciation will complicate the perception of the listener.

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

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

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

When working on the difficulties of the system, one should adhere to the rules of intonation of the steps of the mode.

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

Principle educator learning very important, its purpose comprehensive development personality. The upbringing nature of vocal education is connected with the principle of its scientific nature, which proceeds from the objectively existing phenomena of the singing process, from the laws of their relationship. In vocal pedagogy, the principle of scientificity is especially important. Until recently, singing was taught in a purely empirical way (“sing as I sing”). This led to a subjective, scientifically unfounded interpretation of various phenomena of singing voice formation (such as the dogmatic requirement for all singers to have a low position of the larynx, regardless of the type and nature of the voice, which was refuted by scientific data). Compliance principle scientific in vocal education at the Faculty of Music and Pedagogics, it acquires special significance. If the vocal values ​​and skills of the future music teacher do not correspond to objective data, he will not be able to successfully teach schoolchildren singing and correctly influence the development of their vocal apparatus. Modern scientific information about the singing voice and the process of voice formation ensures the implementation of the principle of the scientific character of vocal training.

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

Consciousness in vocal learning is inextricably linked with understanding the causes of the formation of various qualities of sound. It is important to know what the correct sound is and be able to reproduce it, while having a good idea of ​​\u200b\u200bwhat needs to be done to form the desired value. The future teacher also needs the importance of the causes of the formation of undesirable qualities of sound (throat, nasal, hoarse overtones) and ways to eliminate them. The discovery of cause-and-effect relationships between the phenomena of the singing process is based on the analysis of the reproduced sound (consequence) and the technology of voice formation (cause), which in its essence constitutes the Vocal and Methodological Training of the future singing teacher.

Knowledge of the methods of formation of various qualities of singing sound, the peculiarities of the sound of schoolchildren's voices, the work of their vocal apparatus helps the student to master the ability to bring the sound of his voice closer to the sound of children's voices. Deeply conscious possession of one's voice enables the student to quickly master the techniques of bringing his voice closer to the voices of children by removing chest resonance, lightening the voice, reducing the strength of the sound, switching to folds. The connection of individual vocal training at the Faculty of Music and Education with practice, with the school is also expressed in the formation of future music teachers of such special skills as singing a song to their own accompaniment and singing without accompaniment.

On principle scientific learning is based on the principle of its feasible difficulty. Without knowing the process of voice formation, ways of acting on it, without a clear idea of ​​the level of musical, vocal-technical and artistic development of the student, it is impossible to determine what is feasible for him in each specific period of study. The correctness of determining the level of development of a student depends on the reliance on the necessary objective scientific data.

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

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

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

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

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

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

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

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

The heuristic method is introduced as the vocal-technical and artistic skills are mastered. It consists in the fact that the teacher plans and organizes the implementation of individual search steps by students. Often this is a task to find the nature of the sound corresponding to the mastered vocal work. The teacher leads the student to the task, helping him to clearly define the emotional and semantic content of the vocal work. Based on the identified content, the student attracts, actualizing his knowledge and skills, forms the right sound, motivates his qualities.

The research method is considered as a way of organizing the search, creative activity of the student. In the conditions of teaching solo singing, this method is used at later stages of training and mainly boils down to students' independent analysis of the musical and poetic text, the emotional content of the mastered artwork, the search for vocal means of expression. To create your own performance, interpretation of the work. Given the specifics musical training Obviously, it would be more correct to call this method creative.

Thus, vocal and choral skills are the basis of expressive singing, the formation of hearing and voice. A necessary condition for successful work is their exact observance and implementation. With the help of the principles and methods of vocal training, the student not only acquires knowledge about singing voice formation and develops and improves vocal and technical, artistic skills, but also develops his voice, performing inclinations, musical and aesthetic taste, mental abilities: memory, observation, thinking, imagination, speech, moral feelings,

2 Peculiaritiesselectionsongrepertoire

2.1 Are common methodical provisions By organizations vocal-choral work With junior schoolchildren

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

The following can be the cause of poor intonation: dislike for singing, shyness, general apathy or excessive activity, lack of coordination of hearing and voice, diseases of the vocal cords, physiological disorders of the hearing aid, weakness of auditory attention, muscle stiffness. If the cause of poor intonation is not related to physical pathology, for many students the problem of pure intonation, as a rule, can be resolved, provided that classes are systematic and pedagogical control is constant.

