Among the gifts people receive from nature, it is especially worth highlighting the voice, which is characterized by individuality. To recognize voices, the concept of voice registers was formulated.

The voice register is represented by a series of sounds reproduced by a person in one specific way and timbre. Experts identify four registers: two main and two additional. Let's consider the proposed typology

1.Chest or lower tonality register

2.Head, falsetto, tonal or upper register

3.Noisy or non-tonal register

4.Flute or whistle register

Each register has its own characteristics. Thus, if the chest register is involved in the performance process, then the listener is immersed in the velvety sound of the performer’s voice, which is characterized by the fact of vibration in the chest. The chest register for the human voice is recognized as the most common. The vast majority of people speak using the chest register. Vocalists who do not have professional education and sufficient experience, as experts note, recognize this particular register as the only possible one.

Focusing on the upper register, it is necessary to note the vibrational processes that are more pronounced in the head area, or rather in the area of ​​the face and nose. For most connoisseurs, this register is familiar from songs performed in falsetto. According to the literal translation of the term “falsetto” - “false voice”, this phenomenon appears to be high-pitched sounds that do not have overtones, that is, they do not have the volume characteristic of sounds formed in the lower register. It is noteworthy that opera singers with significant practical experience in performing have an unsurpassed ability to smooth out the boundaries between the sounds of the above registers.

The noisy register is also called stro-bass, which translated from German sounds like “straw bass”. In this register, sounds are formed by overcoming the barrier in the form of closed vocal cords. Outstanding performers who used this register include Vysotsky, Leps, Marshal and other singers.

The fourth register, the whistle register, is considered the least commonly used, although it is quite appropriate for complex vocal parts.

Registers, their knowledge and the ability to control the voice is a goal that can only be achieved under the guidance of professional teachers.

Subtleties of the phenomenon

It is logical to understand the topic of voice registers in more detail based on the mechanism of sound production, and not on the pitch scale. The latter is ideal for characterizing the sound of musical instruments, for which the principle of creating sound, regardless of the position on pitch scale does not change. But a person’s voice, in this sense, is subject to very diverse changes.

It is very interesting to compare voice registers with a car gearbox or bicycle speeds. That is, if we do not deviate from the associations, then vocal registers can be called speed, which must be coordinated in working with the pitch of sound.

Experts who have been working with voice registers for a long time classify them a little differently than is customary in classical science. But they also allocate 4 registers. In this case, the noise register is brought to the first position, the operation of which requires open vocal cords. In this register, a person can cough, exhale silently and whisper. That is, in domestic vocal science, this register is characterized by the inaction of vocal folds.

Professionals call the speech or chest register the most used. A person pronounces 99% of sounds only using this reproduction mechanism. To work in this register, the folds must be tightly closed. Voice sounds acquire overtone saturation, but their pitch is low.

If we compare the terminology accepted and popular in the West, then in foreign scientific methods the concept of the chest register we are considering does not exist. The main emphasis is on determining the voice character and its timbre. An analogue of the speech register can be the concept of “thick ligaments”.

Another feature of Western methods is the exclusion of the noise register from the number of sound production mechanisms.

Falsetto register- the mechanism of sound formation, which is very different in the understanding of domestic, Western and scientific vocal schools. A lot of subtleties also differ in the work of this register in the formation of sounds in men, women, singers with a trained and untrained voice.

The fourth register is called the whistle or flute register, which may not be found in every person. For example, this register is found in a voice that is healthy and youthful. But if we talk about the voice of a person, mature or even elderly, then, most likely, the specified mechanism for the formation of sounds may be absent.

Voice registers

types of timbre in the human voice, both male and female. The chest register belongs to the lower part of the voice; its sounds are free and thick. The head R. belongs to the upper part of the voice; sounds are less natural and have more tension. The mixture of both R. occurs in the middle part of the voice and is called the middle R., or medium. In the male voice, the upper, purely head notes are called falsetto, or fistula (see Voice). In organs, the name P. is given to pistons that open air access to a certain set of flutes or pipes of one or another timbre. The organs are activated by register buttons located on the sides and above the keyboard (see Organ).

