1. Noise register

4. Whistle (flute) register

This is the voice register that goes even higher than the head! However, not everyone has this register. Children usually have it, as well as healthy young vocalists. And among older people, so to speak, it is absent. Eh, age...

5. There is another type of voice register - middle case (mixed). But we didn’t talk about it, because it is not a physiological register, but it is very important for a general understanding of the essence. It appears by superimposing the speech register on the head register. Now I’ll try to describe where it comes from.

How to determine your voice range? Looking for middle case

So, first we need to determine the range of your speech register. Sing the lowest note you can hit. Find this note on the piano keyboard (if you don't have a piano, use the online piano Pianoplays.com). Now raise your voice higher and stop where it is no longer convenient for you to sing in speech mode, where your voice is already breaking into falsetto. Now find this highest note on the piano as well. Thus, the distance from the lowest note of your speech voice to the highest is the range of your speech (chest) register.

Now let's determine the range of your falsetto (head, upper register of voice). But start defining it from the top: sing in falsetto the highest note you can hit. Find it on the piano. Gradually move your voice down until it (the voice) switches to speech mode. Find this extreme note on the piano.

If you did everything carefully and found the extreme notes of both registers on the piano, you should have noticed that both of these registers seem to overlap each other. That is, the highest few notes in the speech range are the lowest few notes in the head range. Look what I'm talking about:

Thus, those notes that are in the overlap region can be sung by both the speech and head voices. This overlap area is Middle (mixed) case.

Let's move on to the next lesson, where we will learn about how to “pump up” this very middle register in order to hit high notes!

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 transitional part of the chest 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 voice 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!

The singing process in modern vocal and choral pedagogy is considered from the point of view of sound formation (voice formation) and sound production (vocal technique and performance). One of the important elements of the sound formation process is the uniform timbre alignment of the registers of the choir’s voices. The appearance of uniform timbre throughout the entire range, flight and endurance of voices is closely related to the work of leveling registers. This work is necessary in the high school choir and adult choir.

A register is a series of voice sounds of homogeneous timbre, extracted in the same way. Depending on the primary use of the chest or head resonators, there are chest, head

and mixed registers. The register structure of the voices of men and women is different; it depends on the structural features of the larynx.

In the female voice, due to the structure of the larynx, there are 3 natural registers: chest, medium (middle) and head. The task of the choir master is to set the choir voices to the mixed mode (mixt - mixed), so that a mixture of chest and head resonance is clearly manifested throughout the entire range. The chest register occupies a fifth or sixth in low female and children's voices, and a third in high voices. The chest register is sounded by the chest resonator, the vocal cords in this area close tightly, with their entire mass. After transitional notes (for sopranos and first altos - E flat - F sharp of the 1st octave, for second altos - C - E flat of the 1st octave), the middle register begins. This register has a naturally mixed sound. Here a mixed type of vibration of the vocal cords is observed, the head and chest resonators are voiced simultaneously.

After the second transition (for sopranos - E flat - F sharp, for altos C - E flat of the 2nd octave), the head register begins. Here the ligaments work like falsetto closure (edges), in this register the head resonator is actively voiced.

The main difficulty in leveling registers is to teach singers to correctly, that is, with a mixed sound, perform transitional notes of their range, using rounding or covering techniques for this.

The technique for leveling (smoothing) the registers of male voices is called the “covering method,” and the leveling of women’s voices is called the “rounding method.”

In modern vocal pedagogy, the use of rounding is explained by the fact that nature gives female voices a mixed voice formation in the middle register, so it is enough to use the rounding technique to transfer the mixed sound to the extreme registers so that the voice sounds even in timbre. The rounding of sound is carried out by giving the oral cavity a dome-shaped shape, where the soft palate is actively involved.

Work on leveling the registers of female voices usually begins with the central part of the range (primary zone), gradually expanding the mixed voice formation up and down the range.

In the male voice, there are two natural registers - chest and falsetto. In the chest register of the male voice, which occupies about 1.5 octaves of its range, the tight closure of tense vocal folds allows the use of strong subglottic pressure, which makes it possible to extract powerful and rich in timbre sounds, causing a distinct sensation of vibration of the chest (hence the name re -hyster). However, working in this mode is only possible up to transitional sounds (E flat - F sharp of the 1st octave for tenors, C - E flat of the 1st octave for baritones, B small - D of the 1st octave for basses). If you want to sing higher sounds, the voice “breaks” (due to a sharp change in the mechanism of voice formation) and switches to falsetto. Due to the fact that the vocal folds begin to work at the edges, the voice loses strength and timbre colors.