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§ 6. Methods of introducing children to singing early age
The development of initial singing manifestations on first year The life of a child begins with the fact that the baby is taught to listen to the singing of an adult and respond to it with the sounds of his voice, cooing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with and without musical accompaniment.

These tasks are solved with the help of a song repertoire, which includes simple, melodic, easy-to-breathe songs of a small range.

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

[Slow] [Moderate]

Russian folk song"Bunny" they can sing in its entirety, as it is built on a repeating motif:

[Lively]

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

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[Leisurely]

Most songs for children of this age are performed slowly, in moderate pace. But there are also more mobile ones (“Santa Claus” by A. Filippenko, “Playing with a Horse” by I. Kishko).
^ Song repertoire
In the second junior group, the song repertoire is expanding significantly. Public themes are more represented here (“Machine” by T. Popatenko, “Airplanes” by M. Magidenko, “Young Soldier” by V. Karaseva) natural phenomena (“Winter” by V. Karaseva, “Rain” - Russian folk song, arranged by T. Popatenko ), songs for the day of March 8 (“Pies” by A. Filippenko, “We love mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.
^ Methodological techniques

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

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

In addition, game techniques are used. For example, introducing the children to the song "Cat" by An. Aleksandrova, the teacher shows a toy and after singing says: “The kitty asks for milk.” “Meow, meow,” he sings and asks: “How does a kitty ask for milk?” This prompts the guys to sing the last phrase with him.

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

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

In the second younger group, teaching techniques are more often used. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.
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The most active begin to sing immediately. Gradually, everything turns on.

Particular attention is required to work on drawling singing, as many children sing with a voice. The teacher expressively sings long sounds. Children follow this example.

In the process of learning to sing, it is necessary to hear each child, to note his performance. Those who sing well should be offered to sing in a group for all children, with intoning inaccurate ones, to work out separately in order to teach them to “adjust” to the singing of an adult.

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

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

When forming collective (choral) singing, it is necessary to train children to start and end the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.
§ 8. Methods of teaching singing to children of the middle group
Tasks and content of training
In the fifth year of life, children emotionally perceive and empathize with the different moods of the songs. Preschoolers already have some musical training. They have developed some singing skills, their voices have strengthened, their range has slightly increased. (re-si the first octave), breathing became more organized, the pronunciation of individual sounds and words became more accurate. This allows you to expand the scope of singing skills.

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

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

The best practice experience has shown the need to learn unaccompanied singing, which should be mastered as early as possible. The lightest, most comfortable songs in terms of singing become
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are the property of children, and they successfully apply them in their independent activities.

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

By the end of the year, five-year-old children should master the following programming skills: sing expressively, in a natural sound, without tension, drawn out, take a breath between short musical phrases, pronounce words clearly, correctly, start and end a song together, correctly convey a simple melody. Sing in unison within re-si the first octave, listen to the voices of others, distinguish sounds by their height, sing with and without instrumental accompaniment.
^ Song repertoire
The theme of the song repertoire is more diverse than in the younger groups. In accordance with this, the funds are enriched musical expressiveness in songs for children of this age. Interesting and accessible to them is the vivid depiction of music in such songs as “We are building a house” by M. Krasev, “Diesel locomotive” by 3. Kompaneytsa, “Airplane” by E. Tilicheeva. The world of natural phenomena is also revealed to the child in poetic Russian folk songs and songs.

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

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

Mastering the skill of drawn out singing is achieved by showing the correct performance by the teacher himself and using figurative comparisons: “Let's sing drawlingly, pull the melody like a thread.”

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

The following exercises help the development of the singing voice: small chants, consisting of 2-3 sounds, are performed on all sorts of convenient syllabic combinations (doo-doo-doo, yes-yes-yes, la-la-la, ku-ku, ay-ay) at various levels of the scale, gradually expanding the singing range, taking into account the individual capabilities of children. Such exercises are useful in every lesson. It is especially useful to sing without accompaniment when the child can perform a small song on his own. Moreover, the child somehow controls the quality of singing by hearing. You can give figurative tasks that require distinguishing sounds in height. For example, to distinguish the voice of "mother-bird" (before the first octave) from the voices of the "chicks" (before second octave) in E. Tilicheeva's song "Big and Little Bird". 1 This gradually brings you closer to understanding the pitch.