N. WITH.

Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - S.-Pb.: Brockhaus-Efron. 1890-1907 .

See what “Voice registers” are in other dictionaries:

- (Latin vox, French voix, Italian voce, English voice, German Stimme). 1) Melodic. line as part of a polyphonic music. works. The totality of these lines makes up the music. the whole texture of music. works. The nature of the movement of voices... ... Music Encyclopedia

Hand-held harmonicas, reed keyboards, pneumatic musical instruments, harmonic class. The sound in such instruments is produced by exposing their reeds (voices) that freely slide through the openings of the slats with a stream of air, ... ... Wikipedia

VOICE- VOICE, a universal concept that unites sounds emanating from the human larynx, regardless of whether they are intended to express thoughts and feelings or are the result of unconscious reflex muscle movements. In the development of G. should... ... Great Medical Encyclopedia

- (Latin Gutturales verae, German Kehlkopflaute) are formed in the larynx (see) by the activity of the vocal cords. The larynx (the glottis itself) has the following four articulations: 1) the glottis is wide open and freely allows...

Tessitura- (Italian tessitura a number of tones in the range of the voice) the pitch position of the voice at the moment in relation to the entire range of this voice. For example, if the range of the voice in question lies within 100-250 Hz (baritone), and at the moment... ... Pedagogical speech science

Tamagno, Francesco Francesco Tamagno Basic information Full name Francesco Tamagno Date of birth ... Wikipedia

- (from the Greek φωνητικός = sound, voice) department of linguistics, studying the sound side of the language. This term is not precise and defined enough. According to its etymological composition, it should mean the doctrine of all sounds in general, but... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

All singing voices are divided into women's, men's and children's. The main female voices are soprano, mezzo-soprano and contralto, and the most common male voices are tenor, baritone and bass.

All sounds that can be sung or played on musical instrument, there are high, medium and low. When musicians talk about the pitch of sounds, they use the term "register", implying whole groups of high, medium or low sounds.

In a global sense, female voices sing sounds of a high or “upper” register, children’s voices sing sounds of a middle register, and male voices sing sounds of a low or “lower” register. But this is only partly true; in fact, everything is much more interesting. Within each group of voices, and even within the range of each individual voice, there is also a division into high, middle and low register.

For example, a high male voice is a tenor, a middle voice is a baritone, and a low voice is a bass. Or, another example, singers have the highest voice - soprano, the middle voice of vocalists is mezzo-soprano, and the low voice is contralto. To finally understand the division of male and female, and at the same time, children’s voices into high and low, this tablet will help you:

If we talk about the registers of any one voice, then each of them has both low and high sounds. For example, a tenor sings both low chest sounds and high falsetto sounds, which are inaccessible to basses or baritones.

Female singing voices

So, the main types of female singing voices are soprano, mezzo-soprano and contralto. They differ primarily in range, as well as timbre coloring. Timbre properties include, for example, transparency, lightness or, conversely, saturation, and strength of voice.

Soprano– the highest female singing voice, its usual range is two octaves (entirely the first and second octave). In opera performances, the roles of the main characters are often performed by singers with such a voice. If we talk about artistic images, then a high-pitched voice best characterizes a young girl or some fantastic character (for example, a fairy).

Sopranos, according to the nature of their sound, are divided into lyrical and dramatic– you yourself can easily imagine that the parts of a very tender girl and a very passionate girl cannot be performed by the same performer. If a voice easily copes with fast passages and flourishes in its high register, then such a soprano is called coloratura.

Contralto– it has already been said that this is the lowest of women’s voices, moreover, very beautiful, velvety, and also very rare (in some opera houses there is not a single contralto). A singer with such a voice in operas is often assigned the roles of teenage boys.

Below is a table that names examples of opera roles that are often performed by certain female singing voices:

Let's listen to how women's singing voices sound. Here are three video examples for you:

Soprano. Aria of the Queen of the Night from the opera “The Magic Flute” by Mozart performed by Bela Rudenko

Mezzo-soprano. Habanera from the opera Carmen by Bizet performed by the famous singer Elena Obraztsova

Contralto. Ratmir's aria from the opera "Ruslan and Lyudmila" by Glinka, performed by Elizaveta Antonova.