Thanks to the French tenor and teacher J. Dupre, the technique began to be used in male vocal practice from the late 40s of the 19th century.

cover (voix mixt sombree) when forming the upper part of the range, which increased the endurance of heavy loads and expanded the performing capabilities of opera singers.

Basic rules for mastering cover: mixing the singing sound (with dosing of chest and head resonance) in the center of the range, darkening (sombre) the voice before transitional notes, moderate sound strength and smooth breathing.

The observed darkening of the singing timbre, when using the covering technique, occurs due to the restructuring of the upper resonators and a slight expansion of the lower part of the pharynx. It has been experimentally proven that the covering technique helps relieve excess tension from the vocal folds in men during mixed sound production.

It is known that the mixed sound of a voice can be formed from a different ratio of chest and head resonance. When leveling the transition to the upper register, the voicing of the head resonator and the predominance of the falsetto part in the mixed sound begins to play an important role in male voices. This is why experienced choirmasters believe that for male singers, “when smoothing out registers, it is useful to learn to sing in the upper register with a good falsetto, using this as a means of mastering a mixed sound.” To do this, it is recommended to use scale-like exercises in a descending movement, from the falsetto register to the chest register, without stopping on the upper notes. During vocalization of high sounds, moments of forcing should be avoided. When moving to the chest register, singers must ensure that the timbre of the head resonance is maintained.

Exercises to align the registers of male and female voices must be performed in moderately quiet dynamics and at a leisurely pace. The melody of the exercises can be based on singing sounds, moving by seconds, thirds down and up, and also include scale-like movements and leaps by fifth – octave. It is recommended to vocalize the exercises using the vowels: u, o, a, combining them with other vowels and consonant sounds (usually sonorant consonants).

M. S. Osenneva and V. A. Samarin, addressing young choirmasters, advise: “When practicing with a choir, you should remember that the upper and lower parts of the singing range are formed only after education

etc. Particular attention is paid to rounding sounds adjacent to register boundaries. Transitional sounds should be covered. When vowels change, the shape of the lower part of the pharynx changes. So, on the vowel [у] it is expanded, the sound has a dark color. On [a] the pharynx is narrowed, the sound tends towards a light timbre. The vowels [o], [e], [i] are intermediate between [u], [a]. In order to achieve covering of individual vowels, it is recommended to sing [a] with the overtone [o], [i] with the overtone [u], [e] with a clear transition to the covered [e]. It is recommended to use the sound [y] carefully.”

Choir singing

Chanting is the vocal-auditory tuning of the choir singers. The purpose of chanting is to prepare the choir for creative work on the repertoire.

The main tasks of chanting:

Vocal and auditory mood of the choir, bringing it into working condition;

Work on exercises that form basic vocal and choral skills.

The following principles of singing have developed in choral practice:

Systematicity and consistency;

Awareness by choir participants of vocal tasks and techniques for performing choral exercises;

Gradually increasing the complexity of exercises from simple to more complex, as vocal skills are acquired;

Strength of consolidation of vocal and choral skills.

The following forms of singing are widely used in choral singing: general choir (full composition), group (in parts), individual.

The following exercises are usually included in choir singing:

Unison (for vocal-auditory tuning and vowel alignment);

Legato stroke exercises (to develop cantilena singing);

Exercises on various methods of sound study (legato, staccato, non legato);

Wide-ranging exercises (for leveling registers and developing singing breathing);

Harmonic exercises a cappella (to form a zonal system in the choir);

Exercises on diction or tongue twisters (to activate the articulatory apparatus and emotional mood choir).

When choosing tongue twisters, you should pay attention to the combination of vowel sounds in them. In a beginning choir, it is more convenient to use quick-works with repeated identical vowel sounds (The clatter of hooves sends dust flying across the field). In a prepared choir, on the contrary, it is necessary to master various combinations of vowels and consonants (Bul-lipped bull, blunt-lipped bull, the bull had a white lip and was stupid).

Fragments from the compositions being learned can be used as chanting exercises.

The average duration of chanting is 15 minutes. Shorter and longer chanting sessions are possible, associated

with a painful condition, fatigue of singers. The singing position when chanting is in a standing position (support on both legs, back straight, shoulders turned, hands free). The correct singing attitude facilitates the process of phonation.