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

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

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

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

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

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

can children identify sounds of different pitches: octave, seventh, sixth. Receptions: children are invited to find out who sings first: “mother bird” (low sounds on one note) or “chicks” (high sounds on one note).
§ 9. Methods of teaching singing to children of the senior group
Tasks and content of training
The content of the program for teaching singing is based on the same principles as in the previous group. The increased abilities of children make it possible to acquaint them with a wider range of ideas about life phenomena by means of songs. This enhances the cognitive role of singing.

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

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

Constant attention is paid to the development of pure singing. As practice shows, there are 5-6 guys in the group who sing low and inaccurately. They should be given private lessons. The sound quality largely depends on the singing setup.

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

The voice of the child is strengthened, the singing range is determined -
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re-si first octave and before the second (this sound is rarely found in the song repertoire). Constant attention is drawn to the development of hearing, the ability to hear and distinguish between correct and incorrect sounds.

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

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

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

For the development of singing breathing, songs are used in which a uniform length of musical phrases is given. However, while developing this skill, it is necessary to include songs that have some asymmetry in construction. For example, in the song "Geese-cats" An. Alexandrov, long and short phrases alternate: “Geese-catslings in the forest. VGa-ha-ha!V Red put on stockings V Ga-ha-ha!V etc. 1
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Clear, distinct pronunciation requires lingering vowel singing: “It’s spring-on, oh, it’s red-on” - and very clear underlining of consonants, especially at the beginning and end of words: “I am very glad today, my brother brought the drum ". In the older group, work continues on accurate vocal intonation (pure singing). This will be helped by songs that have a lot of stable sounds of convenient melodic passages, for example, “Blue Sledge” by M. Jordansky, and songs where more difficult intervals occur, for example, An. Alexandrova.

Dynamic and tempo changes in songs for children aged 5-6 are not very diverse, but they require precise execution and observance of all the composer's instructions.
^ Methodological techniques
Methodological techniques are always aimed at developing a singing voice, melodic ear, and learning skills. Before singing, the children ate

there are exercises for singing, built on separate sounds: “cuckoo” (small third),"le-le" (prima) or Russian folk tunes “Bai, kachi-kachi”, “Chiki-chiki-chikalochki”, etc. Their systematic repetition forms the skill of pure intonation. Hearing development exercises are also used: “musical echo” (the child reproduces a given sound).

To develop the first musical and auditory ideas about pitch and rhythmic relationships, the comparison method is used: the same musical phrases with different endings are performed, and the children are asked to identify higher and lower sounds.

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

Children acquire initial information about music while learning songs: they learn about the nature of the sound (singing, abruptly), the pace of performance (slow, moving), dynamics (louder, quieter). Children use this information in their answers, talking about the content of the song, about the nature of its sound.

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

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

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

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

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

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

find out how many songs from the repertoire the children will be able to sing with piano accompaniment.

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

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

The school places a lot of emphasis on singing. Therefore, in working with children in the preparatory group of the kindergarten, the requirements for singing increase, become more complicated and boil down to the following:

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

to teach children on their own and at the same time start and end a song, keep the specified tempo (speed up, slow down, increase and decrease the sound); accurately perform rhythmic pattern; correctly transmit the melody, listen to yourself and others, correct mistakes; expressively perform familiar songs with and without the accompaniment of the instrument; recall and sing songs learned in previous groups; determine the direction of movement of the melody up and down, distinguish between short and long sounds; know the names of notes, understand that high sounds are located on the upper lines, and low sounds are on the lower ones;
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to teach to improvise onomatopoeia (“ay”, “ku-ku”) and various chants based on the acquired singing skills;

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

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

In the kindergarten it is necessary to create all the conditions for active preparation for school classes, since at school children go from singing by ear to singing from notes. The latter requires the ability to correlate sounds and notes. By analogy, we can recall the relationship between oral and written speech. That is why it is so important to form in the child musical and auditory ideas about sound-pitch ratios, to give some information about musical literacy and to introduce the so far conditional graphic symbols showing the ratio of sounds in height and duration.
^ Features of the song repertoire
The song repertoire includes works that are diverse in content, themes, and means of musical expression: 1) songs, chants, for mastering all program singing skills;

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

3) sample songs that develop children's song creativity.

Songs that teach singing skills are selected taking into account pedagogical tasks. Such songs, different in nature of sound (smooth, melodious: “Leaves are falling” by M. Krasev, “A birch stood in the field”, Russian folk song; light, moving: “Happy holiday” by D. Kabalevsky, “We meet May” by V. Gerchik ), are built on musical phrases that develop breathing, have a range, tessitura, convenient for the child's voice. The melodic line often includes difficult intonation moves; complications are found both in dynamic and tempo shades (“Mother’s Holiday” by E. Tilicheeva).