Male singing voices

There are only three main male voices - tenor, bass and baritone. Tenor Of these, the highest, its pitch range is the notes of the small and first octaves. By analogy with the soprano timbre, performers with this timbre are divided into dramatic tenors and lyric tenors. In addition, sometimes they mention such a variety of singers as "characteristic" tenor. “Character” is given to it by some phonic effect - for example, silveriness or rattling. A characteristic tenor is simply irreplaceable where it is necessary to create the image of a gray-haired old man or some cunning rascal.

Baritone– this voice is distinguished by its softness, density and velvety sound. The range of sounds that a baritone can sing is from A major octave to A first octave. Performers with such a timbre are often entrusted with courageous roles of characters in operas of a heroic or patriotic nature, but the softness of the voice allows them to reveal loving and lyrical images.

Bass– the voice is the lowest, can sing sounds from F of the large octave to F of the first. The basses are different: some are rolling, “droning”, “bell-like”, others are hard and very “graphic”. Accordingly, the parts of the characters for the basses are varied: these are heroic, “fatherly”, and ascetic, and even comic images.

You are probably interested to know which of the male singing voices is the lowest? This bass profundo, sometimes singers with such a voice are also called octavists, since they “take” low notes from the counter-octave. By the way, we have not yet mentioned the highest male voice - this tenor-altino or countertenor, who sings quite calmly in an almost feminine voice and easily reaches the high notes of the second octave.

As in the previous case, male singing voices with examples of their operatic roles are displayed in the table:

Now listen to the sound of male singing voices. Here are three more video examples for you.

Tenor. Song of the Indian guest from the opera “Sadko” by Rimsky-Korsakov, performed by David Poslukhin.

Baritone. Gliere's romance “The nightingale soul sang sweetly,” sung by Leonid Smetannikov

Bass. Prince Igor's aria from Borodin's opera "Prince Igor" was originally written for baritone, but in this case it is sung by one of the best basses of the 20th century - Alexander Pirogov.

The working range of a professionally trained vocalist's voice is usually two octaves on average, although sometimes singers and singers have much greater capabilities. In order for you to have a good understanding of tessitura when choosing notes for practice, I suggest you get acquainted with the picture, which clearly demonstrates the permissible ranges for each of the voices:

Before concluding, I want to please you with one more tablet, with which you can get acquainted with vocalists who have one or another voice timbre. This is necessary so that you can independently find and listen to even more audio examples of the sound of male and female singing voices:

That's all! We talked about what types of voices singers have, we figured out the basics of their classification, the size of their ranges, the expressive capabilities of timbres, and also listened to examples of the sound of the voices of famous vocalists. If you liked the material, share it on your contact page or on your Twitter feed. There are special buttons under the article for this. Good luck!

What is voice register? All people's voices have a register structure. Registers differ in the principle of sound extraction. Inexperienced vocalists have voice registers that are not connected to each other, while professionals know how to connect them. If you try to sing on a glissando (see definition of Glissando) to the upper threshold of your range, you will notice that in some places the voice begins to break, jump and change its color, the so-called “roosters” slip through. These are your bridges. You need to find a way to connect them. Here is a list of the main registers.

Falsetto - Falsetto

Whistle Register - Whistle register

Stroh bass - Stroh bass

It is nothing more than our normal speaking voice, but enhanced with the help of vocal techniques. By placing your hand on your chest and singing the lowest note in your range that is comfortable for you, you will feel a vibration in that area of ​​your chest. That is why the voice is called the chest voice - the largest resonator of our body is actively involved in sound production, so the voice sounds powerful and rich. The range of your chest voice is limited only by your natural abilities, related to the length and thickness of the ligaments, as well as the density and shape of their closure. For a healthy average person it is about two to two and a half octaves. Many girls, especially those with high voices, often face the problem of trying to learn to “sing with their chest.” Their transitional section appears very low, after about one and a half octaves. How to solve this problem? Finding an experienced teacher and no virtual advice will help here. This is the main singing timbre and before mastering other techniques, it is necessary to properly master it. I don’t see much point in giving examples of the chest voice, we already hear it every day, and the timbre coloring can be very diverse. We’ll talk about what timbre depends on later.