There are two main ways to conduct chanting - with an instrument and a cappella. Each of them has its own advantages. When the instrument is used, there is the possibility of continuous audio monitoring of the quality of the singing sound and intonation ensemble with accompaniment. When chanting is carried out without the accompaniment of an instrument, the singers’ auditory control is extremely sharpened, and the skill of ensemble in the party and in the choir as a whole is developed. Therefore, it is advisable to use both methods.

When conducting chanting, the choirmaster must be able to play accompaniment to vocal exercises on the instrument, transpose them, and be able to simultaneously play, sing and conduct.

Singing is a complex process and requires coordination of all elements of the vocal apparatus. Only a well-trained specialist knows about the interaction and mutual influence of all the rather fragile organs that make up the vocal apparatus, and knows the methods and techniques for tuning it. But vocal work in the choir is not limited to the tuning and technical development of singing voices; its main task is the formation of the performing culture of the choir.

Control questions

1. Describe the significance and content of vocal work in the choir.

2. Name the basic principles, methods and forms of vocal-choral

3. Describe the uniqueness of singing breathing and the methods of working on it in the choir.

4. Justify the benefits of use different types attacks at the initial stage of learning to sing.

5. By what criteria is the evenness of a singing voice determined?

6. Describe the technique for equalizing the registers of male and female voices.

7. Formulate the purpose and objectives of singing the choir.

8. What are the basic principles of chanting?

9. Describe the singing attitude when singing.

10. Name the ways of conducting choir singing.

1. Barsov Yu. Vocal-performing and pedagogical principles of M. I. Glinka / Yu. Barsov. – L.: Music, 1968. – 68 p.

2. Zhivov V.L. Choral performance: Theory. Methodology. Practice:

textbook allowance / V. L. Zhivov. – M.: Vlados, 2003. – P. 271 p.

3. Kazachkov S. A. From lesson to concert / S. A. Kazachkov. – Kazan: Kazan University Publishing House, 1990. – P. 191–270.

4. Kochneva I., Yakovleva A. Vocal dictionary / I. Kochneva, A. Yakovleva - L.: Music, 1988. - 72 p.

5. Nikolskaya-Beregovskaya K.F. Russian vocal and choral school from antiquity to the 21st century: textbook. allowance / K. F. Nikolskaya-Beregovskaya. – M.:

Vlados, 2003. – P. 90–118, 140–191.

6. Osenneva M. S., Samarin V. A. Choir class and practical work with the choir: textbook. allowance / M. S. Osenneva, V. A. Samarin. – M.: Academa, 2003. – 190 p.

8. Chabanny V. F. Musical and pedagogical management of choral amateurism as a process: textbook. allowance / V. F. Chabanny. – St. Petersburg:

SPbGUKI, 2008. – Part 2. – pp. 59–189.

9. Yakovleva A. Formation of the upper part of the range of male voices / A. Yakovleva // Questions of vocal pedagogy. – M.:

Music, 1984. – Vol. 7. – pp. 73–86.

1. Main register - the most convenient for singing, because its octave is in the usual speech range.

2. Go to f alcet register (head)
Stepping down about an octave from the upper limit voice range– a so-called transition note arises, connecting the head register with the main one. Practice shows that when rising to this note, the vocalist experiences noticeable tension in the voice (after all, this is the highest note when producing chest sounds) and at such a moment they often sing only with the throat itself (falsetto), without the work of the diaphragm, so the voice does not sound natural and is wasted a lot of breathing and, accordingly, strength. This is how our vocal cords are designed.

Exercise:

The task is to pass this transition between two registers (main and head) without anyone noticing.
And in order to learn this, we will now do an exercise in which you need to smoothly and evenly slide a whole octave with your voice (for example, from the note La until the next one La), thereby trying to hide the transition note by making registers similar to each other.

Two notes La with an octave interval (3rd string 2nd fret and 1st string 5th fret):

When you become confident in singing this exercise, move to the next note up the range, i.e. from A sharp before A sharp through an octave (one fret on the guitar fretboard from each note, which means 3rd string 4th fret and 1st string 6th fret).

3.Go to bass register:
Stepping down two octaves from the upper limit voice range we find ourselves in the bass register and our voice will also feel the next transition note connecting the two registers (main and bass). This note will also not sound confident and stable.
We do an exercise similar to the first, only with noticeably low notes in the voice:

Example:
From the notes Mi before Mi through an octave.

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 voice register with the main register when singing, 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