Exercises that prepare for learning from notes are used from the repertoire being learned. In order to conduct training in this direction more successfully, you can use special exercises from the Musical Primer.

Sample Songs 1 created by Soviet composers to creative tasks, they do not serve to copy, but help to reveal the child's abilities, enriching him with musical impressions. This is a kind of model, on the model of which a child can compose, come up with his own melody that conveys the content, mood of a particular poetic text.
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Methodological techniques
Methodological techniques also meet the objectives of mastering program skills and repertoire. Consider methodological techniques aimed at developing singing skills.

Working on sound formation (high, light, sonorous, melodious, mobile), the teacher uses the demonstration on his own example or on the example of a well-singing child. Listening, the rest of the children try to do the same. Imitation should be meaningful: you need to hear, compare, evaluate.

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

Work on singing breathing is associated with sound formation. Systematic exercises and reminders are needed.

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

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

You can use the following tricks:

“tune in” before singing; the teacher sings (pulls) the first sound, and the children repeat it;

“linger” on a separate (often the last sound of the song) sound of the melody as directed by the teacher and listen to how it sounds;

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

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

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

deepen auditory representations using a display, an image of conventional signs (a bird sits high - sings higher, sits low - sings lower);
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use hand movement (elements of conducting) showing how to sing higher or lower.

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

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

learn some songs without an instrument (with the teacher's voice);

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

when performing songs, especially folk songs, you can divide children into two subgroups: those who sing better perform the refrain or refrain (more complex).

So that when performing a song without an instrument, the children do not lower the pitch, it is useful to “tune” them before that, play the musical introduction, and at the end of the song, the conclusion. It is also very useful to repeatedly repeat previously learned songs, accumulating a children's repertoire.

The skill of harmonious singing (ensemble) is formed by constant exercises in collective singing. It is important to emphasize the importance of all musical shades. If children understand the meaning, feel the mood, they know why a festive song should be sung solemnly, joyfully, and a lullaby - calmly, affectionately. The main thing is that the children's actions should be united, so that everyone feels like a member of a singing group and "trim" their voice in strength, tempo, timbre to the overall sound.

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

The exercises given in the first part of the primer are assimilated by the child by ear.

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

Gradually, the skill of identifying various sounds in height is developed. Exercise songs, such as "Swing", "Echo", built on wide intervals (septima, sixth), and such as "Pipe", "Accordion", at narrower intervals (quarter, third, second).

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

^ Seesaw

[Leisurely]

Echo
[Moderately]

bye bye
[Calmly]

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

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and this:

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

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

Developing a modal sense, children are taught to sing intervals in small songs and even find the tonic (the last final sound) on their own, for example, in the song “Our House” by E. Tilicheeva.

^ Second challenge- to teach children to distinguish and sing sounds located nearby in ascending and descending movement. So, in the song "Ladder", the guys sing a melody with the words "Here I go up" and, looking at the picture, show this with a hand movement. Perception is based on auditory, motor, visual sensations. 1 So the guys get acquainted with the scale and can sing it with the name of the notes (before, re, mi, fa, salt, la, si, do).

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

The third task is distinguish the duration of sounds. The fact that sounds are different in their length, children learn by analogy with various phenomena (for example, a bell rings for a long time or a short one). First, exercises are mastered to compare two sounds of different duration in the chants “The sky is blue”, “The month of May”, etc. The quarter is conventionally denoted by the syllable “le”, the eighth - “li”. Songs are performed in the following sequence: first they are played on the piano (without words, the children listen and sing the desired syllable. Then, performing the sound "le", they make a wide, smooth movement with their right hand to the right, and with the sound "li" -
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shorter. After that, you can sing a chant with words, while clapping the rhythm.

Assimilation of pitch, duration of sounds to a greater extent helps "Music Lotto". 1 Children listen to the chants and “lay out” cards or notes-circles on the flannelgraph in accordance with the location of a particular sound on the stave.
^ Creative tasks
Let us now consider the methodological techniques that help the development of song creativity. Basically, these are creative tasks that develop the ability

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

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

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

sing a song in two different keys; see if the child can “tune in”;

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

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

determine alternately high and low sounds performed (within fifths);

answer who sang correctly;

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

sing onomatopoeia (a small and a large cuckoo sings, a kitten and a cat meow);

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

improvise a motive of 2-3 sounds into the syllables "la-la", each child comes up with his own motive. Children compete to see who can come up with the most songs.

play metallophone combinations of intonations and rhythms invented by ourselves and try to reproduce them in singing;
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compose melodies, conveying a different character in accordance with the content (“Funny song”, “Sad song”, etc.)