2. Falsetto.

Falsetto is the very voice that our voice breaks into when we try to sing above the transition section thoracic range. Popularly, such breakdowns are called “roosters” - a very unpleasant phenomenon, especially if it happens on stage. Thus, above the transition section there is a falsetto. Let's consider the nature of falsetto sound formation. If during thoracic sound production the ligaments close tightly along the entire length and the pitch of the sound is controlled by their tension, then during falsetto sound production the ligaments close only partially, and not along the entire length, leaving a small hole through which air passes, giving the falsetto a hissing sound. The pitch of the sound in this case is regulated by the length of the closing part of the ligaments. The thinner your ligaments and the better they close together, the higher you can sing in falsetto. The larger the area of ​​ligament closure, the lower the note; the smaller, the higher. Here is an example of falsetto. Generally speaking, you don't need falsetto. Of course, it is used as a technique by many vocalists, but mastering the chest register should remain your first priority. If you can sing in a chest voice, then mastering falsetto will not be difficult. Famous performers singing in falsetto are Prince, Earth Wind and Fire, Presnyakov, Vitas.

Mixed voice, or as it is also called “mixed voice”, is a method of sound production in which both mechanisms are involved - chest and falsetto. The voice does not have a transition section. Many people have mixed sound production by nature.

4. Whistle register.

This register is most often developed in women. A very striking example of this is Mariah Carey, who used the whistle register a lot in her early recordings. In men, this ability is extremely rare, which is obviously due to the structure of the ligaments and the type of closure. But men sometimes show an amazing ability to sing in such a register. Example(Adam Lopez)

5. Strobas.

The strobas is quite often used in modern pop music. Strobass - allows you to hit very low notes, which are much lower than our chest range and can reach the counter octave in men. These notes are not sung, but rather “creaked”, and are used mainly as a technique of “approaching the note”, which gives the voice some sexuality, as shown below in example number 1:

The second example demonstrates how low sounds can be made using a strobe bass. This has almost no practical application, but in principle, through long training, the strobe bass can be developed and obtained quite a powerful sound. It all depends on the artistic goals that the vocalist sets for himself - it’s not worth doing this just for fun. It’s better to direct your efforts to something more useful - for example, training your ear and hitting the notes accurately.

6. Inward singing - Singing while inhaling.

This type of sound production can be more likely attributed to falsetto, although in sound it is more reminiscent of a whistle register. I don't know if anyone uses it this technique. Personally, I use this if I need to sing a high note that I can't reach with falsetto. The principle here is simple - controlled sound as you inhale. This may seem paradoxical to many, but if the ligaments oscillate when you exhale, then they can just as easily oscillate when you inhale. In order to perform such a trick, you must first sing well and relax completely. No muscles should be tense at all.

Ligaments

When we sing, we usually don’t think about how our chords produce sound. My teacher would say, “You’re doing the right thing!” Many people get too caught up in trying to understand in detail what works and how it works. Knowing what's what, at least for general development, is of course necessary, but do not forget - we are not pathologists. Look at the picture (I drew it as best I could, so don’t scold):

Tongue - language

Vocal cords

As you can see from the picture, the ligaments are located quite deep, so in order to get to them you need to try very hard - you can’t do it with just a mirror. Here is another cross-sectional illustration of the larynx. In English, vocal cords are called vocal cords or vocal folds. In addition to true vocal folds, there are also false vocal folds - false folds.

The ligaments themselves are not the most beautiful picture. Here you can see a video of human ligaments and how they work in different modes. In simple terms, two elastic folds vibrate when they close when air passes between them.

We use the ball to understand the principle of operation of the ligaments. Squeeze the ball, but at the same time hold the edges of the hole with your fingers so that the air does not escape. Now slightly release the edges of the hole so that the air escapes a little. Experiment with the edges of the hole to see what different sounds it makes depending on the amount of air coming out. The same thing happens with our ligaments - we control the pitch and volume of the sound by supplying more or less air or by stretching (releasing) the ligaments. The most interesting thing is that the individuality of the voice depends not so much on the cords, but on the entire vocal tract. If we “pulled” our ligaments out, we would hear a monotonous, colorless sound.

Many musical instruments operate on the principle of membrane vibrations. For example, the same Russian accordion. When the accordion player stretches the bellows, air is drawn into the instrument through valves that are opened by pressing buttons. Each valve opens its own hole, above which there are a pair of metal tongues. The reeds vibrate under the influence of incoming/outgoing air and produce sound. The pitch of the sound depends on the size of the reeds - thickness, length and width, as well as on the material from which they are made. This analogy helps to understand the principle of operation of our vocal cords.

Support

What is a support? Why is it needed and how to develop it? In this article I will try to answer these questions. First, what is support? Support is a special sensation that corresponds to a certain coordinated work of the respiratory and vocal muscles, as well as resonators, allowing the singer to sing freely and without straining. This feeling does not come immediately, but only with practice, provided that you form the sound correctly, although it happens that for some the support works right away.

Usually it is your teacher who tells you that the sound has become supported and asks you to remember the physical and vocal sensations for the future. This is not at all easy for a beginner, since you have to concentrate on a huge number of feelings and “listen” to what you have never paid attention to before. The brain analyzes a huge amount of information and forms new connections in accordance with incoming data. Once you master a wrong skill, it will stay with you for a long time. It is extremely difficult to relearn. This is why it is so important to have an experienced teacher nearby during the learning process. In general, support should be considered as a set of sensations leading to the highest quality result with minimal energy expenditure.

In fact, the feeling of support is quite subjective and everyone feels it differently. Most people think that it is a column of air supported by the diaphragm and resting on the roof of the mouth. Many believe that support is the tension of the respiratory muscles, which provide the necessary pressure on the ligaments. Some feel the support as air pressure under the ligaments - they consider the support as a flow of air held by the ligaments. And finally, there are those who believe that the air should press against the teeth. Thus the difference in sensations leads to different terminology. Some talk about the support of the voice, isolating this concept from the support of the breath; others think they are the same thing. What do we have in the end? We have such different concepts as acoustic support, breathing support and vocal support. This difference is actually based on differences in the way sound is produced.

So. Why do you need support in singing? As was said, the feeling of support facilitates the work of the larynx and increases the endurance of the vocal apparatus. Tension of the ligaments is minimized by the coordinated work of the respiratory and vocal systems. Dmitriev's book "Fundamentals of Vocal Technique" describes studies of this effect using X-rays. One was opened interesting fact. The sensation of support in experienced singers was always accompanied by a noticeable narrowing of the larynx right above the ligaments! The figure below is somewhat schematic, but you can understand the principle...

This interesting fact for us can be used to develop support. The narrowing of the larynx creates something like a chamber with additional resistance and takes on possible loads. Thus, with proper breathing, our ligaments can perform oscillatory movements without tension, spending a minimum of energy on resisting the air pressure under them. In other words, you need to find a balance between the air pressure under and above the ligaments. How to do it? In practice, you can use the fact that the larynx constricts slightly when you moan or hold your breath. Give it a try. Inhale through your diaphragm and hold your breath as if you were about to dive to great depths. Relax and exhale. Do you feel the difference? Try again. At the end, inhale again and start singing from this position.

Support is one of the most important concepts in vocal art. If you have problems with intonation, then the support, or rather the lack of it, is most likely to blame. If you feel that you are chronically short of breath, this is again a failure of support. If your voice quickly sinks, although you don’t even sing high...then you have no or poorly developed support. As you can see, everything depends on the support, forgive the pun.

PS. No book will teach you how to base sound, be sure to consult a teacher!

Lesson notes

Quantitative composition: 15 people.

Equipment: computer, speakers, posters, song and soundtrack.