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

^ QUESTIONS AND TASKS
1. Tell us about the educational value of singing and give demonstrative examples.

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

4. Name the pedagogical tasks of teaching singing.

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

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

7. List the basic requirements for the song repertoire.

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

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

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

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

12. Analyze the development of singing skills (diction, ensemble) of children of different age groups according to table 5.

13. Give complete description(analysis) of any song using the proposed scheme.

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

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

16. Sing a song in the indicated key, determine the tonic (the main sound of the key) and the tonic triad (I, III, V steps of the fret) with the help of an instrument, a tuning fork.

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

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

19. List the main singing skills and abilities.

20. How are preschoolers being prepared for learning to sing from music?

21. Give examples of the use of verbal and visual visualization when introducing children to a new song.

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

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

24. Select poetic texts (quatrain) for children of senior preschool age to compose singing improvisations of various kinds.

Tasks and content of training

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

They can sing the Russian folk song "Bunny" in its entirety, as it is built on a repeating motif:
[Lively]

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

[March pace]

[Leisurely]

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

Song repertoire

In the second junior group, the song repertoire is expanding significantly. Here, social topics are more represented (“Machine” by T. Popatenko, “Airplanes” by M. Magidenko, “Young Soldier” by V. Karaseva) natural phenomena (“Winter” by V. Karaseva, “Rain” - Russian folk singing, arranged by T . Popatenko), songs for the day of March 8 (“Pies” by A. Filippenko, “We love mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.

Methodological techniques

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

The most active begin to sing immediately. Gradually, everything turns on.
Particular attention is required to work on drawling singing, as many children sing with a voice. The teacher expressively sings long sounds. Children follow this example.
In the process of learning to sing, it is necessary to hear each child, to note his performance. Those who sing well should be offered to sing in a group for all children, with intoning inaccurate ones, to work out separately in order to teach them to “adjust” to the singing of an adult.
If there is an interval that is difficult to perform in a song, it can be sung to any syllable. The text of the song is assimilated along with the melody, only the most difficult words are repeated separately.
At the end of the year, it is noted whether children will be able to sing some songs with and without musical accompaniment with the help of a teacher.
When forming collective (choral) singing, it is necessary to train children to start and end a song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

Methods of musical education in kindergarten: “Doshk. education "/ N.A. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarov and others; Ed. ON THE. Vetlugina. - 3rd ed., Rev. and additional - M.: Enlightenment, 1989. - 270 p.: notes.

Tatyana Shegerdyukova
The problem of selecting a song repertoire for preschoolers

The main requirement for children repertoire, including the song - remains ideological orientation, high artistic merit and accessibility for perception and performance. An important means of musical education and training in kindergarten is the song.

"The children will sing - the people will sing", - wrote K. D. Ushinsky. And whether our pupils will like singing or not depends on us, teachers. In order for singing to be one of your favorite activities, let's get acquainted with the methodological techniques that you need to use in your work, instilling vocal and choral skills in children. The task of a kindergarten music teacher is to teach a child to love singing and not be shy if something does not work out.

When choosing a song, one must proceed not only from the availability of a literary text, but also take into account the nature, structure of the melody, its compliance with the characteristics of this group of children, their vocal abilities, and the general level of musical development. According to the diagnostic results, in most cases it turns out that no knowledge about song children do not have a heritage and the possibilities of their voice, many do not have favorite children's songs. When choosing song repertoire it is necessary to take into account the basic principles of teaching children to sing.

The principle of nurturing education. It instills in them a love for the beautiful in life and art, causes a negative attitude towards the bad, enriches the spiritual world of the child.

The principle of accessibility: the content and volume of knowledge about music, the volume of vocal skills, teaching methods and their assimilation by children correspond to the age and level of musical development of children of each age group.

Selected Available song repertoire should be given to children in a language they understand.

The principle of gradualness, consistency and systematic

gradually move from the learned, familiar to the new, unfamiliar. The principle of visibility. In the process of teaching singing, the main role is played by the so-called sound visualization - this is the performance of a song by a teacher, a specific auditory perception of various sound ratios. Other organs feelings: vision, muscle feeling, or "tentacles"(according to I. M. Sechenov, they complement, enhance auditory perception.