II. Lesson topic: "Registers of the singing voice."

III. Type of lesson: combined.

IV. Lesson form: educational and practical.

V. Purpose and objectives of the lesson.

Target: Deepening students' knowledge of the basics of vocal art.

Tasks:

Educational:

· introduce pupils to the registers of the singing voice;

· introduce children to vocal exercises for the development and alignment of vocal registers;

· to form in children ideas about the registers of the singing voice using examples of the vocal creativity of modern pop performers.

Educational:

· to cultivate in children interest and love for vocal creativity;

· to instill in children love for their homeland through studying the vocal repertoire;

· to instill in children a sense of collectivism, hard work, perseverance and self-organization skills.

Educational:

· develop the creative potential of students, perception;

· develop communication skills and mental processes of pupils: memory, imagination, attention.

VI. Teaching methods:

· verbal: conversation, explanation, discussion;

· visual: use of ICT, demonstration, execution of the studied material by the teacher, observation;

· practical: vocal training exercises, music perception, work on the performing image of a work, gaming;

· explanatory and illustrative: children’s perception and assimilation of ready-made information;

· reproductive: reproduction of knowledge and development of methods of activity according to the teacher’s instructions;

· vocal training methods: concentric, , showing and imitation, mental singing, comparative analysis.

· VII. Lesson structure

VIII. IX. Contents of the lesson

p/p

Lesson stage

Actions of pupils

Special marks

Time

Introductory part

2 minutes

Organization of the start of the lesson

Greetings. Creating a favorable, positive atmosphere in the group. Getting ready to work.

Entering the classroom. Greeting each other.

2 minutes

Main part

38 minutes

Introduction to the topic of the lesson

Introductory speech by the teacher. Dialogue between teacher and children.

Children's answers to the teacher's questions.

2 minutes

Repetition of learned material. Determining the topic of the lesson.

Children solve a crossword puzzle based on previously learned terms and concepts.

Answers to crossword questions. Definition of the topic.

3 minutes

Explanation of the topic of the lesson

The teacher’s explanation of the new topic “Registers of the singing voice.”

Perception of a new topic. Assimilation of material through the teacher’s explanations and practical activities: perception of music, auditory analysis of vocal performance of a work.

10 minutes

Physical education minute

Game "What has changed."

Participation in the game

5 minutes

Vocal development

Respiratory and gymnastics, vocal training exercises for the development and alignment of vocal registers.

Work on the song “My Motherland”, lyrics. T. Gunbina, music. S. Randa.

Performing breathing and articulation exercises. Mastering new vocal exercises as shown and explained by the teacher.

Work on melodic and harmonic structure (two-voices), evenness of registers when performing a song.

18 minutes

Final part

5 minutes

Summing up the lesson.

Reflection. Homework.

Analysis of the lesson, acquired knowledge, skills and abilities.

Progress of the lesson

I. Introductory part

The soundtrack of the song “Friends” performed by the ensemble “Barbariki” plays. Children enter the classroom.

Teacher: Hello guys! I am very glad to see you in class today. It’s still autumn outside our window, the sun is warming up the colder weather, and what do you think this means? (winter is coming). The sun's rays have begun to bring little warmth, but we are still in a great mood.

Teacher: let's start our lesson.

II. Main part

Teacher: It's been a long time since we've known each other"Fundamentals of Vocal Art" and have already learned a lot. This is a large and very important section in our vocal training course. Tell me, please, what do we learn in such classes?

Children: we get acquainted with vocal concepts and terms, the features of singing breathing, the rules of breathing while singing, the correct pronunciation of vowels and consonants, how to correctly express your emotions when singing, the rules of behavior while singing, the rules of behavior on stage.

Teacher: Well done! Now answer my question in your own words: “What is the basis of singing, the source of energy for the emergence of sound?”

Children: Breath.

Teacher: Yes, breathing is the basis of singing. What types of breathing do you know, and which type is most important when singing?

Children: Thoracic, diaphragmatic and mixed . The most important and correct type of breathing when singing is considered diaphragm breathing.

Teacher: And today we will get acquainted with the registers of the singing voice, and this is precisely the topic of our lesson: “Registers of the singing voice.”