Visibility in teaching singing increases children's interest in music lessons, promotes the development of consciousness, ease and strength of assimilation songs.

The principle of consciousness.

The musical director seeks to instill in the children a conscious attitude to the content of the song, the transfer of the musical image, and the technique of singing.

The principle of strength. Songs learned by children after a while

are forgotten if they are not systematically repeat: vocal skills

are lost if children do not practice singing for a long time. Therefore, do not rush to learn new songs. It is better to repeat what you have learned more often.

To repeat the songs did not bore the children, it is necessary to diversify this process, introducing elements of the new.

Repertoire for each age group is selected in a certain sequence. However, this sequence is very relative. In a particular song, there may be individual "difficult" places, for example, an unusual interval course, dotted rhythm, etc. Additional exercises are needed to master these tasks that are difficult for children.

The music director, before learning a song with children, needs to carefully analyze it according to an approximate scheme:

1. educational value : the main idea and nature of the musical embodiment.

2. literary text : overall score artistic qualities, features of the text - the presence of appeals, dialogues, the most significant words in the expressive sense.

3. Melody: the nature of the melody, intonational expressiveness, intervals, mode, size, rhythm, tessitura and range.

4. Piano accompaniment: artistic merit, expressiveness, accessibility for children's perception.

5. Structure (form) songs: one-part, two-part (solo, chorus, couplet.

Preliminary acquaintance with the musical repertoire helps the teacher to understand its content, to achieve expressive performance, to think over the sequence of learning with children.

The skills that need to be taught to the children are also determined, the necessary exercises for sound formation, breathing, diction, expressive, correct intonation, and continuous singing are thought out. The features of each song give these exercises a unique character.

Song repertoire included in the program meets the objectives of comprehensive musical education and development preschooler, is available for assimilation and further independent use in kindergarten and family.

picking up musical repertoire , the teacher provides for the possibility of their further use in games, round dances, marches. You can also learn additional repertoire in preparation for the holidays. For this purpose, songs of a certain theme are selected.

If earlier the music director was obliged to work exclusively according to the program, now he has the opportunity to independently select repertoire for their pupils. Here a number of difficulties arise. The first of them is the ability to choose from the abundance of children's song repertoire accessible and easy to implement. In recent years, there have been numerous songs for preschoolers created by both professional musicians and practicing teachers themselves. The authors do not always take into account the possibilities of the child's voice, including wide jumps in the melodic line, too high or low tessitura, and a text that is difficult for children to reproduce and understand. And the teacher is often guided by the fact that he personally likes the song, and begins to teach it with the children, not paying attention to the fact that the children, purely physically, cannot perform it with high quality.

Second problem- aesthetic value songs performed in kindergarten. Due to the decline in the general cultural level of our society, some music directors, for the sake of the undemanding taste of many parents, force children to sing adult songs repertoire, forgetting that pop love songs often of very low quality musically and far removed from the life experience of children in meaning. Words about love and passion from the lips of 6-year-olds sound vulgar and inappropriate. Everything has its time. Children will grow up, and then such songs will sound naturally. In the meantime, they are small, let them sing children's songs.

wonderful repertory collections are releases, "Teach Children to Sing", compiled by T. M. Orlova and S. I. Bekina. They have developed for each song guidelines, exercises for the development of hearing and voice are presented, examples for singing improvisation are given. Some music directors believe that the songs from them are outdated. Of course, some songs no longer correspond to our reality. But how much the spiritual world of our children will be impoverished if they do not know the works included in the golden fund of children's songs, such as "Raspberry", "On the Bridge", « brave soldiers» A, Filippenko, "Blue Sledge" M. Jordansky, "Winter has passed" N. Metlov and many others.

IN repertoire of preschool children age should include songs of classical composers, contemporary authors, Russian folk songs, as well as songs of other peoples. Over the past decades, the world around us has changed a lot. Thanks to the Internet, children now know that they can easily correspond with anyone on earth, sitting in a snowy Siberian town or a tropical hut in distant Africa. And everything that happens far away can instantly appear on the TV screen. Our children already today live in a world that is united, despite borders and different languages. They need not just the ability to respect other countries and peoples, they need the ability to hear and see beauty in a foreign culture. And therefore it is quite appropriate to acquaint with the songs of other countries and peoples.