Teacher: What is it?

· Register is the part of the vocal range that contains sounds that are similar in timbre.

Teacher: Remember this definition. At the end of the lesson, you will receive reminders with basic concepts on this topic, and you can learn them at home.

Teacher: Any person, regardless of gender and age, can reproduce sounds in 2 main and 2 minor registers.

Teacher: Two main registers: chest and head.

Teacher: Chest register - lower case.

When singing in this register, singers experience distinct vibration sensations in the chest area (hence the name).

Teacher: Try this exercise: “mumble” with a closed sound on the lower notes. How do you feel? In what area of ​​the body do you feel vibrations?

Children: In the chest area.

Teacher: This is the most familiar voice register for any person. We always speak in it. Most singers, both professional and not, use only this register when singing, since they do not know how to use others.

Listen to a musical fragment from the song “At the Meadow” performed by the duet of singer Pelageya and Mikhail Gorshenev. Pelagia uses her chest voice register when singing.

Russian folk song “At the Meadow” performed by the duet of Pelageya and Mikhail Gorshenev.

Teacher: Head or falsetto - upper register. When using it in singing, singers experience vibration sensations mainly only in the head (face, nose), hence the name. The name of this register “falsetto” (which in translation means “false voice”) emphasizes the rarity of its use.

Try doing the same exercise, only on the top notes. How do you feel? In what area of ​​the body do you feel vibrations?

Children do the exercise.

Children: In the head area (face, nose).

Teacher: The sounds of this register are clearly different in timbre from the sounds of the lower register. They are high-pitched, devoid of lower overtones (overtones) and weaker. However, many professional singers develop this vocal register so that it becomes strong enough to be widely used in stage performances. For example, Vladimir Presnyakov is the youngest, who widely use the upper register in his singing. And opera singers ensure that no difference is felt between the sounds of the lower and upper registers: neither in volume nor in timbre.

Listen to a musical fragment from the song “Castle from the Rain” performed by singer Vladimir Presnyakov. He uses a falsetto register when singing.

“Castle made of rain” lyrics. K. Kavaleryan, music. V. Presnyakov, performed by Vladimir Presnyakov Jr.

Teacher: In order for the head register to sound well and beautifully, you need to add “support”, that is, sing with your breath, on support, and force the vocal cords to work.

Teacher: We became acquainted with the two main registers of the singing voice. We continue our acquaintance - minor registers.

Teacher: The noise minor register, called “stro-bass”, which translated from German means “straw (rustling)” bass. A person’s voice can shift to such a register when very tired. This character of sound is formed due to the crossing of the vocal cords. By mixing this register of voice when singing with the main register, singers get a growling, wheezing voice. The use of this register when singing can be heard in V. Vysotsky, M. Shufutinsky, G. Leps, A. Marshal. A particularly striking example is the performance of Professor Lebedinsky.

Listen to the song “I asked the ash tree” performed by Professor Lebedinsky. When singing, she uses a noise register - "stro-bass".

Song “I asked the ash tree”, lyrics. V. Kirshon, music. M. Tariverdiev, performed by Professor Lebedinsky

Teacher: Another non-primary voice register, called “whistle” or “whistle”, is used much less frequently. ", which is located above the falsetto register. This register is familiar to us as the high-pitched squeal of small children. In terms of timbre, it actually resembles a loud whistle, which is where it got its name. Developed most often in women, this register is quite rare in male voices. A striking example of performance in the “whistle” register is the singer Vitas.

Listen to the song “Opera” performed by Vitas.

Teacher: So we got acquainted with the registers of the singing voice. The main registers most used by singers are considered to be the chest and head registers – “falsetto”. There is such a thing as “transitional” notes. These notes are in transition from one register to another. When professional singers sing, these notes are completely unnoticeable, and the registers are called “smoothed out.” Thus, their voice sounds smooth, beautiful, and rich in different ranges. The transition from register to register is completely invisible. This is developed through constant training.

Teacher: Now we will get acquainted with exercises that will help us develop, align our vocal registers, and accordingly develop our voice. To do this, we must cultivate perseverance, hard work and observation, developing our memory, imagination and attention.

Teacher: I offer you the first exercise that develops attentiveness, observation and memory.

Game "What has changed"

One child looks around the classroom and takes note of his surroundings, then heads out the door. Children agree on what they will change in class. A child comes into the classroom and says what has changed in his absence.

Teacher: Well done! And now we start vocal exercises.

I ask you to stand in one line in front of me and take a singing position.

The children stand up for the chant.

Teacher: First we will do a breathing warm-up.

1. Inhale through your nose and exhale slowly through your mouth. Repeated 5 times.

2. Inhale through the nose and exhale through the mouth with the sound “sh”. Repeated 5 times.

3. Inhale through the nose, and as you exhale, pronounce the letters “b-p.” Repeated 5 times.

4. Inhale through the nose, and as you exhale, pronounce the letters “t-d.” Repeated 5 times.

Teacher: Now we are working on diction and articulation. We recite the tongue twister “The bull is stupid, the bull is stupid, the bull’s lip was stupid.” We start slowly, gradually increasing the pace.

Teacher: Here we come to exercises for developing registers and voice.

1. Using a closed sound (“moo”) we make a glissando up and down. Repeated 3 times.

2. To the sound “tpru” we make a glissando up and down. Repeated 3 times.

Teacher: Well done boys! You have successfully completed all exercises. The voice apparatus is ready for use, and we begin to sing the song “My Motherland.” This song is already familiar to you, we have already worked hard on it. The vocal performance of the song is complex; it contains elements of two-voices. The melody of the song is not simple, it is spasmodic and requires performance in both the chest and head registers. A developed vocal range is required. When performing, do not forget about the “support” of the sound, especially when playing high notes. Also remember that we are an ensemble, and the sound of the song should be smooth, so listen to yourself and each other.

First we will sing the melody, then to the backing track.

Work on the melodic and harmonic structure (two-voices), evenness of registers, ensemble when performing the song “My Motherland”, lyrics. T. Gunbina, music. S. Randa.

Teacher: Well done boys! You did a good job today. Take your seats.

Children sit on chairs.

3. Final part

Teacher: Look, I have the sun in my hands. What does it need to make it shine brighter?

Children: Rays.

Teacher: Absolutely right! I suggest you give our sun rays, but in order to receive these rays, you need to remember what we did today, what we learned new, interesting and useful. For the correct answer you get one beam.

Children give answers. For each answer they receive a ray of light, thus showing how the child has mastered the material.

Teacher: Look at the screen. On it you see the basic concepts on the topic of the lesson. Think about it, have we remembered everything?

The children answer.

Teacher: Now come to me, and together we will give some rays of sunshine.

Children, together with the teacher, attach the rays to the sun.

I hold the Sun in my palms! I'm giving it to my friends! Smile - it's Easy! A ray of sunshine is for YOU!!!

The teacher gives each child a ray of sunshine.

Teacher: Look, guys, these are not simple rays... They will give you knowledge of the basic concepts of our lesson. Study them well at home and memorize them. Agreed?

Children: Agreed.

Teacher: Thank you for your work!

Teacher: Goodbye!

The soundtrack of the song “Friends” performed by the ensemble “Barbariki” plays. The children leave the classroom.

1. Definition of “Singing Voice Register”

2. Main registers:

· chest

· head – “falsetto”.

3. Minor registers:

· noise or “stro-bass”;

· “whistle” or “flute”.

Used

1. Belobrova U. Yu. Discussion of the issue of range, registers and tone localization for students of intermediate and advanced levels of training //mar. ucoz. ru/publ/obsuzhdenie_voprosa_diapazona_registrov_i_lokalizacii_tona_dlja_uchenikov_srednego_i_prodvinutogo_urovnja_podgotovki/

2. Mlechko T. A. Methods of vocal training in the solo singing class //www. arts. adygnet. ru/bibl/izd%20arts/2/untitled-12.htm

3. Voice Registers http://www. guitar vocal ru/vocal8.html